Street Project: Paris

I've accepted that we'll never see everything there is to see nor photograph everything there is to photograph in Paris.  It is so big and its tapestry so rich that it would take ages to experience it all.  But, that won't stop us from trying.

Weekend Away Kit

iPhone 5s

We went back to Paris last weekend for a quick break from the doldrums.  Our train came in late Friday night and we left about mid-day on Sunday, so we really only had Saturday there.  We decided that we'd use the brief visit to explore some of the markets Paris is famous for.  It was also a chance for me to try my hand at street style photography, something I've been itching to do for a while (UPDATE: scroll to the bottom to learn what a giant cluster this actually is).  And, it presented the perfect opportunity to try out the kit I had designed for weekend travels.  Our trips are usually pretty brief.  On average they're 4 days because my husband only has 10 days vacation for the year (The Company has a terrible vacation policy for its American employees, a definite sore point when everyone else in Germany is given 30 by law!).  Sometimes on these brief escapes carrying several bodies just isn't practical or necessary.  One of the reasons I opted for a mirrorless system for my second body was because of the smaller size and increased versatility.  They're perfect cameras for travel.  The kit I came up with for a couple days in Paris was composed of the Fujifilm X-E2 paired with the 35mm lens.  I stuck the 18-55mm lens in the bag for good measure (and because I had the room). I brought along my old Joby GorillaPod, the remote shutter, and, of course, spare batteries and cards.  All of this fit in in a small camera foam partition which slides easily into my 38x12x28cm Vaho Ginkgo bag while leaving room for other daily essentials.  It was the perfect setup for carrying a camera around the city all day and using it easily without hindering or drawing attention to me.

We spent half of Saturday at the Vanves flea market in the 14th arrondissement.  Quality antique flea markets (sadly, a rarity in the States) are a great place for picking up unique and bargain items.  They're also perfect places for watching and photographing people.  The Vanves market seemed populated almost entirely of character actors.  I'm not sure what was more fun, browsing through all oddments or soaking up the scene.

Street portraits are a tricky business (NOTE: more on why at the bottom).  Most people don't like having their picture taken without knowing about it, let alone by a random stranger.  But, candid street portraits present the most realistic presentation of a city's soul, in my opinion.  They're not posed, processed, or planned.  What you see is what you get.  Not all cameras setups can work for this sort of photography.  I can tell you my Canon 600D with the painfully slow 50mm lens and KA-CHUNK KA-CHUNK shutter definitely does not.  But, the X-E2 with the 35mm was perfect for this experiment.  The lens' autofocus is nice and quick and the camera itself can be set up specifically for stealthy street photography.  With all the hustle and bustle in the markets I found myself shooting from the hip more often than not, and was pleased with what the camera captured.  Having dials at my finger tips instead of a menu I had to scroll through made it easy to switch settings in order to capture some of the interesting items for sale as well.

Disorganized bric-à-brac

Keychains

Curiosity

Minibars of a bygone time

The following day we breezed through the Porte de Vincennes food market on our way to the Gare de l'Est and our train home.  We didn't have time to make any purchases, but it was a lively place to wander through on a Sunday morning.  Of course, this neighborhood has been in the news recently because of the tragic events of January 9th.  It didn't feel right to come to Paris without paying our respects to the victims of the dreadful events of two months ago.  The Porte de Vincennes Hyper Cacher kosher market where four Jewish men were executed by the ISIL jihadist Amedy Coulibaly is still closed.  Barricades block access to the building and it is under constant guard by gendarmes.  A month after the attacks a 38 year old man tried to ignite an Israeli flag in front of the store and was immediately arrested.  Concerns for the Jewish population of Paris remain.  Today, bouquets of dead flowers and water filled candles still rest along the barricade.  There were few visitors to the site despite the bustling market across the street that morning.  The store is scheduled to reopen again later this month.  It is unknown if there is a plan to erect a permanent memorial or if when the flowers and candles are cleared away there will be nothing to remind people of what happened here.  In a time when such atrocities are becoming commonplace remembrance is extremely important.

