Jack is a street photographer from San Francisco who specialises in street portraits of the city’s homeless. His work is rich and personal and captures deep emotions in his subjects. I met Jack on Flickr at the start of the year and we communicate regularly as we have common interests in Leica, black and white street photography and I reckon he’d be a good guy to have a beer or two with.

I asked Jack to write a short biography on why he does what he does, what inspires him and what his photography means to him and then asked him to answer a few questions. I didn’t expect such a detailed response and I’m really glad he put so much effort into it. I found his answers fascinating and loved why he now takes pictures instead of playing golf…

Name: Jack Ottoway
Location : San Francisco Bay Area
Photographic Genre : Street Photography of The Homeless

Jack’s Bio

I am a retired business executive who now has the time and resources to pursue my lifelong ambition to do serious photography and to help people less fortunate than myself. I live in the San Francisco Bay area of California where I am afforded the opportunity to do both.San Francisco is a city with a rich multi-ethnic cultural heritage that most people, especially those not from this area, would describe in terms of it’s landmark bridges, distinctive office buildings, Victorian homes, cable cars and professional sports teams. If you look at any of the many Flickr Groups related to San Francisco you would see that the majority of the photographers who post to those groups see San Francisco in those terms. (Stephen, you are one of the rare exceptions to this rule.)

I see San Francisco first in terms of its People and second, in terms of its distinct Neighborhoods, which are of course defined by the cultural differences of the People who live there. It is a ‘target rich environment’ for classic Street Photography.

An unfortunate common denominator of these San Francisco neighborhoods is the homeless population. The homeless can been found anywhere in the city but especially in locations near public transportation stations and other sites where the possibilities for handouts from passing citizens are greatest. I encounter homeless people everywhere I walk and photograph in the city. It troubles me to see these people, many of who are there not by choice, but rather by happenstance, and who really are desperate for help. There are the ‘regulars’ of course who seem to want to be out on the street rather than seek help from one of the numerous Homeless Outreach organizations in the city.

I am a person who is inclined to try to help others who need help; a family tradition learned from grandfather. Like many photographers, I avoided making photographs of the homeless for fear of offending them or having them think that I was taking advantage of their already bad situation. However, I came across a homeless man along Market Street one day that changed my entire mindset about this. The scene of this man kneeling on the sidewalk, covered in many layers of clothing and blankets and surrounded by his meager possessions was just too compelling not to make a photograph, which I did. That image entitled ‘The Look’ is, for me, one of the most powerful images that I have ever made of another human being, and says more about homelessness than words ever could.

With that in mind, I have started photographing homeless people and building a portfolio of images that depict them and their surroundings / living conditions with the hope that these images will bring more attention to the problem and help to the individuals.

Q: How did you discover Street photography as your genre?

I started doing Street Photography in 1971 while deployed to ‘West Pac’, Vietnam in the US Navy. I purchased my first good camera, an Asahi Pentax 35mm, and a couple of lenses in Hong Kong and set out to photograph ‘the sights’ like any good tourist. I soon found that the ‘sights’ that made the best and most satisfying images were of the people whom I encountered in my walks around Hong Kong, Taipei, Okinawa, various Japanese Cities and the small towns of the Philippines that I visited.

At the time I did not think in terms of doing ‘Street Photography’. In fact I probably had never heard that terminology at that time. Rather, I was just trying to record foreign (for me) people in their normal routines and settings in order to share that with my family and friends back home.

When I look at those old images today I realize that I was doing what I now regard as Street Photography and that some of the best ‘decisive moment’ photographs that I ever made were back then. I have my three favorite images of those times included in my ‘Other Street Photography’ Set on Flickr. They are:

Ground Zero, Girl With Butterfly Net

Old Warrior

Four Boys and A Fan

Over the many years since 1971 I have done all types of photography, especially a lot of Landscape Photography, all with DSLR’s, primarily from the Nikon family of products. I have lived near some of the most beautiful natural settings in the world for years, such as Yosemite National Park and have tried my best to make interesting photographs of those places. It was rare though that I ever made an image that was truly unique and different from the millions of other photographs made of these same places by countless other photographers. On every opportunity that I had to get into a city I would concentrate on making photographs of people in the particular settings, which always yielded a new and unique photograph that had not been done exactly the same before. Now that I am again located near San Francisco, I concentrate almost entirely on Street Photography and Environmental Portraiture, which I consider a variation of Street Photography. This allows me the most creative latitude to make truly unique and interesting photographs.

Q: Why did you choose to shoot with Leica equipment?

I only came to use Leica cameras and lenses in late 2011. Up to then it was a matter of resources and priorities. I had always had reasonably good photography equipment but every time I saw an advertisement for or read a review of a new Leica Camera or Lens, I felt like the guy with a Ford who really wanted own a Ferrari.

In late 2011 I realized that I had to make a choice of what my lasting legacy would be: a very low USGA golf handicap which I had put a lot of resources and time into achieving and which, in the end, was only useful to me alone; or something more tangible such as a collection of photography to be passed on to my son and grandchildren and enjoyed by me, my wife and many others from around the world. It was an easy choice. I also decided that I needed to ‘gear up’ and have the best equipment available in order to accomplish this objective so I contacted the good people at Camera West in Walnut Creek, CA, and the rest as they say ‘was history’.

I purchased an M9-P and the 35mm and 50mm Summicron lenses to begin with and added a 75mm Summicron and 21mm Super Elmar later on to fill out my kit. I think that Leica Rangefinders and their superb lenses are the best-designed equipment for street photography. They are small, easily portable, reasonably discreet tools that render very high quality images.

Moreover, Leica Cameras have made me much more deliberative and creative in my photography. I also attended every relevant Leica Akademie workshop offered in the San Francisco area in 2012 and gained a wealth of knowledge and experience from my interactions with the instructors and other attendees. The most important addition that I made to my kit occurred in November 2012 when I finally received my Leica M Monochrom Camera. I had ordered the camera as soon as it was announced in the Spring of 2012.

Q: Why do you primarily make Black and White photographs in your Street Photography?

After acquiring the M9-P and using it for a while, I found that I was changing many of my images into B&W using LR3 and Nik SEP2, in a search for a ‘look’ that best communicated what I was ‘seeing’ in my subject matter at the time, which, because of my home location in the Sierra Nevada Gold Country, was primarily old, rustic historic buildings, implements, tools, etc.  This was the same time that I began my project photographing blacksmiths and their shops. Although they were technically good images, my color photographs just did not communicate ‘old’ or ‘rustic’ or ‘historic’.  So, I started converting images to B&W and immediately found the results I was looking for. To use your phrase, I found that the ‘color was getting in the way’ of the story I was trying to present. I put a great deal of effort into perfecting my skills with Silver Efex Pro 2 in order to get excellent digital files for printing my images, which I feel is the only true ‘product’ for a photographer.

When Leica announced the coming introduction of the M Monochrom I knew that it was the camera I needed to do what I really wanted to do to realize my own creative goals.  While I waited for the Mono to arrive I made trips to San Francisco on several occasions to attend Leica Akademie workshops where I had many opportunities to get back doing my street photography and to convert my M9-P color files to B&W.  Without exception I found that I preferred the B&W versions of my photographs and that they best communicated the ‘story’ I was attempting to tell.

By way of illustration, I can tell you that if I had made the photograph, ‘The Look’, in color it would not have been nearly as strong an image because the eye of a viewer would have been distracted by the colors of the things wrapped around the man and never have noticed his single eye peering out of the pile, which is what I was seeing in the moment and trying to capture.

I am a traditionalist too and have found inspiration for my Street Photography in the work of the early masters of the genre who always worked in B&W. To keep my eyes and brain ‘sharp’ and ready for doing B&W photography I watch old B&W movies on TCM.  If you watch ‘Casablanca’ with the mindset of a B&W photographer you get a whole new appreciation for that classic movie, incredible B&W lighting and cinematography.

Now that I have the Monochrom, my M9-P gets a lot of ‘time on the bench’. I use the Monochrom almost exclusively now, only bringing out the M9-P when I know I’m going to be in an area where there are certain colorful things of interest, like The Mission District and its colorful Street Murals and buildings.  For people and street photography though, B&W via the Monochrom is the only choice for me.

Q: Why did you choose Homeless people as a primary subject for your photography?  

I think that I answered this for the most part in my introduction. I realized that by making those images and sharing them I had an opportunity to shine a light on a significant problem and to be part of a solution to that problem.

I can also say that I have gotten a lot of personal satisfaction out of speaking with the individuals that I photograph and give some little financial help to, and seeing the sincere pleasure that they get from having someone speak to them respectfully and kindly.

I also want to give deserved credit to three of our Flickr colleagues… Gavin Mills, Scott Render and Les Jacobs, whose street photography of the homeless in their respective locations is exceptionally good and is a continuing inspiration for my own work in this area. By seeing their work I knew that I could do it too.

Q: If you had one piece of advice for Street Shooters what would it be?

Develop your ability to see small details in the context of a ‘big picture’ and to do that quickly and intuitively, without ‘over thinking’ the problem, and then get the image!  Be decisive if you want to capture the ‘Decisive Moment’!  Your Image ‘Tramp’ is a perfect example of this concept.  A classic street image and one of my all time favorites.

Peter is a photographer from Sweden who produces some really classy street shots, however he doesn’t consider himself a street photographer.

He is a big time Flickroo and attracts a lot of attention to his stream and contributes to many other photographic communities and publications.

