Lisa Henderson ACCESS AND CONSENT IN PUBLIC PHOTOGRAPHY Frit ory cc atthe moment they a276 LISA HENDERSON Acwal“mteat sy the sting ane tte general ‘shat htop the abe aa latins Batson poser sting. Conn a raphy an thie Consent In photographic Intrartions, what subjstscomoot ta? To hive thr picts taken or te hae then ue he way? Walle photographie encounters ph ol shat photographers th es, 6 ren sategks are famed sain aces ad em ne Sant, ther wor, coment tote. fh ths atempt, some expla the inage ill he used cst thug sire Whi ph 2 picture em the photographer strategie re fore ec ncertamty abut the we they ae i the most pat salicinty confident at the Rarmlewae of thet peograping (to subjects) ori inporiance (to themes, ot pb ior. train’) aed suficetly itrested i carping om ing ttt comment wot ruck oe reckoned with among abject as dese wth, The rae of thm to offer ap only adele an explanation of ore te attain soc, in somes cet Cor moment, in her for dct ax ight be requied ths. There 3 cen coca take aed comment (ase and the eae coment tan, fs tspaly part the rate dring dhe encounter Wi cement take ptr therfore a mater oases bo de tog ors gov acess and wd they Keep At he mnt gener level, they om Irataing what Erving Goflman hi lll norva appara, 1 Rann Pa (1971), Goan outs cight terres of sshich we stake clin nour sci ses, These ter Inches personal pa full, xsl and portable sucha theatre cats al Peach mat; ase pace, respected cause of appatent instrmrtal nc ture, tit the order im which gods a sone Knd rc rceceddeath kin ard ething; possesion erry porn ‘fle information preserve, “that set of et rt histo which oi al expect other's and mol acess Whi nthe presen ig when aa who he Here tam concerted witha sat of “nfrmation proses’ tn partic ths preserve, cont vidal can be summon to alk. ita taal that can bi directly perecvedy his ben xeath ans current behavior. Ae Golman points ot, the cultural uc the indivi igh fot tobe stared ator examin, and tween strangers public lies lan 1a ponetaton ofthe een mae cone a lan ofthis eros ‘lama terms an ineason of priory practi photographers are aware of the threats to prinay they sometimes pone when they and sometimes perpetrator) of technical frm of lookingver in public places. fee cass, camera may rede the threat ofthe sar Ty identi t proprietor 3 photographer with msn to Tonk rl 3 ght {0 he there inthe rt place for example, a a ourst or a xpresnttve othe edi In other, cough people may be photographing ta renee the act une Imrkbl, In stl thor eats, the emer the very sure of spc. In any ‘sem ad in heaters parca type f photograph, photogaphers ata to mantin ‘normal appeannces, i Golfinan’s tse, “aera appearances mean dat it is safe and soe to ating withthe atiiy a hand th nly pipers atlcation gine to shecking {ipo the stability of th cmironment Important, such appearances may be real comin relkctng either a able uation or + pro's suceelatempt {e-cnecal fom isp histhreteringitetions, Only act, breve, am extrsme model repent the circumstance betwen pa "bec. Typically, he photographer aware ofthe minor threat he wy poe or prs and tit the corey he tay atone, an will dros hina in nance tthe tk of Teaming what i execpt or the sting, th engage patography what vet frm with whatever appeach ill. Maintain normal sppearance in 2 [chavo at attend ta by poplin ther evryay Eves te spar from at tues a spectic a photopaphings to varying degre we monitor ourselves and other all the ie ith tthe «camera prseat. Bat where de ante red by ph crv bt raphy ithe camera's eapcty at ooo smbatver manipulated slepee, be K light or extreme, dnt or ling desker ceive ancrine the everyday spon tha “there rs peso’ efor von ear ink between what happens ine the fame an ales ma sho this uta the ame The mintenance of rormal appearances necn't imply the phe comceloent of isl oa camnra thigh in seme cnc hs optional 3 preference, Rather, it mcs he wll be presoot hat fo concern, Tha photog Fipher's seral oe nam eral lara fh prscace a hi intention photograph alo he wath the acemal apprancs rec tthe extent hat bef Frongnsed doing what s sonnentionl for photaraper to. We thercore hasers ssc continuum nthe maitenan i wal appsrances that exer between concealivent an dlrs, with 2 popular rape of oom-conceal ent white phtographe ther hk rarely ile psi ajc GF the imi mabey hey are ply there Access and practice in public places: settings, subjects, and strategies The ality ofthe concept af anal appearances es ins erie iy somite to conten. Neral appearunes sce ot lene moves havior, but quits