intrigued me lately video showing the silhouette of the photographer Bruce Gilden , who specializes in street photography. "I'm known for taking pictures very close, and the older I get, the closer I get"
writes about himself. No, but how close is close?
Watching faces a string of tightly framed photos of Bruce, one more friendly, others less, you can at some point to get some of this claustrophobic feeling - as if it was with all those people in too little space, if they found themselves no closer than one might wish for.
IRELAND. 1996. Woman at racetrack.
IRELAND. 1996. Man and woman at racetrack.
Japan. 1998. Asakasa. Two members of Yakuza, Japan's Mafia.
IRELAND. 1996. Woman at racetrack. 
IRELAND. 1996. Man and woman at racetrack. 
Japan. 1998. Asakasa. Two members of Yakuza, Japan's Mafia. 
IRELAND . 1996. Bettors watch the results at a racetrack.
give a little more breathing space as well as the earlier photos of Bruce in available light at Coney Island, which are probably more I like them.
USA. NYC. Coney Island. 1977. An overweight man and his friend sunbathe on the beach.
USA. NYC. Coney Island. 1976. Lady standing on beach with dress inflated by wind.
USA. NYC. Coney Island. 1969. Woman in See Her Change booth on the boardwalk.
USA. New York City. Coney Island. Woman Exposing her breasts on the boardwalk. 1977.
give a little more breathing space as well as the earlier photos of Bruce in available light at Coney Island, which are probably more I like them.
USA. NYC. Coney Island. 1977. An overweight man and his friend sunbathe on the beach. 
USA. NYC. Coney Island. 1976. Lady standing on beach with dress inflated by wind. 
USA. NYC. Coney Island. 1969. Woman in See Her Change booth on the boardwalk. 
USA. New York City. Coney Island. Woman Exposing her breasts on the boardwalk. 1977. Watching the film has led me to question. Do you pop out of nowhere a photographer forces people to throw off the mask that you wear from home and blending into a crowd of people gliding along the sidewalk? Is this unusual and quite extreme situation, where people did not expect, makes them come out true nature? Or maybe it's just a way to get some mines - grimace, which has nothing to do with who anyone really is?
Japan. Tokyo. 1999. Injured homeless man lies in the middle of the street.
reminded me of an interesting story that in an episode of "Genius of Photography," he told Tony Vaccaro. He came to Picasso, to do his portrait, but when the painter started to freeze in at move the other poses, the photographer does not trigger the shutter. Tony told me that even recognize the earlier portrait of Picasso: Richard Avendona, Arnold Newman and others. Photographer then pulled out a lighter, shook it a few times and said "something is not working." Then, suddenly threw off the mask Picasso, and took a picture of Tony Vaccaro.
Japan. Shinjuku. 1999. Raven on the field.
similar story found in the biography of Diane Arbus:
Japan. Tokyo. 1999. Injured homeless man lies in the middle of the street. reminded me of an interesting story that in an episode of "Genius of Photography," he told Tony Vaccaro. He came to Picasso, to do his portrait, but when the painter started to freeze in at move the other poses, the photographer does not trigger the shutter. Tony told me that even recognize the earlier portrait of Picasso: Richard Avendona, Arnold Newman and others. Photographer then pulled out a lighter, shook it a few times and said "something is not working." Then, suddenly threw off the mask Picasso, and took a picture of Tony Vaccaro.
Japan. Shinjuku. 1999. Raven on the field. similar story found in the biography of Diane Arbus:
Once [Richard Avendon] has revealed how he managed to achieve an expression of surprise on the faces of the Duchess and Duke of Windsor [...] There was reportedly at the Waldorf Towers, and set up equipment, then muttered: " I apologize for the delay, but after the taxi driver drove through my dog. " Duchy, dog lovers, while they released a silent cry, "Oh." Avendon
I pulled the trigger.
not even know if you can believe portraits, let alone a street pictures taken in a few seconds. Is this what has been captured in the photo is actually a particular facet of the person concerned, or perhaps only fleeting grimace, which simply match the photographer - expressed what he wanted to say at this point about the person, and not what your subject is it really?
But it is not a concern. In street photography is the most important impassive crowd and excitement, tension, gestures that can catch him. But if this same photographer should be a source of tension?
Coming back to the same style of work by Bruce Gilden. Recently I was in the supermarket and turned my attention to an old man sitting on the bench. He had a slightly open mouth and a very absent expression. At the same time looked completely lost and lonely.
How do such a picture? Approaches, cyknąć and go away? It would be like feeding on someone's weakness and lack of elementary respect. Even if I asked for permission, if I were really any good reason to push the shutter button? If asked why exactly it wants to photograph, what would he answer? You looked so terribly pathetic on the bench, that until I felt an irresistible need?
the other hand, I asked for permission in advance, everything would have probably lost - the expression on his face, which so affected me, disappeared in the blink of an eye.
But anyway, there was nothing which would warrant me as a photographer to do this picture. Maybe if I came up with something clever, I could tell him?
Japan. 1996. Tokyo. Shinjuku. JR station morning rush hour.
Me personally, not quite like the way Bruce Gilden - a cheeky and pushy. Much more meaningful to me, for example, what is said Henri Cartier-Bresson:
But it is not a concern. In street photography is the most important impassive crowd and excitement, tension, gestures that can catch him. But if this same photographer should be a source of tension?
Coming back to the same style of work by Bruce Gilden. Recently I was in the supermarket and turned my attention to an old man sitting on the bench. He had a slightly open mouth and a very absent expression. At the same time looked completely lost and lonely.
How do such a picture? Approaches, cyknąć and go away? It would be like feeding on someone's weakness and lack of elementary respect. Even if I asked for permission, if I were really any good reason to push the shutter button? If asked why exactly it wants to photograph, what would he answer? You looked so terribly pathetic on the bench, that until I felt an irresistible need?
the other hand, I asked for permission in advance, everything would have probably lost - the expression on his face, which so affected me, disappeared in the blink of an eye.
But anyway, there was nothing which would warrant me as a photographer to do this picture. Maybe if I came up with something clever, I could tell him?
Japan. 1996. Tokyo. Shinjuku. JR station morning rush hour. Me personally, not quite like the way Bruce Gilden - a cheeky and pushy. Much more meaningful to me, for example, what is said Henri Cartier-Bresson:
"Photographer loses its personality is like an invisible hunter, and the world is hunting area."Though Bruce eventually no doubt be the envy Gildenowi confidence - we'd since it lent him a little.
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