TOO CLOSE FOR COMFORT?

Street photography’s most famous rule to “get closer” reveals itself to be far more complicated than it might seem.

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Sanjith Kalpat

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The art of street photography is all about the interaction between our close and intimate moments with life in public spaces. But what happens when you get too close? 

When one brings up street photography, Robert Capa cannot be without mention. As one of the most foundational photojournalists in the world, he redrew the boundaries of great war and adventure photography. His famous words, “If your pictures aren’t good enough, you’re not close enough,” have echoed through generations of photographers, tempting us to lean in and collapse the distance—the main obstacle between ourselves and the world. In many ways, getting close holds incredible power. It can reveal intimacy, interest, detail, subtle gestures, and micro-expressions that simply get lost when you shoot from a “safe distance. In a sense, close proximity allows one to be involved and participate as part of the scene. In that close proximity, authenticity can sometimes reveal itself. In addition, closeness (when used appropriately) can sharpen technique too; there is no room for sloppy focus, hesitation, or indecision when you are mere inches from the subject.

Political meeting, Yozgat, Turkey, 1990 © Nikos Economopoulos

The knife cuts both ways, however. The cons of shooting too close and up front are just as real, and if not more complicated. When said space is confronted, it can often lead to confrontation. I once faced this type of confrontation, though I was lucky (the guy simply struck a friendly pose instead of reacting disapprovingly). Getting close can feel invasive or uncomfortable for the subject, especially if caught off guard. In addition, the wider context of the environment can be lost with such physical intimacy. The backdrop, the movement, the colors, and vibe of the scene—all of which are often as important as the main focus of the image— can be sacrificed for this pursuit. From a technical standpoint as well, close-up shooting introduces its various risks like missed focus, and subtle expression lost to motion blur. 

One photographer who is, in my eyes, the epitome of this technique is Bruce Gilden. Known for his confrontational, “up close and personal,” and flash heavy style, Gilden has built his entire career on forcing himself directly into people’s personal space. He doesn’t hide nor does he linger across the street, waiting for a moment to come to him. He instead moves right towards his subjects, camera and flash in hand, no hesitation in mind. The results speak for themselves. The most raw expressions are captured on the other side. Here, there is a direct connection seen and felt between Gilden and his subjects. A connection where the street is alive and unpredictable. Whether you love him or find him controversial, he proves one thing, closeness can indeed create intensity and reveal emotion in its rawest state. 

Japan. 1998. © Bruce Gilden    

For me, closeness is a tool to use deliberately. I tend to get closer when I sense that someone’s face carries a story that I know the environment cannot tell. Likewise, I know when to step back, especially if the surrounding space feels like a necessary part of the frame. Thus, my preference when it comes to person and subject distance is mixed: close enough to capture the underlying pulse of the moment, yet also far enough to know where that pulse lies. 

In the end, closeness in street photography is less about distance and more about intention. It is essentially a key to skill. But it is also a question: Why are you stepping forward and what are you trying to reveal in doing so? If you choose to get close, let it be with purpose, respect, and curiosity about the world and the people that take up its space. Street photography is not just about seeing others up close, it is also about allowing yourself and your style to be seen as well. If you make the right decision for yourself, something real can form. 

Something worth stepping toward.