ft coniomment sane ya sat of Be ir senting tne 9p sting and the type ot ncraction, What ina skeerpton of thee Tenures of tings an sujet hot make a dierice ow phtgraphers tks pure in be pacesSerings photographic strategies ints (1) fama, 2) whee the etngcomatuterthe fant Tack eon fa ager ate oF stab amet he curney if phtograph acti thin the settings td) th faa spiit er purpose oft primary evens taking pl Th Ror” ferment the pcograiersaabarty wit a specie weting ssoval The greater photog Sppcuranees, He or sh eter 39 a tha eae able 10 alt his ob yn the apse ietanne andthe category to sce su-cuteral bro 7 he stg and ite parterpants that sant knoe fromm the setting ake The smear, work amb group in whic they are or ws 0 b Thome elloang the inert tle i ight of hat they Roo to be teat ora ei wth what subjects csr onary Cont. However faint abo a hack regions dives frm theatrial Gollan esto aig roe, fone a tage places to sca ctor both Fo plotgraphic strates, the Ft hack dnction implies the vars acces ies plonorapers take in stings which, while pullie toad 4 pov sats tem cr membre, Some examples are fi prac its (Selocee in abe aml scmpalc place andrea sites in sbwas tans, Beth Teclee ar back have stempted short trm tte changes fom ance Fe chung or preening te appropmate state or by alilation ith « shone settings male up of Man back, where photographer fs managed in part performer. For example, » photo Philaitphio subway system as 2c alt working sa fste stor abot the mane by police offer, allowing er rotten an entre to arse wally reserved forth an Hemi a 9 denizen of the Back [On the stfu 35mm, because was ane tha Tl abays we tea fe he most eoafrtable with it alo was the one that he 8 Jusgraper who ws hare a part ofthe pron cress we, 21 real tr jot part the provhactin ce spa way, ur at Kast Eh shi Imision othe a Thee cure, dough spell cans for the photographer's rok ae Male tomedine Deen other leaturs of the tation and pcre taking Phoungaph other photographer show ard atime at he sme pil subject. The group's at aor ‘ Moris an eas in photographing am raphy 3iste hotographers for example, prev nh Festne or srhas, Inter case th fgrapher tober partons, Ata Kine cet the phatograpr may be price or specially equppe and appreciative sestator Un many tances sb thor an botographers ntact that of svi photographing st the eruiteminle comtenton pojet, peopl Says ak me wba Tr ding One the aa deetostain the mama who was Cnn without sing poker one tha 8 3 detective, a that Tas dong some sort of sure ost He wan sory ark. He aid somthing Uke “Uhl you gt tht ete? dd personal tkttation or shore pple are gensraly conse aon esti mit he personal ot, Comat tary consid unremarkable cute the kstures ha din tin ally retin Ths tos an thu aphotugrapher, Whersth preity ops rm the spain hanes the pst wont I ats posit sping rn horse othe Hay somes. A sing Terabe, sing det tity though the Kms sempre ane tincy Subjectsmembership, and roe ition tothe sting performer. or iti). A frequently as vison, employee, pase rographed subject group expel or amature made op ‘fr stnge pats acto formal a fra outor performances people damonstating thi work, dancer acrubats, and dell team members are faalle examples, Taking pictures of petormers ph {nce and atention unexceptional nd i many ces welcome and tern sign apes ar unalyansing the pears, making he pre STapprecation. But even without x tatinary aun for example the as tte sect musician who plays for money fom panersby ~ person's cn ment in Taxus atv alton cles 3 photographer of peal negoti {Character both by dpay and engagement, sick performances cc the high favo an acc continuum whi diminishes v3 sujet’ actsity comes Iss Focused mre personal. Ths tts tat people who fll tthe othr er tent photographed, but rather that eillerent comequences are antiated or lieeat satis employed for cramps, wing» keto fens, Heese, such bn approach ayn depos on wheter the abjet alone or ith a group The phaograpers interviews esr photographing people in publi ples 4 for of “angling out tha somstines regres ah explanation or fasticaton, Capes when ite clcar to an ino that he ose eing elated y the Tene and where isnot aparen tt eo i hs special soar on the sen dor caample a performer, But ths too varies depending on the nature of the Tacation, Atwell popolated fests, ew restrictions ate fel exist ever when singling out insu Hehe trier uncrowded ad the acti more pat, are is required Yo avoid alarming bet. The sition i tempered farther Hf the peron le, thor walking roaming, or ring» biel Under