ICONIC PHOTOGRAPHERS

By Lynda Castonguay

Bill Cunningham: The Grand Dad of Street Style

Photo by Carlo Allegri / REUTERS

STREET FASHION: Mini Guide

By Eva Fydrych

‎”Fashion is the armour to survive the reality of everyday life. I don’t think you could do away with it. It would be like doing away with civilization.” - Bill Cunningham

Bill Cunningham - Fashion Photographer from New York

STREET FASHION is a very specific genre of photography that is not very easy to define. It features mainly random people in the streets, instead of carefully chosen models, and it focuses on their outfits - clothes and accessories. The main goal is to show the latest trends, how the street and real people respond to the fashion shown on the catwalk, and to find some interesting and stylish people who have their own unique style. 

Bill Cunningham

For some reason, street fashion has become recently something like a global phenomenon and appears not only in the fashion blogs all over the world, but also in the magazines and newspapers.

The recent success of "Bill Cunningham New York" - a documentary about the famous fashion photographer who started the trend in NYC - shows the scale and importance of documenting the street fashion. In the beginning of the movie, Anna Wintour admits: "I've said many times that we all get dressed for Bill." And this single statement from the famous Vogue editor, says it all. 

Bill Cunningham photographs fashionable people in the streets of Manhattan every single day. His passion and dedication are outstanding. In his regular column in New York Times, he identifies trends according to what he sees in the streets. In his opinion, to have the whole pictures of the fashion trend, you need to include two elements: the catwalk - which is the designer's vision of what people should wear, and the street - which is the real place where the "fashion show" takes place. Bill treats all people he photographs in the same manner, no matter where they come from or how famous they are:

"I'm not interested in celebrities with their free dresses. I'm interested in CLOTHES." - he says.

More about the movie by Richard Press: BILL CUNNINGHAM NEW YORK

Some useful tips for photographers who are just starting out:

• Always ask for permission before taking the photos. Explain why you want to take the picture and where it is going to be used.

• Have your business card ready. It should have the name of the website/blog where the picture is going to be published.

• Take at least 2 different shots. One full-body, one close-up. Use different angles.

• Make sure that the background and composition are OK. In a nut shell - approach street fashion shots the same way as you would do the proper location fashion shoot; don't forget about the lighting!

• Be friendly, the first impression when approaching a stranger in the street is very important and may determine if the person says "yes" or "no" to your request. Smile!

• Never take any photos without someone's permission.

• Don't get discouraged when someone doesn't like to be photographed. It happens from time to time. Move on.

• Make sure, you are up-to-date with the latest trends. Having good fashion background and being familiar with everything that is happening on the catwalk is very important. Pick up some good fashion magazines (Vogue, Elle, Flaire, Fashion, Marie Claire etc.), browse the internet, read some books about the fashion history. It will all help at some point to make your pictures better. Having a good eye and knowing what is stylish and what is not - that's one of the secrets to taking great street fashion photos. 

• Remember: every photographer has a different style and approach. With time you should be able to develop your own.

By Eva Fydrych

Street fashion from Toronto;Trend: Bold Prints (Photo by Eva Fydrych)

Street fashion from Montreal; Trend: Minimal White (Photo by Eva Fydrych)

Here are some examples of the best/most popular street fashion blogs on the web:

Street Peeper by Phil

Japanese Streets by Kjeld Duits

Facehunter by Yvan Rodic

The Satorialist by Scott Schulman

Garance Doré by Garance Doré

Jack & Jil by Tommy Ton

The Street Walker by Yael Sloma

Stil in Berlin by Mary & Benjamin

The Locals by Søren Jepsen

Hel Looks by Liisa & Sampo

Bill's New York Times column (© New York Times)

The best advice is a very simple one: just take your camera and start shooting. Analyze your photos, see what you can improve and practice as much as possible. And make sure you watch the movie about Bill Cunningham. He started it all!

“See, if you don’t take money, they can’t tell you what to do. That’s the key to the whole thing!” - Bill Cunningham

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BILL CUNNINGHAM

Press Release

BILL CUNNINGHAM NEW YORK

a film by RICHARD PRESS

"We all get dressed for Bill,” says Anna Wintour about Bill Cunningham, the 80-year-old New York Times photographer and unlikely man-about-town. Cunningham has two weekly columns in the Style section of The New York Times: “On The Street,” in which he identifies fashion trends as he spots them emerging on the street; and “Evening Hours,” his ongoing coverage of the social whirl of charities that benefit the cultural life of the city. The result is far from simple picture taking - it is cultural anthropology.

Still, no one knows a thing about Bill Cunningham, the man himself. Intensely private and averse to any kind of attention, it took filmmaker Richard Press and producer Philip Gefter years to convince Bill to be filmed. Using only small consumer cameras and no crew, Bill Cunningham New York has the intimacy and immediacy of a home movie.

Bill Cunningham New York chronicles a man who is obsessively interested in only one thing - the pictures he takes that document the way people dress. Bill has lived in the same small studio above Carnegie Hall for fifty years, never eats in restaurants and gets around on a worn-out bicycle - his sole means of transportation. The contradiction of his monk-like existence and the extravagance of his photographic subject matter is one aspect of his private life revealed in the movie.

