Chris Calohan
Well-known member
There But for Fortune... Chris Calohan
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Street
- Thread starter Chris Calohan
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There But for Fortune... Chris Calohan
Bob Rogers
New member
That's a disturbing image; makes us confront something we don't want to.
What's in her hand?
It's too bad she isn't a few inches shorter, because then you could crop out the fence rail and have the fencing run to the top of the frame.
I keep looking at the torn up wheel on the cart, and her bare foot.
What's in her hand?
It's too bad she isn't a few inches shorter, because then you could crop out the fence rail and have the fencing run to the top of the frame.
I keep looking at the torn up wheel on the cart, and her bare foot.
Chris Calohan
Well-known member
It's a cell phone. All the homeless people around here have a cellphone and a seemingly endless supply of cigarettes. So strange.
Asher Kelman
OPF Owner/Editor-in-Chief
There But for Fortune... Chris Calohan
I'm without conscience as far as editing images of my own. If you could be comfortable, I'd certainly follow the suggestion of the taller fence by simply cloning it carefully. Even better drop the height of the fence to cart level.
This is a great picture. I'd also work on local contrast to being out her ragged dress and "Dorothea Lange-oid" depression appearance.
Asher
Jerome Marot
Well-known member
I don't want to start a long discussion on the subject but I suggest that the readers of this thread type "Dorothea Lange" in google picture search. Then you will notice an essential difference: all the people she photographed during the depression face the camera. Clicking here should work.
Doug Kerr
Well-known member
Hi Asher,
Rondal Partridge (US Government): Dorothea Lange, with SLR, 1936 (Graflex series D, 5x7)
[Caption by DAK]
Dorothea Lange (US Government): Migrant Mother [1936]
[Graflex SLR, 4x5]
Best regards,
Doug
Rondal Partridge (US Government): Dorothea Lange, with SLR, 1936 (Graflex series D, 5x7)
[Caption by DAK]
Public domain
Dorothea Lange (US Government): Migrant Mother [1936]
[Graflex SLR, 4x5]
Public domain
Best regards,
Doug
Asher Kelman
OPF Owner/Editor-in-Chief
For sure, Jerome, you make a valid point to correct me for, as a general rule, her it's fair to say that Dorothea Lange's most iconic portraits were indeed clearly frontal. These were likely all posed. But she also took many pictures with her as a non-interfering observer, for example, most of the images here.
I just have the sense that the worn out clothes and person shown in Chris' picture gives me a haunting experience, just as when I experience any of Dorothea's pictures of the worn down spirits of degraded hope of the hard years of the not so recent past in the American psyche.
One senses that this woman is not suddenly poor and homeless. She's desolate, having been been left out of society somehow could be only a few thousand steps from being reclaimed by the land itself.
Asher
Chris Calohan
Well-known member
Taken all the suggestions to heart. I am a huge Dorothea Lange fan and have several of her images reprinted from scans of the original negatives in the Library of Congress archives, including the Migrant Worker shown above.
It took Lange many months to gain the trust of these families which allowed her the ability to get up close and personal shots. In a street shot such as this and given the skittish nature of the homeless, one gets a quick shot at best. I didn't want to miss the shot, but also didn't want to have to deal with an angry group. There were about 20 others like her waiting for a free meal from one of the local church groups.
Raised the fence, pushed her away from the fence a bit and worked some of the contrasts in her clothing.
It took Lange many months to gain the trust of these families which allowed her the ability to get up close and personal shots. In a street shot such as this and given the skittish nature of the homeless, one gets a quick shot at best. I didn't want to miss the shot, but also didn't want to have to deal with an angry group. There were about 20 others like her waiting for a free meal from one of the local church groups.
Raised the fence, pushed her away from the fence a bit and worked some of the contrasts in her clothing.
Doug Kerr
Well-known member
Hi Chris,
I think those are nice improvements.
It is a great image.
Best regards,
Doug
Taken all the suggestions to heart.
...
Raised the fence, pushed her away from the fence a bit and worked some of the contrasts in her clothing.
I think those are nice improvements.
It is a great image.
Best regards,
Doug
Jerome Marot
Well-known member
I think you got my point.
