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Photojournalist currently based in Mexico City.
www.alexcoghe.com
alxcoghephotographer@gmail.com
Jun
26
2012
Documenting the human condition: interview to Chris Weeks
Posted by alexcoghe on 26 Jun 2012 /
53 Comments
This interview is a deflagration. Chris Weeks tells himself and gives us a long and passionate interview. There are many topics covered, bluntly. I thank Chris for giving me this interview: these are the pieces that a journalist dreams. I consider this interview an opportunity for self-criticism, and to understand which direction to take. I recommend to read and read it again.
Hi Chris, can I start the interview asking you how came the Street Photography in your life? And for you, what is Street Photography?
Street photography came into my life as photos I made with my camera not knowing exactly what kind of frame I was making. In fact, the first ones I made were with giant AF Nikon beasts like the F4s and F5 .If I saw something other than what I was supposed to be documenting, I’d make those frames as well. Being in the public they involved people doing the things that they do. Ironically, the first street photography I made was of three dogs in San Francisco. One had a cigarette in its mouth. I think it was lit.
After a while the gigantic Nikon to my face was kind of a problem as I didn’t want to be seen. In ’96 or ’97 a client bought me a Contax G2 as a present. . I don’t really think I became serious about making street shots until 2000. From the first moment I’d made a street photograph and then seeing it on the contact sheet I began looking for those kinds of frames more and more. Instead of just happening to get something I’d intentionally go out and look just for street photographs. I guess it’s safe to say I’ve intentionally made street photos for twelve years now.
Street Photography for me is the same thing it’s always been: It’s one frame that centers around a moment and tells a story perhaps included in a composition. It doesn’t always have to be within the grander scope of a beautiful composition but it’s very nice when it does. Street photography is about authenticityand is NEVER staged. Staging a photo is like cheating on a girlfriend. Once you cross the line I think it’s easier to cross the line again and again.
Of course there is no only Street Photography for you. I am talking with one of the most active and famous photographers in Los Angeles. Probably the most famous, with works published in Vogue, Rolling Stone…I think that Street Photography is not all, it would be really limiting ourselves…
I am not the most famous photographer in Los Angeles by a long shot, man. There are a ton of talented guys in Los Angeles. I’m probably one of the only street photographers in Los Angeles that makes enough money as an editorial photographer to call himself a working photographer, though. Street photographers almost never make enough money to support themselves.
I am convinced that a photographer to be defined as such must have credibility. What is for you credibility in photography?
Credibility in photography in its truest sense is the ability to make beautiful frames. Just because an art buyer, editor, or whomever else is publishing your photograph doesn’t automatically give a photographer credibility. I know a lot of hacks that get published a lot just because of access or their ability to bullshit and put on a production. Indeed credibility in photography and credibility as a photographer are two different things and the same thing at the same time.
As long as a photographer is credible to themselves … true to themselves … I think the person who has a qualified eye looking at the photograph will know it.
Clearly, there are so many dilettantes out there who have their fanboy audiences who don’t have a clue if they’re looking at a good frame or not. How would they even know if the they blog writer/photographer they’re following is credible or not? Credibility on the web is subjective.
Just because you own a camera doesn’t mean anything but “you own a camera.” Chris Weeks. I saw the movie on Daido Moriyama “Near Equal”. Daido is a master that really applies the idea that the camera is just a tool.Unfortunately in these days many support this thesis but in the facts they are worshipers of the camera…
Unfortunately, many of those who “own a camera” now think they’re a credible photographer because 10 people told them they were on Flickr. The higher the price of the camera the more some think they know about photography. I find this to be true with a lot of people who own cameras with red dots on them. Because they spent many thousands of dollars or euros or yen or yuan or whatever … they think that surely the moment they make photos with them … their own photography has grown in leaps and bounds. Visit any forum with a lot of these owners hanging around. Check out their photos. You’ll see exactly what I mean. Even though they could be an engineer, a rich executive, usually a dentist, or even a wealthy retiree they all also think that because they’ve spent the national debt of Angola on equipment that they KNOW photography better than those who’ve spent little. I’ve actually found the exact opposite to be true. Some of the best photographers I know – whether they’re published in a traditional sense or not – use not-so-great equipment yet still make fantastic frames.
These kinds of “viewers” of photographs aren’t usually qualified enough to make anything other than technical observations. The sad thing is … is that they don’t even know they’re not qualified.