We ended up with some extra time before our train so we wandered over to the Canal Saint-Martin near the train station to watch the boats and enjoy a quiet moment before heading home.

And, of course, train stations are always perfect places for some candids.  Paris's stations are some of the busiest in Europe.  We always arrive and depart from Gare de l'Est and usually wait there for an hour so we can grab lunch or dinner.  I enjoyed being able to snap away from my bench while we waited, capturing the mundane moments of travel and the character of the old station.  We adore train travel and intend to do more of it in the coming year.  Trains are more comfortable, quieter, easier, and fun than flying.  And, spending time in the stations certainly beats the purgatory of airports.  If we can get a train somewhere, we'll take it.

I was really pleased with my choice of kit for our weekend in Paris.  I never used the 18-55mm lens as I enjoyed the creative challenges and payoffs of working only with a fixed focal length.  It was my first extensive use of the 35mm since I received it last month, and its performance for fast paced street photos was impressive.  The old Canon "nifty fifty" has officially been retired.  I also decided to only shoot in black and white.  For me, Paris is striking in monochrome and I have a very hard time thinking of shooting it any other way.  Fujifilm's black and white film simulation has excellent balance and contrast.  Thanks to that and the excellent 35mm lens I didn't need to do anything in post except crop.

The last shot of the weekend was taken back in Frankfurt at the train station as the lowering sun pierced through the glass canopy over the platforms, putting the passing travelers in silhouette.  I snapped it just as we ducked through the exit onto the street bringing a wonderful weekend away in our favorite capital to a close.

The rest of the photos can be viewed on Flickr.

BIG HONKING NOTE:  Some of you may be asking "Hey, you're writing about street candids but I don't see any on here" or "Hey, I looked at Flickr or this post earlier and there were more photos."  Well, you'd be very correct in your observations.  I'm definitely still learning some stuff and this experiment had me crossing a bridge I haven't encountered before with landscapes and cityscapes- European photography laws.  I knew street photography isn't favorably looked upon here in Germany.  Heck, they don't even have Google Streetview in the majority of the country.  More and more street photographers are experiencing hostility (and sometimes assault) from subjects, even in popular public places where people would likely be taking photographs.  Basically it's illegal to publish (yes, even if it's just going online but not for sale) someone's picture in Germany without their permission.  There are exceptions, if it's a public event like a demonstration or a sporting event, if they're a celebrity (but not their kids), if you would be unable to determine their identity in the photo (face is obscured), or if they're a performer.  If there are a bunch of people in the photo (some sources say more than six) it's ok to have them in the picture.  The laws may be changing by becoming more strict in the near future, but that's still up in the air.  So, the picture above is totally fine because you cannot recognize anyone in it due to the lighting.

I didn't even think about this in Paris.  I mean, France is the birthplace of the great street photographers like Cartier-Bresson.  We visited the Henri Cartier-Bresson Foundation last weekend, for crying out loud.  People are snapping photos all over the city all the time.  But, in reading about the possible change of legislation in Germany, I discovered that France is just as, if not more, strict.  You cannot take someone's photo without their permission at all (except at sporting events, celebrities in a public place).  People own the rights to their faces, basically.  I cannot legally exhibit a photograph taken in France with a recognizable person in it outside of the above exceptions (whew, on the Tour de France stuff!).  There are even some strict laws regarding permanent objects like, for example, the Eiffel Tower.  French photography laws (explained rather well here) are, in short, ridiculous.  They celebrate their pioneers of photography with numerous exhibitions and museums, but then tell modern photographers that they can't practice their art there.  In this day and age of smartphones it's impossible to enforce these laws consistently, but lawsuits do happen- most often in regards to candids of individuals.  It's a sad situation, because in my opinion freedom of expression has been completely stamped out.  This doesn't stop people from taking candids from the hip (and it won't stop me), but it does stop me from showing them to you online, in a book, or on a gallery wall.  Hopefully, one day these laws will be reigned in and all these moments of place and culture captured by street photographers will be legal.  Until then, I'll keep snapping in France and Germany, but, alas, you'll have to schedule a private viewing of the results.  I'm pretty sure HCB is rolling in his grave.  If he were alive today, he would be prosecuted!  C’est n’importe quoi !