Asher Kelman
OPF Owner/Editor-in-Chief
Jerome,
There are a lot more fundamental differences. Lange's subjects were swept up in a dry parched landscape of withered opportunity. Still, they had their humanity preserved and she shows admirably. By contrast, likely as not, the modern homeless N. American woman is on the street as the direct result of failure of society to provide long term mental health care for those in such dire need.
Asher
Jerome Marot
Well-known member
Asher, your signature reads: "Our purpose is getting to an impressive photograph.". All I read here are excuses for not getting to an impressive photograph. I should know: I am using the same excuses myself when I lack the guts to engage people I want to photograph, which happens more often than I care to admit.
Need I say more? We all know what should be done to get impressive photographs of this subject.
Need I say more? We all know what should be done to get impressive photographs of this subject.
Asher Kelman
OPF Owner/Editor-in-Chief
Yes,
We need to confront our subjects and then ourselves too instead of just sneaking up and getting the glancing rays from them surreptitiously. But then the confrontation alters what we are looking for! That's the conundrum!
Asher
Paul Abbott
New member
Hey Chris, if your subject happened to be looking back at the camera then I could appreciate your framing the subject as tight as this but otherwise I would have shown more of her environment and context in which she's moving...People like this are always incongruent in today's urban setting.
...Just my two Burundi Francs.
...Just my two Burundi Francs.
Michael Nagel
Well-known member
Chris,
This is a haunting image.
The initial photo has it all and it is more on the sober side while showing fair enough of the dire straits.
Best regards,
Michael
This is a haunting image.
I think you add these modifications being aware that you leave the realm of reportage photography. It adds drama, but from my point of view this is not required.
The initial photo has it all and it is more on the sober side while showing fair enough of the dire straits.
Best regards,
Michael
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Michael Nagel
Well-known member
Asher,
It unnecessarily stigmatizes the majority who does not have these issues and provides bearable excuse for many to look away as interaction with and handling of people with mental health issues is left to people who received a training for this.
It would be interesting to know how much this practice adds to the statistics, but I think we will never know...
Best regards,
Michael
Mental health issues amone homeless people are way higher than in the rest of the population, but putting all the blame on mental health issues is a very simplyfied (and in my eyes misleading) view of a more complex theme (pdf).
It unnecessarily stigmatizes the majority who does not have these issues and provides bearable excuse for many to look away as interaction with and handling of people with mental health issues is left to people who received a training for this.
It would be interesting to know how much this practice adds to the statistics, but I think we will never know...
Best regards,
Michael
Chris Calohan
Well-known member
Thanks, Michael. This is always a dilemma with me. Generally, when I proffer an image like this for others to view, it is in the light of how it was when I saw it...and not as I have done by altering the image to over-emphasize someone's obvious plight.
In this case as in all other cases, I did it to see if it is something to be learned toward shooting the next opportunity, or to explore other possible editing techniques. The first one I posted is the one which hangs in my studio.
James Lemon
Well-known member
I keep coming back to this image; the watch, cell phone, bare feet and other elements along with the soiled clothing, makes a compelling image .
Martin Stephens
New member
"There but for fortune.."
Unfortunately, at this point in time, long past when this type of subject was maybe new or news or provocative, it now just says "exploitation" and nothing else. Seems like everyone thinking "street photography" for the first time ends up with these subjects as though it is a right of passage.
Rather than pity or sympathy for the subject, I end up having pity for the photographer.
Unfortunately, at this point in time, long past when this type of subject was maybe new or news or provocative, it now just says "exploitation" and nothing else. Seems like everyone thinking "street photography" for the first time ends up with these subjects as though it is a right of passage.
Rather than pity or sympathy for the subject, I end up having pity for the photographer.
Asher Kelman
OPF Owner/Editor-in-Chief
Martin,
I assure you that Chris has no need for a rite of passage! Still you make a valid point: we can fall into cliché's of righteous concern. There's an organization in NY called "Picture the Homeless". They work for rights of homeless people. The question of exposure v. exploitation is complex. Surely we exploit whenever we take pictures of strangers, but we wouldn't want to humiliate them. Yet, as you suggest, we do this with righteousness when we photograph someone like this distraught society-abandoned woman.