But hey! I can spend USD20,000 on gear, another USD10,000 on a trip to Africa and now I’m an international photojournalist!
You have your blog, aphotocontributor, so i ask you: how it is important to communicate through the web for a photographer today?
Indeed I have a blog. I don’t know if I would call it a blog or if there’s some internet term for “the occasional writings and photos of a working photographer.” The only people who can update their blogs or sites everyday are NOT working photographers.
Although I have a professional presence that someone like me needs on the web in the form of a “billboard site,” I also use the web for sharing. Right now I’m primarily using tumblr as it allows me to load a queue and let it fly when I’m not around, which is quite often.
A photographer doesn’t have to necessarily use the web whatsoever and just share prints with colleagues, friends and family. I know many that would NEVER have a web presence. Then again there are others like the “triumvirate of suck.” None of them have a chance at becoming working photographers. The web, though, has allowed them to elevate themselves to a place they could never get in the professional world. The professional/working world includes art buyers with a qualified eye. The target audience of the triumvirate, though, barely has anything qualified about it.
Street Photography, probably thanks to the web, is enjoying a period of great popularity. A good or bad thing?
Thanks to the web, yes, street photography has found a larger audience. It can be good; it can be bad. Right now it’s leaning toward bad because everyone is tagging even the worst content with #streetphotography and #streettog. You really have to filter what you see because there is so much crap street photography out there. It’s gotten worse since a certain overly enthusiastic blogger has shown up and become the pied piper of #streettogs. He and a certain Dane are at the extreme low-end of quality – there’s no reason to mention the glorified forum guy in the context of street as he basically reviews cameras and lenses illustrated with photos of tree bark. People like Peter Turnley, Severin Koller, Craig Semetko are the ones you should seek out.
I think that because right now there is such a confluence toward street photography that guys who normally did landscapes are now trying it.
Searching “street photography” on tumblr.com results in some pretty good work to follow and watch. It’s perfect for those with A.D.D.
When you’re engaged in some editorial work, Street Photography influences your approach?
Anticipating when moments will happen definitely shapes the way I’ll make editorial photos. Street photography also teaches you to know your gear as a second nature and be much quicker than many other types of photographers.
Again, that helps in the editorial world as well.
“Street Photography for the purist” (quoting the title of your ebook) may be with the flash?
Ya’ know … “Purist” … um … well … I think I’ve become more tolerant in terms of equipment used to make street photographs. That was six almost seven years ago. At that time there wasn’t a full-frame digital rangefinder. The only ones out at that time were some Epson piece of crap and the Leica M8, both of which were cropped-frame sensors, and one of them basically a beta-camera released to fanboys who will buy anything with a red dot on it. I never bought an M8 but used them extensively.
Whilst now I’ve shot almost every single medium and format to make street photos the idea of adding a flash gun seems wholly antithetical to the premise behind true street photography. A street photograph should be a moment that’s not affected or influenced by the photographer. In this context it’s the same with a true example of photojournalism. Yes, Bruce Gilden uses flash. Yes, some of his work is cool. It’s Gilden’s schtick. It works for him. It’s not street photography in the purist sense. It’s more like a photograph set in the street but with reaction to flash. Indeed that’s what it is.
People who try and emulate Gilden can say “Good artists borrow and great artist steal” but to those with a qualified eye know that they’re just trying to come up with something they can call their own. They also have something to write about so their blog always has a steady stream of content. It’s kind of the same thing when one thinks about why someone would say “digital street isn’t for them” and now “they’ve seen the light and are using film.” Again, it’s just so they have something to provide a continual stream of content for their blog.
Quoting myself now: like photo editor i see a lot of works where there is a lack of analysis and synthesis, and this is absurd if we consider a photographer a visual storyteller, and many “photographers” have a deficiency of projectuality. Returning to the previous question for me even this is a problem of credibility: what do you think?
I think what you mean is that there are a lot of photographs that don’t say anything nor tell any visual story.
If you have a thousand fan boys telling you you’re good, you start believing it even though those fanboys aren’t qualified to know what a good photograph looks like. It’s a total problem of having no credibility. When you believe these fanboys you start believing that you’re actually good.
I also find it suspect when certain street photography bloggers don’t post their own work. They hear from someone that they should work on a project for a certain amount of time and thenstart posting. What it really says, in effect, though, is that they’re currently producing crap and if they were to post every day even their fanboys would see though the veneer and discover that their work is kind of crap.
