Like many people on Photo.net, photography is Ton Mestrom’s passion but his day job is something else. Working as an RN overseeing a endoscopy department in the university hospital of Maastricht, photography plays a small roll in his professional life (digitally processing specialized endoscopic images for example). But that has not stopped him from following his passion for photography and becoming a truly wonderful street photographer.
Street photography can be difficult for even the most technically talented photographers. That is because there is so much more to this type of photography than just knowing the numbers that make up the technical side of image making. a good street photographer has to have a sense of place, a sense of self, a set of people skills, a quick eye and has to know how all of those talents fit into the environment that he is working in. Ton has these skills and they show in his images.
Ton trained as a photographer at an Academy of Fine Arts in Belgium in the early to mid-nineties. Despite street photography not being “en vouge” at the moment where he lives, he has had exhibits in various art galleries, some on invitation. Ton’s work comes from the streets in the capitals of most Western European countries. His work is represented by DZD Art Gallery in Roermond, the Netherlands.
How do you see your body of work and what draws you to street photography?
TON: Since street photography is highly individual I guess it’s basically what I see and more importantly the way I see and perceive urban life around me. More than anything else however my work is without any pretense. It’s about “little” people doing mostly normal things or going about their business or even as a small but very part important part of a urban landscape and I think my work is a combination of both street and urban. In essence it’s all about juxtaposition. I think a lot of people would consider it old school nowadays, especially since digital has entered our world. Paramount for me is composition because I believe it’s the single most important part of any photo and in the case of street photography it really creates order out of what often is chaos. It’s one of the most powerful tools to convey what you see and feel. That’s why I don’t use techniques as “shooting from the hip”. While it seems to work for some and I’ve seen some good results over the years for me it simply doesn’t work. I like to have control over my composition and besides, they didn’t put a viewfinder on the camera for nothing.
By profession I’m a trained observer and for me there’s nothing more interesting than observing the world around me and the people in it, the way they behave and interact amongst themselves as well as with their environment, it’s really as simple as that. It’s like being a child in an adult world, you see so many unexpected and amazing things. I guess I’m what the French once referred to as a flaneur. While walking the streets what I mostly try to do is distill those small and fleeting moments that happen all the time and that we all too often overlook. Bringing order to that mostly by way of composition, use of light and depth of field I control the end result so instead of reality per se it very much becomes my reality. I’m a rather prolific shooter but there are far more misses than hits. For me the best street photo’s look simple while in fact they are anything but. The real kick for me is if people relate to my photo’s. It’s also one of the reasons I don’t title my work. The narrative should be in the photo, not under it. Sometimes you succeed, sometimes you don’t.
For most photographers, approaching strangers and making images of them is one of the hardest skills to master. Talk about this a little bit and discuss getting away from the “hide behind a long lens and shoot the backs of people’s heads” disease that many beginning street photographers have.
TON: Actually I suspect it’s for all of us, at least in the beginning and it’s a question often asked. It can be quite overwhelming and intimidating working up close. There’s only remedy to overcome that. Go out there, shoot and then shoot some more. There’s no substitute for experience. I think most successful street photographers have exceptional people skills either because they were born with it or they developed them. By nature I’m a rather shy guy myself. People who know me would laugh at that but it’s true nevertheless. Nowadays I feel very comfortable in any environment but it doesn’t work always. You need an uncluttered mind. Blending in like some people advice also doesn’t work for me, not really. The Dutch are the tallest race on this planet and with a height of 1.90 meters I tend to stand out in most crowds. What helps is that I’m an ordinary looking guy. Also I don’t draw attention by dressing flamboyantly. Not a good idea to wear a photo vest with a brand name all over for instance. But like I said, it’s all experience.
As far as getting involved with the people I shoot is concerned for the most part I don’t. Over the years I’ve met some great people on the street and had some quite interesting and fun conversations but mostly I prefer not getting into that. Releases I don’t bother with. Apart from thinking it’s a waste of time anyway it gets in the way of my photography. Some people it seems are put off by stories about people getting aggressive but in all those years I never had any real trouble. Sure, some people have screamed at me and a group of junks demanded my film once but when I invited them to come and get it they let it be. I suspect, given some exceptions, that most of these stories are exaggerated anyway. Frankly, for the most part people on the street don’t care if you shoot them. If however people notice me and say no than no it is, always. Respect always works both ways. I’ve worked in some really ill-reputed areas that some considered dangerous but I think if you use your common sense there’s a very good chance you stay out of trouble. Also I hardly ever get hassled by officialdom. There have been quite some stories about harassment by police and officials in London last year for instance but I have never experienced it so far, quite the contrary in fact. So, there’s hardly any excuse to not go out there.
