Once a week—or every so often—I will display one of my photos captured and/or processed with Instagram over the last week. It’s a way for me to show photography that usually is quite different from my regular work. The pictures are displayed without any comments, hoping they will stand on their own. But I still very much appreciate any comments you may have.
Street photography has always been to close to my heart. Remember, I wrote about the importance of shooting from the heart in a post two weeks ago (From the Heart). What draws me to street photography is the feeling of being alive amongst my fellow human beings, seeing and learning from how they each embrace life—at least by their public appearance.
At first look, street photography indeed seems to be about appearance. But it only becomes truly interesting when a photographer is able to dig under the facade we all put up and capture genuine human behaviour and earnest emotional moments. That is when street photography becomes like a universal porthole to life; when it speaks about experiences that we all may share, even when the appearance is utterly unique or uncommon.
Another part of photographing on the street that I like is the challenge it impose. Because it is a challenge to go out and photograph strangers on the street. It’s like putting in a personal investment and not knowing what will happen. Street photographing forces you out of the box, out of the comfort zone, which is always good for any creative endeavour. It generates that little bit of jittering uncertainty and discomfort that may boost you into something extraordinary. Not all the times, but sometimes—when you are willing to let go and just flow with whatever happens. And when that happens, that is when I feel the most alive.
In May this year, I attended a photo workshop in Rome, taught by the visually proficient photographer Martin Bogren. It was five days of intense and good street shooting. Now I have turned what I started in Rome into a new project. Whenever I visit a city, I will allocate time to photograph its streets as I did in Rome. I also plan to go places only with this project in mind. The last couple of weeks, I have been shooting in Seattle. Over the next couple of weeks, I will continue the project first in Panama City and then in Santa Cruz in Bolivia.
These images here, are from Seattle. If you want to have a look of the images from Rome, you will find them on the posts A Roman Stance and Streets of Rome. By the way the project is called “Cities of delution”.
Rome is a fascinating city. Just thinking about its thousands of years of history can spellbound any person. The history is evident all over the city, in ruins, in incomparable buildings all from the earliest periods up until today, and not the least in the Roman culture and attitude.
The latter was what I was trying to capture during the photo workshop lead by the Swedish photographer Martin Bogren, I attended two weeks ago. I roamed the streets away from where the tourists the usual ramble. Photographing regular Romans of today—in their many shapes and appearances. It was actually so pleasant to not have to visit any of the big attractions, but rather experience the “real” Rome.
Here are a few last images I will post from my very rewarding trip to Rome.
Last week I attended maybe one of the best workshops ever. It was taught by the Swedish photographer Martin Bogren and took place in Rome. Five days of intense, demanding and tough photographing and teaching. We were pushed beyond our comfort zones and felt both enormously encouraged and hard-pressed. It’s the kind of workshop style I like, whether I am teaching myself or attending one. It’s all about complete focus on photography. If we were not out shooting on the streets of Rome, then we would either have sessions of picture critique, Bogren showing us his own masterly work or processing photos ourselves for the next critique session. No time for anything else, hardly for sleep.
Martin Bogren is not only an excellent photographer of world class, but he is also seeing his students, their needs and pushing them in a direction they need to go in order for them to develop their photography. He is generous and insightful, as well as tough when needed and encouraging when that is needed. He has a quite and soft way of approaching students’ work as his own photography, but also resilient and strong beneath it all.
I came back from Rome with the hard disk loaded with photos. Plenty of meagre results—whish is always to be expected when shooting on the street, but quite a few that are pretty good. Martin Bogren was able to open up new aspects of my photography and he has given me a new direction. Here are a few images from the Roman workshop. I’ll let them stand on their own.