And what about an emerging figure in the Street Photography scene: the hater?
What is “the hater,” actually? Is it genuinely a troll looking to start fights? Is it someone who may propose differing views on a site frequented only by fanboys of the blogger? You have to look at the psychology of the statements. If they make valid points, they’re not a hater. If they’re making statements that you can tell are rooted in jealousy, they’re probably “a hater.”
They aren’t a new phenomena; they’ve been around as long as the internet has. I remember that the pied piper of #streetogs wrote some article about the hater replete with some cutesy meme. What he doesn’t understand is that just because someone doesn’t like his work doesn’t make them a hater. When he totally believe his own bullshit and the ass-kissing by his fanboys anyone with an opposing view is a hater.
What you like and what you dislike in the world of photography?
I think there are two worlds of photography, actually: Enthusiasts and Working photographers. I like the same things about both of those worlds and dislike the same things as well. Digital and the web has really brought the mediocre to the forefront. Good work is often difficult to find. Rarely do I go to flickr or other photo-centric cites. They bore me. I find more than 80% of the posters have no clue about editing.
Come to think about it I just go to places where I know I’ll find my friend’s work.
Some enthusiast photographers who promote street photography and their pedantic workshops make it more and more pedestrian. No pun intended.
I like seeing well-edited work.
I absolutely can’t stand gear-dominated/oriented sites. They bore me, too. Their audiences are usually untalented gear fanboys.
A few names of colleagues who esteem…
I like the work (not necessarily street photographers) of Severin Koller, Gary Copeland, Randall Slavin, Douglas Kirkland, Doug Menuez, Dave Ng, Simon B. and so many others. Andy Bond’s work is nice, too.
Los Angeles for Street Photography is…
Los Angeles is a difficult town for street photography. It’s not like NYC with the hoards of people everywhere you look. It’s not like Paris for the beautiful backgrounds you can get. You can walk 2 miles in L.A. and not get one photo. Conversely, L.A. is home to the “serendipitous photo” in that you never know where it’s gonna happen. That’s true with all street photography yet with photographing in L.A. because the population isn’t as dense as other places you just never know. You can go – as long as you have a camera with you every time you’re out – a day or two without making a photo and then get 15-30 frames when you least expect it. You could use a flash like a certain guy does and try to make something interesting out of an uninteresting photograph, too. Not that many people with qualified eyes will like it. But, hey, if you are starved for content and need to post every day … at least you’ll have something to write about.
Then again, the same guy doesn’t even post his work.
What annoys you of photography scene, today?
There are distinctive photography scenes. As a working photographer I’m involved in one scene, which, admittedly is much more important to me. The other photography scene I’m aware of would be the enthusiast photo scene. What annoys me about that world is that they don’t know how to edit and post just about any frame they think is good enough.
What annoys me about the street photography scene these days is that people are totally denigrating it and disrespecting it. I have a camera with me 99% of the time I’m out. I absolutely love making street shots. It’s not a competition. It’s not about getting Facebook “likes” or favourites on Flickr, deviantART or wherever the hell they’re posted. It’s about making an honest authentic frame.
When you see guys posting videos on youtube wherein they literally pose a street photograph it’s just so disappointing that others see it and think that’s cool. It’s the antithesis of what street photography is all about.
Instead of commenting in the circle jerk of fanboy-dom and the forum world … go and make photos. Go and seek out those who do good work. Study their work. Make your own photos instead of wasting time listening to people who really have no clue.
Aim to be authentic in your work and true to yourself; your photography will show it.
Thank you, Chris, for this interview. I am certain that this piece will cause a lot of comments. I I want to recommend the Chris Weeks official website and his blog.
All images courtesy by Chris Weeks © All rights reserved
53 Comments
Robert James Elliott
11 months ago
It’s about time someone with the some brains and balls, said what need to be said…..bravo
Chris
11 months ago
Yes, indeed you and Eric Kim stand for everything that is good in street photography, man.
I don’t think they were so thinly veiled whatsoever.
Quite honestly I don’t really give a rat’s ass what you have to say.
Enjoy your fanboys on Kim’s site. I’m sure they’ll buy lots of prints from you.
Robert Larson
11 months ago
I really enjoyed reading this but man you made me cringe a few times, hah. I know this “pied piper of #streetogs” personally. As much as I agree with you on so many topics, I found myself feeling like a fly on the wall with you and your therapist as you answered the question “you seem angry Chris, whats been on your mind lately?”.