Oh, and if you're shooting in Hungary, bring your tripod, ND filters, and remote shutter for your day shots. 

Paris in December

When I sat down last week to write this post it was the morning after the Charlie Hebdo attacks.  I had "write about Paris" at the top of Thursday's to-do list since Monday.  But, in the wake of the tragedy, I found myself staring at a blinking cursor for over an hour, completely incapable of finding anything to say.  Writing about photographing Paris seemed inappropriate or insensitive, I'm not sure.  I closed out Blogger and decided to come back later.  So, here I am back the following week still not 100% sure about this post, and troubled in my spirit.

There are three cities that I adore, love so much they almost seem a part of the family in some way.  I'm not from them, and I haven't lived in them.  But, when we visit them, being there always brings us joy, a joy you can't help but mention, one that causes a smile to be plastered rather stupidly on one's face for the extent of the visit.  Most cities have the opposite effect.  In fact, I would happily exchange a weekend in a city for one in the mountains 9 out of 10 times.  But, New York City, Ghent, and Paris are special and will draw us back again and again.  Paris, well, it stands above the other two.  It may be cliche to say Paris is my favorite city, but honestly I don't care.  It's magic.  If you go, you'll get it.  If you don't get it, then you didn't do it right.  There's more to it than its architecture, history, shopping (if you're into that), food, and cultural spots.  It's all that and more.  There's a soul, a feeling of depth, memory, and insight coming from its very stones.  I'm not sure if I will ever be able to put my finger on it, so the only solution is to keep going back and get to know the place a little better each time.

Our most recent trip to Paris was the last week of December.  We popped over on the train, rented a loft apartment for four days, and spent the majority of the trip walking The Dog's feet off all over the city from Trocadero to Sorbonne from the 2nd Arrondissement to Chaillot and back (because he refused to ride the Metro).  It was clear and cold for the entire trip, so we bundled up in long underwear, fleeces, parkas, hats, and mittens and strode the streets undeterred though bulkier than preferred.  It was a trip designed just for a little exploring with The Dog, cafe loitering, and some photography thrown in.  It has been a long time since we went just the two of us, so finally I felt comfortable to tote along the tripod and try my hand at those big wide night shots I'd yet to capture on previous trips.  Granted, it was mighty cold and uncomfortable when the sun wasn't around, but I'd gladly go through it again to have the privilege of capturing more of this glorious city in the low light.

I love experimenting with night photography, arriving well before sunrise or sunset to get set up and watch the light change across the landscape.  Depending on where, sometimes it's an opportunity to chat with another photographer.  In Paris, being among many in one spot is a given.  The downside is that it takes a little more planning than just walking around taking photos of whatever catches the eye.  The good "blue hour" light is only around for a short while, so I had to choose one location each evening that would be my priority.  It's a hard decision in the most photogenic city in the world.

For this trip I carried the Canon 600D fitted with the EF-S 10-22mm f/3.5-4.5 USM and the Fujifilm X-E2.  I used my Lowepro Slingshot to carry my tripod through the day since going back to the apartment three times a day wasn't convenient (without using the Metro) nor easy (the apartment was a 6th floor walkup accessed by one of the most ridiculous staircases I have ever encountered outside a castle tower).  More on how this kit worked out at the end of the post.

I'm not a morning person, and I'm even less inclined to get up when it's 20F and I have to climb down a bazillion stairs.  Plus, this was vacation and vacation means relaxing.  But, this is Paris and sleeping instead of shooting before sunrise must be some kind of sin.  We were staying pretty close to Les Invalides so the first early morning session was there.  We walked all around the massive complex, before choosing to shoot the rear of building where Napoleon's tomb is housed.