thse circumstances photo that poke are les kl tonic them, les ily ob ure they were the ees phe, an! ike to meer tie curse in an eet Demographics, orm apparnces (and this acess) are stained mos snouts hen photographers work among peopl whew tis or characters they share, particulary setting tht are racials, ee sal oF generational, isan caption. Chien are thought te ess hs shout their appeatance al less likly 0 atiipte the ‘pomble omows of photograph as they might appar in pubbeation.) Though oceypans ob Segregated (Photographing chi Scgregte areas can move amongst acheter etgrte locations, strong sense tltolerance or intolerance upon entry ita segregated trtiory i apparent oth tne hone race» ermomic sas islet rom the eaablsl com tunity This particles trac whem be ose arises 39 mechanical equipped hls don't let the il whish, mot Ms, is merbers al never se erveh pspared to lene with reared ages Ht re Community’: sense of fall Moreover, such features of ting mt only ly how photographers approach fe reidnt, they olen prevent photographers (particulary amateurs) em een Conder that sting theft ple depending om what ad how mach they ow or bene shout the place through experince oF heaACCESS AND CONTENT IN PUBLIC PHOTOGRAPHY 781 Strategies The emphasis sven to Tonge projets hy the phtograpers Interviewed sets up an nial point of access Fell the entry pont. Where entry to a setting it controll (fo example, by invitation, memberahip, or price of admin), 2 photographer hart get in fore acces to islas comes a ae In some eases entry is made through 3 sympathetic contact sho provides photographer with both pasage and a persona introduction onion Eney Wao made trough fic permion from an organiser or nearing boy allowing a photographer inital acces and legitimate status thereat, ally, photographer may be rere to photograph partclar specie of an eset sk thn exer his actiity beyond hiss Geingin often a mater iting i here acest sting i rested but where the population fell-dtined. Appearing to belong, ster of sich immeditely vile characteris ge, vex and des an tn stations tht require marcy, making tem veleves photographers of ovat sequent negotiation. Once a phtogeaphers poston enabled Suda asome he's emit oe thee adhe probly won't have to expan himself from subject sabe The wm to ay at ang game nr. oso capers deg the pe al form of ai aw te sje they da nt here we sf ro geting sce to being ‘apes tention wow se oka and sh ae Ts para oma trop marke by conformity appearance aco, fe thy sce Fonch necting or wenger prt Partcly sal spac photographers work almost esr conc Su ether moves ten mrconel ad Acar ‘chile mining uno. tras, His presence is known amd acknnicged, though he rately ake arte rographers Intention to photograph (eg grouping Tor prea o sling) too anything for the camer I al how people pose rele thr nee, though is wally + ansenonal response to ph art Some photagapes act Eke regular rtipnts, working thee wa foto subgroups within the secing they might without a camera, treating ie merely sn cowry, The allow ripher working nent comes ft a ae ph 1 oppor cast he Lea winer or my camera wih uhances thei, butt lest hve the tact fra Hla racket tft the bottom, sor you use aad, you Rave old our ha, old the famera with the wine ache in your right ha ammeiely rele the fit of sytem bike that for what Pm doing Beas ‘vam tobe able to photoyaph with une han, snc sci wth hem al the timc, my soy of geting clone. So Ihave to hal a ber, Or ture. My way to getcloe to them I go wpa say hey, ean have 2 Cigurete? Okay se the cigarette an ake thi ptrto sil kor inane phogrphrs remote ati a waar for role ie pial aor, Sera nonephtjouraliets, profesional 3 Imateurs among thn, dsr a ph fppear tn belong whe you don engage a regal partipant ithe angi Risa, Jouraltsoe sh kok almost Mad aba ther work, They phosograp Soman then Br, neser appearing undid about what eee nex pct sve, When theyre rt working, they pu thee camera age dose al el Path th "fortsch fm por othe nent. When something itr sie aro thi reli dborateess 3 ‘Sting acer thes regi a ake de pct shy taking on urate fatal omy where 3 armas pres { s untemarkabl athe is plas Sil photographs ulate the fat of journal approach tht wrk ht ase hot meee hoping ‘Hert ax photojournalists alls, phot ae arf apers who wish to return to 2 sting ever a pth of tine htoaphing rom vit tvs wor is are lng wom They mice indeaas braking a8 they apprch, or wating emesis among p cigr 0 hase th pctre ten, Te con raphers ce-operation Seven admivion pet fine aru tcrtors thy early