Your honesty is refreshing, but man… relax!
Igor Schutz
11 months ago
Great interview. Love to read his words, very inspiring, as his photographs. Thanks!
peter
11 months ago
This stuff really need to be said. Personally I don’t love Chris’ work but I can tell he makes it for the right reason, which to me is much more important than the resulting photographs. Charlie, Eric and that whole club are bastardizing it and with (in my opinion) poor taste but they act like they are the harbingers of a new generation (at least on the internet, maybe they are nice guys with egos in check in real life). If I want to see good street work I will go to In Public or the magnum site like most I would imagine. There is a whole world of good, interesting and non formulaic street work outside of that damn HCSP flickr club that really just fosters the mentality that one kind of street photo is the good kind.
You know, I don’t even care if Eric, Charlie et all were good photographers. I do think Charlie has some strong work to be honest. It’s just the attitude about the whole thing that makes me want to vomit. It’s so terrible.
Signed – random consumer of street photography.
Chris
11 months ago
Street photography is personal. You make the photos for yourself first.
You don’t make the photographs to get fan boys. Honestly, I think that that’s what they’re going for … to get legions of fan boys for validation.
Never been to the HCSP but I hear a lot about it.
Cheers to your comment, man!
Andy
11 months ago
I think Chris hit the nail right on the head. Too many people today that have failed in their photographic calling are now out there selling CD’s and video’s trying to teach people marketing and photographic skills that did not work for them. I think it’s, buyer beware. Learn from people that do this everyday and absorb, whether it’s street photography. wedding photography or commercial photography.
Thanks Chris for your honesty.
Andy
Mikael
11 months ago
Street photography is hard for big egos because is asks for a lot of empathy and a sense of the absurdity of urban life. Cynical eyes can’t read street photography.
I get depressed when I try to do “street photography”. I feel that my creativity depends too much on chance.
Chris
11 months ago
I think you’re right about cynical eyes.
Good street photographs are all chance, Mikael. Don’t let that deter you.
D. C.
11 months ago
From someone who has had a severe online quarrel with Chris (and whom he dislikes), my sense of dignity forces me to state this man has done a lot to dignify the Genre. He has come a long way and what he wrote 7 years ago had his validity at the time it was written (and I don’t agree with the purist definition, but it makes more sense now as I grow into the Genre). Changing is a sign of intelligence and if the world changes, so does one’s approach to it.
The (not so subliminal) message is that what lacks in new photographers is the respect for professionals and how camera whores (red dots) seem to call upon themselves the right to be setting standards when their body of work states otherwise.
What Chris does that’s different is the abnegation of clichés and the search for a raw display of reality, noticeable through his “purist” background.
When he is attacked for not being able to edit his photos I cringe because that’s just a sterile question. I used to edit my street photos a lot and it was a painful path to a slow “epiphany” on realizing there’s a difference between depicting reality and expressing it as an artist.
You may not agree with what he says, but attacking is work is pointless and sterile… As sterile as the amount of shitty street photographs I see on flickr. Taken with Leicas or point-and-shoots.
Dc
11 months ago
And please excuse my typos and phrasing, English is my third language.
alexcoghe
11 months ago
I would precise that the comments removed are not a form of censorship. Like I written for email to the commenters:
Hello. I must inform you that I have removed your comment from Chris Weeks interview. I am against censorship, but the blaze of controversy impose that choice.
For this type of discussions, it is preferable not to post anonymous comments (no links to websites) and to be known by the community.
Naturally if you insert a link to your website, I don’t have problem and I will republish the comment.
I hope that you can understand my position.
Robert Larson
11 months ago
That is totally fair, I’m not sure why someone would post anonymously and then demand to be taken seriously. They obviously dont take themselves seriously…
shootjase
11 months ago
thinly veiled or not, it doesnt take away from the fact the chris is right on point. i cannot fuckin stand those la street photogs blasting away and being obnoxious assholes. so many times ive come across their work and how they achieve it and it infuriates me they give street photography such an obnoxious rap.
the saddest thing is, they have no idea what deuschebags they sound and look like.
props to you chris.
Nathan Larkin
11 months ago
The compulsion to call people “togs” or “Photogs” makes my blood boil. We are Photographers, no matter how good or bad we are.
