Building Relationships
I once read that if two Germans meet, they will form a club. I am not German, but they perfectly illustrate this universal need to belong. They are generally not the most extroverted of people, but even introverts have this need to form a relationship with somebody. As photographers, we have this same urge, but perhaps in a more subtle way. When I’m out on the street, I will always notice someone with a camera, even when I’m without one myself. I find myself looking to check the brand, possibly the make of the camera, and the type of lens the person is using. Even when we simply nod at each other, it’s a recognition of our shared enthusiasm for the art form. Am I judging them? Sometimes, yes, but to err is human.
When I see a film camera around someone’s neck, I am immediately drawn to it. When I venture out with the behemoth Mamiya C220, the camera is almost as much a statement as the actual image I’ll eventually take with it. People will come and inquisitively ask, “What kind of camera is that? Can you still get film for it?” or say, “Yes, my grandfather had one like that.” The obvious charm of a medium format TLR in this modern world.
Photography is sometimes seen as quite a niche activity, and film photography even more so. A film camera gives out a more exclusive vibe, telling the world that, yes, we actually are serious about this, and know what we are doing, as the camera isn’t doing anything for us. We are artists and therefore superior to you, at least that’s what we tell ourselves for validation… One could argue that there is a need for even more knowledge with film photography, and that the need to develop our films just goes to show our dedication to the craft.
Well, not always. But it does give a starting point to a chat, which invariably leads to a discussion about this shared interest, and gives us a common starting point to our relationship, however brief that relationship might be.
I also want to explore the relationship between the subject and the person photographing that subject. For a long time, I was petrified of using a model. I’m an introvert by nature, so the idea of having to make small talk with and direct a model was awful. I wanted to learn more about photographing a model and to break out of this comfort zone. Strangely, buildings won’t talk back at you or tell you what they think of your shot. People, on the other hand, are completely different.
I had learnt basic lighting technique and then had to find models. Luckily, I could rely on my daughter and wife as my first subjects, then branch out to include my son and his then-girlfriend. I then moved onto unsuspecting friends, fellow musicians, and eventually felt my confidence slowly building enough for me to photograph complete strangers by establishing that rapport between us. I discovered that sometimes they were as terrified as I was. Again, something we had in common…
I followed some advice from Sean Tucker, who specialises in portraiture. I simply had a conversation with my model, which seemed to put us both at ease. This allowed the model to detach from the shoot and just chat away.
Community and Collaboration
But connection isn’t limited to brief exchanges with strangers on the street; it can also be found in deeper collaborations with other photographers. As I said earlier, I am more of an introvert, and the idea of making an effort to be sociable is something I find exhausting. At parties, I have been known to chill out on the outer realm of guests and chat to the dog. Hey, we have great conversations together!
However, I have been known to make that special effort and even meet up with other photographers. If you’ve ever talked to me about photography and the merits of various pieces of kit, and actual cameras, you’ll know that I can talk about it until the cows come home—to the point that most people switch off after 30 seconds. But when you have a captive audience who actually cares and knows what you’re talking about, it just brings me out of my shell.
Sometimes one might think it’s a very blokey thing to meet up with other men and talk about, and participate in, some rather niche activity. That might sound a little suspect, but I assure you it isn’t.
I once had a meet-up in Nantes (the very first article on this blog), and it was so rewarding. It was a typical male bonding activity, and everyone, except for me, brought along their biggest cameras and most expensive lenses. It almost felt like a competition to see who had the most impressive camera. I just brought my relatively tiny X100F, the thinking man’s camera. Much like my car, it’s not the most inspiring thing to look at, but I enjoy using it, and it certainly gets the job done in a very satisfactory way!
I have also collaborated with Nantes Grand Angle, a collective of photographers that have outings in and around Nantes. In exchange for a free tour or free visit, we take pictures during the outings and write about them in our blogs or publish the photos on Instagram. I have done a couple of outings with them, and it’s always interesting to see other photographers in action. They are there seeing the same things as me, but not in the same way. That sense of belonging has a huge feel-good factor too.
A Shared Lens
Photography may often feel like a solitary pursuit, but beneath it lies a powerful thread of connection, weaving us together through moments captured and stories told. Whether it’s the subtle camaraderie exchanged between strangers with a simple nod on the street, the thrill of collaborating with others who share our passion, or the quiet understanding forged with a subject in front of the lens, these encounters remind us that we are never truly alone in this journey.
Through photography, we find not just a way to see the world but a way to be part of it—a community of like-minded souls bound by a shared appreciation for light, shadow, and time itself. In the end, our photographs are a bridge, linking us to others and creating a lasting connection beyond the mere act of pressing the shutter. For as long as we hold a camera, we’re part of something bigger, capturing fragments of life that, no matter how fleeting, will always connect us back to one another.
Also in this series: Part I — An Introduction · Part II — Why Do We Photograph? · Part III — The Emotions of Photography · Part IV — The Art of Storytelling · Part V — Identity & Self-Expression · Part VI — Connection Through Photography · Part VII — The Philosophy of Impermanence · Conclusion