pers est pls. H cpraphers sss the mcs be fatal wos to thot Tis mea efter Seal pomp festa somentan, aire st of Sat {owning your squint wel eng ores contol focus ad exposure, oF wing preset camera. H abe ana tioning, sometimes at the expec prcerel compotion, ard aie Prope, The gal rat a ite notice 3 posable, ad fat mancering ke unwanted attention Where the sakes raphe kecp moving ex Through x slow msing crowd se igh al hes great, ph Tho an any ene spt In thi way they fe able to mini’ the dation a each ‘oftheir cts attention on pote: By rs abo want to aveklappoaing steak. oF fncounte and thus the abject He they can he sem ate wi ferns tht oe ese tho cine to thir bes They elective ngage In hat Goffman fav called the “overdterminaion of normale", dering Uh temtions 0 2 Alegre that ‘he tterpeeted corer or ect Te pen tuations, photographers acy ole subjects prior exphnai cts tos they ssa hem to aia ahat they're dang i sme way, unless they aise city, oF less they ned nema For s newspaper caption. In these ces, photagraphers imply ask people i they nid hosing thelr pcre taken, they oer 2 bret exp tres alta inthe fst place But even bere, gui by the pi raphic naturalism, photographers usually wait unl ater they've exposed the egatie to exphi themes or ask permion, not cesar teling thet Sabet that prs ive lead Ben then. The tecnighe Ie to get ina fe nse of ptACCESS AND CONTENT IN PUBLIC PHOTOGRAPHY 28 Frames’ before disurbing the eset hy asking gustions, However if ehings ae happening quickly ora carga ver ways ptogaphers shot st dk al and expecta at eemuive delat lly aera pric rtimes concerned tor thr sey. Only i clrcamstncen dhe yt hile ther ati “hooting from the hip. Rather, they imply avo making t clear who i bes photographie. Thove members ofa goup ‘na ers ie may realize an ae photograph fs present without krowing tha hey ar is subjects at any gen moment. A commu spose he tt ene ‘ke until cot he people ao longer sted Yo the camera dea Resistance When phutngaphons cunt reste (ny moe om the sujet’ prt that ake 4 photographer thik she histo smre than ast take the picture) they ict hethor the ph raph fe wrth tafe pore or dncatcing saber y they van tke a eave stay a ie the perm tpg hal work, ‘tac and expt etal al nom eral) re the com em int ih the excep picture taken: Hower, ure bor intensive Fors ot licen communicative nf umes ork tall al the kine faery, ad tea, wish uF all hrowght to bee eprint photographers sms of wb the sje rest th es place Wa sujet ses ry the photograph ray ti ‘aking ptres Isat, claiming, fur example, eo Be I forint, ot tr the newspaper ice sp the ajcseems to he shy, the ‘pre the eae rege with eich abject espond to thee declare inten ar requests by saying Nab #1 break sour Tes Thi earls 2 err te Shar tom whether a subject thinks mel! atractve. Hi abo a polite way of iefing he picture tht wot hing 4 cise the phtograper dct In titra equi the per fubject Tks toric ae The Maney i hn esample may also conttte an elaborating mune whet st ent strane by the toga tht et the fotos potion request alts Becomes the second aa series ft Rmedilfake ota element inthe proces of termed exchange. What i Fated the ph hn rove talk caten on inal explanation by offing farther let er ering the pet ‘rample. 2 newspaper phere Fmctiewed approached riders on te Chiat subway by intrdacing bert grapher's appeal or sews, al tis sense eer such mone 3 apt makes carat those mae cri, However, more spe la gropher’s messin al panne ssa Duh lat ser coring 9 ay story al explain what 93 aoa ‘he sujet that ad aught ov eye. At at point, she followed any ean sitvanembelsh lotic enns lak great against tr ne coats, fw the getkeman boing Fic bb lnke pleasantly emai the chaos of rad bour these elaborates with netic prin wequest ic tipo ofthe trace tare, bet in ide pagal was als ‘What ing clabrate yp in those examples the nti explana Photographers expan themelsen i oder to ase sje that the honest, bong, oF ex ston the propest of Raving ene pete pobliis {ns ghetculton daily Inthe sulay cups, the elaborate explanations Tone din th minor teat of singling out, They account for why SP aijet a chen i the fir plae and help has evercome any ml expo ietnrhtcxperiense out hiv sletim, Tic ao be accomplish by describing the bjt rea rer ofa cas af ust ¢ im photographing capers) oF by ‘Seplacng a thy tte 3 schoo! proc Soh nt alld upon ojo T potogapirsactin under retin important faue relevant to all peso rnb Tor the shoie (My. Bows tol \afiation: work, school) are a remedial talk ic the pci rapes to facate their