I really love this interview though. It has so much punch. It reminds me of the works of Gary Winnergram and Weegee The Famous… Passion is one thing missing from a lot of the guys and gals that say they are “Street Photographers”. My Self, I have never thought I could make it in the Street Scene. I don’t think I have the “Balls” to get in the faces of the people, and get that image that makes it..
alexcoghe
11 months ago
I agree with you that is better being called Photographers. And I say this when the opening of my site says Street Photographer. But this is for simplicity (and I had to name the gallery) because most of my work is made in the streets. At the end of the game I’ve seen most people angry and they are not the photographers directly involved in the interview. Defending positions of others, a bunch of lawyers not required…
Todd Suttle
11 months ago
Sensational interview from both Alex and Chris.
I feel you’re right. There are so many people out in the interwebs that purely take photos to validate their need to be recognised as a reference point, or even a benchmark in the industry. Which in a professional point of view is relevant if they are seeking to gain more work as a professional photographer but as mentioned above, who honestly makes money professionally being a street photographer…
The constant tagging of #streetphotography is over the top especially from anyone who downloads instagram.
I take photos for enjoyment and to (hopefully) capture a moment which I believe is relevant.
I could be wrong here but wasn’t that stab at Steve Huff, not Eric Kim?
alexcoghe
11 months ago
I think that the point is that a photographer should be a “working photographer” or aspiring to this when he/she starts to do the things in a serious way. It becomes sad when someone thinks that there is only Street Photography, also because the Street rarely feeds you. Also to be part of a collective is an ephemeral result.
Think then those who are all the time at the computer to write in a group: sad situation for them.
In the criticism of this interview all are gone to see and discover the “victims”, the famous names that are hidden behind the allusions to Chris. Few have gone beyond. Staying street photographers for life is, for me, a voluntary (or involuntary) limitation. Creepy perspective for a real photographic career.
But I’m afraid that someone is happy in this way…
zenonzinonos
11 months ago
“…. I never bought an M8 but used them extensively…” So why does he keep bad-mouthing those who put their money on the table and committed themselves? What a phoney!
Kaushal Parikh
11 months ago
Wow Alex! This interview has created quite a stir. While I agree with Chris that it is most important to shoot for yourself and create an honest body of work, I think taking potshots at others whose work or style does not resonate with what you believe is unwarranted. Feel free to have an opinion but there is never a need to be vicious about it.
jimmyLaw
11 months ago
eric is such a nice guy, energetic and very sincere in presenting his view on street photography. Tiger Wood has many fanboy and many fanboy play golf, doesn’t mean the fanboy is golfer.
alexcoghe
11 months ago
The funny thing of this: Eric is a friend, and we are often in contact via mail, as just yesterday.
And no, I don’t think that our blogs are so similar. I appreciate the work of Eric, and as friend I am sincere and I avoid to give advices. Expecially demential or interested advices…
I don’t agree with some things proposed from Eric, some choices for me are simply absurd. And I can think that He thinks the same of someone of mine. In this interview, for better or for worse, there is a sincere Chris Weeks, his opinion. Appreciable he says uncomfortable things, he puts his face, you can agree or not. Everyone makes his opinion.
BTW, I recommend relax! I would publish all, but for the policy of this blog I am deleting anonymous (without links), spam, and insults.
D.C.
11 months ago
Alex, I don’t even believe that is the real issue, here…I’m an hobbiyst, meaning I don’t shoot for a living (I have a far more gratifying profession) and I’m glad the availability of cameras these days makes more and more people shoot, without having to spend thousands of dollars, which most of us don’t have any way.
I don’t see this as a Chris vs Kim situation per se. What happens is that both embody different trends. Did I read Chris mentioning his name? I don’t think so.
So who really triggered this discussion? Chris’ claiming a minimum of quality in what people submit to the web? People submit what they want, I know I do, I just go through a really hard time if not a brain-fucking game of ping-pong before I hit the upload button. This is what most people should do.
Nick Turpin once said “edit edit edit” and he didn’t mean “post process it”, he meant go through a serious triage and at least stare at your photo and see if there’s something meaningful in it. It’s a hard job and we may fail at it, but at least we should make an effort to present something to the viewer: other than the usual clichés, I mean what the fuck is going nowadays with photos of strangers passing by taken, with a 300mm lens ? That’s not street. I offer a very wide latitude on my taste to aesthetics, but not on content. Meaningless street is the real problem with the flood, not the flood itself.