When you go out shooting for the day, what gear do you usually take along with you?
TON: I’m not exactly a gear head so for me they are tools but since I started to use digital I bought two bodies and some lenses as well as a point and shoot but I mostly take just one Nikon DSLR with a single lens that I keep strapped to my right hand. For the last two years I’ve used a short zoom for convenience but I’m thinking of going back to primes because of quality. I’ve always worked with primes on the street in the range of 24 to 50 mm. Ultrawides I don’t like because of the distortion they create while longer lenses are useless in street photography as far as I’m concerned. If you really want to have a go at potentially meaningful street work you have to work fairly close to your subject. Doing street is to some extent getting right in the middle of it. Telephoto lenses simply aren’t suited for that because you miss too much. Quite literally being on top of things is the way to get what you want.
On occasion I still shoot film, for that I use a Pentax LX which is a fairly small but versatile camera. I like MF as well and once used my Hasselblad for that but it proved to be totally useless doing street. I mean, when people hear you working your camera from two blocks away it’s kind of hard to stay unnoticed. Since then I used a Yashica Mat 124 G for that which is nice and quiet and with surprisingly good lens work. Both the LX and the Yashica I had fully restored meaning the aperture blades cleaned and re-oiled and the shutter adjusted to exact specification. When shooting film I use Ilford’s Delta 100 or Kodak’s Tri-X. Twice a year I shoot test films and check those with a calibrated densitometer. I don’t switch camera’s easily because I like to work them without having to think which dial to use. A lot of people I think get distracted by their camera’s nowadays. All you really need is a viewfinder, a diaphragm, a shutter and an appropriate ISO setting. For the most part the rest is gadgetry. Mainly I work with aperture or shutter priority settings while I regularly use a hand held spotmeter. Given the difference in dynamic range it needs to be interpreted a bit different though. Sometimes I work on a hyperfocal setting but although it can create more misses I’ve come to love autofocus. Digital I do most of my work on ISO 100 as well.
Actually I have far more camera’s and lenses than I really need but I guess that’s true of most.
I shoot in RAW and process them one by one in Photoshop but prefer a classic look, since most of my work is b&w. Therefore I hardly ever use filters or toning. Most digital filters are destructive by nature anyway. Being trained in the pre-digital era I did digital myself but the learning curve was a lot steeper than I thought. Especially creating a “traditional” b&w look proved a lot harder than it seemed. With a negative you only have to deal with densities and while that can be challenging as well for digital you really need a good working knowledge of color management.
When you make these images, are you heading out of your house with a plan? Do you say “Today I am going to look for [blank] to take photos of.”? Or do you just record what shows up in front of you that day?
TON: Actually it’s a very good question because it deals with the real concept of what street photography is all about, at least for me. For me it’s neither. I work all over Europe and do some basic research if I go to a city I’ve never been to so I know where I want to go location wise of course is but that’s about it. But while there is an undeniable serendipitous aspect to street photography it’s a lot more than just recording what shows up. Again, no pretense but you have to be in control of the end result and have to have more than a basic concept of what you want, it’s what photography is all about. You have to be ready for what you might encounter. If you just record what’s in front of you a good photo is at best a result of serendipity without any consistency and more importantly precludes any substantial influence of any photographer. That way photo’s would become interchangeable without any underlying and noticeable vision of the photographer. Only recording what’s in front of you is what snaps are made of, not good photography, at least on the street. For me it’s important to get out there with an open and uncluttered mind so as to have no distractions. Paris is by far my favorite city because it’s so vibrant and since high speed trains are available it’s only three hours away. I go there quite often, mostly for a week or so. As the French say, “you can leave Paris but Paris will never leave you”
How important is the “street” in “street photography” to you? Do you feel like street photography must be done in the streets and cities, or is it more of a catchall phrase these days more akin to “documentary” or “observational” photography?
TON: Well, I don’t get too hung up on definitions myself, I’m not exactly a purist. Good photography is good photography and that’s what I enjoy looking at. But of course street is as documentary as it is observational while both “categories” don’t have to be street. But “observational” as a definition of sorts I’m a bit uneasy with because all kinds of photography are observational by their very nature so for me that is a bit too fluid. Nowadays street is considered by many as photography in public places and to a large extent that works for me. I do work in subways and on train stations as well for instance. How I define street is obvious from my work I hope. I think in more general terms that street photography as a concept has, or rather can have, a cultural and sociological context that is mostly defined and valued with hindsight. I think it’s fair to say that the work of Atget for instance is now looked upon rather different then it was at the time it was created. The same applies to Robert Frank’s “The Americans” which now is considered to be a portrayal with great cultural importance.