The film’s cast of characters ranges from the downtown New York eccentrics Bill has photographed over the years to the uptown fixtures of New York culture (Tom Wolfe, Anna Wintour, etc) and pillars of “New York Society” who have never before appeared in a movie but who agreed because of their regard for Bill (David Rockefeller, Brooke Astor, Annette De La Renta, among others). The range of people reveals something of the delirious and delicious romp through New York that composes Bill’s world.

A sartorial Weegee, habitually dressed in a blue work jacket, Bill Cunningham has tried to live his life as an unencumbered man. He wants only his independence to be able to point his camera when beauty crosses his path. With this singular goal, he has managed to create a poignant and ongoing chronicle of the intersection of fashion and society in New York over fifty years - in effect, a portrait of New York City itself.

DIRECTOR'S STATEMENT:

When people ask how long it took to make Bill Cunningham New York I say ten years: eight to convince Bill to be filmed and two to shoot and edit the film. Had it been any different, Bill wouldn’t have been true to who he is or nearly as interesting a subject to film.

My fascination with Bill has always gone beyond the work he actually does. Who he is as a person, how he’s chosen to live his life and his almost religious dedication to his work - that is where my curiosity initially resided.

But how do you make a film about a man who is so private that even the people who have known him for years don’t know anything about him personally?

Bill’s reticence to be filmed set the practical terms for how the documentary could be made. The spectacle of a camera crew, sound recorder, and boom operator would be impossible. We had to capture him the way he claims to capture his own subjects: “discreetly, quietly, and invisibly.”

As a result, the movie was made with no crew, relying only on small, handheld consumer cameras so Bill wouldn’t feel intruded upon. It had to be a kind of family affair with people he trusted - myself; Philip Gefter, the producer; and Tony Cenicola, a New York Times staff photographer whom Bill knew and liked and who operated one of the cameras.

There would be no scheduling of Bill’s time for the film. We just had to be at the Times with cameras, ready and waiting, the same way Bill goes out onto the street and shoots - without a preconceived notion of what he’ll find. He says that he lets the street speak to him, and I knew we’d have to take the same approach - believing that over time, the man and the story of the film would begin to reveal itself.

Making the film was a dance. For a year we spent all our time at The New York Times waiting for a moment or a mood that Bill would allow us to capture. I would casually hang out near the desk of John Kurdewan in the Times’ art department where Bill would work on his “On The Street” page. With no fuss I would turn on the camera and film Bill and John working together at the computer. But then I would have to wait weeks for Bill to cooperate again. It took a month for Bill to allow me to put a wireless mike on him, and then he would only allow it occasionally - whenever the mood struck. We would leave notes on his desk (his preferred way of communicating) asking to follow him to an evening party, or to trail him riding his bike. Occasionally Tony and I would just show up on the street where he was shooting or at the lab where he develops his film or even more risky, outside Carnegie Hall, where he lives. I began to sense that even if he wasn’t willing to be filmed at that moment, he was developing a respect and appreciation for our dedication to doing our job, and, as a result, he would sometimes reward us - first by introducing us to his neighbors in Carnegie Hall Studios and then (and almost unheard of for him), allowing us into his apartment.

It began to dawn on me that the process of making the movie paralleled the slow revealing of the man himself and that his relationship with us, the filmmakers, should be a part of telling the story. In looking for a way to do this, I thought of the early Andy Warhol/Edie Sedgwick movies with Chuck Wein as an off-screen presence - a voice never seen but prodding and provoking - just as we were doing with Bill.

The sit-down interviews with Bill were conducted with Philip and myself, with Tony occasionally chiming in. But in order to turn the filmmakers into a single palpable character, Philip’s voice replaced all of ours whenever they were heard. This also made the need for any clarification or exposition in any part of the movie easy - I simply recorded Philip’s voice making a comment or asking a necessary question.

Bill traverses so many disparate layers and overlapping social milieus of New York City. I thought it essential to interview people who not only have a relationship with Bill but who span the spectrum of New York to help tell his story. I tried to lessen the tyranny of the bland talking head by filming each character in the form of a photographic portrait - one that gives as much visual insight into who they are and how they live or work -  and trying to make each person a character in the film in their own right.

The use of music throughout the movie is spare - I initially envisioned a more scored film but for most scenes when I tried adding underscore the music invariably worked against the scene - cluttering the immediacy and emotion of the moment. Where music did work, I was excited to discover that John Lurie and the Lounge Lizards was just the right sound for Bill: urban, quirky, fun and with heart.

In the editing room, I approached the movie’s structure less like a documentary and more like a narrative with a strong protagonist surrounded by a menagerie of characters (kind of early “Altmanesque” and seemingly loosely structured) but with narrative threads that slowly builds, so that when taken together - a portrait emerges and comes into focus. Like one of Bill’s pages - a collage, adding up to something larger than its parts.

The facts of Bill's life were important to me only to the extent that they reveal the contours of his life. But it's not what he's about, even to himself. I wasn't interested in making a bio-pic. Rather, I wanted to capture something more intangible - though no less powerful - which is the essence of him, that joy - his way of being. Bill has dedicated his life to documenting what is unique and individual and I wanted the movie not only to be a portrait of him and by extension New York, the city he loves, but a celebration of self expression and self invention.

- Richard Press

Press release and images courtesy of Zeitgeist Films.

Bill Cunningham New York opens in Toronto April 22, 2011

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