I’m an aperture freak and I adore seeing shots taken at f1.2 | f1.4 | f1. Aesthetically they have the ability to amaze me. Now pause after gazing: are they really Street?
What I don’t understand, in the most honest way, is if people stop to differentiate photography genres and aren’t in the wrong category.
I’m the first person in the line to validate my own work. Destroy all clichés, for fuck’s sake.
alexcoghe
11 months ago
Sorry, D.C. but who use the 300mm for Street? This is totally ridicolous. And I think that can be used only by beginners that ignore the genre and its aesthetics…the same Chris confirmed that Eric is one of targets of his attack. You can read this also here in the comments.
Simon Garnier
11 months ago
Alex, Saut Leiter regularly used a long lens (120 or more) for his work, and the results speak for themselves. Long lenses may not be the more practical tool to do street, but it doesn’t mean they can’t be used and give good results.
alexcoghe
11 months ago
Simon my referement was to the 300mm and the tele zoom lens culture, good for zoo and not for the Street Photography. I don’t have problems with prime lens like the 85mm, for example. Saul Leiter is one of the masters. Thanks to remember him
Simon Garnier
11 months ago
Hi Chris,
First of all, i’ll start with a full disclosure. I am an amateur photographer with zero credibility, just having fun out there with my camera when I’m not working. I have a blog and a Flickr that I both started mostly to have a place to store pictures that I could easily show to people asking for it. When people like one of my pictures, it makes me happy, but that’s it, I’ve gave up on the online social fame. I’ve met Eric once and had a couple of guest blog posts on his website. I know I don’t know much about photography, so I keep my mouth shut most of the time to listen to the stories of more experienced photographers like you.
However this interview has been a big disappointment to me. It was mostly a rant against Eric (and others) with very little interesting information about street photography or about yourself (though the beginning of the interview is better in this respect). That you don’t like Eric’s ideas is fine (I myself don’t agree with him about several things), but you’re not being fair in your attacks against him. Eric has always been honest about his background, about where, when and how he started street photography. His opinions have evolved many times and he has always been clear about it. He has documented on his blog his whole “career” and therefore everybody can have a pretty good idea of his level of experience in the field.
Eric is obviously not the most experienced street photographer out there, however his blog and his workshops fill a gap that so-called “purists” have left empty (on purpose maybe?). For the average “Joe the amateur photographer” like me, the main problem with becoming a bit serious about street photography is finding a starting point and an initial direction to start his exploration. Eric provides this, even if it’s not perfect in many aspects. It would maybe be better if Meyerowitz for instance, or Gilden or maybe you could give us this introduction to the world of street photography, but we all know that it won’t happen because these guys don’t have the time for this (and it’s understandable). So instead of ranting against Eric, maybe you should talk to him directly (after all you’re in the same area), tell him what you think is good in the way he introduces street photography to the masses, what you think could be done better. Provide him with constructive critics and help him implement them (if your workload permits it), and at the end of the day, you will feel better and we will all be smarter. It’s just a thought. I have no credibility in photography, but I have some when it comes to educating the masses.
I wish you all the best,
Simon
PS: English is not my first language, so please excuse the many mistakes.
Simon Garnier
11 months ago
Yes, once or twice a year maybe, and they are more targeted at advanced photographers, not beginners.
alexcoghe
11 months ago
I agree with you. I see no problems in workshops, and to teach is not necessary to be a world press photo winner.
Colin Corneau
11 months ago
I’m not a fan of attacking anyone – if you don’t like someone’s work or attitude, that’s fine but the universe tends to take care of that anyway, I’ve found. Why waste time saying it?
Chris, you had an opportunity to showcase your work and your thoughts with this interview. That’s all that matters, and my view is you weakened that opportunity by the negativity and the amount of time you devoted to that negativity.
My ideal is seeing the photographic – and the street photography – community online as a marketplace…a marketplace of ideas with a whole range of styles and ideas.
Some I can get behind and others I can’t stand and others I don’t even understand…but it’s vital to have that variety.
Eric and Charlie and whoever else are part of that continuum, just as you are (and in a small way, me too). It’s pointless to devote time to attacking someone…you don’t build yourself up by tearing someone else down.
You can find that trite if you want, but the work is all that matters. It’s like cropping a photography — anything that doesn’t add to the image takes away from it. Same goes with commentary.