explaratons, Some photographers make up stories hey fl woul be singles to subj ht inexchong They believe tat sng 6 mo Bar Sileome to thir sujet aes ofthe phos raph H's okay to tll thom wha ‘Nee they seem to want to hoor fase oho they appear to ea bow dh tat the cee cre their ork rl thir otras tie ncn and tse subjects sp Spprctesone ae expres, From these photopaper [got she ae goin ths erp em geting the pcre. Hewener, even ial work re sometimes unacese ad he Psogaphrs usally don’t pest. Though photographers om the eur kept xm Tefttright i hehe those eo fal ‘som aloe ay caborted temp aly tbe the pcreConclusion: photography and privacy What cmerges from an acount of photographic patie in public place contr. ston bere taking picures a “norm ss by this pve we eon ci gen the cumsequenees af aking and publishing » picture tothe extent these cmagences an be alte In ther tedster ergs ‘pperances, phtographen downplay the intrusion or tats camera seer 9 prt lily ates withthe dion tht woul enue were any coe {he potential outcomes publication ae anderson by phogephor sad eee While photographers recgie this incmpaiy the pace pnd bth orion tat “ou can decent tn pub, but ou can ener push has so din’ take,” The pra cmphas so geting the ptr. ode eked mphass, where ther is one, on whether otto ple Nat one ofthe photognpher | nersiewed amateur ot profes, rsported ‘ve wing model sla lr public photography, Ava lea che nao or acy by photographic means is sed the nom comensul ebaton of hotogrph for purpuns vf averting or trade” Generals the U8 hee ahotourap an attic exbbtion ae protest bythe Fist Amendment Ang mute ple photograpbs, th eal ight to privacy ier'ton ae Besa thee photographs aren't sll. Amvng profesional, kh randy minus heen thee photographs ae user tehntly “tora” prpmce tn the oe of nen shocamentary, and aise paliation." Moreover tho photic whe a ibs om pro teson an ules co egal ation. They ae away of eoneng vane eo 3 means of curing tha the ih and conscens al ats ae Feed Cat a3 mor broly dened wil hate, howeten, porn paeay sa mer to photographers, wll ta sujet att sl i copy ese ‘ng photographs ihe cobs, orm ethr won thie poe, Thee tee Yor example, the stn ling prone atthe wen ofa ar aceon Fo sds in imimote, emfaracing ot umstances, we phtgrapho reat tec of prsate Dor hat subs wuld prdahle Bel eet ¥ that might silt curd rim. Encni there lnllng appercy tos ‘refurning sont th stan, ma don Fanon ee ee themeles ta the omer inthis ight acting to presaog seb a thought about consent comer ml release sity fee However, i part oa prfssioml phutographerssexislivation to overcome 4 relcance to phutogrph inthe face if grt or thet eum rosunel “nenanterot bs photojeumals. Amn ello professionals hanignal compe ‘ence and elt to be able to gt pata egal uf the cue ee abit cane photographer ste sume torsos a ‘ening What the prstal wontngnsse of publ pl ira therfore wget the ‘cently expltate scbonshp shat prvalsfetween: photogrgioes go subjects. Morvover os lng a profs photography continges k corsoe‘hanging tha relation small” This not ts dat htop ae an rcumentary, and attic mamrcams, the litho ally predtory grep, for anys whow work requires the participation of iter wh tae to gla lite or hing chang are ial plat, be they photographer, flm-nabers, or sciabscisnce feldworters Dope some cent challenges ose mie 1), ca Privacy I st designed to proc the ble exept agit ante abuses an they ar ome etn. Frever itis mot onl thea subjects Int 9 uty ofthe a pms and ther empner, ie pep, with tors memcy and sure per, an better ke the eelaikeip, better able to nk acts, moan privacy, a abe task the pigraphors and pubes whom, Tor mhatner. rans, thes fo hats trespass det lp the fe moni es perl pos whos rapt, the pore oh explo tei nbjets cond he pe tagraphad are diane by the photographie working on eign, te perc eho ght on objet until moe nantcpted mae {que acu afer the pure publabed Notes ‘ 1 Pram of Sf Ec fe. Now ork 5 cpt. wher» photeprapr a bl a grap genre Galt in 1959-1943 Hall Te Pos othe Nina Seta Calle of Ar and Design, 1 Hhrescr tn 1982 pos torah a ttl yt: New York Se Cin pps ng pl vor fh pln argon Son Bo i Comp ‘of Three yar ctr, Clarence Arengo,» anal naka x New York Ci fem sl the New York Tire, Cantact Pree Iages seme, CP ect okert Mess aml PY lancer Guniance Gorn fr cn coset lh Caton ofa pooh a Kw inthe Now Tonk Taegan Unk Swanton before vig mr on Sry mreng ed bem pap ty rg or theron ae ‘aig ts Rik ile Che, snare el fem mawerseted the tas of many ri a Hk Rrangio’s st war dam the Sate Sap Cr, hah compl