[Leica] Digilux invisibility AND OTHER STUFF.. :-(

[tedgrant at shaw.ca (Ted Grant)]

B. D. Colen offered:
Subject: RE: [Leica] Digilux invisibility. :-(


> I don't know how the person in question behaved - but I can tell you
> that I behave in such a way that almost every one of my clients comments
> after I've spent a day shooting them with their families that 'they
> forgot' I was there.<<<<<<

Hi B.D.,
Right on mon ami, the big secret is out!!! :-) It's called being invisible,
quiet, don't move around any more than you absolutely must and when you do,
it's quietly and move when the subject is looking in another direction or
distracted in some other action.

It's moving as stealthily as a panther stalking it's prey. You are there to
take pictures, not be engaged in conversation. You're not part of the story
being shot and if you get into a yapping session you are screwing-up the
photo moments instead of recording them.

If you are asked a question answer quickly and quietly and DO NOT OFFER
ANOTHER WORD! Do not show any emotions or reactions to things happening to
or about your subjects, nor when they say something funny, ""do not re-act""
as in smile or laugh, that illustrates you are listening and they will open
a dialogue with you because you smiled or laughed.

> The trick to shooting where and how you want to is
> to blend into the woodwork - and you can do that with a huge cannon of
> an SLR, with a chrome M, or with a black holga. It simply requires being
> quiet, moving as little as possible, keeping the camera up to your eye
> as you wait for the shot, and just being as subtle as you can. Which, I
> know, certainly doesn't sound like me - or Ted for that matter, but I
> know he'll tell you exactly the same thing.<<<

It's always be ready to shoot at the blink of an eye, quick, quiet and not
right on top of them. And if you are right in their face let them be as
active as possible in body and mind. A busy concentrating mind is the best
distraction you have on your side shooting in close quarters with the
subject.

It's being like an athlete for re-action to the action, anticipating things
that may or may not happen. But always ready to shoot as you read the body
language or actions of how the subject walks in or out of the light or
composition.

Don't be fiddling and farting about changing lenses and making noise, that's
why I use three, sometimes a half dozen cameras all at the same time, as it
allows me to see and shoot as fast as it's happening.  By the same token
sometimes I'll only use one camera and one lens and still use exactly the
same technique as with six.

It's shooting in a board room full of executives around the big table and
not have them realize your shooting, moving from one position to another for
a different angle....... and being invisible doing it! ;-)

This is the ultimate of reading body language, what's happening, the head &
eye-line of the sitters and knowing when to move. Remember the panther. ;-)

Actually this all begins before the execs even get in the room because you
must be in there before they arrive, so when they do you're already
established as being there and part of the furniture.

It's best to hold your shooting until everyone is seated and they are into
conversation action before you start, that is if this is your first time
with this particular group of people. Otherwise if they're accustomed to you
being around then you might knock off the odd frame as they're entering and
being seated.

But generally I park my butt after selecting a position in-relation to the
best light use and subject angle and not acknowledging anyone coming into
the room, even when I know them. Remember you're not part of the story, you
are the recorder, you are invisible, not there, they never see you if you do
not re-act to anything happening in the room, other than you shooting
quickly and quietly.

And they should never be aware you are shooting, let alone being there. If
they are? Well then you've failed!

So endeth the lesson for to-night. ;-)

ted