In this episode, we meet Australian photographers Julia Coddington and Rebecca Wiltshire while they are visiting Varanasi, India. They explore ghats and alleys, and discuss different street techniques. Video by Gerry Orkin.
Tell us about yourself, how long have you been photographing, and how did you get started with street photography?
I was born and still live in Rome, which is also the main stage of my photos. I approached street photography about three years ago, more or less when I started my professional experience to become a lawyer. At that time I began to feel the need to escape from daily routine and to have something personal that could allow me to express myself freely. So I started taking photos, and while shooting I discovered a real passion. All the rest continued naturally. Actually, street photography to me represents a way to freely interpret the reality that surrounds me.
You mentioned Rome as the main stage of your photos, can you tell us how your location impacts your photography? Do you find the light there an advantage or a hindrance?
I think my location has an important impact on my photography. The aim of my photographic research is to propose a personal vision of the reality I live in.
I often want my photos to leave some pending points and not completely reveal the scene, allowing the spectator to imagine a possible story. For this reason, I often use light to hide parts of the frame, and to create a narration through interaction between people, shadows, and silhouettes.
Rome offers me the opportunity to develop this kind of approach, being a very bright city. I usually prefer to shoot with the afternoon light to take advantage of the depth of the shadows. At some moments of the day, like in the morning, the intensity of light might seem a hindrance, but I think it is possible to handle it by exploiting its positive aspects, such as the high contrasts of colours and shadows make people stand out—their gestures, their expressions.
Shadows and silhouettes in complex composition show up in a lot of your frames, is this what you are naturally drawn to shoot, or do you pick these afterward when editing?
I am naturally drawn to the light and the strong contrast that it creates. I can use the light to design my photo, and develop an intuition. Sometimes, I look for scenarios with intense cuts of light with alternating shadows. Once found, I ideally preconceive the image, decide what to include and what to exclude from the frame, and then I wait for protagonists to enter the scene. This is for me the most interesting moment, because the unpredictability of this kind of photography often does not allow you to know what will happen. Something unrepeatable might happen, or anything interesting. As you said, I usually look for multiple elements in the frame, trying to relate them to create a narrative also different than the real one. Shadows and silhouettes help me to make this possible—not to completely reveal the scene, giving a more subjective interpretation. During the editing, I pick up the photo that best expresses what I wanted to represent. This approach is not the only one I apply, but it is definitely prevalent when I decide to work with light.
Who are your influences? Is there a photographer that you especially admire?
Ever since I started dedicating myself to street photography, I have appreciated the work of many photographers. At first, I was fascinated by William Klein, in particular by his ability to be inside the scene, and so I started to follow that kind of approach. Later, when I decided to deepen the colour study, I really appreciated Saul Leiter, Harry Gruyaert, and Alex Webb, but I could continue with a long list of names.
I also think that the current international collectives, in particular, In-Public, are an important landmark. I love the works of Narelle Autio in Australia for the peculiarity of the environment and for the poetry I perceive in her shots. I am also deeply fascinated by the incredible insights of Matt Stuart and Tavepong Pratoomwong.
As you can see, I do not feel that there is one photographer in particular that I especially admire. The street photography scene is really full of talented photographers from whom to draw inspiration!
All your work has a strong sense of colour and contrast. Why colour and not black and white?
At first, I chose black and white and still today I admire many monochromatic works, especially of Japanese photographers. However, nowadays I just do not feel black and white as something of mine, but of course, I don’t rule out that I may practice it again in the future.
When I realized I was fascinated by colour, I studied it and I understood that its visual and psychological strength is so strong that the colour itself can be the main subject of a photo, and can fully express the photographer’s vision. I think of a phrase by Franco Fontana, who says that “Colour can make visible what was previously invisible and give it a sense”.
In my case, I decided to use colour to strengthen the sense of my photos, and to convey the feelings and energy I perceive at the moment I shoot. Colours are the measure and the expression of my involvement in the scene and for that, I cannot ignore them. If I see interesting colours, I can abstract them of context, and use them to convey my personal interpretation of reality. Or I can enhance contrasts between multiple colours and emphasize subjects in the scene.
For all these reasons, I can really feel satisfied with a picture when there is the right balance between light, colour, composition, and narrative.
Do you think being a woman affects your photography?
This is a question I have been asked several times, but I still do not know if I’m able to answer.
Probably women have a different sensibility than men, but not for the better. It’s just different. To be honest, I do not know if looking at my photos it is possible to understand that behind is the eye of a woman, but from a practical point of view, I can say that I find it easier to approach people than male peers.
For the rest, I believe that to have good results in this kind of photography it is necessary to have passion, imagination, curiosity, and patience, which can be present in both men and women.
Guest interviewer Susana Soler
Please tell us a little about you and where you are from.
I grew up in upstate New York and Phoenix, Arizona and moved around a lot for school and work. I have lived in Brooklyn, NY for the last 20 years, though and love it here. I still work full-time, but spend a lot of my free time on photography. One of the great things about living in New York City is that there are often interesting things to see and photograph while doing errands, walking from the subway to work, etc. When I can, I try to get to things a little early so I have a little extra time to wander and look for photos.
