I can very much relate to the do I or don’t I shoot or ask to shoot and every permutation of that. Eugene Richards, yet set the goal post pretty high. I can’t for the life of me figure out how he did what he did/does. He’s shooting with very wide lenses yet he’s so close the field of view of like a 50mm. I can’t.
You’ve found a way and a view of your own. It works well and it’s yours.
I want to thank you for sharing your experience on this topic. I am working on a project on the land where I live (in the south of Italy) and I am struggling to create portraits that have both a documentary and intimate sense. I feel like I am walking a line, constantly, and I am not sure how to behave with people. I recently met a community of people from India who have migrated to Italy to work on farms. I know form the reasearch I did before they generally live in precarious conditions and their working environment is very harsh. They kindly admitted me to their religious ceremonies which are colorful and warm moments and, although they allowed me to take photos, I did not do so because I felt that my photos would be like photos of tourists in an exotic environment. It is very difficult for me to find the most respectful approach in these situations other than that of the "western white man". So I remained frozen, observing without even taking a photograph, and while on the one hand I knew it was not wrong, on the other I felt guilty for having gone there with all my equipment and not having brought home even a photo.
Great read, Adam. I struggle with this myself and it's why a lot of my work excludes people. I crave to get closer, to know more and understand my photography. I'd love to attend one of your workshops of even do a one-on-one with you if you offer such a thing.
I read this post about a month ago and read it again today. I've been trying to make photos of people living in a vulnerable community. It’s about the sense of despair but also the family's dreams of breaking through to the middle class. I've been hiding my camera for weeks when I'm walking around the housing project and only take it out when I'm inside one's home. Yesterday, I was again walking around, for the first time after weeks, I took my camera out where residents could see me. A man came up to me and said I shouldn't be out there by myself, "too dangerous" he said. He became protective of me because it turned out I know his mom. It makes me question how to continue and how to make my intentions clear without putting myself in a dangerous position.
I can very much relate to the do I or don’t I shoot or ask to shoot and every permutation of that. Eugene Richards, yet set the goal post pretty high. I can’t for the life of me figure out how he did what he did/does. He’s shooting with very wide lenses yet he’s so close the field of view of like a 50mm. I can’t.
You’ve found a way and a view of your own. It works well and it’s yours.
Very thought provoking Adam.
I want to thank you for sharing your experience on this topic. I am working on a project on the land where I live (in the south of Italy) and I am struggling to create portraits that have both a documentary and intimate sense. I feel like I am walking a line, constantly, and I am not sure how to behave with people. I recently met a community of people from India who have migrated to Italy to work on farms. I know form the reasearch I did before they generally live in precarious conditions and their working environment is very harsh. They kindly admitted me to their religious ceremonies which are colorful and warm moments and, although they allowed me to take photos, I did not do so because I felt that my photos would be like photos of tourists in an exotic environment. It is very difficult for me to find the most respectful approach in these situations other than that of the "western white man". So I remained frozen, observing without even taking a photograph, and while on the one hand I knew it was not wrong, on the other I felt guilty for having gone there with all my equipment and not having brought home even a photo.
Great read, Adam. I struggle with this myself and it's why a lot of my work excludes people. I crave to get closer, to know more and understand my photography. I'd love to attend one of your workshops of even do a one-on-one with you if you offer such a thing.
I read this post about a month ago and read it again today. I've been trying to make photos of people living in a vulnerable community. It’s about the sense of despair but also the family's dreams of breaking through to the middle class. I've been hiding my camera for weeks when I'm walking around the housing project and only take it out when I'm inside one's home. Yesterday, I was again walking around, for the first time after weeks, I took my camera out where residents could see me. A man came up to me and said I shouldn't be out there by myself, "too dangerous" he said. He became protective of me because it turned out I know his mom. It makes me question how to continue and how to make my intentions clear without putting myself in a dangerous position.