Canon 600D 10mm f/13 .6s

Because we had The Dog with us we couldn't get into the inner courtyard, which was less than ideal.  However, this position did result in Paris' most famous landmark making a cameo.  While the focal point is certainly Napoleon's tomb, the lines of the stone walls tend to lead the eye over to the Eiffel Tower.  While it wasn't what I was originally going for, it's an interesting result I suppose.  Travel photography is teaching me to work with the situation I'm in and to make the best of it.  Sometimes I can't get where I really want to be, or I can only to discover there's a giant tarp over the building, or it's just too darn crowded.  I'm learning to compromise, experiment, and to always have a Plan B.

Another morning we walked over to Trocadero to shoot the Eiffel Tower (because you have to).  Everyone, their mothers, and pet monkeys were up on the Esplande du Trocadero waiting for the sunrise, so we opted for down below near the fountain (which was off for the winter).  I liked the angle from that level better anyway because it's in front of all the scaffolding currently draped all over the area.  There was only one other photographer down there and so we had a lovely private spot to watch the changing colors of the morning dance behind the Eiffel Tower.  I didn't want just a silhouette of the tower so the final edit is a blend of multiple exposures, hence the repeated jet streams- another result I wasn't planning on but kinda like.  Oh, and that other photographer was in the dead center of the shot, but he was wearing all black and didn't move a muscle the whole time, bless him.  I even have a hard time finding him.

Canon 600D 12mm f/10 1/50

After the sun came up each day, I stowed the Canon in the bag and switched exclusively to the X-E2.  I found myself shooting in black and white almost the entire time.  Paris lends itself so well to monochrome that it felt like the natural choice, especially with the harsh light of clear December days.

Fujifilm X-E2 24mm f/7.1 1/1000

Pont Alexandre III is one of my favorite things to gawk at in Paris.  I'm pretty sure I could spend a good portion of a day just taking its picture.  No matter how many times I walk over it, take a boat under it, or glimpse it from afar I think, "Man, that's a beautiful bridge."  It's an extravagant piece of architecture and I absolutely adore the thing.
 

Fujifilm X-E2 32mm f/9 1/400

This shot is, of course, a pretty famous view.  You'll see it on countless postcards and posters.  Despite it not being "unique," it's a classic example of good composition and I had to take it, kinda like every art student has to do a still life with some fruit at some point.  I did very little editing on this as the contrast and details were captured nicely in JPEG, JPEG, with the Fuji.  I only felt the desire to add a bit of a vignette and slap the watermark on.  Have I mentioned how much I love my X-E2?

Fujifilm X-E2 55mm f/5.6 1/500

I took this walking back from taking the Eiffel Tower shot.  When the forecast called for morning fog, I had hoped for a thick, luxurious blanket over the city.  It didn't happen, but a little clung to the trees in the park below the tower.  There was something about the scene of the park in the early morning with its maintenance tractors, mud, and garbage collectors that caught my attention.  It's a side of one the most popular tourists destinations most people don't get to see.  In a few minutes buses would unload their cargo and the area would be covered in selfie taking tourists, but for this time it was just another park on a cold winter morning.

Fujifilm X-E2 10mm f/2.8 1/125

One of the terrible things about shooting anywhere in the winter is that it's crazy cold in the morning, but one of the great things about shooting in Paris in the winter is that a warm cafe and a Chocolat Chaud are never far away.  We spent a lot of time cafe hopping that week trying to get feeling back in our fingers. 

When the sun started to head down again, we headed to the spot chosen for "Blue Hour."  The first one was Notre Dame des Paris, from below on the banks of Seine.  I had taken pictures of the famous cathedral down here before, but I've always hankered to get an evening shot when the lights were on.  

Canon 600D 10mm f/13 10s

We had quite a bit of time here while I watched the light, and I'd like take the opportunity to formally apologize to my husband and The Dog for having them sit in the wind tunnel so long.  But, I really did appreciate their company as I think it kept those creepy drunk guys at bay.  Despite the cold, I'd say this is one of the more enjoyable sessions we had.  Except for those drunk guys and one other photographer who came and went quickly, we had the place to ourselves.  I love walking along the Seine and this scene captures the mood of that experience.  Paris at night is truly something special.