How did you get involved with photography? When did street enter the mix?
I started taking photos as a child, starting with a Brownie and then a Polaroid camera given to me by my brother. I purchased my first SLR, a Minolta SRT 101 in high school, and loved exploring photography with my father. But like many, life got in the way and I let it drop. I picked it up again with the introduction of digital photography, and was re-inspired by the ability to play and to see instant results. A 365 project really awakened me visually, and that’s when photography became a passion.
My draw to street is probably at least partially a result of living in New York City. I love the city and love wandering around it, taking photos of what I see.
Where does the inspiration to approach the street abstractly come from?
I was lucky enough to take a workshop from Jay Maisel, and there saw some of his photographs shooting through something, often some type of fencing. I had never seen that before, and found it truly inspiring, and something I was very drawn to. From there, I just kept playing and exploring—finding different ways to abstract images. It wasn’t anything I consciously decided to do, but rather something I found myself naturally drawn to. I think it’s because it allows me to transform the world around me and show my personal vision of it.
What techniques do you use to create this “Street Impressionism?”
The primary tools I use are shooting through something and reflections. I look for opportunities to transform the scene into something new, but still have it recognizable. One particular favorite is UPS trucks (the three above photos with the dots/rivets.) I’m working on a series with these trucks, but it’s slow going. I have found that when the light is right, UPS trucks reflect pretty well, and they provide a great texture along with other bits of grunge, and I think this makes the photos very interesting—when they work. It’s rare to find the right combination of light and reflections. Weather also often provides great abstractions, either the falling snow or rain itself, or even the fog or droplets left on windows. I also love to use shadows and silhouettes and intentional camera movement. For me, photography is really visual play—playing with light, color, lines, shapes, and forms. I only use in-camera techniques, not post-processing, to achieve the abstractions since for me, the fun is finding them in the real world.
Please tell us a little about you and your background with photography.
I graduated in Graphic Design, but since my teens, when I used to follow and admire my mother’s social photography as well as one of my brother Frank’s photojournalism, I have been very passionate about photography. This passion has but increased ever since. It has increased to such an extent, that in the last few years street photography has become a way of escaping, and of isolating myself from my daily issues. The combination of my profession, my love for people and the stories behind them, or better said, the stories that I imagine. These instinctively and intuitively make me want to search for those compositions with a touch of geometry, light and shadows, which on the other hand also push me to go on and on.
Where are you from, and where do you live now?
I was born in Madrid, from an American father and an Italian mother. At the moment I am living in Madrid but am constantly going back and forth between here and Rome.
Does your location have an affect on your work?
These two cities inspire me greatly in every other way, and therefore yes, I suppose they do have an affect on my work. They are both amazing locations for street photography, and I find they have the perfect ingredients for my way of looking and capturing my street stories.
In Rome, it goes from a tourist to a typical classy Italian lady; from a decadent building to one that is architecturally rationalist; from a dark and cloudy Mediterranean sky, to an amazing golden afternoon light. It is all there. With Madrid, it is very much the same, and also so full of wonderful, intense and intriguing stories, which I try to convey through my images.
In your photos, light and shadows appear frequently, what inspires you to achieve this aesthetic quality?
I think the two cities where I am based have an outstanding light to play with, so everything comes quite naturally and instinctively. Also I am very attracted to the different unpredictable geometrical and non-geometrical shapes that are formed by light, depending on the time of day when I am on the streets shooting. Whenever I can, I use shadows to add some mystery to the image. Somehow, it will hopefully take the viewer (and myself) somewhere unexpected.
Shadows and silhouettes are an often-attempted subject in street photography, how do you find and see shadows, and how do you make this successful?
Generally speaking, I think the use of shadows and silhouettes can add an extra bonus to the photo. They can say a lot without revealing too much detail. They may also give an overall graphic look to the image, and help emphasize the rest of subjects in the photo. In my personal case, the use of shadows and silhouettes may also very well be kind of an extension of my profession, where I am used to synthesize a message with the least and most effective elements. In my photography, I probably have this same way of feeling and seeing, where I want to show less but hopefully convey more.
You shoot in color, although you do have some photos in black in white. How do you determine which photos you process or shoot in black and white?
Lately I am in a color phase and mood, so my mind intuitively sees the stories I am attracted to in color. However, I sometimes feel that an image may gain strength in black and white. Sincerely, I have no rules on how I determine which photos should be processed in black and white. Here too, I think it is a question of gut feeling, and I am a deep believer in following my instinct.
Are there ways in which being a woman affects your approach to what you do?
Unconsciously, I think my style has adapted to the limitations of being a woman shooting on the streets, so inevitably I think my style is quite feminine. In this case I don’t mind the result, but what I do mind in a way, is that I haven’t specifically decided for it to be that way. But yes, I have probably been driven to it because of those limitations. I am an extrovert and quite impulsive, and am usually not at all scared of getting close to my subjects, but I know that the fact of being a woman, especially in this side of the world, conveys much less respect than if I were a man.
Orietta Gelardin Spinola | Instagram |
Guest interviewer: Susana Soler