Name : Peter Levi
Age : 43 years
Location : Stockholm, Sweden
Photographic Genre : Mixed

You can see more of Peter’s work here: Flickr, Tumblr, 500px, Stark-Magazine, Huffington Post

Peter’s Bio

I live with my wife and son in the suburbs of Stockholm and I have had a life long interest in photography, but rarely practiced the art until a few years back when inspiration hit me hard when I bought my first digital SLR.

Q: 1: How and when did you discover street portraiture as your genre of photography.

I don’t really consider myself a street photographer. I document life through geometry, composition and energy. If the result looks like street photography, so be it. I also have a passion for long exposure photography.

I like to take pictures of people, but also the cityscapes as a way of tying everything up. I capture the people instantly and cityscapes in long exposures.

I can’t really say how or when I discovered my “style”. I guess it’s always been there within me.

Q: 2: What equipment do you shoot with and why? 

When I do planned documentary photography, I use my Canon 5D mk II with a 35mm lens, but when I walk the streets, I use the Fuji x100. That is the camera that I always have with me whenever I walk out the door. I’m no “gear head”, but right now I’m very curious about the new Ricoh GR with a APS-C sensor.

I generally like to use a small, silent camera for the streets. The X100 is completely soundless which makes candid shots easier in crowded, silent places like for example busses etc. The lack of sound also makes it possible to take several pictures without revealing yourself as I would do with my loud SLR. The SLR comes in more handy when people are aware and have accepted my presence.

But in the end, the camera is just a tool. It really doesn’t matter what you use as long as you feel comfortable with the tool you use.

Q: Why do you use primarily black and white?

Black and white just speaks to me more. I find it more artistic, timeless and beautiful than color. I’m not against color in anyway, but I live in a pretty colorless environment, black and white just comes more naturally. I’m sure that I would prefer color if I lived in India where colors are everywhere in a very vivid way.

Q: Are you working on any projects that you have so far not published? 

I have some on-going projects that I publish on-line as they come along. “Future Scientists” are one of them. It’s about our kids and their way through school up to when they start to work with different science projects. Our future so to speak.

Q: If you had one piece of advice for street shooters, what would it be? 

I have the same advice as I on a daily basis give myself. “Get closer, compose, and try to capture the energy of a look, motion or gesture”

The decisive moment is everything no matter the genre.

Gavin Mills’ work is exemplary. In my opinion, he has nailed the street portraiture genre like no-one else I’ve come across. He’s also a hell of a nice, down to earth guy and for someone who leads the life he does, that’s both surprising and welcome.

I’ve known Gavin for a while now via Flickr. He’s a Leica guy like me and we chat about kit and street photography. We keep talking about meeting up in London for a shoot… One day.

Name : Gavin Mills
Location : London (and the rest of the world)
Photographic Genre : Street Portraiture and Street Photography

Gavin’s Bio 

I gave up my fledgling career as an apprentice hairstylist back in1989 to pursue a dream of becoming a House Music producer and DJ, and for the last 20 or so years I have been lucky enough to be living that dream. Together with my music partner Sam Holt we’re known as Copyright and we play all over the world, travelling most weekends to various destinations around the globe to play the music that we love.

Around 12 years ago it occurred to me that I needed to get a camera to keep a record of all the places I visited and the people I met.

Remembering back to my first purchase, I had no idea whatsoever about cameras and I went and bought a few magazines in the airport departure lounge and sat on the plane studying them. I ended up with a Sony Cyber Shot. The Cyber-shot seemed to fill all the criteria I was looking for, it was compact took pretty good quality pictures and was less than two hundred quid. A few days later I took that camera on my week long trip to Miami for the Winter Music Conference and was completely taken by surprise when discovered that I loved making photos and have been at it ever since.

Back in those early days I was mostly photographing people at the parties we played plus a few travel shots of hotels or airports so we could upload them to our site, but it wasn’t long before I wanted to start shooting other things and I started going out for solitary walks with the camera around the many cities that we visited in the course of my work…..something I still continue to do whenever I get a chance.

Sometimes we might do small tours in Asia usually playing clubs in Japan and Hong Kong and it was on one of these trips that I decided it was time to upgrade to something better than the basic point and shoot I was using . By recommendation of the small but rather well stocked camera shop in Hong Kong I bought the newly released  Nikon D200, leaving the crummy kit lens behind and going instead with the Nikon18-200mm VR lens. This really opened up new exciting possibilities, it was like I’d been riding a Vespa and had just upgraded to a Ducati. Remembering the day I bought the D200 I stayed up all night, walking around Hong Kong, which is probably one of the best destinations you could hope for testing a new camera . I took hundreds of pictures trying to remember the instructions the man in the shop had given me on how to use an SLR.

I continued using the Nikon for many years and built up a reasonable collection of mostly prime lenses my favourite one being the 85mm F1.4 , which I personally think is still one of the finest Nikon Lenses .

I‘ve  tried exploring some different aspects of photography , trying a bit of Landscape or shooting models , some commissions to shoot events which I try to do in my own candid style and on a few occasions other music artists press pics , but I’ll  always come back to what I enjoy most, shooting people in real life situations and street photography.

Recently I was asked how would I best describe my style of photography and I answered I’m a Life photographer, partly because I really love and admire the pioneering photo news magazine of the same name but also because I believe this best sums up what I’m most keen on shooting.

I’ve always like to feature a human element in my shots, perhaps because I feel that it gives the picture something unique, like a shot of a famous building or landmark, it’s a challenge to find a new exciting way to shoot if it has already been shot millions of times before but then putting a person in that photo, perhaps  it then has a story or another point of interest that makes it into something unique. That method of putting a person in the frame is like finding the film set, then I’m just waiting for the actors to turn up.

Later that style of putting a person in the picture became more prominent and now I guess it’s switched to the opposite way round, now I’ll find my actor and then try finding the best backdrop available.

1: How and when did you discover street portraiture as your genre of photography.

It’s only quite recently that I’ve become drawn to making street portraits. Interesting characters is what I’m looking for when I’m out with the camera and during the last year I’ve decided to focus specifically on homeless people.

Perhaps I was influenced by a book I read sometime ago, a wonderful Graphic Novel by the late Will Eisner which is called  ‘Invisible People ’ .

The book contains some short stories about the people we might happen to pass in a city each day of our lives with complete indifference and that every one of those anonymous faces has a story to tell.

Shooting homeless people their faces often tell a story of life that can sometimes be tragic or full of emotion and struggle, something very different from the comparatively happy and comfortable life I’ve led. Interestingly I often find myself surprised by homeless and some of warm, kind, intelligent and friendly people I’ve met.

In the spirit of that Will Eisner book I’ll try and find out something about the person to go along with the photo or even perhaps if nothing else I can just document the way they reacted to a completely random stranger coming up and asking for a picture.

Some of my encounters are brief, perhaps only a minute or two, then other times I ‘ve spent a while chatting which generally makes or a better photo, it’s also rewarding because it’s a two way street, I get a good picture and a story and they might enjoy having someone other than another homeless person to talk to. Some people I’ve bumped into several times on the street and I’d now count them as friends. One of the homeless guys I met who refers to himself as Seth the ‘shit ‘ Chef . Seth came to one of my DJ gigs last week at the legendary London club Ministry of Sound. It was great as I didn’t tell anyone he was a homeless and as he was hanging out with me in the DJ box so people just assumed him to be another DJ producer or record label guy .

Taking street portraits can be technically quite a challenge, I’ll always try to nail it in a couple of shots, unless encouraged to keep clicking.  It would be unsettling for anyone to have a stranger come up to you and then they start taking loads of pictures. I would say it’s made me a better photographer as instead of clicking away hoping to catch something good I’ll be waiting and watching intently trying to catch that split second where I feel the persons let down their guard and show me something real. An honest emotion, it doesn’t matter what the emotion is as long as its for real and not just well here I am  having my picture taken.

2: You choose to shoot with Leica equipment, why?

In 2007 I broke a bone in my right hand and then afterwards found that shooting with the Nikon was painful for me because of the heavy body and heavy lenses. I had stop for taking pictures a while. A couple of my Flickr contacts who shoot with a Leica, I ‘d always admired and liked the look of their photos decided find out some more about Leica and perhaps this might be a lighter camera for my bad wrist.

There was something difficult to put into words that I could see in their pictures perhaps they looked more real, life like or perhaps another way I could explain is the Nikon pictures even from my favorite 85mm just seemed to look flat by comparison. It’s like the Leica captured another dimension a feeling of the space plus I loved the incredible clarity against that creamy softness of the out of focus areas.  I wasn’t really sure what it was at the time, but I knew I liked the look.

On one of my trips to Japan in 2008 I remember going into a store in Osaka and having a quick go with the Leica, and at first thinking no this isn’t for me, I couldn’t imagine using a rangefinder focus after being spoilt by super fast Nikon focus . But my interest a fascination with the camera didn’t go away and I decided to give it another try. I bought an M8 just as the M9 was being released which was a good time to buy as suddenly their were lots of used M8’s on the market and it brought the camera down to an affordable price of £1500 and I figured if I didn’t like it I could just stick it on eBay again without losing much in the process.

I bought mine from a guy who was begrudgingly selling his much loved camera as he had to much difficulty focusing because of his poor eye sight. I also purchased one of his two lenses which was the Summicron 50mm but then a day later I went back bought his 28mm Elmarit as I could see that needed  something a wider for certain situations, the 28mm Elmarit probably isn’t one of the most revered Leica lenses but I think it has a really lovely classic retro look .

