Cruising fer snaps

[Kevin J. Kolosky]

I hate to keep bringing up Ansel, but many other famous, or infamous photographers, have said the same thing, which is that photographs are either made from without or from within.

And so when we make photos from within, i.e. for ourselves, or to please only ourself, it probably shouldn't matter what others think, but when one shows those photos from within to others and others don't like them or don't react to them as one wishes the human condition takes over and secretly you feel as though you didn't communicate or you failed, i.e. you didn't make a good photograph.

Again, I would be interested to hear from those who go out with someone, and whether you help each other look for things and whether you look at each others ground glass, etc. Whether you talk about what you want to see while you are looking, or talk about other things.

Is there anyone here who goes out with their spouse and both are looking to make meaningful expressive photographs.
I know Michael Smith and Paula Chamblee (sp) probably do, but it would be interesting to hear from others if they do and what their creative experiences have been while doing so.

[Randy]

I see lots to photograph as I shoot by at 45-65 mph. Often, my problem is saying to myself, "I'll stop and shoot that soon". And so often I am cussing at the person who is right on my tail making it down-right dangerous for me to slow and pull over.
I think, for me, the best solution is to walk often and carry a TLR, extra roll of film, and light meter, and that's it, unless lighting calls for a small tripod. Driving around looking for something to shoot seldom works for me.

[Kevin J. Kolosky]

I see lots to photograph as I shoot by at 45-65 mph. Often, my problem is saying to myself, "I'll stop and shoot that soon". And so often I am cussing at the person who is right on my tail making it down-right dangerous for me to slow and pull over.
I think, for me, the best solution is to walk often and carry a TLR, extra roll of film, and light meter, and that's it, unless lighting calls for a small tripod. Driving around looking for something to shoot seldom works for me.

I hear you. I can't count the number of times I have been out driving around in the rain and all of a sudden you get what Fred Picker used to call this "Squall light" where a little break in the clouds opens up and the sun shines. You get these intensely white looking buildings against an almost black sky, or intesely looking trees against that dark sky, or intensely looking water against the dark sky. But there is a million people behind you and no place to pull off, and worse yet you can't turn around to go back to what you saw that looked so good against the dark sky, and then all of a sudden the light is either gone or too much light, and the damn thing is done, and you didn't get anything!!!!

[andreios]

Well, I have adopted something similar lately as well, since it was unbearable to lug the heavy tripod an metal monorail all the time exploring new locations after we have moved out of the city.. So I am lugging medium format or digi snapshot.. But I have found that for me is essential not to drive around but walk around. Once I am on my legs walking through woods and fields I slowly start to see..

[Steve Gledhill]

Kevin,

You could perhaps take some inspiration (or at least pick up a few ideas) from Brooks Jensen's podcast series "Structure in the Creative Life" - the first of which is here. The rest of the series are available if you're a subscriber to LensWork Online.

It seems to me that you're suffering what he and others call PBWA - Photography By Walking Around. I do this sometimes - it can be very productive, but only if I have on the demeanour appropriate for where and when I'm wandering about. Good images rarely come when I'm straining to find them.

Also another post from his LensWork Daily highlights something that for me is must - see here. Take your time, look around, wait ... be patient.

And get out of the car and walk ... slowly.

[Kirk Gittings]

"cruising fer snaps", meaning looking for meaningful photographs in the natural scene

Sorry but in my little world....somehow "crusing for snaps" doesn't quite set the right mood for seeking "meaningful" photographs. AAMOF it kind of makes my skin crawl. If a friend asked me "hey lets go cruising for some snaps" I think I would run the other direction.....just saying.

[Kevin J. Kolosky]

"just saying. "

no need to be sorry. If you want to call it expressive photography you are certainly entitled. And if I want to call it snapshots so am I.

[Brian C. Miller]

If a friend asked me "hey lets go cruising for some snaps" I think I would run the other direction.....just saying.

Whatsa matter? You can't dig it cruising for some snaps in a lowrider? Too much bling in the camera brass? Is it the Bogen/Manfrotto wheel rims? Is it the bored, stroked, and blown V8 tuned by Carol Flutot? Is it the ND windows? Is it the SK Grimes custom grill? Is it the Norman headlights? Is it the darkcloth convertible top?

It's because when you look through the windshield that everything's upside down and backwards, isn't it?

Come on, Kirk, you can level with us!

[Noah A]

Like Richard's, most of my work is also project-based. I don't really go around aimlessly looking for photos. This sometimes means I turn down a subject that might actually make a nice photograph because it is unrelated to a project I'm working on. This is fine with me, since personally I think photographs work well in series and I prefer to work that way.

I sometimes scout locations when the light is not good. I've likely researched those areas ahead of time and if possible I've checked them out on Google Maps. I've even found specific photos with Google Earth. By scouting ahead of time there's no pressure to make the perfect shot before the perfect light fades. It's sometimes tougher to see a photo in bad light, but it's a skill you can learn.

When I work in other countries I don't do this enough. I'm always on a time constraint. I would probably be more productive if I left the camera in the hotel the first few days, figured out all the shots I wanted, then returned to make the photos in an organized way. But usually when I travel I go out in the mid/late afternoon to find some photos in a particular area, then I shoot them when the light gets better.

I like to shoot on foot. I find it harder, especially in crowded urban settings, to see photos when I'm driving around. Driving is nice to check out different areas, but when I'm actually shooting or actively looking for scenes to photograph, I like to walk.

Like Richard as well, I like to work alone. But the reality for me is that I often work in countries where I need a fixer to translate, watch my back and help me get access to the communities I work in, so I've grown used to working with someone. If the chemistry is right, it can be great. It's nice to have someone to chat with during those long exposures at dawn or dusk. And someone to carry the tripod!

I don't mean to imply that driving around aimlessly for photos is a bad thing. Some folks work that way, and I'm sure it can be a fun and liberating experience. But if it's not working for you, maybe you should consider some kind of project. It doesn't have to be documentary in nature, it could even be based on visual relationships. But maybe you need some direction...

[Peter De Smidt]

Recently I bought a Tewe 4x5 zooming viewfinder. I find it very helpful.

The main thing, though, is to get out there and spend a lot of time looking for photos.