To my mind, the picture does not reduce her any more than society has already done. Unfortunately, the conundrum is not whether or not the photographer should record and advertiser this, but rather the rest of society should open their eyes , comprehend and be moved to remedy the situation.
Years ago I asked 4 colleagues of mine, all scientists, what they had just passed in the Chicago hotel district. No one knew! They were surpassed when I made them return to see homeless huddled in plain site in darkened grand doorways and recesses of storefronts.
In the face of such blindness, is there a place for photography or is it still just exploitation?
Asher
Chris Calohan
Well-known member
You're both right and wrong. It was exploitation but for a good cause. I was asked by a group who provided evening meals twice a week to the homeless to shoot them in that environment as the city was trying to shut down the operation.
What they wanted was to show this group of homeless people as they were without over-emphasizing any aspect of their dress, demeanor, etc. I didn't show some of the other images because out of context they would have no meaning to the viewer.
Through my efforts and several others (my kid one of them) and a lot of lobbying to the city council we were able to maintain the program as a needed social services project.
But, to echo Asher, anytime we shoot anyone outside the "norm," aren't we exploiting them as well...but is it not they who often attract our attention?
Martin Stephens
New member
With more information provided by the photographer-----I would not modify my critique somewhat.
With pictures taken specifically for such a purpose, I would say the photographer then has to engage the subject directly. It becomes a political study then, and you don't want to do it carelessly by shooting ad hoc like this. Photographically, it is less than ideal. Politically, it doesn't work for me because the subject is not looking into camera. It has all the appearance of a grab shot, and thus looks exploitive on the surface.
Not trying to condemn the photographer here. But offer an honest opinion.
With pictures taken specifically for such a purpose, I would say the photographer then has to engage the subject directly. It becomes a political study then, and you don't want to do it carelessly by shooting ad hoc like this. Photographically, it is less than ideal. Politically, it doesn't work for me because the subject is not looking into camera. It has all the appearance of a grab shot, and thus looks exploitive on the surface.
Not trying to condemn the photographer here. But offer an honest opinion.
Martin Stephens
New member
P.S.
I am reacting only to the photographs themselves. I DO realize that perhaps some photographers have extensive credentials and all, but a critique should not embrace the photographer, his reputation, his experience, his other great photographs. It should be somewhat anonymous.
So, when I said "right of passage" - it wasn't aimed at THIS photographer named Chris, it was meant to be about THAT photograph, often taken by people who want to start street photography (whatever that is!). No offense intended to Chris per se.
I am reacting only to the photographs themselves. I DO realize that perhaps some photographers have extensive credentials and all, but a critique should not embrace the photographer, his reputation, his experience, his other great photographs. It should be somewhat anonymous.
So, when I said "right of passage" - it wasn't aimed at THIS photographer named Chris, it was meant to be about THAT photograph, often taken by people who want to start street photography (whatever that is!). No offense intended to Chris per se.
Chris Calohan
Well-known member
This will be a rather lengthy, thou not wordy response but perhaps from this small selection of photos taken for the project you can see there was quite a bit of direct one on one contact made.
This first image was taken by my surrogate daughter (a homeless girl my wife and I took in so she could finish high school - she is currently at Florida State University pursuing a career in photography. This image won her a $1,000 scholarship. She's a pretty slick kid.
And with that Look... Nina Vallad
Unconditional Love
The Sermon
The Gang
All One's Possessions
Rip-ped
This first image was taken by my surrogate daughter (a homeless girl my wife and I took in so she could finish high school - she is currently at Florida State University pursuing a career in photography. This image won her a $1,000 scholarship. She's a pretty slick kid.
And with that Look... Nina Vallad
Unconditional Love
The Sermon
The Gang
All One's Possessions
Rip-ped
Chris Calohan
Well-known member
More of this series:
A Brother's Love
Forced Resignation
The Barbershop is Open
Another Day in Paradise
Waiting for Dinner
A Brother's Love
Forced Resignation
The Barbershop is Open
Another Day in Paradise
Waiting for Dinner
Martin Stephens
New member
Some very nice photos Chris. I am enjoying them a lot. I particularly like the first and second in the set. Probably #2 is my favorite because it has a universally understood story and immediacy. The people are so genuine they jump off the image.
