Once a month I will display one of my photos captured and/or processed with Instagram over the last month. 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. For more photos; visit www.instagram.com/ottovonmunchow/
Once a month I will display one of my photos captured and/or processed with Instagram over the last month. 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. For more photos; visit www.instagram.com/ottovonmunchow/
I have always been fascinated by cities and the pulsating energy that emerges on the streets of those cities. That, in turn, has lead to a fascination for street photography. Last year I turned that fascination into a new project that I have called Transitions.
It started during a workshop I attended in Rome last May, taught by the devoted and passionate Swedish photographer Martin Bogren. After the workshop, I displayed some of the images from Rome here on the blog. Since then I have photographed for the project in every city I have visited—or at least tried, not always succeeding. Like last year, I had an overlay between flights in Panama City for about 14 hours, which I had planned to use to photograph for the Transitions project. However, a delayed arrival put a spoke in the wheels for that plan.
Nevertheless, I have enjoyed photographing for the project wherever I have had a chance. Well, enjoyed as well as dreaded. Because when you go out on the street with a camera, you put yourself on the line. I don’t mean literally risking anything (that is, you can of course). What I purport to is the emotional risk; you own insecurity when facing strangers and wanting to photograph them, the discomfort of imposing yourself on others, or even just stealing a moment of their lives.
One of my ideas behind the project is to capture how we human beings are formed by the culture we live in. For instance, our appearance on the street is different in Calcutta than say in Panama or New York. It’s the way we clothe, but also expressed through attitude and temperament. Of course, in our modern, globalized world these differences fades, but still, on a general level, it’s mesmerizing to notice the kaleidoscope of different forms our appearance take from one place to another.
Generally, cities act as interfaces for human beings. They are places we congregate, but not the least places of transitions. We pass through cities to get from one place to another. While transiting, we continuously encounter other fellow human beings, randomly and only for brief moments. Most of them we will never meet again. Yet, we move through cities with acute awareness about how others will conceive of us. We put up a façade; make a display of what we want our fellow human beings to think of us. Thus, cities also become vehicles for a personal transition, from private to public person.
I just read something that stroked me personally. It was words by David Campany, writer, curator and artist, in a foreword written to the book Easy West that showcases less known images by the photographer Harry Gruyaert. Campany writes: “Observational photographers are often lone figures themselves, never quite sure of their aims, hoping something will happen. Through a kind of empathy, they will photograph people in similarly existential or marginal situations. But to be drawn to this in a town so explicitly dedicated to the pursuit of enjoyment is an act, conscious or not, of distance. Wariness, even.”
Here are some of the images I from my last shoot in Seattle. They were actually captured before Christmas, but only lately have I had time to edit and process them.
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.
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.
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”.
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.
Come along for a photo workshop over an extended weekend in Seattle in mid September. If you need some inspiration, if you want to push your photography, if you want to advance your visual language, this is the perfect workshop for you. From September 6th to 9th, the workshop will be focusing on how you can develop your photography and your photographic expression.
Through daily lectures and picture critique, I will challenge you and stimulate growth of new visual ideas and your creativity, as well as stretching your ideas of what a good photograph might be. The workshop is less about technique than about imagery, however we will of course talk about technique when and if necessary. Nevertheless, the focus is primarily on the visual language and the creative approach to photography.
During the workshop, we will explore various neighbourhoods of the city. We will head down to the waterfront of downtown Seattle; the mixed, former hippie district of Fremont as well as other areas. Against a backdrop of jaw-dropping scenery, the waterfront is all about walkable fun, where quirky shops, seafood eateries, and iconic experiences await. Fremont is the artsy, waterside enclave where people come for a selfie with the gigantic Fremont Troll and enjoy the neighbourhood’s free-spirited charm.
I will walk and photograph with participants on an individual basis, which I have found that former students always appreciate the most. By photographing side by side, you can learn from my approach, but also give me a chance to suggest ways to change your own approach. I believe in challenges and in expanding into new ways of seeing and capturing and this will be the underlying force through the workshop.
Does this sound interesting? You’ll find more information about the workshop “The Visual Language” in Seattle here.
Or you can ask for the brochure for the workshop here.
Maybe I’ll see you in Seattle?
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.
In Flow with Otto 