Interesting discussion. I believe Keats was referring to a similar frame of mind when he referred to the artist being in a state of ‘Negative Capability’ - “that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.” i.e. being fully open to receive whatever the street has to throw at us. I do like the idea of being 'in the zone' of being 'in the flow' and hence why street photography is very much a solitary activity for me.
Very much a solitary activity for me too. It is the reaching for fact and reason, the second-guessing, that I find most often stymies me (when I am unfortunate enough to be stymied). I don't know as much Keats as I ought to, particularly as I enjoy the Romantics, so it's interesting to read about Negative Capability. I'll investigate further when I have time. Thanks for reading!
I feel that being in the right frame of mind is necessary for any form of creative act. I think the most wonderful side-effect of photography is your raised awareness, of seeing things that others miss because you are making such and effort to seek out the images. For me it is such a solitary act - I cannot photograph with anyone else - it just doesn't seem to work - and i'm so with you when it comes to headphones ... in someways music and empower you somehow, it can make you feel 'braver' when shooting - but I feel it also really distracts from looking, concentrating, not to mention the fact that, nowadays more than ever, you need to have your wits about you shooting in many street situations.
Thanks, Richard. I've thought a lot about the right frame of mind since returning to photography. I'm not really a big wellness/mindfulness/meditation guy but I do feel strongly that there is a state of mind, an awareness, to be in when working. I often don't know I'm in it - but I certainly know when I'm not. I'm glad you enjoyed the article. ❤️🫡
I'm always so torn on the subject of street photography, because I absolutely loove good street photography, but often wonder about the ethics of it. And then hypocritically, dismiss it as not my problem, since I'm not the one taking those photos.
Btw. those are so good. Make me want to sketch them for practice!
I'll write more on the ethics of it in the future, definitely. I believe each street photographer has to draw their own ethical lines. I know what I'm comfortable with, and I can justify it, but others have to come to their own decisions and conclusions. :)
Most likely get hated for pointing this out but ‘disponible’ is not just French, but Spanish and Italian as well; same meaning in all three. Nice read nonetheless. Thanks.
Great article, Neil. When photographing out on the street, my headphones stay in my bag and my mind is switched on. I've missed way too many shots by being tuned in to something else, instead of creating photographs.
Being tuned in to one’s surroundings is part of the process, isn’t it? If I was taking portraits I wouldn’t dream of wearing headphones and blocking out the connection with my sitter. I feel the same respect should apply when out in the streets.
Excellent essay, Neil! This is one topic, I wanted to write about, because I think it so so important. To me it is crucial to my own photography to have this kind of awareness. And it not only concerns street photography, but all kinds of genres. If I am not in the right state of mind, I know I will fail. Just happened to me yesterday.
Thanks Susanne. Funnily enough, it wasn't what I had planned to write this month, at all. I had been writing a shorter note on it for my website but realised I could build it into an essay. I'm glad I did. I look forward to your writing on the topic when you get to it. :) I certainly agree that it's important for all photography. :)
This is a great article, Neil! I’m not a street photographer, however this tells a lot about what a street photographer needs to do to be ready to get the shot.
I have to say I’m still thinking about what you wrote, and I believe it can also apply to portraiture. Even when I’m doing a “posed” set, I keep talking to my model, not much to tell her what to do, but to keep the flow, well, flowing. And this creates the magic, most of the times.
Yeah. I'm pretty new to working with models but with the work that I have done - particularly the work with Mateusz, I realised that some of the best ideas appeared when we were loose and chatting, messing around and experimenting. The magic appeared.
Just make sure to exhale, occasionally. Looking forward to hearing how you incorporate it (if indeed you do). I hope I can be as much help as possible on your street photography journey ❤️🫡
I wish that were the case. I mean, it can be helpful, but when we consider its Latin roots, it suggests the notion of being present. In Spanish, for example, we have both 'estar presente' and 'estar disponible,' which imply either being physically present or available. Personally, I would always lean towards the idea of being physically or mentally present in the context we're discussing. It's all about semantics and conventions, but the message is clear: be there --heart, mind, and soul-- with your camera ready, or miss out.
Be available and receptive. Very good advice Neil.
Good advice both for photography and for life, I think.
Thanks for reading, Andrew. ❤️🫡
Interesting discussion. I believe Keats was referring to a similar frame of mind when he referred to the artist being in a state of ‘Negative Capability’ - “that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.” i.e. being fully open to receive whatever the street has to throw at us. I do like the idea of being 'in the zone' of being 'in the flow' and hence why street photography is very much a solitary activity for me.