Canon 600D 12mm f/13 10s

On the way back to our apartment for the night we paused at Les Deux Magots.  I do love a good Parisian cafe, and this one is a venerable establishment.  I can just imagine Monsieur Hemingway in there arguing with some unlucky soul about bullfighting technique or something.  Oh, I should mention that while our apartment's access was torture for an asthmatic, it did have quite the rewarding view at sunrise...

Fujifilm X-E2 30mm f/13 1/30

And sunset.

Fujifilm X-E2 25mm f/6.5 1/100, vibrant film simulation

My other priority "blue hour" spot was the Louvre courtyard.  It's another well know location, and a particular favorite for night photography.  There was a massive tourist presence and quite a few of us with tripods trying to get the shot without getting in each other's.  The after hours crowd in this part of Paris was pretty insane because of the nearby Christmas market on the Champs-Elysees.  It was here that I was particularly thankful to have The Dog with us as he prevented a very oblivious individual from crashing into me and my tripod.  The kid may have wet himself in fear, but I have found a new appreciation for our mean old dog.  Setting up at the Louvre was also compounded by the Museum's stupid, in my opinion, idea to set up a hideous red trailer in the courtyard.  Apparently it's going to be yet another Museum store, but I don't get the point and its location is absolutely inappropriate.  Say goodbye to any panoramic shots or, for that matter, views from the opposite side of the courtyard.  Not really a fan of the red squiggle in the pyramid either, but that's just me.  It's a beautiful location and I'm thankful to have had the opportunity to capture it, despite the difficulties.

Of course, I took quite a bit more shots on the trip and the rest of them are up on my Flickr and I've been posting a few to Instagram and Twenty20 as well.

Now for some final thoughts.  For the most part the kit worked out pretty well.  Of course, carrying everything around for several days wasn't so great.  Normally, I would leave the tripod back at the apartment and wouldn't have carried the second body, but this was a unique situation.  What it taught me was that the Slingshot bag does not work for all day carry.  The tripod positioning is awkward and tends to bash the head into walls or tourists (who may or may not deserve it).  And, the wrap around fit it crazy hard on the back.  The experience has me set on getting a regular backpack with a vertical tripod mount for days when I'm carrying a lot with me for a long period of time.  I don't do that very often, but if it comes up again, I never want to use the Slingshot.  Another weak spot in the kit is my tripod.  Its an inexpensive model, not particularly sturdy, and I knew that when I bought it.  But, after several years it's starting to get sticky and uncooperative.  In the cold, the poor thing freezes up really tight and getting it to the proper position is a battle.  I think I'll be retiring it soon.  As for cameras, carrying two around was a bit overkill, but I haven't added any new Fujinon lens yet, so that's the way it's gotta be for a while.  Their stuff requires some fancy budgeting and I have a lot of things vying for top position on my wish list.  For the time being I'll continue to use my Canon with the wide-angle lens until I can add a superior (and smaller) Fujinon.  The more I use the X-E2 the more I desire to work exclusively with their X cameras and lenses.

Fujifilm X-E2 21mm f/5.6 1/500

Taking a camera around Paris is an overwhelming, exciting, and inspiring experience.  It's one of the first places we went after we moved to Europe in 2011, and it certainly can be credited with igniting a love for photography in me.  What better place in the world to pick up a camera?  We try to get back to this beautiful city at least once a year.  I have to admit it was jarring to return home and read about the terrible events of last week taking place not far from some of the areas we were exploring.  As I said, Paris almost feels like a family member, a really artsy, eccentric, gorgeous family member.  The events of the attacks and aftermath break my heart and anger me.  It's the most beautiful city in the world and this escalation of violence on its streets is an insult.  But, we'll go back.  We'll go back soon.  I have a lot more I'd like to photograph there.  There are places we haven't been yet and spots I haven't been able to capture quite right.  I hope to be on its streets again soon with all those other photography lovers, weaving through the crowds of tourists, and snapping away.  The only way I feel we can show our support and solidarity is to not let these barbaric acts keep us away from the City of Light.