Week 4 – Reflection Post – Alisha Bennett

In the fourth week of the “Uses of Photography” course, we delved into the lesser-known story of ‘Vivian Maier,’ a talented street photographer whose work gained recognition after her passing, thanks to the efforts of John Maloof. The documentary screening left a strong impression on me, leading me to confidently say that Vivian Maier has become one of my preferred photographers, despite my previous lack of knowledge about her. Her impressive skill in street photography is evident, and I’m genuinely excited that we now have access to her collection.

This documentary experience triggered thoughtful considerations. A significant topic was the ethics of taking close-up street photographs and the appropriate context for capturing images. Maier’s work highlights her commitment to capturing fleeting moments and the essence of human life. While her intimate portraits convey a range of emotions, they rarely show explicit discomfort towards her candid approach. Notably, many subjects appear at ease with her presence, with some even displaying curiosity about her intentions.

This situation reveals a nuanced perspective, showcasing the evolving ethical standards that surround candid photography. The balance between consent and artistic expression becomes clear as we analyze Maier’s close-up compositions. This prompts us to rethink our view of such actions in contemporary society. Similar to creators who craft songs or stories around individuals, street photography can be seen as a form of artistic expression and personal reflection. Importantly, the public space serves as a backdrop where personal privacy interacts with the concept of a shared domain. While there are instances that cross boundaries, the majority of Maier’s work complies with Australian legal norms.

The exploration of Vivian Maier’s impactful legacy encourages us to ponder the ethical complexities of street photography. Through her lens, we witness not only candid snapshots of people’s lives but also the intricate interplay between creative freedom, personal boundaries, and the changing interpretations of art.

From this week’s exercises, our assignment was to try our hand at street photography in pairs. Venturing into the streets felt a bit daunting, and identifying someone who appeared approachable proved to be quite the challenge. Understanding the discomfort that can arise from interacting with strangers, we were keen on conducting ourselves responsibly by ensuring clear communication about our intentions and the purpose of the photos for our university practice. In the end, we managed to approach and photograph around 7 to 8 individuals who graciously agreed. Naturally, there were instances where individuals declined. The concept of obtaining consent is undeniably crucial when capturing close-up photographs of strangers. Nevertheless, even though it’s both ethical and responsible, approaching someone for their photo remains an intimidating endeavor.

Dealing with rejection can be emotionally taxing, as the experience lingers in one’s thoughts. Nonetheless, most people responded graciously, even if they harbored reservations about being photographed. This exercise led me to recognize that street photography cultivates confidence in wielding the camera and serves as a social engagement. Initiating a connection with an unfamiliar person can be intimidating, but practice and understanding human behavior over time help alleviate the self-imposed pressure, transforming the process into an enjoyable pursuit.

The ongoing discourse around street photography persists, yet my stance firmly supports its significance in capturing authentic human interactions and behaviors. Ultimately, it’s about capturing moments that hold beauty, regardless of the subjects involved. Street photography provides us with distinct glimpses into varied lives, revealing myriad narratives waiting to be articulated through creative expression.

Some of my photos from street photography