Where is this going?

After weeks of photographing some directions seem to present themselves to me.

I like some form of incongruity, to me it looks like she’s reading stuff from work in front of a bike park, which is just a bit unusual.

No comment from me on this one.

Also drawn to work-related pictures, though I’m usually not interested in just showing people working.

Again, no comments. I try to make photos that will trigger you to think about what could be going on here; would like to hear if that happens.

Don’t really know why I like this one.

So where is this going? I don’t know, I just go to the city center almost every day, take out my camera and start wandering. Sometimes I stand still at a certain spot and try to capture people passing by, then I walk, a scene grabs my attention and I make the shot as fast as I can (which often is not fast enough), trying to get a feel for the general atmosphere: are people hurried in the rush hour, leisurely shopping in nice weather, coping with bad weather.

I have considered to define something like a project, for instance “People commuting”, but that simply feels limiting and blocks my creativity, so for the moment I’ll continue to shoot without any preconceived notion of what to come home with. As soon as that stops working, I’ll start thinking again but for now it works: I wander and just when I start thinking the inspiration is gone, something catches my eye and makes me start shooting. Even after weeks of almost daily outings I still feel drawn to it every day.

It’s important for me to realize that I primarily need to please myself with my photos; trying to think what others might like, just doesn’t work. Maybe it has to do with where I am now in my life, discovering what essentially drives me.

Time well spent

Had to wait the other day for 20 minutes until my prints were finished in the local store and decided to walk around a bit and try out what the extra blurring capability of a neutral density filter could do for me.

You hardly stand a chance to go unnoticed when you drag a camera along to keep someone’s face in the middle. I have other photographs where people look at me and that’s not always a bad thing. Happy with this one and it points me to a somewhat different direction in picturing people on the street.

Being one

Changed the blog’s title. I’m not becoming a street photographer, I am one. Not because I think I am accomplished in any sense, but simply because it’s what I do, photograph on the street.

Now that I’m less uncomfortable at making photos of people, I tend to go back to things I did before and these last few days I got interested in showing the dynamic and energetic chaos that a city can bring.

I made a lot of pictures the last few weeks but I’m really going to let these sit for a while before I decide which are the ones I really want to show. It’s often a sign of a worthwhile picture when I keep going back for it or if I say something like “Ah, yes, that one” when I browse my catalog. Must say that I instantly liked the one above enough to show it after only a few days.

A few posts ago I ranted about using 35mm as a focal length. Well, I guess I got accustomed to it because I’m using it a lot but I also often go back to 50mm when it’s not very crowded. Eindhoven has large squares and fairly broad streets so you don’t get to see people cramped for space that often. I visited Utrecht the other day, a city with narrow streets between old houses and canals and there a shorter focal length was a natural choice. It also showed me that a new place is what it is, new: you don’t know it, you don’t have a feeling yet for what to expect, new dynamics between people and the environment.


It becomes really interesting when there’s chaos out on the streets, and better still when it’s busy with people. Colour adds to the impression in such cases I think, so colour it is.

I’m starting to get a feel for where to stand, places like this draw me like a magnet. Just today I went out to our local shopping center for testing really, not because I like taking street pics there: too few people, too much attention, even when I get better and better in being ignored. Part of the test was to see if my tricks worked even here, and they did. I only got in sort of a row with a restaurant owner claiming I could not photograph his terrace; which I perfectly could because it was outside on public territory. Yesterday I stood in front of a coffeeshop (Dutch euphemism for a place where you can buy and smoke marihuana) for over an hour, the shop’s security guys surely noticed me but didn’t say or do anything. Go figure.

What to shoot?

Practicing can be a frustrating exercise. Not in a sense that it’s difficult but that the results don’t mean much to me. I’ve been shooting people as close-up as I possibly could and dared, which was close. And these shots ended up being just shots of people, mostly looking at me in surprise or irritation, while there was no composition to speak of. Of course not, no time for that. Doing this I was losing the fun in photography and that’s not the way to go.

Also I got some comments on my pictures and those comments often come down to “You shouldn’t make that kind of pictures” or “You should have used a different technique”. This kind of advice threw me off more than that it helped me and I’ve come to the realization that I have to keep shooting the things I want to, simple as that, and that the only way to progress is to remain critical of my own work. I think I’m learning most from others when I watch their work, their way of working or their take on their own photography. Joel Meyerowitz inspires me greatly, and the same is true for some members of my photo club.