Todd Suttle
11 months ago
I’m now confident that this interview has offended the select few who don’t edit their work, have no idea what makes a photo great and use instagram with the tag #streetphotography
You shouldn’t be seeing this interview as a direct attack, but as positive criticism. I hope a few of you take some of his advice and grow and develop from it, rather than cower and snide.
alexcoghe
11 months ago
I agree with you, Todd. I think the majority here has stopped at a superficial level of the interview. I do not know if it intentionally.
Simon Garnier
11 months ago
Todd, the problem here doesn’t come from Chris’ criticism of “there is too much crap and too many newbs on the internet” (to put it simply) which is not something new or particular to street photography, and frankly not very interesting as it is common to any mass phenomena. The problem comes from the fact that Chris has attacked personally some people (without clearly citing their name which I find a bit lame to be honest) and sort of accused them from being responsible for the amount of crap that is published on the internet under the label street photography. Raising questions and criticisms is fine, but if one has a problem with someone in particular, then one should address this person directly, not denigrate him in a public post like that.
Les Wilcockson
11 months ago
I photograph for a living so I take what the clients want (usually!).
Everything else I photograph is for me but there was a time when I thought ‘must put some stuff on Flickr and elsewhere and see how many people view my images.
Then I thought…’must put a better one on and get even more views than the last one…can I break my record?’……
…and then my world collapsed (ver briefly I should add) when an on-line ‘troll/expert’ told me I ought to ‘add a better sky’ to a photograph I’d taken because ‘it didn’t look in keeping with the foreground’…(perhaps another ‘expert’ would tell me to keep the sky and change the foreground!)
I’ve since come across the work of William Egglestone and, yes, Chris Weeks too, and they ‘punched my buttons’ so to speak. Now don’t give a rats arse whether anyone likes my personal photography or not but I can see that there’s room for everybody whatever their style.
P.s. Is a ‘street photographer’ different to a ‘photographer of streets’ and do the ‘streets’ need to have ‘people’, and if I photograph them, am I then a People Photographer?…
…only kidding…or am I?
alexcoghe
11 months ago
Exactly, Les. Who lives flickr thinking of staying in the most important place to stay for a photographer is absolutely pathetic. And pathetic who thinks the same for instagram or facebook. They are only virtual spaces, which with real photography have little relation. Someone with no sense of the ridiculous claims that certain groups are as gospel.
I would say: guys, open your eyes. No group, no collective, no forum is able to establish a Street Photography code. They would, and with strokes of arrogant web referentiality were able to do someone believe this.
Myles
11 months ago
Such a controversial post this is.
Putting aside the bashings of certain photographers, I found it rather entertaining yet critical at the same time. As I noted in a street photographers’ group that I am a part of, Chris did, in a sense, made it a point that street photography is having its “downfall” because of its popularity. A saturation into the mainstream.
This makes it hard to differentiate what is good from what is popular, and sometimes, what is both good and popular. Being popular does not mean you’re good, being good does not mean you’re popular. And I think this is where Chris is getting at. With the rise of “non-credible” photographers out there, the act of their voices being spoken dilutes the quality. And that of course, is a worrying thing.
But hey, that’s what happens. With the rise of social networks, it’s bound to happen. It is true, with so much sharing happening, it’s getting harder to filter what’s good and what’s bad and what isn’t even street photography. But again, that’s what happens when more and more people (intend to) do it. No one will know whether someone does street photography or not unless they share it and someone sees it. In truth, it is no different now than it is then, besides the fact that there are more people. HCB, Erwitt and the sorts wouldn’t be known if they never made themselves known one way or the other.
But going back to the point of its rise in popularity, not every single fan/appreciator out there will know what quality work is and what’s not. It’s like music. To the unknowing, popular and catchy is good while unpopular is bad. To the refined, they will know the difference between quality and garbage, get frustrated at the unknowing’s lack of exposure and so forth. But you got to accept the fact that they just simply want to enjoy what they experience at the end of the day, be it music or whatever form of art.
Chris also notes the lack of editing as a contributing factor to these “bad” times. But no one’s a perfect editor. No one can be. Even after getting help editing, you are your work’s creator. The final editor. What you want to show or not, your choice. No one can stop you. Some will not like it. Some will. No one can make everyone like you or your entire work. If one likes seeing well-edited work, then one has to look for it to begin with. Like how you would look for a “good” photography book to look through.
