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And What Subjects Do You Avoid?


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. . . and for what reasons do you avoid them? Is there a cultural problem? Too big a reach financially or technically? And what's taboo? 

 

I never shoot pictures of children anymore. A few evil people have spoiled this for the rest of us. I don't even feel comfortable asking mom or dad's permission. And, with today's market being what it is, sadly, I don't value any one image, or any one subject, that much anymore. 

 

Edo

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well, I don't ever do the down-and -outs. Partly because I think it's an intrusion, and partly because I nearly hit that level myself years ago. Some of them might  have an interesting tale to tell, many might  be just a story of misery. Some sympathy , Yes, but let's leave them alone. I was asked to shoot some of London's Bagmen and Bagladies once and it turned a bit ugly; can't say I blamed them.

 

Time for a walk in the park or a stroll by the river. Sunny day tomorrow!

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I only photograph (sounds better than "shoot") children in third-world countries. In Latin America, where I like to go whenever I can afford to, parents are so proud of their kids that they generally don't mind your photographing them. Up here in the uptight "First World," it's a different story. I'll usually only include children as part of an anonymous crowd or if the child has his/her back to me (i.e. is unrecognizable). I too don't feel comfortable photographing poverty. However, I have taken photos of homeless people on the street. Homelessness is a nagging social issue here in booming Vancouver. So I don't think that I'm doing a disservice by possibly bringing attention to it.

 

And sheep, I avoid photographing sheep. As much as I like the wooly darlings, there are far too many sheep pics on Alamy. B)

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Despite the taboo, I  do occasionally shoot photos of children, asking permission if up close and avoiding obvious problem areas - e.g. schools/playgrounds. What kind of world would we be representing if there were no kids?  

 

I don't move in circles where there are too many difficult choices to make, I could go down to the Big Market in Newcastle on an evening to cover scenes of drunken mayhem, but I don't need to take the risk.

 

Recently I was shooting rows of terraced houses from an architectural viewpoint  when a postman hove into view. I could have done without the intrusion, but decided to take the shot - postman delivering mail. However, despite the fact that he was just background interest, he didn't see it that way. I deleted the shot and waited until he was gone You can never tell with people.....

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I tend to avoid pics of children since some nutty woman called the police when I was taking a pic of my granddaughter in the park. I don't avoid sheep and have sold a few from a very small collection. I don't take pics in airports or no go areas such as military sites. Am also cautious of taking police overseas after a few reprimands. Am also cautious about artwork in museums and avoid National Trust properties. Personally do not like glam or exotic. Otherwise anything goes.

 

dov

 

PS Postman are fair game for me - so far.

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. Am also cautious about artwork in museums and avoid National Trust properties. 

dov

 

PS Postman are fair game for me - so far.

I take a perverse pleasure in shooting National Trust properties from public roads and footpaths, extreme joy at having sold one recently!

 

Must try harder with postpeople.

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I don’t go anywhere near zoos (for many reasons)... but sheep and postmen are fair game. I try not to shoot pix with wonky horizons and buildings that appear to be falling over... as there are plenty on Alamy already.

 

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Here in rural Cumbria, people can get very twitchy about photographers... with the proximity of Sellafield nuclear installation and BAE systems (submarines) in Barrow-in-Furness. I generally know my rights, and, as long as I’m on a right of way, I photograph what I want. I was questioned by police just last week, asking me why I was photographing in Barrow. I said “because I want to”. And suggested that unless I was breaking any law, I’d like to carry on.

Heavily-armed police patrol the Sellafield coastline, and I’m less cavalier with them. They have a ‘shoot first and ask questions later’ attitude that concentrates the mind. Nevertheless, if I’m within my rights, I’ll answer questions - politely - and carry on.

I don’t go out to photograph kids these days... for all the obvious reasons. But if I set up a composition, and a family walks into shot, I’ll get the pix. I generally use a tripod, so I’m visible, upfront and approachable. To be honest, I would rather negotiate with unsmiling Sellafield police (and their unsmiling dogs) than a woman who thinks I’m photographing her kids.

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For me it is depend of the country. I like children but not in the so-called “First World”. Outside that “World” they are, in general, more happy in front of a camera that here. They enjoy that a lot. I remember years ago that I have to simulate that I was taken pictures in Yemen because every second the children were asking for pictures, and of course in those film times that was money and run out my stock of films very easily.