I don’t think however that most street photographers work with that in mind, I sure don’t. I just do it because it’s what I like. On the other hand however it’s a little bit more than taking a photo in any street, something that a lot of people fail to grasp as is obvious on this site as well in the critique forum.
What advice do you have for photographers who aspire to make images like yours? What other photographers (famous or not) do you look up to?
TON: Simply this, for anyone who aspires to do street photography there is only one advice, just go out there and do it. Most I suspect won’t like it but for some it will become a great and lasting adventure and while I’m able and lucky enough to travel quite a lot you don’t have to travel far to shoot good street photo’s, it’s not about geography. What I think is also important is to visit as many gallery’s and museums as regularly as you can and look at the work of truly great photographers there as well as in books. There’s a reason they have become great and there is a lot we can learn from their work. Not to copy them but it sure is a great source of inspiration. Besides, learning never stops. Furthermore I think you need feedback, not only on a site like this but from people you have close at hand that are knowledgeable, critical and who’s opinion you trust. I also think it’s wise to use a single prime for an extended period of time because it’s very useful in honing your compositional skills. Lastly there is no real money in street photography so if that’s your goal just forget it. While there are some highly profitable fields in photography street isn’t one of them. It won’t get you any fame either. It’s only a very few that rise to such heights. Although I had the chance to go pro I gladly refused. It would have meant doing stuff that I don’t particularly like.
There are a lot of photographers who’s work I admire and not only street photographers. Amongst many others Jean-Loup Sieff, Robert Doisneau,Edouard Boubat, Henri Cartier-Bresson,Richard Avedon, Irving Penn, Garry Winogrand, Cindy Sherman, Jeff Wall, Arno Minkkinen and I could go on for a while. What I think binds them all is two important things, an absolute passion for what they do or did and an exceptional understanding of how to how to use light. Light is something that’s very hard to control outside of a studio and in fact it’s hard to understand when you work in a split second. When studying photography it was mandatory to build our own pinhole camera. Exposures of minutes or even a lot more than that instead of split second ones really gives you a concept of what light is and does and it’s something I found very helpful to this day. Although it’s not for me I’m also interested in the conceptual approach some use nowadays like Jeff Wall.
To be absolutely honest I think there are some highly talented people on Photonet as well who’s work I admire and follow. Some who’s work you can find regularly in the Street Forum and some who work in other fields.
As far as street is concerned I think that Cartier-Bresson has created a benchmark who’s influence is still palpable to this day. It doesn’t mean we have to copy or even emulate what he did, heaven forbid, but we sure can learn a lot from his work, if nothing else it’s highly inspirational. But although he got famous with his “Decisive Moment”, the book as much as the concept, I think the latter is often misunderstood. It’s not about the actual moment as such but really seeing not only what’s there but beyond that and getting it the moment it all comes together. It’s not so much about being fast but about anticipating. Seeing is what’s it all about. Winogrand I think in many ways addressed much the same issue with his concept of “form and content”. All that is what makes really good street photography so exceedingly difficult. Many, many misses, a lot of nearly good results that aren’t quite there and only on occasion a truly good photo. Given that, modesty really is a virtue as are patience and perseverance. Good photographers I think combine self-assuredness with a healthy amount of self-doubt and a disciplined willingness to keep learning.
And finally, the question we ask everyone: Your work primarily involves “street” photography. Do you enjoy other types of photography as well? What would be your ‘dream project’ if you could work on anything in the world?
TON: I did start a documentary last year on a short oval racing track which is still ongoing, a behind the scenes series. Other than on the street where you are more a bystander here you’ve got to get really involved with the people you portray, earn their trust and respect. It’s something I’ve come to love as well and will certainly do more of in the future. Other than that there’s not that much that I would love to do. Early on I discovered I didn’t like studio work, it’s too controlled for my liking. I did do some fashion shows which was fun but only for a short while.
Cities like New York and San Francisco are still on my wish list. There’s a fair chance I’ll go there next year. A dream project would be to live and work in Paris for a few months. That for sure will have to wait for some years.
But doing a job I love and for which I’m reasonably well paid already creates all the freedom I want photographically. I don’t have to worry about deadlines or work with art directors that tell me my job. And I don’t have to take on assignments that I hate doing while still being able to exhibit my work. Really, there is not that much more to wish for.
Some Examples of Ton’s Work
Ton Mestrom
This one I shot in Milan last year and there’s something really absurd about this one that drew me to it. It’s all about proportions and colors. Although I don’t speak Italian they were in a rather heated discussion which only emphasized the fact that they were the only colorful parts in the frame, literally and metaphorically. Street life in Italy, there’s nothing quite like it.