I’ve invested in a few more lenses since then, the 90mm F2 summicron which is quitw a challenge to use even with the 1.25 magnifier but useful for portraits and also  for keeping a discreet distance when street shooting.

The 35mm Asph is currently my most used lens, it’s the one I always have with me wherever I go. If I have to pick just one lens to take it going to be the 35mm. On the M8 its actually closer to a 50mm and I find that good distance for environmental portraiture, capturing something of the subjects surroundings and for me it’s a comfortable distance between myself and subject whilst being wide enough for capturing candid street scenes . I love the sharpness and definition I get from this lens, and even though I generally favor black and white the 35mm Asph has a beautiful color. It was a big purchase for me costing double what I’d already spent on the body itself, I spent weeks trying to justify it to myself ( and also my wife)  but now one year on I am still so very happy that I went for it .

Another brilliant and far more reasonable purchase was the Voigtlander 15mm.  I really wanted something extra wide occasionally for shooting buildings, cars or streets as I like that exaggerated wide look.  I would have liked the Tri-Elmar or the Zeiss 15mm Distagon but both are expensive and bulky. The Voigtlander was a fraction of the price, size and weight and in its own right is a great lens. Leica enthusiast can sometimes be a bit snobbish about only using Leica lenses as they’re regarded as the best but for the price the Voigtlander 15mm is amazing value and on several occasions I’ve been surprised by the great results I had from it .

3: Why do you use primarily black and white?

I almost always prefer the look of my pictures in black and white, as Jack mentioned in his recent interview on here sometimes the color seems to get in the way. A picture in black and white is simplified and some how

that makes the emotion or story more easily seen. I always shoot raw but have the screen on the M8 set to display black and white . You can do this on any of the Leica digital by selecting DNG + low quality jpeg then setting the color option to BW. It means when shootig  taking a quick look at the LCD I can usually tell in a second if the light looks right and if I feel something from the photo .

Another thing that I’d say is although its called Black & White Photography there’s actually infinite shades of grey in between and a picture can be tonally rich, full of texture and light and shade,  as the saying goes not everything is black and white .

4: Are you working on any projects that you have so far not published?

As it happens just last week was my first ever published work. A British magazine called Advanced Photographer ran a six page feature about my street portraits. It’s was so amazing to see my photos right there in the magazine in print .

When I first started shooting street portraits and in particular homeless people it wasn’t my intention to make it into a project but it seems to have grown into a body of work now and I have a firm goal to make a book that shines a light on homeless and am going to try make that happen one way or another .The idea is to give all the proceeds back to the Homeless charities and after spending plenty of time on the street talking with them I’ve heard some good ideas for ways the money could make a real difference to them . Doing this project has made me realize that its good to choose a subject and focus on something particular and I‘ve a couple ideas for new projects around a similar type theme of the everyday people we encounter.

5: If you had one piece of advice for street shooters, what would it be?

I guess street photography is really about how you see the world. If you think you see something or someone interesting then it only stands to reason that other people are going to think its interesting too.

See a character on the street and you think you might want to go and ask them for their picture, well if you’ve not done it before then I suggest take a deep breath wear a friendly smile and go for it, the worst that can happen is they might say no. A few of my friends and contacts on flickr have said to me they would be to shy or embarrassed to approach a complete stranger and ask them for a close up picture but when they eventually found the courage to do it found it to be an exhilarating experience.

> Gavin’s Website

> Gavin’s Flickr Stream

> Gavin’s Business / Band / Label

Tobias Gaulke (aka Gato Gato Gato) is a master of contrast. You can tell by his street work that he looks for drastic light differential as much as he looks for a good street scene.

He is a regular Flickr contributor and his inimitable style has caught my eye for a long time.

Tobias’ Bio

My name is Tobias Gaulke and I’m a 33 year old German living and working in Zurich, Switzerland. I consider photography a precious hobby that I can take with me every day and in every situation of life.

1: How and when did you discover street portraiture as your genre of photography.

I grew up in the very south of Germany in a very rural area and in my early days of photography I mostly focused on landscape and nature photography. This was obvious as I lived in an area where I was surrounded by beautiful scenery.

After moving to a rather urban environment in 2008 I found that I don’t want to drive several hours every weekend in order to get to the Alps where I could go for more landscape subjects – and taking pictures of mountains gets boring very soon too.

So again I wanted to focus more and more on the environment I was now living in. Zurich might be a small “city” compared to other places but seeing it as a playground to get into street photography, it is big enough to find new subjects wherever you go.

After I saw some of Thomas Leuthard’s work I was much inspired by his street portraits and I got more and more interested in taking pictures of people in an urban environment. However I was not so much interested in taking portraits as well but I wanted to show people making their way through this city. Many times people walking alone, isolated from the busy world around them. Mostly I choose the moments that just “happen”. Some stranger passing by, a person walking their way…

2: What equipment do you shoot with and why?

Over the 4 years since I bought it, I have used my Leica M9 exclusively. I know that some fellow photographers see a Leica as some kind of pretentious camera that is too expensive and doesn’t even have autofocus. To me it is just a tool that fits my needs perfectly.

Recently I bought a Ricoh GR IV just because I wanted to try something different again. I like this camera as well but every time I use it I think that I had better used the M9.

3: Why do you publish primarily black and white?

In most cases I see color only as a distraction. Pictures in black and white help me to focus on the subject. And I think that in most cases colors will not make a street picture better.

4: Are you working on any projects that you have so far not published?

Actually… no.

5: If you had one piece of advice for street shooters, what would it be?

If you are already into street photography – stick with it. It is a great way to find new subjects in every moment of life. That way photography will never get boring.

If you think about getting into street photography – try it out. People don’t bite. They will not beat you up.

> Tobias’ Flickr Stream

> Tobias’ Website

Michael is a relatively new Flickr buddy of mine, but in the six months or so that we’ve been contacts I have been drawn to his work as he approaches street photography from a different angle than most. Michael makes pictures that are as much about the street itself as the people in them. He has a high focus on the architecture surrounding the people he shoots and it works. It gives his images another dimension.

Name : Michael Toye
Location : London
Photographic Genre : Street Photography

Michael’s Bio

I am fairly sure my story isn’t too dissimilar to others. I was a long time working mushroom in the IT arena, starting as a lowly developer until I stopped working in IT, reaching the heady title of Business Analyst. Great at parties when you drop the sleep bomb that is ‘Derivatives’ and ‘Business Analyst’. My girlfriend is still in IT but we are lucky enough to be able to indulge our creative urges and for both of us it’s photography. She shoots under the waves and I on the streets. Our photography rarely clashes, though you’ll be surprised to know how few streets there are on a dive boat.

1: How and when did you discover street portraiture as your genre of photography.

My creative urges stem from a background of portraiture, employing the more traditional pencils, charcoals, acrylics and then, after a break of 10+ years, I picked up a camera. A Nikon D70.

I captured images of everything, including friends and family and was literally an unrelenting snapper, until I came across the work of Tommy Oshima. Looking at his work immediately took me back to the creative place I was as a young adult. Of course, with the camera, depth of field became a powerful tool and I could see through Tommy’s work that I could carve a style and send a message through my own images.

The D70 was definitely getting in my way and I wasn’t finding the portraits I wanted without resorting to organizing shoots, so I changed camera and settled into landscapes and architecture.

Always having an eye for composition, form, lines and never forgetting the negative space in the frame I did quite well. But I always looked to the people around me and I would try to photograph their activities around the buildings I was shooting. It wasn’t working, I still wanted to photograph people and I was intrigued how they were interacting with these buildings I had come to shoot.

This is essentially the point where I moved to street photography. After getting permission, I traded in my entire Canon gear set and ordered a Leica. I can’t escape the allure and grandiose nature of the iconic architecture in London so now I go out, armed with my Leica, and photograph people in and around these great structures and locations in London.

2: What equipment do you shoot with and why?

My girlfriend calls me a camera snob, but I put it to you that I want to take a photograph and expect a level of quality from the camera and lens. Prior to Leica I was using a Canon 5D Mark II and, for people, the 85mm f/1.2. A pretty good combination, but you are not going to get any candid shots with such a combination. If the subject doesn’t see the soul sucking front element of the 85L, they certainly hear the guillotine like snap from the mirror and shutter.

So, my only camera and lens is an M Monochrom and Summicron-M 35mm f/2.

I am lucky enough to be able to shoot steady down to 1/6s and was still carting around a tripod for wide shots. The Leica captures an unbelievably sharp image and I haven’t touched a tripod since. My default aperture is f8. If I’m zone focusing in strong light, f11. The confidence to use these apertures is also buoyed by the astonishing ISO capabilities of this camera. The noise that does appear is very elegant and I have never discarded a shot due to the presence of noise.

3: Why do you publish primarily black and white?

With a nod to a simpler life of pencils and charcoals, I have always loved the purity and honesty in black and white images. It also serves architecture extremely well. The image is reduced to texture and lines and space and there is no distraction from hues that can divert the eyes from a leading line, subject or, indeed, message. Some might argue compositions are not strong enough if color makes that difference, however, my subjective opinion is that the absence of color makes for a more effective bond between image and viewer.

4: Are you working on any projects that you have so far not published?

At the moment I am publishing images as I capture them, but I am working towards a body of work I can exhibit. They say you can spend a lifetime to really know a city, but I think street photography can make serious inroads into seeing the true soul of a place. London is well known for its skyline, but I think I can help show the people under it.

Apart from that, I’m running London based photography walking tours most weeks.

5: If you had one piece of advice for street shooters, what would it be?

I have 2.

