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Frank Jackson on Street Photography I am happy and excited to announce a new RFF forum on Street Photography mentored by Frank Jackson, one of the best producers of analog B/W prints I have ever seen. His shows include the Open Shutter Gallery, Heriard-Cimino Gallery, and Ogden Museum of Southern Art. His images are in the collections of Smithsonian Ogden Museum of Southern Art, California Afro American Museum and Xavier University New Orleans LA. He has worked for or has been featured with Visa Card, Xerox, UCLA, Eric Owen Moss, Architect, Hasselblad Forum (cover),Gordon Parks, Muhammed Ali, Million Man March Wash. DC, Lionel Hampton, jazz legion photographer , 1995-2002, Stevie Wonder, B+W Magazine (British version) twice, Rangefinder Magazine, Dahon Bicycles, Arelli Wheels, Real Product Design, Automobile Club of Southern California. Frank's online images are at fotographz.500px.com and fotographzfrankjackson.tumblr.com . "While on this diverse photographic journey…I have to say during this whole time my love for fine art black and white photography kept growing. I always found time to shoot in different cities and my own personal work…this has sustained me through some very tough times. As of 2012, with the help of a very good friend I maintain a state-of-the-art dream darkroom. The darkroom helps greatly in the on-going practice of understanding “the light”, being able to process film and print drives me to keep my digital photography “organic”. I’m curious visually and shooting what’s, what on the street feeds this curiosity. Everyday I walk out my front door to “see” the world with a digital camera, a film camera, the “cup” and an open mind (mostly).

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Old 02-21-2015   #201
Pherdinand
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Thanks for that
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Old 02-21-2015   #202
Saul
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Quote:
Originally Posted by MIkhail View Post
Confusing the originality/interesting quality of the subject with the originality/interesting qualities of a photograph is a biggest misconception of all to me.
Interesting subject- mediocre picture (will i be banned for this?)
Well said. The act of documenting does not very often lead to art making.
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Old 02-21-2015   #203
alistair.o
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Well said. The act of documenting does not very often lead to art making.
I would think that nicely sums up Robert Frank's body of work: The Americans.
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Old 01-09-2017   #204
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The problem is not so much with ordinary photographs. These are obviously ephemeral objects, they die the moment they were born. The bigger problem (for me) is with successful but obvious iterations of well-known photographs from the past. It may be a poodle jumper, a gypsy holding the portrait of their progenitor (ideally a genetic lookalike from another century), a vision of a body through a condensed window, a tilted frame of life in the street as it unfolds, cutting like a knife in the thick of it. I could go on (about other genres too). The street photography genre is populated by giants and the influences very often tend to be burdens. It's difficult to do it successfully, even harder not to end up with obvious and/or dreadful pastiche. The more you know about photography, the more you realize how very narrow the road to something genuinely interesting and original is.

That said, it doesn't hurt to try.

.
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Old 01-09-2017   #205
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Today has become easy to make a photo, much more difficult to make a good photo.
The same applies to street photography, easy "to take" a photo on the street, much more difficult "to make "a good interesting photo on the street. Just my idea.
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Old 01-09-2017   #206
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Quote:
Originally Posted by robert blu View Post
Today has become easy to make a photo, much more difficult to make a good photo.
The same applies to street photography, easy "to take" a photo on the street, much more difficult "to make "a good interesting photo on the street. Just my idea.
robert
It's hard/rare to make a good street photo, no doubt about that. Maybe that's part of the appeal too. ("Here, this time I'll go out and take that one great street photo I've always been after".) I even agree that on some level it is easier to make photos today, what with all the camera marvels at our disposal. But on another level it is more difficult. In old photos, people in the street seem more relaxed or indifferent in having their photo taken. I think there was a point, say some time in the 70s or maybe a bit earlier than that, when people became much more sophisticated about the way they "read" photos, principally by being bombarded by images which they then tried to make sense of. They also assumed, for the first time, a sense of ownership about their image. At that point in time, the act of photographing a stranger turned in the public perception of it into a much more invasive practice. I am not saying this is right or wrong, it's just a thought. So, like that, photographing in public was given a veneer of intrusiveness that was just not there before. For this reason perhaps, street photography is not particularly respectable in academic/art circles, unless the photos come from a time when consent was not requisite or expected, let alone practiced.

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Old 01-09-2017   #207
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Quote:
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Oh, and anything in quotation marks
exactly
quotes from the great ancestors, the biggest cliche of the 21st century

PS yes, a lot of cliches and a lot of utterly boring street shots... even aside the viewers' taste, there are plenty of general, universally boring shots
(incl many of my own)

Context matters (helps), a lot, and eye contact almost always helps (click here below, he he he)
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Old 01-09-2017   #208
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Here's an interesting piece that you may or may not find to be that. But worth a watch for sure.
https://www.youtube.com/watch?v=wigx...Ur92kkuxoGupr-

Also I have some words and images that were featured on the official Leica blog that get to some of this from my perspective anyway.
http://blog.leica-camera.com/2016/12...relationships/
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