Photography and Text by Chuck Place
My favorite location to try out new photography equipment is not California’s ragged coastline or soaring mountain peaks. Forget the rolling sand dunes of Death Valley National Park or the giant redwoods of Redwood National Park. Give me a good old Farmers Market to run a new lens or camera body through its paces. Whaaaat?
That’s right, a Farmers Market. It has everything necessary to test any equipment—or photographer, for that matter. Shooting strong images at a busy farmers market is a test of concentration. A photographer is forced to create order out of chaos, still lifes out of produce and portraits of people who are too busy for a portrait shoot. It’s a tough photography environment!
Often I take my students to a local Farmers Market, not because I like to see them suffer–not too much, anyway. All photographers that shoot on location need to learn how to take a large, bustling, crowded event and break it down into manageable visual pieces. If a photographer views a market as just a big, chaotic location, their work will reflect just that surface appearance. Let’s break it down.
First I like to get some establishing shots as I make a quick survey through the various areas of a market. Different vendors have different products and some create more interesting displays than others. I also pick out the vendors I think will make good portraits. Their looks, their clothing, the lighting at their booth, how they view customers walking by—this all impacts whether I think they will make strong subjects.
My first task is usually to capture the market’s range of products while they are still available. The first tomatoes or berries of the season often sell quickly, so I try to capture those subjects first. Signs are always fun, flowers are always colorful and street musicians always make interesting subjects. I always ask permission from vendors and musicians and drop a dollar or two in the musician’s open instrument case so that I can create a range of portraits without getting the “glare”.
Later in the morning, after the crowds thin and sales slow down, I’ll work with individual vendors to create environmental portraits. By this point, they are getting a little bored and often welcome something to break up their morning. Because most produce is hauled in by trucks, the vehicles are lined up behind each of the stalls and make rather ugly backgrounds. I prefer to shoot down a row of stalls, filling the background with more produce. A shallow depth of field is necessary to separate my subject from the busy background and I prefer photographing under one of the white awnings. It produces a beautiful soft light with large highlights and great skin tones.
By the time I’m finished with portraits, I’m a little worn out, my subjects are tired and I have to return to that stall where I bought those great blanched almonds with rosemary and sea salt. Although I tend to shoot all this with a single camera body and a 24-70mm zoom lens, my camera bag is usually full of treats to bring home.
Where else could I find a single location with such a range of photographic subjects and still shop for dinner supplies at the same time. Give it a try and don’t forget the almonds.