Very much a solitary activity for me too. It is the reaching for fact and reason, the second-guessing, that I find most often stymies me (when I am unfortunate enough to be stymied). I don't know as much Keats as I ought to, particularly as I enjoy the Romantics, so it's interesting to read about Negative Capability. I'll investigate further when I have time. Thanks for reading!
I feel that being in the right frame of mind is necessary for any form of creative act. I think the most wonderful side-effect of photography is your raised awareness, of seeing things that others miss because you are making such and effort to seek out the images. For me it is such a solitary act - I cannot photograph with anyone else - it just doesn't seem to work - and i'm so with you when it comes to headphones ... in someways music and empower you somehow, it can make you feel 'braver' when shooting - but I feel it also really distracts from looking, concentrating, not to mention the fact that, nowadays more than ever, you need to have your wits about you shooting in many street situations.
Great article ... and some wonderful images!
Thanks, Richard. I've thought a lot about the right frame of mind since returning to photography. I'm not really a big wellness/mindfulness/meditation guy but I do feel strongly that there is a state of mind, an awareness, to be in when working. I often don't know I'm in it - but I certainly know when I'm not. I'm glad you enjoyed the article. ❤️🫡
I'm always so torn on the subject of street photography, because I absolutely loove good street photography, but often wonder about the ethics of it. And then hypocritically, dismiss it as not my problem, since I'm not the one taking those photos.
Btw. those are so good. Make me want to sketch them for practice!
I'll write more on the ethics of it in the future, definitely. I believe each street photographer has to draw their own ethical lines. I know what I'm comfortable with, and I can justify it, but others have to come to their own decisions and conclusions. :)
And thank you! Feel free to sketch away.
Loved this issue Neil, got a new subscriber out of me
I dunno how I missed this comment Wesley, but thanks so much!
Intriguing
Most likely get hated for pointing this out but ‘disponible’ is not just French, but Spanish and Italian as well; same meaning in all three. Nice read nonetheless. Thanks.
Not at all. I wasn't aware of that. It's a cool little addition. :) Thanks for pointing it out. 🙂
Kalvar has lived in Paris since the 1970s, though, so I think we can safely presume he refers to the French. Thanks for reading!
Great article, Neil. When photographing out on the street, my headphones stay in my bag and my mind is switched on. I've missed way too many shots by being tuned in to something else, instead of creating photographs.
Absolutely... I used to photograph with music on as it gave me a little confidence. I don't feel I need it anymore. :)
Being tuned in to one’s surroundings is part of the process, isn’t it? If I was taking portraits I wouldn’t dream of wearing headphones and blocking out the connection with my sitter. I feel the same respect should apply when out in the streets.
Agreed! ❤️🫡
Excellent essay, Neil! This is one topic, I wanted to write about, because I think it so so important. To me it is crucial to my own photography to have this kind of awareness. And it not only concerns street photography, but all kinds of genres. If I am not in the right state of mind, I know I will fail. Just happened to me yesterday.
Thanks Susanne. Funnily enough, it wasn't what I had planned to write this month, at all. I had been writing a shorter note on it for my website but realised I could build it into an essay. I'm glad I did. I look forward to your writing on the topic when you get to it. :) I certainly agree that it's important for all photography. :)
Sometimes the unplanned posts are the best!
This is a great article, Neil! I’m not a street photographer, however this tells a lot about what a street photographer needs to do to be ready to get the shot.
Thanks so much, man. An open mind and an open heart are perfect for street photography, but just as useful for life itself. Thanks for reading! :)
I have to say I’m still thinking about what you wrote, and I believe it can also apply to portraiture. Even when I’m doing a “posed” set, I keep talking to my model, not much to tell her what to do, but to keep the flow, well, flowing. And this creates the magic, most of the times.
Yeah. I'm pretty new to working with models but with the work that I have done - particularly the work with Mateusz, I realised that some of the best ideas appeared when we were loose and chatting, messing around and experimenting. The magic appeared.
This is great. Trying to inhale the lessons of this essay.
Just make sure to exhale, occasionally. Looking forward to hearing how you incorporate it (if indeed you do). I hope I can be as much help as possible on your street photography journey ❤️🫡
I wish that were the case. I mean, it can be helpful, but when we consider its Latin roots, it suggests the notion of being present. In Spanish, for example, we have both 'estar presente' and 'estar disponible,' which imply either being physically present or available. Personally, I would always lean towards the idea of being physically or mentally present in the context we're discussing. It's all about semantics and conventions, but the message is clear: be there --heart, mind, and soul-- with your camera ready, or miss out.
If that were true, you'd think we would all out-Cartier Bresson.
Unless, of course, you think you do. In which case... 🫡 🙂