In Central America the local people in general. I had to take pictures very quickly and move fast. Pity with those wonderful and colorful cloths.

And finally, taking pictures of women in most of the Muslim countries. No problem with men, except in Morocco.

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I don't shoot specifically for Alamy, so subjects and methods are determined by the needs of editors/creative directors elsewhere.  Work that doesn't get used will probably find it's way to the firm, but even then I will normally submit the same elsewhere - I can't see the point of non-exclusives otherwise.. 

 

If I just shot for Alamy, then I would need to produce about 2k images a year, and worrying about what my cameral was pointing at would be something of a luxury.

 

Currently out are flowers (I did a series of close-ups), found food (tried that), seashore (have the share of a caravan in Anglesey), beautiful nature (Ireland, Wales, Scotland, Devon etc). 

 

IN:

 

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This has sold 20 times (just at Alamy)

 

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I even 'improved' it - this is the original version.  I made it greyer, and it sells even better.

 

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Several members mentioned shying away from taking pics of homeless people. I don't seek these pictures out, but sometimes they are just there in front of me. Frankly, homeless people images are as big a clique as sunsets . . . and I don't see that many homeless in NYC anymore. 

 

But here's another problem: How do you know someone is homeless? I only put the word "homeless" in the caption and keywords if the subject has a sign saying they're homeless. The two young men shown here with a pizza were talking about the fact that they had no place to stay. Still I did not say they were homeless. The young man below was sleeping on a bench in Seattle. He might have just got drunk and forgot to go home. 

 

One of the causes of my burnout when I was doing a lot of traveling was coming out of my 5-star hotel and finding a woman with a crippled child begging. I was told by more than one person that these women cripple the child to use it as an effective prop. Very upsetting.

 

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Frankly, homeless people images are as big a clique as sunsets . . .

 

Homelessness is only a “cliché” from the photographer’s point of view. The experience of being on the street might typically range from tedium to terror, and just when they imagine things can’t get any worse, up pops a guy with a £2,000 camera round his neck. Homeless people are visible; they can’t afford to buy privacy and security, like wealthy people do. But that, IMO, doesn’t make them ‘public property’. The only reason I would photograph homeless people would be for a charity that helps people ‘find their feet’...

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Frankly, homeless people images are as big a clique as sunsets . . .

 

Homelessness is only a “cliché” from the photographer’s point of view. The experience of being on the street might typically range from tedium to terror, and just when they imagine things can’t get any worse, up pops a guy with a £2,000 camera round his neck. Homeless people are visible; they can’t afford to buy privacy and security, like wealthy people do. But that, IMO, doesn’t make them ‘public property’. The only reason I would photograph homeless people would be for a charity that helps people ‘find their feet’...

 

 

I agree. Some years back I took a few of homeless people for a specialist agency that supplied charities/social issues publications.  I kept a small handful on where the individuals are not recognisable.

The social usefulness of this kind of photography is suspect. (In fact any showing hapless people in bad situations, whether through addiction, mental illness, povery or war). 

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There are no subjects that I ignore, but do avoid doing studio type work, even though i don't really have a studio. Just a light tent I use for taken pics for my commercial website. I don't take pics of kids unless in a tourist type area, and being female, probably don't appear as threatening as a man taking pics of kids. 

 

Jill

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We have a new apartment building just south of Central Park, John, where some of the apartments go for $100 million. 

Yikes! I don't imagine there are any freelance street photographers living there. In Vancouver a fancy penthouse downtown might go for a cool 10 million or so but nothing like that.

 

Fortunately, Vancouver is now waking up and building more social housing to help combat what has evolved into a shameful homelessness problem. It has become too difficult to hide any longer, even from the millions of tourists who come here. 

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I don't shoot nudes - they don't sell well and the liability for me isn't worth it.  Artistic nudes are very difficult to do correctly - an image that comes to mind is I know of a local photographer that has on his public web page an image of a young woman spread eagle on a pool table in a not so flattering pose...the only thing she is wearing is her ankle monitor so her parole officer could continue to keep track of her.  I'm not sure what the whole point of the image is?

 

I try not to shoot situations where there is potential for misinterpretation.  I walked out on a group photo shoot once where a couple of the other photographers asked a 21 year old model to lay on top of a 16 year old model.  I don't need to be a part of that.

 

In the end, all we have is our reputation.  I try to keep mine guarded.

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Bikie fights and weddings.

 

dd

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