As a street photographer:

I tend to discard any images where people have seen me take their photograph and have a negative look that reveals they really didn’t like it, whether suspicion or anger or otherwise. You can seriously reduce the frequency of this occurring.

My advice is to have an air of confidence, fake or otherwise lol. Have you noticed tourists don’t skulk. They’re genuinely interested and generally pushy. Be like a tourist; no one will notice you as you wander. When you see a shot, stand your ground and take it. If they see you, before or after the shutter, smile. I tend to turn and walk off, again like a tourist, but if they saw me, I’ll smile and wave before I leave. This works well with private land and their security, like at Canary Wharf.

For your images:

Difficult when you immediately spot a candid and just shoot but, where time allows, look at the environment, the negative space. It’s your context for the people you are photographing. I am always looking at the scene as I walk to help me prepare to place the people that I might photograph. Really helps with detecting juxtaposition too.

Michael Toye’s Website

Michael Toye’s Blog

Twitter : @RealMichaelToye

Jim and I go back a fair bit as Flickr buddies and we talk most days about each others photos but his genre is hard to define. While not what some would call a “pure” street photographer, he has carved out his own style of shooting on the streets. His shots encompass life, architecture and social breakdown in what I can only describe as a form of recorded indigeneity that transfixes the viewer.
Oh and did I mention he’s a Leica guy

Name : Jim Rice
Location : Indianapolis
Photographic Genre : Street (sort of)

Jim’s Bio

I have a full time career as a practicing civil engineer and live in the Indianapolis, Indiana metro area.  Photography was a gift to me from my mother when I was only 6 or 7 years old.  Unfortunately, an intruder in our home shot her to death when I was only 9 years old.  For me, photography has always been a way to hold on to her memory, I suppose, as well as a creative outlet that keeps me going.

Because of my connection to my mom, I tend to shoot from my heart as much as my eye.  I’m sentimental, and I’ve experienced a lot of loss in my life.  Therefore, my photography is an unstructured representation of how my heart is feeling. I’m pretty sure I’ll never receive much serious recognition as a photographer because I don’t have one genre and I don’t do projects – I shoot “life” and life comes at me in many different ways.

I began shooting as a child with a Brownie camera and as of a few years ago had worked my way up to a Nikon D3s.  It was a powerful tool, but it was also cumbersome.  I sold all of my Nikon equipment and purchased a Leica M9 along with three classic Leica lenses.  From that moment on, my photography was transformed.  I know that sounds like a cliché from a Leica user, but it’s true.

My full time job as an engineer often dictates where I am and when I can shoot. This has resulted in a lot of time on the streets of both rural and urban communities.  I love the energy of a large city and enjoy the streets in NYC and Chicago.  Indianapolis is becoming a more vibrant city with each passing year, and is a lot of fun too.  Street photography, you might say, was a logical genre because it’s where I am a lot.  And my Leica is the perfect tool to travel with and to use on the streets.

In addition to my love of cities, I also find myself in smaller communities and towns where life on the street is literally disappearing.  Often times I find streets completely vacant, with no sign of life.  I shoot these conditions because it is relevant and also because it troubles my heart.  Lately, on my flickr page, I have documented the decay and loneliness on the streets in rural and urban areas.  It symbolizes many things we have lost and are losing, and I believe it’s imperative to document the situation.

I also enjoy interacting with people, and street photography is a great way to meet people and document those encounters.  Sometimes my images reflect the humor of the moment, sometimes the sadness, and sometimes the surprise. I try to capture moments that will endure and that will speak to the hearts of my viewers.  Henri Cartier-Bresson and Elliott Erwitt are two of my favorite photographers, and I am probably subconsciously influenced by their work.

It is my hope that my Leica will be my constant companion throughout the years I have left on this earth.  More than anything, I want my photography to bring joy into the hearts of the viewers, for it is a hard world we live in, and peace is illusive.

1: How and when did you discover street portraiture as your genre of photography?

For me, photography is an ever-evolving art form.  When asked what genre I prefer, I usually answer “life”.  I realize that’s a pretty broad answer, but it is the best I can do to describe my work.  Life is ever-evolving around me and I prefer to shoot what I see.  Street photography is a big part of that because I spend a lot of time on the streets of both cities and towns.

For me, street photography is not simply pointing a camera at whatever is happening on the street and snapping a picture, but instead it is a search for a moment that is special.  So many Leica photographers admire Henri Cartier-Bresson and use the term “decisive moment” that he coined, and that’s a valid description of a way to shoot on the street, at least for me.

Also, while some define “street photography” as “people on the street”, I also include what I see on the street, with or without people.  In many urban and rural settings, there are remnants of history that I find interesting and the fact is many of those scenes exist in a state of decay without many people around. I find it compelling to shoot these lonely street images as well.

2: What equipment do you shoot with and why?

I started taking photographs when I was 6 or 7 years old.  I began with a Brownie camera and have worked my way up to a Leica M9.  A few years ago, my main camera was a Nikon D3s.  I loved it for it’s low light capability.  I spent a week with it on the streets of Manhattan in NYC and captured some great images, but by the end of the week my back was killing me from carrying around my gear and I also had my fill of people being offended by the gigantic camera body and lenses.  I realized something had to give.

Being a lifelong student of photography, I knew about the heritage of Leica and the photographers who used them – so I traded in all my Nikon equipment and bought a Leica M9, a 35mm f/1.4 Summilux, a 50mm f/2 Summicron, and a 90mm f/2.5 Summarit.  I half-jokingly say now that I can carry all my camera gear in my handkerchief!  Comparatively speaking, when I think of my former Nikon gear that is true.  But here is the interesting thing:  once I started shooting with a Leica, my photography was transformed.  So many Leica shooters say this it’s almost a cliché.  But it is true.  The manual focus and simplicity of the camera has allowed my attention to be fully on what I am shooting and not on camera menus, dials, and buttons.  I’ll admit, I love the Nikon D3s – it is a great camera.  But the Leica M9 has become like my arm, my leg, or my eye – indispensable.

3: Why do you publish primarily black and white?

As a child, I was first exposed to photographs by my mother; she grew up in Washington, DC and loved art and photography.  When I began shooting as a child in the late 1950’s, black and white was the de facto medium for photography.  So I cut my teeth on black and white.  Then Kodachrome changed the scene for everyone, I suppose.  At least for most, I think.  I still do some work in color, but my roots are primarily in black and white.

I lost my mother when I was only 9 years old, so I suppose I have a strong sentimental attachment to black and white photography.  When I’m out shooting, I “see” in black and white more often than not.  I would love to one day own a Leica Monochrom.

4: Are you working on any projects that you have so far not published?

That’s an interesting question.  I have a full time career as a practicing civil engineer.  My dad was a civil engineer and my mom was an artist and loved photography.  So I have a mix of them both in my genetics.  Thank goodness – my engineering career funds my love for photography, so I don’t have to struggle to earn a living as a professional photographer.  But my full time career as an engineer dictates a lot of what and when I can shoot – so as I mentioned earlier, I tend to shoot what I see, and as I say, I shoot “life”.

Lately I’ve observed the decay in both rural and urban settings that is the result of the recent economic downturn.  It has obviously impacted the entire world and I see it in other photographer’s work.  So that’s been on my mind.

But here’s the deeper answer about projects:  I tend to shoot from heart as much as my eye.  I’m sentimental, and I’ve experienced a lot of loss in my life.  My photography often is an unstructured representation of how my heart is feeling.  I think I’ll keep going with that.  I know I’ll never have any recognition as a photographer because I don’t have one genre and I don’t do projects – but my heart will do better if I keep doing what I’m doing.

5: If you had one piece of advice for street shooters, what would it be?

My advice would be to slow down, take the time to see, and don’t just point a camera into the crowd, click the shutter, and call that “street photography”.  Look for a special moment that is moving and memorable.  And shoot from the heart.

Jim’s Flickr Stream

Jim’s Website

I’ve been Flickr buddies with Keith for a few years now and it’s been really interesting to watch his style develop. When I met Keith (buckethandle) on Flickr, he was what I would call an occasional street photographer, taking some street shots in amongst other styles. However, in the last year or so he has gone hardcore into street and very rarely publishes anything else.

Keith’s main photographic strength is his eye… his ability to see a shot before he takes it and this is the jedi skill of street photography and takes a lot of practice.

His work is considered and classy. Not too processed and very honest.

Name : Keith Emerick (buckethandle)

Location : York
Photographic Genre : Street Photography

Keith’s Bio

Mid-50s archaeologist based in York, England. I got into photography through my dad who was a printer – a lithographer – so we always had lots of very different images around the house. As a result (perhaps) I am one of those people who likes to work in pictures and images – I love a ‘mind map’. At school when I was 16 – 18 I had a really good art teacher who was also a keen photographer and he taught me all about processing and developing: I spent innumerable break and lunch times in the school dark room, sloshing liquids and chemicals, cutting, cropping and having the occasional drink.

After marriage, career and family arrived I dropped out of the actual ‘doing’ of photography because of a lack of time (I did an MA and then a PhD part-time), although I read a lot and looked at a lot of different types of photography. Now my two boys are in their early 20s I have rediscovered my love of photography – and I make the time. I don’t get too obsessive and envious about equipment – I like ‘the photograph’ rather than’ photography’ if that makes sense, and I like the Erik Kim idea of ‘1 camera and 1 lens’: keep it simple. To me it’s all about the image and the feeling – and this comes across really well in my favourite style of photography – the images produced by the Historical Section of the Farm Security Administration (FSA) in 1930s USA – Dorothea Lange, Marion Post Walcott, Walker Evans, Ben Shahn, Marjory Collins: Esther Bubley is a particular favourite. Check them out on the Library of Congress website. Brilliant images and a great story.

