Ethics, privacy,opportunity, rights.

Good morning everyone! I would like to start unconventionally by immediately addressing a thorny issue. Given that many wonder what is allowed and what is not allowed on the street, I suggest we start from this point. It is a very controversial issue, often debated by those who are not in the profession. Please keep in mind that I’m talking about ITALIAN legislation, which is similar to many other European countries and many democracies, but each country has its own laws. Ethics and opportunity are more generalist points.

Privacy - When we can photograph

In a public place, it is ALWAYS permitted to take pictures of people, even in a perfectly recognizable way. Minors are an exception, who also fall under the category of NOT being appropriate to photograph, but we will get to that later. Law enforcement officers on duty or delicate situations such as railway stations, etc. where special legislation may arise for security reasons are exceptions. However, the photographic shoot must always take place in such a way as not to disturb or annoy. It is not within our rights to follow someone, perhaps for several hours, in order to take a photo. Nor is it right to insist with a camera a few centimeters from someone's face for several minutes. However, one thing remains: the possibility of taking a picture. It is a different matter altogether to publish the photos. Whether it is on social networks, in a book, or a magazine. Obviously, commercial use of the photo itself requires the subject photographed's specific authorization if they are fully recognizable. Of course, photographs can be published in contexts where it is clear that the situation was widely known to the public. The sacred right of news reporting is also safeguarded (for photojournalists, be careful). Likewise, you can always take pictures and publish photos of a public event, taking place in a public space. As long as it is not a close-up of a subject completely isolated from the context, which obviously plays a fundamental part in the concept of a "public event."

Leica M11, Voigtlander 50 mm f1.0 I DO love the 50 mm for street photography. You can work at a right distance, without being too obtrusive and at same time you can contextualize your subject easily.

Ethics

This is an extremely delicate and subjective point. Therefore, I will try to keep it extremely simple and straightforward. Personally, I believe that the line not to be crossed is that of personal dignity. If I believe that there may even be a slight possibility that the subject being photographed is involved in a situation that is in some way detrimental to their dignity, I do not take the picture. I do not even take the picture if I have the slightest doubt that this may be the case. Respect, first and foremost.

Opportunities

A concept linked to ethics, but we are going one step further. For example, I may want to photograph a scene with high emotional contrast. Like a homeless person in a luxurious urban context. Before even bringing the camera to your eye, ask yourself this question: what am I bringing to the photograph, to the news, that has not already been seen millions of times by other millions of photographers? There are situations that should NOT be photographed because they simply add NOTHING to the current photographic landscape. But they could annoy the person who is already in an extremely delicate situation. Of course, there may be that unique situation for which it is worth photographing. In fact, it should be done. Probably one case in a million. Similar discussion for minors. In an era where there is a perceived social danger as very high, it is almost never appropriate to photograph minors. And if you really want to do it, ALWAYS ask the parents first. Even in this example, there may be very rare exceptions, but this is an introductory lesson, and I am trying to draw a basic guideline.

Rights

We always have the right to photograph in public places. Therefore, if you are verbally attacked, you can calmly point this out. In the worst cases, you can turn to the police. But in all my years of shooting, I have been attacked only once, and I responded in kind. If you show respect, you will be respected. Almost always. Stay calm, move politely, and nothing unpleasant will happen. Of course, people also have the right not to be photographed. If they ask you not to, simply don't do it.

THE PHOTOGRAPHIC TRAP

Now let's move on to more enjoyable topics: actually taking the pictures. The ways to approach street photography are essentially endless. One of the most classic is the so-called "photographic trap." Essentially, it is a bit like what is done in nature photography: you wait from a very precise point. Perhaps you have seen a mural like in this photo.

In this case, the "mural-comic" perfectly interacts with the subject on the bike, thanks to its perfect spatial positioning within the frame. This creates a completely different meaning compared to a photo without this level of subject-background interaction.

Or as in these other examples, we can see that an interesting background can be the basis of a photographic composition. We just have to wait for the right subject or subjects to interact properly in the scene. Personal advice: try to work on multiple significant levels when you work like this. Symbolism, irony, suggestions...whatever you want...but put something personal into it. Give it your flavor. The background I mentioned earlier doesn't necessarily have to be the background. It can also be a blade of light that crosses a street laterally, for example. It's up to you to find a way to play with it. The possibilities are endless. Be creative.

WORKING QUICKLY AND CONTINUOUSLY.

Contrary to the photographic trap, here we work extremely dynamically, often moving. You have to set up the camera, so that you can be really fast. Using very fast continuous AF or pre-focusing at rather closed apertures to have a lot of depth of field, or even using hyperfocal focusing in a more or less modern way (see Ricoh's snap focus, for example). My advice in this area instead is to lose yourself. Let yourself go with the flow of things happening around you. You will find very interesting ideas over time as your photographic archive grows. It is easier to work with shorter focal lengths in this way. From 24 to 35 mm, for example, are quite classic. With smaller formats than 24X36 mm, you will be facilitated by a greater depth of field at the same angle of view and aperture used.

Leica M11, Voigtlander 35 f1.2. It doesn't matter that it's a manual focus camera. Street photography is all about your sensitivity in being able to anticipate what is about to happen.

COMBINING DIFFERENT ELEMENTS TO CREATE NEW MEANINGS.

Whatever your approach, one of the things I find most wonderful about photography is this: the infinite interconnections of elements that you can suggest through elements that are completely unrelated in reality. And with these suggestions, you will create new ideas, associations, and meanings in the viewer's mind. You may have already noticed this in the previous photos; I add some other photos below.

IN CONCLUSION

If you start to give yourself a method in your "work", you will see that satisfactions will not be lacking. And that in less time than you think, you will make a real qualitative leap, to a level that you didn't expect.

Fundamental, to do this, is still to organize a photographic archive properly. Personally, I organize it through Capture One, which has infinitely more powerful cataloging tools than those of Lightroom. But even without a specialist program, it is always possible to do it, only it will take more time. You will have to divide the folders by inserting as much data as possible. For example, using a first division of folders by years, within which other subfolders using the words of the place WHERE you took the photo, WHEN you took the photo (the date), the camera used, and details of the outing (for example, with whom you went out and/or in which areas you passed). Through an evaluation using stars or flags, it will then be possible to make sub-selections within RAW processing software. But the basic structure, regardless, is this. And to delve into the subject really well, unfortunately, it is not possible in a short blog post. But at least it can give you a basic idea. You can start from here.

"Irony, a fitting example. It deeply belongs to me, so it's normal to often find it in my photos."

I hope you appreciate it and as usual, leave me feedback if you enjoyed it. Or even criticism if you have suggestions to give.

See you soon!