Two days ago I went to Breda by train and instead of keeping myself busy with my phone I took my camera and started shooting out the windows, just for the fun of it.

No, it’s not street photography by most of the common definitions but it’s in the same spirit for me: spontaneous photography with hardly any control over the scene.

There is the widely accepted notion that you have to get up real close to people, preferably using a 35mm lens. Fine. This one was made with a 50mm lens and needed some serious cropping afterwards. Thank heavens for the flood of megapixels our present cameras give us!



I’ve just been watching a video of Joel Meyerowitz talking about his photography. Impressive, inspiring and deeply moving. Just be patient and watch the whole 75 minutes.

Yesterday I was practicing with the 35mm lens on my camera and getting up real close. To hell with it! I just hate that 35mm angle of view! Joel Meyerowitz’s video made me think of a photo I made earlier and to which I keep coming back. Still happy with this one.

At noon I always made a 7-minute-walk to this square to get my lunch at the supermarket and for some time I took my camera with me. It was a beautiful day and I made a few snaps of this pretty scene. Coming home I was delighted with all the detail in the shot, partly because the gearhead in me likes to pixel-peep but also because there’s so much to see. Be sure to at least click on it to see it larger. The biker in the foreground, one of my colleagues sitting just left of the blue car, people passing by behind the car, the signs, all the street furniture. And this wasn’t made up close and I used the Olympus 2/40mm for it, my favorite angle of view for snapshots. No one ever seems to share my enthousiasm for this photo but that doesn’t bother me really: I like it. I’m thinking of printing this large and submit it for the yearly photoclub’s exhibition in March next year, probably encountering that same lack of enthousiasm of others.

Another one from that same period when I took a camera with me during lunch break. This is even more just a simply pretty picture. And I like this one too: this is how beautiful my home town can look.

The video restored my drive to keep photographing. After yesterday’s experience I was wondering what purpose there was in making those street pictures while I was just trying to conquer my fear in pressing the shutter, I wasn’t really looking for something that triggered me to make the shot. Going to try something different next time.


Yesterday I decided to practice, getting up close to people. I put a 35mm on my camera to force me to get up closer. And with the adrenaline racing through my veins I kept shooting, again being constantly surprised that so few people seemed to bother. Well, one lady in a group of 4 muttered: “But sir, you can’t really do that, just take a picture like that”. But then it was in Dutch of course, very difficult to transfer the real message. She was mildly shocked, not angry, like a mother who admonishes her child without really expecting it to listen.

Anyway, nothing presentable came out of that shoot, so here’s a picture from 1997 at the Scheveningen Boulevard. I remember exactly how I felt when I took it, the excitement of seeing the line of people, dressed for business and probably on a lunch break. Looking back I realize I always wanted to do this kind of stuff. The background of this one is one big, unattractive clutter and that disturbs me; today, when watching work of great photographers, the importance of background and composition makes itself abundantly clear. Having to shoot quickly is no excuse for being sloppy.

Another shot that was on my mind for many years, until I finally got around to scanning this slide. Again I remember the excitement when I took it, with my Nikon F3 and 2/35mm. Disappointment came over me when I saw it on the screen for the first time, it wasn’t half as good as I liked to remember.

I’m almost ashamed to admit it took me thirty-odd years to realize what photography I really want to do.


This picture is from two days ago and I know now that this means it’s unripe. I wanted to show another one that has sat in my catalog for a few weeks but no such luck: I must have thrown it away! A lesson learned the hard way: street photos need to ripen. Especially street photos, much less so for my landscape or family shots. Eric Kim calls this marinating in his 100 Lessons From the Masters of Street Photography. For me I think I need a few weeks at the very least to decide if a picture works or not, maybe even much longer. Garry Winogrand waited a year before processing his shots; that’s too extreme for me, mainly because now learning from my mistakes necessitates a faster feedback loop.

Eric Kim also led me to some interviews he made with street photographers (just look for him on Youtube) and it’s just great to see how other photographers go about making pictures. Vastly different styles and if one thing’s clear, it’s that style is born from personality. Ergo, it’s up to me to find my own. Will take a while, probably and hopefully it’ll never end.

So I went out on a limb in showing the picture because every time I look at it, my mood goes up a notch. Mission accomplished if only one other person on this planet has the same experience.

No explanation

In the first version of this post I explained why I took this shot. I now edited that out: if I have to do so, the picture obviously doesn’t work. Upon revisiting older shots I decided to show this one after all, even though it’s not perfectly sharp. Hope you like it; be sure to click on it for a larger view.