1: How and when did you discover street portraiture as your genre of photography?

I have always loved street photography, because I am interested in, and like, people. Everyone has a story and I love the discovery of finding the extra-ordinary in the ordinary and everyday. I have looked at a lot of street photography and I like the immediacy of it, but it can also be really inspirational. Esther Bubley’s image of a woman in a diner in the US waiting for a pick up is awesome  (See it here). The woman and the setting are fantastic, but there is a scrap of paper in the bottom left that speaks volumes.

2: What equipment do you shoot with and why?

Panasonic Lumix GF1 and 20mm pancake lens. The lack of a viewfinder is starting to annoy me, and I could use a fold-out monitor, but I like to work with the limitations. I like the GF1 and pancake lens because they are small, unobtrusive, easily portable but pack a really big punch in terms of image quality. My first really favourite camera was a Pentax ME Super; the GF1 is about the same size and fits nicely into the hand. One day I might go for a Panasonic G5.

3: Why do you publish primarily black and white?

I shoot mostly in B&W because I think it allows the viewer to concentrate on the shapes within the image. I also find there is a greater clarity with B&W, colour can be a distraction. But I also like the connection with my historical inspiration – but that is probably the archaeologist in me.

4: Are you working on any projects that you have so far not published?

I keep thinking about projects and whether I should start one. It is interesting how many people suggest that I do a project on the homeless, but I find that I have real ethical problems with this; there are images of homeless people in my Flickr stream and these have been taken when the emotional content was really high – there is one in particular where it was the absence of a homeless person (Absent Presence) that was the subject of the shot. But I have a problem with turning ‘people’, particularly homeless people, into a ‘project’ – it is potentially dehumanising, so you have to be really careful.

I did a project where I took a photo in B&W every week at the same time (08:00 in the morning) in the same place for a year – and did 1 in colour every month. This was a bit of an experiment to get a better understanding of how natural light worked – and was quite helpful. (You can see it here)

Every so often I think about starting a project on York Newgate Market – early morning, setting up, during the day, closing down, night time – again it’s about people, but it’s also ‘place’ and the ‘event’. I need to go and speak to the market trader group to ask if they would be happy with this. Dammit…I will do it.

5: If you had one piece of advice for street shooters, what would it be?

Difficult…but I think, get as close as you can: “Zoom with your feet” as the saying goes.

Keith’s Flickr Stream

I have followed Sacha’s work on Flickr (maktub77) for a few years now and he’s an interesting photographer. Why? He shoots primarily with an iPhone!

Yes you read it right, an iPhone – now read on…

Name : Sacha Dohmen
Location : Belgium
Photographic Genre : Street Portraiture

Sacha’s Bio

My name is Sacha Dohmen, i live in Belgium in a small village in the middle of nowhere between Liège (Belgium), Maastricht (Holland) and Aachen (Germany). I´m a self taught photographer.

1: How and when did you discover street portraiture as your photographic genre?

I bought my first camera, a Nikon D60, 5 years ago to photograph my holiday in Mallorca. I everything I saw and came home with a lot of photos but more importantly with knowing that I had a lot to learn. So I bought a book by Andreas Feininger and learned a bit about Photoshop.

From then on, there was only genre of photography for me. Each week I bought every magazine there was on photography and found an article about Bruce Gilden and then I knew, this is it. Street portraiture!!!! I don’t think when I shoot, I’m a walker and  my camera is just there when I’m walking. I pay attention to the people and situation around me. I capture a fraction of life and then build my own storyboard for this person. All I need is a street and my camera to make something extraordinary out of the banal, to create a social drama, to awake emotions.

For me, my motivation to document life and take street shots is to capture and awake emotions. Photography is all about emotions.

2: What equipment do you shoot with and why?

At the moment I shoot with an iPhone 4S.

I came to iPhoneography by accident last year. One day before my annual leave, I broke the viewfinder from my Ricoh GXR (a fantastic camera), I was so accustomed to hide my self behind my camera that I was not able to take street shots and so I left my camera home. I just got to the airport and felt naked without my camera because I couldn’t take pictures but then I remembered my iPhone. I took thousands of photos within three weeks, most of them not usable, but I really loved some of them.

When I got home, I found in a library a book from National Geographic about iPhoneography with the works of Carlein van der Beek and Richard Koci Hernandez. I was in awe. I had never heard anything about iPhoneography but i knew that’s where I wanted to be. I genuinely don’t think that my pictures would be better with any another camera, although I’d really like a Leica M2 for my old M lenses.

3: Why do you use primarily black and white?

It’s the purest form of photography. As I aid earlier, photography is all about emotions and I think black and white focusses the emotions better. Black and white reduces a picture to its essential elements.

4: Are you working on any projects that you have so far not published?

Yeah, a project I’m working on this year is a day in the life of the homeless from the perspective of the homeless. My aim is to capture that which has not been seen.

5: If you had one piece of advice for street shooters, what would it be?

Pay attention to your appearance. Don’t attract attention. This isn’t spoken of much, but it´s very important. You can’t be invisible but you an go a long way towards it by adjusting your clothing to blend into the street. Don’t dress flashy and don’t dress funky. Just dress normally with neutral or dark colors. And wear good shoes so you can walk far and run fast!

Sacha’s Flickr Stream

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Børge Indergaard is a well known name on the internet both for his classy, polished photography and his love and knowledge of that little German camera manufacturer – Leica. Just type his name (which is not easy to spell) into Google and he owns the first three or four pages.

Børge does not call himself a street photographer, he refers to his style as environmental photography. This is maybe better known as streetscape as he likes his shots to be about the street, about how the people interact with their surroundings so that both the people and the architecture are the subject. He is also well respected for his black and white landscape and still life work.

Name : Børge Indergaard
Location : Norway
Photographic Genre : Street / Black and White Environments

Børge’s Bio: 

I’m a 34 year old guy from Norway in Europe. Photography is more than a hobby for me – it’s a part of my life, a lifestyle, something I really enjoy doing in my spare time, and a way to express myself and my creativity.

I work as a senior engineer within the IT business and photography is also a way for me to distance myself from technology on my spare time (which has also influenced my choice of gear).

1: How and when did you discover street photography as your genre?

I don’t really do a lot of street portraiture. I did soame close up work last fall, mostly to push myself in close to people to get rid of the fear of getting close. This wasn’t as big a problem as I thought it would be, and I had some great mentors that pushed me in the right direction as well (Eric Kim, Adam Marelli). But what I personally prefer is environmental photographs with people included. The background and light is the most important factor for me, and then I want some human beings in the shot to complete it and make it more interesting. I love people, but I’m not a up-in-your-face kind of photographer, even though I have been for a short time last fall.

I also enjoy the odd landscape and architectural shot but even then I always prefer having people in the scene.

2: What equipment do you shoot with and why?

I currently use a Leica Monochrom and a Summilux 50mm ASPH lens primarily. I also have the 35mm Summilux FLE but I rarely use it, so I’m considering selling it as I’m really a 50mm guy. I usually use either a yellow filter or a 3-stop ND filter to be able to shoot wide open.

The reason I shoot with a Leica is because it is the most analog digital camera I’ve used. It is the closest to shooting film on a digital camera I’ve experienced, and I like that. It is also very easy to carry around and the optics are the best. It’s simply a camera system that feels at home in my hands. I’ve previously used Fuji and Canon gear and I enjoyed shooting with those as well, but the autofocus really annoyed me at times, especially on the Fuji. I prefer having full manual control myself. The simplicity of the Monochrom is also very attractive.

3: Why do you use primarily black and white?

Good question. I’m actually writing an article regarding this on my blog at the moment, and I’m struggling to find the answers myself. I guess it’s as simple as: Because I like black and white. Photography to me doesn’t mean that every image should look exactly like the world looks. I like seeing the world in a different way. I like having focus on the key elements in a shot, and by removing colors, there is no confusion (at least less confusion). I like the simplicity of black and white. Black and white images are timeless, and, well, I just prefer it. It pleases me more.

But that doesn’t mean that I don’t like color photography. I like color images as well as black and white, but currently I’m focusing on B&W myself and I’m really happy with it. Will I focus on B&W forever? Probably not. I’ll probably add a color camera to my gear further down the road.

4: Are you working on any projects that you have so far not published?

I am currently working on several projects. And I have many ideas for “themes” so to speak. I have only published one project so far, and it wasn’t really a planned project at all. Luckily Lightroom has some great key-wording and sorting features that makes keeping track of projects and tagging files for projects easy.

I don’t define a project and go looking for images that only fit that project until the project is done. I have many ideas to project and I’m constantly shooting different images that fits the different projects I’m working on. I’m currently gathering material for all of the projects at the same time, and filtering the material in Lightroom.

5: If you had one piece of advice for street shooters, what would it be?

Do it because you love it – not because it’s a popular thing at the moment. Define your own style and don’t be afraid to think outside the box. Ignore negative feedback and just make your own path.

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Børge’s Blog

Børge’s Flickr Stream

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I’ve followed Jan on Flickr for years now and she’s one of the people that gets a favorite from me on nearly all of her shots. Her pictures are just so different… so unique.

Not quite street and not quite portraiture, Jan’s works seems to sit between these two genres. Many people have argued that photography is not a true art form… they should see Jan’s stuff!

