Stephen McConnell - Through The Lens

Through The Lens:

I have been fascinated with 'Street Photography' for as long as I can remember. As a child, I would accompany my father to a local library every Saturday, where he would sit me down in an oversized brown leather chair, which stank of stale nicotine! He handed me several books and left me to flip through the pictures while he browsed the shelves free of questions. I would flip through page after page of photographs, moments captured in time. Masters like Dorothea Lange, Alfred Eisenstaedt, Robert Doisneau, and Helen Levitt, to name a few. I was amazed at just how powerful their images were. These photographers possessed the ability to project humanity in every joyful and painful situation, and through those pages, I became captivated.

Innocence.

Unlike photojournalism, which fundamentally focuses on news stories of public interest, street photography captures candid moments of human interaction, telling a personalized narrative of everyday life, those crucial moments in life that might otherwise go unnoticed. A great street photograph makes the viewer think; or brings up a specific feeling, story, or idea; through spontaneous moments of people in a candid state, unaffected by any influences from the photographer. This type of photography can be shot anywhere; it's open to interpretation and doesn't have to include people specifically, anything that sparks curiosity in everyday settings.

Over the years, one thing I've learned while undertaking these types of street projects, no matter how many times I've done them, there's always an uneasy feeling when dealing with the public. Society is constantly on the alert for anything that looks suspicious. In today's world, anything that doesn't fit is a potential threat. Concerns about privacy, terrorism, and pedophilia have conspired to make the art more challenging. It can be difficult not to feel like a stalker! Because of these hindrances, sticking to landscape and travel photography was an easier option.

Faces in the Crowd.

Nevertheless, having spent many years traveling and dabbling in other aspects of photography, I recently watched a documentary on Vivian Maier (1926-2009). Looking at her images inspired me to take up the subject again. Unfortunately, it takes a lot of practice to become comfortable with this style of photography; it feels like a perishable skill, as the lack of interaction with the public makes it difficult to get back into the groove. In addition, it is a challenging genre to master for many due to the ethical issues I mentioned above. And due to this, creating powerful, compelling, and emotional images in an environment of mistrust can be a constant struggle.

Venturing into street photography evolves a personal interpretation of the world around us. It draws the photographer to fleeting moments that would otherwise go unnoticed by others, ultimately producing a body of work derived from one perspective, which creates style. Capturing emotions, gestures, and moments in time in ways that tell a story is a skill, a mastery I recognized in others through the pages of books as a small boy. A craft that still is, to this day, a standard I strive to achieve. However, presenting a visual aspect of everyday life that makes each frame seem extraordinary (if only to the photographer) is extremely rewarding.

Harmony.

As a child, flipping through the pages of photography books in a musky old library, I truly believed it was as simple as pointing a camera at a subject, pressing the shutter, and becoming the next Henri Cartier-Bresson. To say I was disappointed was an understatement. But, of course, at 63, I can say confidently; 25 years from now, no seven-year-old will be sitting in a public library flipping through pages of my pictures! But that's okay! I have rediscovered the simple pleasures of documenting seemingly unobtrusive human interactions, which I find gratifying.

...and for now, that's good enough for me.