I’m on a fence, though Chris makes good points, it begs to question whether is he frustrated by the amount of “garbage” popping up on the internet or is he just not making an effort (anymore) to look for new and good work that he likes? I can’t answer that.
At the end of the day, “It’s about making an honest authentic frame.” as Chris says. Why you make the frame is up to you entirely. You always get those who want to be “better than thou”. These people shouldn’t matter to the photographer.
Just go take photos.
samuel
10 months ago
Quite so Myles. And Les.
Maybe someone should lay down the rules for SP like Winterberg and Von trier did with the Dogme 95 commandments in their movies?
alexcoghe
10 months ago
Laying down rules is killing the art, from my point of view. But I get your point, Samuel. Also thinking for quotes or slogans or thinking that the lessons of the masters can not be questioned. The problem now – generated by the growing popularity of SP – is thinking that can exist a way for a “professional street photographer career”. This is an obvious fake, but it is a widespread belief.
In Street Photography we can see daily fakes: fake black and white composition, fake photographers, fake Street Photography…
I wouldn’t make the speech of Manowar with their “Death to False Metal” (someone will understand me) but the evident problem is seeing a new breed of posers get on the bandwagon…
Caution with the staged photography passed for Street Photography. Recently we can see a lot of this. Maybe these photographers are are ready for ModelMayhem.
John
10 months ago
Seriously I can’t take it anymore. I read your and Chris’s B.S. up until now and did my best to keep my mouth shut but I can’t do it anymore. What is your obsession with fakes and what they do? Are you afraid that someone will get credit that you should be getting instead? Who cares?!
Let me say this…and it is for your benefit so I hope you take to it to heart. The true masters…the craftsmen of photography…people like Gregory Crewdson, Mase Akira, Bill Henson…those photographers would never publicly disparage another photographers work. Why? Because their work speaks for them, they don’t have to say a word. I think instead of worrying about others you should master your own craft.
I don’t know about you…but I’m a million billion miles from being there so I will keep working and let others do the same.
alexcoghe
10 months ago
Hey John, relax. I am not worried by nothing. My referement is nobody in particular, but the birth of this breed of posers is a fact. Everyday we can see a lot of images forcedly converted in black and white, or staged street photography. This is a fact.
That said, I would precise that the positions of Chris Weeks are his own and nothing more. In this interview, naturally, he talks for himself. I limited myself to the role of interviewer, recording and publishing the thoughts of a photographer.
I as a photographer I don’t care so much of another photographers work. But this is a blog that speaks about Street Photography and Reportage culture and the style of this public space (one of the reasons I think of the derivated success) tries to be a little thought-provoking.
Personally my life attitude is always put everything into question beginning with myself, and I hope that my posts or comments can be taken as positive by some. and I’m sure that this is already happening. Thanks for your comment.
samuel
10 months ago
something about Leica the brand is deeply embedded in the idea of street photography, with HCB and so on. Leica often figures in the authenticity/inauthenticity debate.
Personally I’ve always been wowed by them-never owned one though sadly….
But Lance armstrong might tell you cycling’s nothing to do with the bike….
alexcoghe
10 months ago
True, Samuel. Ok, Leica is a great camera, for many photographers. I think so, but not to make every kind of photography. That said: it is “funny” reading that the camera is only a tool and the camera doesn’t count so much, and then a lot of photographers think always to the cameras…
samuel
10 months ago
I suppose the mass “democratisation” of this as others have stated has changed it all. And gravitation around established brands more understood. The “alternative” becomes the norm
Des Byrne
9 months ago
As some who respects all Photographers and their Styles of Street Photography I must say that if I was to seek advice on Street Photography from Eric Kim or Chris Weeks it would have to be Chris……Bruce Gilden is a fantastic Photographer, a Flash & Dash Photographer who has produced some great work with this technique..Eric has copied it…no real skill need for this Style…..just the balls to do it.
Eric now calls himself not a Street Photographer..but an “International Street Photgrapher”? Bresson didnt even call himself that!!
Chris shoots from the Hip & the Lip & should be respected for that…..the first publication I came across online a number of years back was “Street Photography for the Purist” check it out..not to sure if its on Erics Blog?
alexcoghe
4 months ago
Jason, I don’t want to return on debate but I limit myself to say: Time, only time will be the judge of everything.
Great interview. Simple, direct and very honest heart-felt questions and answers.