She is incredibly modest about her work and when interviewed said “Gosh! I hope I don’t sound pompous because I’m nowhere near as good as I want to be!”. I’m looking forward to when she is as good as she wants to be because right now she’s pretty damn good! In fact it’s fair to say I’m a little in awe of her

Brett Walker, one of Jan’s Flickr contacts sums Jan up perfectly in his testimonial of her work…

“Jan’s stream is a toy box of drumming monkeys and hand grenades. She oscillates daily between total genius and being sectioned under the mental health act as she serves up inspired delights, dark psalms and bags of spiders. In a world were there is nothing new under the sun Jan Bishops photostream is definitely the exception to the rule.”

The limited number of Jan’s photos I can post here do not do her any justice at all (and they are my choice). I urge you all to visit one, or all, of her links at the bottom of the post for a feast of monochromatic magic!

Name : Jan Bishop
Location : UK
Photographic Genre : Street / Portraiture

1: How and when did you discover street and portraiture as your genres of photography.

I’ve always like street photography. Inspired by the greats like William Klein and recently the intriguing, amazing and unbelievable Vivienne Maier.

I like faces and on the streets, you have endless stories and infinite pictures. But I have to say it’s getting harder to  photograph people now. Everyone seems to be so aware. Now I’m searching for the quietest camera!

2: What equipment do you shoot with and why?

At the moment I’m using my beaten up Canon 5D and a Ricoh GRD and my iPhone! I only ever go out with one camera and a fully charged battery! The Ricoh is more discreet. I travel light.

3: Why do you use primarily black and white? 

I used to use film, back in the day, and I’m probably still hung up on having my blacks black and my whites white! I do like the drama of B&W but sometimes I’ll use colour to keep details that I’d otherwise loose.

4: Your work is greatly enhanced with processing. Can you give us a little insight into how and why you process.

With digital it’s so easy to play around with your pictures. You are not limited to 36 frames. In post processing I rarely use presets and I try do as much as I can in the camera.

Sometimes I add a little camera shake and yeah, play with it and look out for the happy mistakes.

I also rely on luck! My camera is never more than an arms length away.

5: If you had one piece of advice for photographers, what would it be?

I’m no one to give advice but if I did, I’d suggest always look in the background you never know what you might see! The picture might just be there!

Jan’s Flickr Stream

Jan’s Ipernity Portfolio

Jan’s Blog

Frank Fullard is quite simply, a great photographer. I’ve been following Frank on Flickr for years and I especially enjoy his street portraiture which I find both enlightening and inspirational. Frank images concentrate on the emotion in his subjects , rather than just the “look” and this is quite rare.

Unlike the current trend in street photography of ramming a 21mm in people’s face, Frank uses a zoom lens, allowing him distance from his subjects and not affecting the moment. Too much emphasis is put on the kit “required” to take street shots these days. I believe it is the image that counts, not how you “get” the image.

Anyhow, meet Frank…

Name : Frank Fullard
Location : County Mayo, Ireland
Photographic Genre : Street Portraiture

1: How and when did you discover street portraiture as one of your photographic genres?

I am interested in people and have, I think, always been somewhat of an observer of the passing throng! Visually the most interesting aspect of people for me is their face.  Their facial expression can tell you a lot about an individual at a point in time. Whether they are happy or sad, bored or excited; whatever their current state may be, it can be reflected in their face, or so I like to think. It holds true for children and adults alike.  Indeed, at the extreme, I believe that, to some extent at least, you can see an individual’s life experience reflected in their face.  Of course that assumes that they have had life experiences in the first instance and not just lived in a quasi -cocoon, as lots of people now seem to do, for most of their lives! Faces tell stories and I am interested in stories. The best stories have an air of mystery to them and require you to use your imagination to decipher them. I think faces are the same. Of course you can get things totally wrong, but that is part of the joy attaching to the process.

In ‘street photography’ you have a better chance of seeing people as they really are. That may not always be flattering but is probably honest. That having been said I would like to think that my street pictures are on the whole optimistic and positive. I do not post pictures of down-and-outs, or the likes, on the basis that, firstly, they are entitled to their dignity, and, secondly, they are members of some family or other and I would not wish to cause further hurt to them. Also, there is enough negativity in the world and I do not wish to add any more. I want my pictures to make people smile,  not add to their doom and gloom.

A significant number of my ‘faces’ are of older people living in rural areas, as I do. Some would have worked on the land for all of their lives and in many ways are part of a lifestyle which some believe is vanishing.  A lifetime spent in the open air, working hard, without the benefit of facelifts, botox, or even sunscreen, and possibly having smoked for 40 or 50 years can make for interesting faces. We may never see their likes again and in some small way I would like to think that I am recording just a little bit of their history.  That means that context is important for me and I will nearly always indicate where and in what circumstances I have taken a picture.

2: What equipment do you shoot with and why?

My camera is a Canon EOS 60D (I hope to upgrade to a 5D Mark III shortly). I started with a basic kit lens but then moved on to use either of three lenses for street photography –

Canon 70-200mm f/2.8L IS II USM Lens; Canon 60mm f/2.8 Macro EF-S USM Lens, and my latest acquisition a Canon 135mm f/2L USM Lens.

As you can see at one end of the spectrum I use a zoom lens (though rarely at 200mm, most usually around 100mm) and at the other a macro – probably an eccentric approach. However, I believe that you shoot with what you have and use it accordingly (and appropriately too, I hope).  I think the important thing is to concentrate on outcomes and not how you get them.  I am more likely to use the zoom when I am moving about and the macro when I am in a particular spot and people are going to pass me by. The 135 is great for sharp shots when space permits.

I do not have a fixed approach. Having said that, I am not an ‘in your face’ street photographer.  I think it can be rude and does not guarantee good shots either. Some would possibly argue that my approach is not real street photography and good luck to them! They can do it their way and I will do it mine! I think all the talk some people have about having the cojones to get up close is self-indulgent rubbish. For me street photography  is not about ‘you’, and what you have or do not have;  it is about ’them’  and how you will get their picture.

You see the picture in your eye and use the camera to record it; other body parts have nothing to do with the task at hand!

3: What’s your view’s on colour versus black and white photography?

I accept that black and white is probably most appropriate for most street photography and more often than not take that approach. However, sometimes a picture just demands a colour approach. Somehow or other a stunning red head does not look as good in black and white.

I like both, I take both, but I always have a question in the back of my mind as to ‘how will this look in black and white?’

4: Are you working on any projects that you have so far not published?

Yes. I am slowly building a collection of what I call ‘Local Faces’ and would at some stage like to have an exhibition of them locally. These are all candid shots taken at public events locally and at this stage I have a nice collection of various members of our local community ranging from our Taoiseach (Prime Minister) to the local “Big Issue” vendor. I have a lot of what would be regarded as local characters in the bag but I still have a few people on my hit-list. Persuading the people in the local Arts Centre to mount such an exhibition may be a challenge – it may not be arty enough for their tastes!

I am also doing quite a bit of macro photography at present.

5: If you had one piece of advice for street shooters, what would it be?

I have nothing major, but a couple of small suggestions that might help.

I do a lot of work for local community and charity groups. I am retired and it is my way of giving something back to my local community.  If you really want to shoot people but are nervous about it I suggest you volunteer you services to local community groups or charities. If they run fund-raisers or other events they will always appreciate having a photographer.  Also, people at such events are invariably in good humour and will not object to being photographed. I think it is good training exercise for street photography.

On the street shoot as fast as you can.  If needs be pump up the ISO – a bit of grain will never be noticed in a street shot!

You have to see the shot before you can take it so try and ‘educate’ your eye. Learn to anticipate what a person may do next but always hope for the unexpected because that’s when you will get the best shot.

Never delete stuff directly from the camera unless it is a very obvious non-runner or out of focus. Don’t rush to delete stuff in a hurry afterwards either and re-visit at a later date because you may not always see the merits of a good shot immediately. Also you should always look for ‘the shot within the shot’ because sometimes little gems may be hidden from immediate and obvious view!

Frank’s Flickr Stream

Robbie is a half Scottish, half Italian street shooter, so we know his work will be at least half good

Robbie’s work is extremely varied and interesting, mostly, I think, because his work is primarily film based and he uses a load of different cameras and this probably stops him doing the same old thing all the time.

Based in Napoli, he has a great base for interesting street photography and he makes the most of it by delivering a very high standard of work…

Jim Rice (previously featured on this blog) says…

“I’ve enjoyed Robbie’s photography immensely and look forward to seeing more of his work. He does great work with his Hasselblad and it is always a treat to see images still being recorded on film. Robbie has a great eye for street photography as well as scenes that capture life around him.”

Name : Robbie McIntosh
Location : Napoli
Photographic Genre : Street Photography

Robbie’s Bio

I am 35 years old, half Italian, half Scottish.
Living in Italy for a while, due to a work assignment.
Amateur photographer, film enthusiast.
Shooting mostly in 24×36 format, with an occasional crush on medium format (6×6 and 6×7).

1: How and when did you discover street photography as your genre?

It’s hard to tell how and when. I just love walking and I soon figured out that shooting people in the streets was much more exciting than shooting landscapes, portraits, still life, etc.
Anytime I go out for shooting, I never know what it’s gonna happen.
People’s reactions are the most unpredictable. Some just ignore me, some are amused, some are friendly, some get angry, some are wondering what I’m doing.