James Lemon
Well-known member
Great set of images... very resilient people and I will be looking forward to seeing more.
Jerome Marot
Well-known member
Great images indeed. I prefer the series to the first picture. Now I wonder what other images you took in the series and you keep for yourself...
Asher Kelman
OPF Owner/Editor-in-Chief
@ Chris,
When you finally showed more of the series, the movie has to be rewound. The idea that is often proclaimed that, "A photograph should speak for itself!". Seems self-evident, but like "Frame close and crop closer!" or "Don't center your subject!" it's flawed. These words of wisdom from gurus are neither universally appropriate nor useful for todays creative possibilites which allow the nascent picture to continue to have a voice until the final print is delivered!
@ Everyone,
In this case, surely, the first picture of the thread must be experienced in the atmosphere and context of it's siblings and other work by the photographer. (To really understand some artwork, precedents, influences and contemporaries, might also be required and that's where curators are so valuable in preparing us when museums show the work.)
Our initial strong reactions to the homeless woman pictures here, reminds me of cases where students have presented work of an important photographer and presented it in class. Only when they are told who actually made the picture, do they get to find worth and justification for its composition, motifs and even existence!
BTW, Until about 1950 there was no scientific justification for hummingbirds to stay airborne!
I'm so delighted to see this first picture with its siblings. So now the first photograph has wings! Bravo Chris!
Asher
When you finally showed more of the series, the movie has to be rewound. The idea that is often proclaimed that, "A photograph should speak for itself!". Seems self-evident, but like "Frame close and crop closer!" or "Don't center your subject!" it's flawed. These words of wisdom from gurus are neither universally appropriate nor useful for todays creative possibilites which allow the nascent picture to continue to have a voice until the final print is delivered!
@ Everyone,
In this case, surely, the first picture of the thread must be experienced in the atmosphere and context of it's siblings and other work by the photographer. (To really understand some artwork, precedents, influences and contemporaries, might also be required and that's where curators are so valuable in preparing us when museums show the work.)
Our initial strong reactions to the homeless woman pictures here, reminds me of cases where students have presented work of an important photographer and presented it in class. Only when they are told who actually made the picture, do they get to find worth and justification for its composition, motifs and even existence!
BTW, Until about 1950 there was no scientific justification for hummingbirds to stay airborne!
I'm so delighted to see this first picture with its siblings. So now the first photograph has wings! Bravo Chris!
Asher
Chris Calohan
Well-known member
Thanks, Asher, et.al. Between my daughter and I, we took over three hundred images and put together a compelling story that showed how the feeding the homeless program had a positive impact on this group of unfortunate people. Many of these people were "okay" just a month prior. Many are chronically homeless and remarkably, most of these are veterans.
As a result of our efforts and a huge contribution by a local attorney, the injunction was stopped, and the program continued. It is still thriving a year after these images were shot.
Anyone who thinks this couldn't happen to them, just take a look at the man posted below. He owned a small business that refilled toner cartridges. His bookkeeper wasn't above board and made off with a fairly large amount of cash and left him holding the bag for state and federal taxes. In one week, he went from being able to care for his family, pay his bills and while not what we might consider as well off, he was not struggling to make end meet, either. From that to getting three meals a week on the dole so his family could eat on what savings he had left. Life is full of odd twists and turns.
A Quiet Dignity: Chris Calohan
As a result of our efforts and a huge contribution by a local attorney, the injunction was stopped, and the program continued. It is still thriving a year after these images were shot.
Anyone who thinks this couldn't happen to them, just take a look at the man posted below. He owned a small business that refilled toner cartridges. His bookkeeper wasn't above board and made off with a fairly large amount of cash and left him holding the bag for state and federal taxes. In one week, he went from being able to care for his family, pay his bills and while not what we might consider as well off, he was not struggling to make end meet, either. From that to getting three meals a week on the dole so his family could eat on what savings he had left. Life is full of odd twists and turns.
A Quiet Dignity: Chris Calohan