When I’m working I never try be invisible, now I just try to talk with people or just participate. I hinge my camera on neck, everybody knows that I will taking pictures, and I’m waiting, and waiting for one or two frames (or more if it’s possible). I had so many unpleasant situation like we all I suppose so I try bypass it. I’m very sensitive on this.
Last weekend I was working in gothic festival in little middle-aged castle. Fans of dark gothic music have faced each other there. Everybody had strange dress like on Halloween or carnival. (I don’t know word describing it “they changes?” )
On this meeting everybody take pictures each other. So I was totally free and I was felt great!
There were many photojournalist but I was one of first on place and all the time, so many people treated me like one of them. I had huge smile on my face all the time because I truly like them all, and they try to look very serious (dark) but when they see me everybody smiles to me too (they are most dark-positive-sunshine people) . This was best environment for work I ever could dream.
I was learned many things in this weekend. I work on positive films so I must waiting for results. I tested make something other than just portrait people in freak dress. Shapes, light, crowd…
We’ll see, we’ll see…

Peace for all

Martin

Did not know that about HCB, but it makes sense that he would find that parallel… It is a wonderful little book and I have read it a few times myself.

Asher,

I have not read “Zen Keys” but I’ll check it out. Thanks for the hint!

David,

Now you have 2 zen books to add to your list!

- Giancarlo

funny that you mentionned this book, Henri Cartier Bresson loved this book, it was very close from his own views on photography. I read and re read this book several times.

Arie

To your point about feeling your one off images being stronger than series… I’ve often felt the same thing and attributed to the genius of the unconscious, the zen state of being in the moment without trying and without effort (”Zen in the Art of Archery ” is a great little book on the subject). And that’s difficult to sustain for any length of time — for me — while working a series.

Have a good flight,

- Giancarlo

I attended a seminar in Bermuda with Flip Nicklin (he shot stories foe the Natioanl Geograohic) and he told us that a picture is in fact three pictures: close shot, medium shot and far shot (that gives the context).

Maybe you believe that your one time shot pictures are the best because you did not get “tired” (=”overworked”?) of the subject. Maybe the single shot is more spontaneous, which allows your internal self to express itself on the picture (sorry I could have said this better in french…but I am trying!)

Arie

i have two kinds of patience…one is the kind where i am “waiting” and not taking any pictures at all….this patience could be for 5 minutes or for 5 days ….the other is when i am finally shooting and perhaps taking many pictures , but not the “right” picture…..but i have noticed that my very very best pictures tend to be pictures where i just have a single frame…only one…not anything close….when i have time to shoot many pictures that are similar, it feels good at the time because it seems like i am really getting “insurance”…many good pictures of the same thing…but then, later this “insurance” looks boring or not quite right…..i have also looked at the contact sheets of many magnum photographers and i see the same there too…the very best pictures are literally little slices of life that come and go quickly never to return…pieces of “magic” that required intense concentration, but then “came and went” so fast that they could barely be captured…..but, were “capturred” because of this patience and then intensity….

for all…

i do want to discuss this whole business of stills vs. video…but it is a whole new topic….i must catch a plane in about an hour , so no time for me this minute….but i will be back in new york on wednesday, so i will bring it up again then….if i forget, remind me!!!!!

I think every generation has watched still photography change drastically “as we know it.”

However, I doubt still photography will go the way of the Dodo. Trying to capture that “moment” with a Leica or a Nikon or a 4X5 view camera carries a thrill and a creative rush that is unlike anything you get with a video camera.

For me it is anyway.

I agree with Asher and would add that in the blogosphere and in web/TV-based photojournalism video & video/shots will increase their foothold, but even with HD cams becoming cheap and available, they won’t replace cameras as the premier shooting tool for stills.

BTW, it seems to me we’ve seen something similar with DSLR and RF cameras, and you see what’s happening with the M8.

If anything, I think we’ll se a hybridization of cams, (video + still) with video buffers becoming larger and higher res.

GC

For a web-based photojournalist, all the editors seem to want is a short video clip and some low res stills. I’ve tried extracting a still from a video using just my little P&S digicam and “Grab” on my Mac. It’s very easy to get an image of a selected moment with more than adequate quality for a web news report. But it’s a far cry from anything I’d want to print and hang on a wall…

Just walked in the door from my trip to the Pacific Northwest, Washington State with the kids and family and then on to four days in B.C. for a romantic getaway in a fabulous spa. I got some absolutely fabulous famiy photos!

Regarding psyching up or getting nervous before a shoot–I go on automatic pilot and walk out to meet the unexpected. This trip was a very good example of how a shoot unfolds for me. I knew nothing of the area I was going to, B.C., as we decided at the last minute to go. I went to bed the first night with the water up on shore in the bay and woke up the next morning with it gone. Wonderful shots of shapes and shadows and mountains behind that created great opportunites for shooting with my 100-400. This trip that is the only lens I used. I always seem to go out with one goal specific such as using a certain lens and fit the shoot into that goal. I have had some fabulous photos come from this type of experience.

So in answer to your question, I pay attention to instructions and jump in. Blind usually but it always works out.

Lee

In an article that appeared in the Digital Journalist, it was written that, in a few years from now, still news photographers would not exist anymore. News photographers, according to this article, woud film the scene, and then extract still images from there.

My question to you all: why taking still digital images when we could extract still images from a movie (that would contain sound as well). In other words, are we seeing the last years of still photography as we know it?

Thanks to all for your answers to come.

Arie

David, I sent you an e-mail. When you get to Seoul please get in touch with me so I can bore you with some of my snaps. Anyway, looking forward to meeting you when you have time.

Good luck on your assignment in Korea. That really sounds interesting!! Sure you’ll enjoy it with or without getting psyched! :-D

Have a nice trip and come back with great pictures!

Ana