2: What equipment do you shoot with and why?
I have too much stuff! My favourite format is 135, since it is fast, essential and lightweight. I shoot mostly my Leica M6 TTL, it is so silent and unobtrusive. The only camera that makes me look invisible!
Summicron 35mm f/2 v4 is my workhorse lens. If I want to get closer, I use a Summicron 50mm f/2 v4, and anytime the light is low I shoot a Summilux 50mm f/1.4 v2. I believe that 35mm and 50mm focal lengths are perfect for a rangefinder camera.

Sometimes I take a ride with my Kiev 4A, a soviet rangefinder meterless camera. A bit slower to use than the Leica, but still a pleasure to shoot.

On the medium format side, I use my Hasselblad 500 C/M, mostly with 50mm f/4 Distagon (which is a wide angle on 6×6 format), and a Mamiya 7 with a 65mm f/4. Medium format forces me to think more, to be less instinctive. The level of detail on a 120 format negative is outstanding.

3: Can you tell us a little about how you see Napoli through the viewfinder?

Napoli is an unbelievable city. You can feel and touch the soul of this city just as you take a walk downtown. It is a city full of contradictions. Johann Wolfgang Goethe lived here for some time, and he stated that “Napoli is a paradise inhabited by devils”. This is the perfect synthesis of what is good and bad in this place. A blend of sacred and prophane. You love it or hate it. You can read all this struggle in the face of the people you meet in the streets, everyone seems to wear the sign of the burden carried on the back of all the past, present and future generations.

Many outlanders ruled here: the Greek found the city, then came the Romans, the Ostrogoths, the Byzantines, the Normans, the French, the Spanish. You can still see the traces of all these people, layer by layer.

4: Why do you use primarily black and white?

Black and white makes people focusing on the subject of the photograph. Someone said that if you take a group shot with the President of the U.S.A. in the middle, and a guy wearing a red shirt near him, everybody will notice just the guy wearing the red shirt!

5: Are you working on any projects that you have so far not published?

I have a couple of ideas running in my mind, probably in the near future you’ll see something. But shooting mostly random action, I just get what the street gives me. So I’m not a big planner.

6: If you had one piece of advice for street photographers, what would it be?

Try to get as close as you can get. Don’t be shy or have fear.

Try to feel the rhythm of the street and go with the flow. Ride its wavelength.

Don’t waste your time in focusing, use zone focus.

Don’t shoot from the hip.

Try to predict what is about to happen.

Be fast, silent and unobtrusive.

Be just like the aethereal touch of a ghost.

Robbie’s Flickr Stream

I am, in young surfer speak, “well stoked” to have Olaf Willoughby as this weeks featured street photographer.

I’ve known about Olaf for some time due to his photographic work in the Antarctic, and coincidence happened to bring us together last Monday when I was invited to shoot in London with a group of well established street photographers from all around the world (more on this shoot in the next blog post).

Most of the guys in the group were shooting Leica M’s of various guises, apart from Olaf, who’s M9 was off to Solms for repairs, so he ended up shooting a little Canon. I was shooting mostly film on my M3, so I let Olaf borrow my Monochrom for an hour and off he went. I reckon, going by the shots he caught with it, that he took to it like a duck to water.

Olaf is what can only be described as a world famous photographer but he is not known for his street work per se. He is, of course, globally recognised for his landscape work, specifically in the Antarctic, where he shot a great body of landscapes that has been both exhibited and published in print. However, having seen some of his street work, I was desperate to get him interviewed for my blog and being the down to earth and decent fellow that he is, he kindly obliged.

His street work is a little wabi sabi. It has a tangible aesthetic that cannot be explained, only appreciated.

Olaf is also an advocate for the Antarctic contributing to the International Polar Year, and has worked with WWF UK. Author of, ‘On Tongue Tip Turn a Thousand Times’, a book illustrating Haiku poetry. Also, ‘Antarctica, A Sense of Place’, a plea for the environment, 5000 copies of which were distributed as an ebook by the WWF.

He also speaks on the art of using storytelling to improve communications, recently appearing on various platforms in London, Basel, Amsterdam, Shanghai, Athens and Chicago.

Name: Olaf Willoughby
Location: UK
Photographic Genre: Landscape (and street!)

Olaf’s Bio

Life has been kind enough to take me in two directions. In one I work with marketing agencies and clients, consulting and speaking on the use of storytelling to improve business communications. In the other I photograph and write to develop my creativity and fulfill a passion for the environment.

My personal interests are drumming and yoga. The common denominator here is rhythm. The energy which flows through data, images, words and even the breath. I enjoy the ebb and flow of these energies. I want to explore them and create new meanings.

1: You are very well known (and respected) for your landscape and creative photography, so when and how did you get into street?

I’ve never really been ‘into’ street. I always thought of it as an interesting way of developing a way of seeing but not my main concern. Then last year I went to Nepal and Tibet where there were some wonderful street opportunities. I was with a group of accomplished travel shooters, so I had to learn fast, really fast. Now I’ve got the bug.

2: You use a Leica to shoot street, can you tell us why?

I love using the Leica for two reasons. Emotionally it just feels as though I’m ‘closer’ to my environment, its like a piece of jewellery and it makes me work to get the shot. Rationally, for me, it is the best overall combination of quality, size and weight on the market. And when you add a second or third lens then DSLR’s start to increasingly look like dinosaurs. That said I’ll also use whatever camera is at hand to get the shot, including my wife’s Nikon V1 or my iPhone.

3: Having spent a day shooting with you, I noticed that you are quite selective about what you shoot. Is this a throw back to film days or something you’ve learnt from other disciplines?

I think it comes down to personality type. I’ve been in the Antarctic and seen guys shooting icebergs on machine gun motor drive! Some people like the comfort factor of choice. I prefer to choose the subject and then ‘work it’. That can be as simple as finding an interesting place and waiting for something to happen. Or maybe it is just a decisive moment, a passing expression.

4: The majority of street photographers publish in black and white, but your work is mostly colour. Any particular reason you prefer colour for street photography?

I think my colour street work to date was driven by the location and the people. The Sadhus (holy men) you’ll see here just scream out to be in colour. I’ve also included here an older shot from Italy of the lady sitting in the shadows, where I think colour would not have added any value at all and so it is in black and white.

5: Are you working on any projects that you have so far not published?

Yes, a series of Improvised Landscapes combining multiple images. Also a very fresh project which is still work in progress but is based on street shooting, so I’ll keep you posted.

6: If you had one piece of advice for street artists, what would it be?

Play! Street shooting tends to follow defined lines; sharp shadows, graphic energy lines, decisive moments… and so on. This is great and we all take these kinds of pictures and some of them reveal touching human insights. But creativity often comes from play, experimentation, just trying something out.

I’m a strong believer in the principle that, ‘If your waste bin isn’t full, then you’re not trying hard enough’.

Olaf’s Website and Blog

Olaf’s Flickr Stream

Dee (Deirdre) McIntosh is a first rate portrait photogrpaher who is well known and followed on Flickr. Her portrait work is fantastic and her use of light is world class. However, she also shoots street. I find her work interesting as it’s obvious her portrait photography influences her street work. It’s close, it’s connected and it’s composed.

As well as the street shots you see here, it’s well worth visiting Dee’s Flickr stream to see her portrait work (link at the end of the article).

Name : Deirdre McIntosh
Location: UK
Photographic Genre: Portraiture and Street

Dee’s Bio

I’m an American from the Jersey shore, but have been living in England since the late sixties. I came here for a vacation, and never went home. Long vacation.  I’m a  retired secondary school English teacher.  My son is married to a former student of mine and my Oxford-educated daughter has just qualified as an English teacher herself, making her the fifth generation of teachers in the family. Both my children and grandchildren  live near enough for me to be able to use them as convenient models whenever the need arrises – bless their little cotton socks. I’m very lucky.

My history with photography goes back nearly sixty years. I can remember crouching under a hydrangea and putting fresh film into an old Brownie box camera as a little girl, so I must have had one of those at some point.  Then back in the sixties I took a short but intense photojournalism course so that was my first real introduction to SLR photography. The dark room was such a place of magic. The smell of the chemicals, the ritual of putting the blank paper in the different trays and watching as the images appeared. It was all so thrilling. However, I was never able to follow up that initial enthusiasm. No money or time. Real life, marriage, babies, career – it all took over.

Four years ago as I was nearing retirement, I finally got my first DSLR: a Nikon D90. It was love at first site and quickly became an obsession. I now shoot with a D700, but I still adore my D90, as it opened the world of photography to me again. I also recently purchased an Olympus E-M5 to use for street photography. It’s superb and with only two lenses (12mm and 45mm) I find I can take it anywhere easily and always have a camera to hand. Those last few years before I retired from teaching, I used to take  a camera with me everywhere, even into the classroom. I’d be teaching Shakespeare and snapping shots of my students at the same time. I think they found it a little disconcerting, but they soon got used to it. Now I’m never without my camera. If I’m at book club, I’m taking photographs as we talk about our latest read. If I’m at Sainsbury’s, I’m snapping shots of people as I wait in the queue.  If I’m on the Tube, the passengers are a constant  temptation to shoot, shoot, shoot some more. There’s always a photographic  opportunity of some sort, and on the rare occasions when I don’t take a camera with me, I always, always regret it.

People used to warn me that I’d get bored when I retired, but nothing could be further from the truth. The days aren’t long enough. There’s always some new photographic technique to learn or some book I haven’t read, or some film I haven’t watched. I have no doubt that on my last day on earth, they’ll have to pry the camera out of my cold, cold hands.

1: You are primarily a portrait photographer but every now and again a street shot sneaks into your Flickr stream. How did you get into street?

I’ve always loved other people’s street shots. Many of them are social documentary at it’s most visceral level. I’m in awe at the way good street photographers seem to be able to capture the everyday apparently so effortlessly. Your work is a case in point.  It’s superb. I find it insanely difficult to take shots ‘on the fly.’   In my studio I can take control of all the variables; the pose, the lighting; the composition. In street you have to snap and hope, and I rarely manage to take anything that I’m happy with.

2: What equipment do you shoot with and why?

I used to take my D700 with a 35mm lens on street treks, but it’s very hard to be inconspicuous  with a full frame camera.  I  bought a Leica X-1 specifically for street work, but I was never able to use it effectively. Focus seemed too slow for what I needed it to do, and I never worked out how to use zone-focusing effectively. In the end I sold it and bought an Olympus E-M5. Magic. It’s got a tilt-screen with blazingly fast touch-screen focusing. With only two lenses (12mm and 45mm) I can cover all eventualities. I have stood  right next to someone in the tube and snapped shot after shot of them while they remained none the wiser. The E-M5 is perfect for unobtrusive street shots. I hope to start using it more and more.

3: You are a master of light and this is expertly demonstrated in your portrait work. Do you look for light when you are shooting street and how else does light effect your street work?

You are too kind. I actually normally only use one snooted SpeedLight which I hold in my extended left hand, angled down at my subject. Not all that professional, but it gets the job done. For street I haven’t worried about light too much. In an ideal scenario, I’d love to be able to capture interiors with shafts of light slanting in through windows, but again, I rarely manage it. What I see in my mind’s eye is so difficult to capture in my lens. I just snap and hope.

4: You use colour often in your portraiture, what are your feelings about using colour in street photography.

Like most people, I generally feel B&W adds to the impact of street photography. However, sometimes you really need to let loose with colour. I went into London over the Jubilee period when  London was awash with colour. It would have been a sin not to try to capture it. All that bunting! All those flags. All those silly hats. It would have been a sin not to use colour. Same thing during the Paralympics.

5: You participate in a few Flickr critique and challenge groups. Do you find these groups help push you as a photographer in respect of meeting deadlines or expanding your photographic vision?

I find they have had such a positive impact on my photography. I think you can get blind spots over your own work, and just not see the compositional flaws. I can, anyway. So it’s quite handy belonging to groups where posters aren’t afraid to offer genuine constructive criticism. That’s the only way you grow.

6: Have you ever considered street portraiture as a project?

That’s a really good idea. I read Thomas Leuthard’s ‘Street Photography Washing Instructions’ – his fab free download and he suggests that approach. http://bridgewayphotoministry.files.wordpress.com/2012/01/streetphotography.pdf  Pick something like shoes and just take nothing but that all day, etc. I had a go at his approach,  using the idea of Primark shopping bags, but I  never got further than taking three shots: Primark Man, Primark Woman and Primark Daddies! Time to revisit the concept, I think.

7: If you had one piece of advice for portrait artists, what would it be?

Get a Gary Fong PowerSnoot! It totally changed my portraiture overnight. I suddenly found I could take the sort of shots I’d dreamed of very easily. With  only one SpeedLight and a Snoot you can unleash your creativity. Really. Try it and see.

Dee’s Flickr Stream

Dee’s Flickr Street Set

A month or so back I was involved with founding a group of likeminded Leica photographers called the Leica Meet.

Anyone is welcome to join as long as you shoot Leica… any Leica, and we meet up once every month or so in various locations so far in the Uk and shoot together for the day.

I will be publishing the best of the group every month on this blog.

gato-gato-gato

Gavin Mills

Sean Copeland

Bernhard Grabner

Laurent Scheinfeld

Steve Barnett

Sung Soo Lee

Win Soegondo

Michael Toye

Andrea Bianco Italia

bebegarden

Ian Brooke

Disclaimer: All photos shown are Creative Commons or “allowing downloads”. If you want a shot included in these articles, please make sure your shot is on the Flickr Group “The Leica Meet” and  allows download. If you would like your photo removed from this article, please contact me via this blog.

Naturally, I will not publish any of my own shots in these articles.

The hardest thing about interviewing Christine de Loë was choosing seven or eight of her pictures for this article. It’s ridiculous… I was going through her Flickr stream for about an hour and realised I’d only got to the third page. Everything is class – and I mean class. You really need to look at her stuff closely but take it from me… you will need around an hour. I ended up choosing ten pictures to feature and I know I have not done her justice.

Her work draws you in. There’s something very feminine about it. Very considered. Very connected.

Name : Christine de Loë
Location : Geneva
Photographic Genre : Multi-Discplined

Christine’s Bio

Photography, first of all is my passion. It has always been my passion and a few years ago it became my work as well.

Photography allows me to express myself.  It enables me to show what moves, fascinates and amazes me. A  moment, a special light or an expression that will last forever in an image – that is magical. Photography is a universal language, it’s just feeling and emotion.

I do not have guidelines or defined ideas or pictures I deliberately go after – it’s all about a moment, about something happening.

I’m self-taught and I try to learn and practice as much as possible but it was not until 2010 that I decided to seriously cultivate my passion.

I recently did two exhibitions in my home town, Geneva and have another one in two weeks time. The first one was surreal for me. Showing my work for the first time was like being naked… but what a rewarding experience!

1: You are a professional photographer but yet you still take photos as a hobby. After a day behind the lens do you find this hard to do or something you need to do?

Being able to turn your passion into work is a real blessing. Being first a big love and a passion, I could not imagine not taking pictures only for work projects. I am a mother of three boys and they were always the center of my photography. Children are for me the most wonderful subjects, their faces and expressions are magical.

I can be physically tired after a day’s work behind a camera, but photography is something I need to do. It’s not an effort… it’s something I love!

2: You have more kit than a camera shop so what camera and lenses do you use most and why?

I think it’s like testing different brushes for a painter or pencils for a designer – you keep testing until the day you find the one that’s right for you.

I started with big DSLR’s and ended up rediscovering Leica. (My father was a big Leica fan and was raised with these).

I keep one reflex just in case but my heart goes to my M system. I can do almost anything with it. Apart from being a wonderful object it’s also a wonderful tool – so less intrusive than these huge cameras. No zooms, only fixed focal length. It obliges you to move and get close to the subject and this is what photography is all about… getting close to get as much emotion and interaction as possible.

I learnt to take pictures differently and I love that. I could take my Leica with a 50 and I would be just fine. My favorites are 50mm and 35mm; portraits, landscapes, street – all can be done with these. More is just a luxury.

3: Your work with the Leica Noctilux f/0.95 lens is simply amazing. Tell us a little about your experience with this legendary glass?

The Noctilux has this very special thing one can not describe..it’s a magical lens. Every photograph you make with it has something special. If I had to keep one single lens, it would be this one without a seconds hesitation.

I am not talking about the technical description of the glass, it’s just how it feels, how it enables me to paint with it. I feel it’s the right tool for me. It has this fantastic smoothness as well as an unequalled sharpness.

The Nocti is not hard to use as frequently claimed. It can take time for some to get used to it but it’s worth it to keep trying!!

4: Most photographers I feature shoot almost solely in black and white, but you mix it up a lot? What are your views on colour versus black and white photography?

If I had to choose between black and white and colour, it would be black and white for sure… no doubt about that. My heart is in black and white  photography. It captures the essentials without the distraction of colour.

Someone said, I can’t remember who – when you take a photograph of someone in colour you photograph the colour of his clothes, when you take it in black and white you photograph his soul. And this is so true.

I have a Leica M Monochrom that only delivers black and white files and never feel I have lost something not capturing colour.

Nevertheless, I sometimes feel colour can be more appropriate, mostly in landscapes, but again, it’s always down to how I feel at that moment.

5: Are you working on any projects that you have so far not published?

I’m not  working on any project at the moment. Just waiting for something to show up, but I guess that it will be obvious the moment it does!

6: If you had one piece of advice for photographers, what would that be?

The only advice I can give is do it with your heart and your soul! Only good things can come out when done with the heart.

Christine’s Flickr Stream – You must see this!

Christine’s Website

This weeks top shots from The Leica Meet Flickr group.

Axel Wohlbold

Benya Acame

Camelot98

Daniel Novello

Elie Bescont

Ferenc Simicz

Gavin Mills

Gianluca Federighi

Giuseppe de Santis

Jason Howe

Johannes Huwe

Marc Hartog

Marc Hartog

Rob Steele

Steve Lee

Sung Soo Lee

Turodrique Fuad

Win Soegondo

The Leica Meet Group : Website – Flickr – Facebook

If you would like your photo removed from this article, please contact me via this blog.

This weeks top shots from The Leica Meet Flickr group.

Win Soegondo

Tobias Gaulke

Sung Soo Lee

Stephen Starkman

Rick Bronks

Mark Heaver

Lillo Cabrera

Lane 4 Imaging

Keith Goldstein

Julien Ducenne

jonathanliewys

Johannes Huwe

Haoming Wang

Frédéric Lanoizelé

Camelot98

Alex B Muir

The Leica Meet Group : Website – Flickr – Facebook

If you would like your photo removed from this article, please contact me via this blog.

This weeks top shots from The Leica Meet Flickr group.

@paul@

Antonio Sanchez-Barriga

Bill McCarroll

Camelot98

Christine de Loë

Daniel Suharya

Gireesh G V

Haoming Wang

Johannes Huwe

Olaf Willoughby

Rod Higginson

Sorin Vidis

Sung Soo Lee

Sung Soo Lee

Thomas Skov

Tobi Gaulke