Ton Mestrom
This one also was shot in Milan. The woman stuffing herself at the counter of the Planet Bar in contrast to that overpowering famine poster struck me right away and I think it’s a very appropriate metaphor of the decadent life we’ve come to lead. One could get rather cynical looking at this. I had this one on display but it didn’t draw much attention. People rather neglect this kind of content.
Ton Mestrom
This is one of the fastest photo’s I ever took. As I was walking past this guy on a sidewalk in Paris I saw the absurdity of this one and I shot this one virtually on the go. It’s the only exposure I got and it happened so fast he never even noticed me.
Ton Mestrom
Sheer and absolute joy without a care in the world, these Parisian girls had a lot of fun standing on one of the air vents of the Paris Metro. It’s so genuine and strong on emotion it’s one of my favorites. People often ask if I took this with a motor drive, but no, it wouldn’t have worked if I had. It’s one of those times that you stay on for a while in the hope of getting something worthwhile. They didn’t disappoint me.
I was waiting outside of a Milanese church to take some photo’s inside but I had to wait because there was still a service going on inside. When it was over and people started coming out of the church this all too surreal scene developed right before my eyes. The man in the wheelchair was obviously waiting for someone while the pigeon was trampling along for quite some time by then. When the woman came out it suddenly all fell into place. People react very differently to this photo. Some see it as funny while others see a lot of sadness in it. Anyway, I never made it into that church.
This one was made along the Canal St. Martin in Paris at a place where the canal bends so I was able to shoot in a straight line. While I know the neighborhood very well I was so preoccupied preparing for this shot that I forgot about the large iron mooring rings they still have there and as a consequence of that I tripped over one of them and fell very hard. My knees and camera broke the fall and while both survived with only a few scratches I literally had tears in my eyes when I shot this one. Not good really, a street shooter who doesn’t see what’s in front of him.
Pigeons are very hard to avoid in any urban area, there are so much of them. But rather than avoid them I sometimes use them to create what for me is a surreal scene. This man was standing on an empty platform at Liege train station with no clue where to go and while he was standing there wondering what to do next I saw one of a group of pigeons coming his way so I waited and got lucky.
Bravo Ton! I've Been a fan for almost a year now and I'm a better photographer for it. Your b&w work has inspired me and pushed me to get better. I thank you for that! Congrats (again). This honor is well deserved.
Hi Ton, I expect some photos from Maastricht, or at least the Netherlands too. I've been there and it's a lovely country with good scene for B&W. Cheers, Giang from Vietnam.
I am so glad to see you get the attention you deserve! Your art is an inspiration to many...and your advice and comments Are usually spot on and very honest...I always look forward to your inspiring images...juan
Hi Ton! Congratulations on this distinctive honor! And well-deserved it is! I have admired your work and asked you a few questions here and there along the way, but I've really enjoyed reading this interview and learning more about how you approach your photography. You are certainly good at what you do, and I imagine this article will garner even more fans for you, of which I am one. All the best, Christal
Hi Ton! Congratulations on this honor distinction absolutely deserved! Your work is admirable and a source for inspiration. Your comments and advice are always reflections that invite us to think and to improve...one of them "It’s like being a child in an adult world, you see so many unexpected and amazing things.". Congrats again! Luis
I was happy to discovered that you and your fine photography have been thrust under the PN. microscope for the month. Getting to know you and your work continues to be an enjoyable, as well as an educational experience. I look to your skills at digital B&W rendering, as a great source of inspiration.
This recognition is well placed, Ton. Anyone who has had a chance to look at your work and read your countless constructive comments and critiques might think that they know you already. But this interview provides a chance to even further appreciate the thoughtful way you do what you do. I've always enjoyed the street scenes that you bring to us, and now all the more see that you combine those quick reflexes with a deliberate and informed approach. It's inspiring!
I enjoyed the interview and found many similarities to the way I go about taking images...When it came to viewing the images I was expecting a little more and didnt gel with the above comments..just goes to show what pleases some doesnt please all.
I am very happy to see Ton here. The interview by Josh Root nicely displays his talents. He is among my guides here and I am learning a lot by looking at his images and by reading the fruitful discussions that follow...
A note for people who just happen to see his photographs recently: He treats all his photos with great care and presents even the most ordinary scene in a photographically sound fashion. He is not a rule-breaker and he can be likened to perfectionist photographers of earlier times. (Did you notice, in the above interview, that he says he calibrates his film bodies twice a year densitometrically?) Thanks, Ton!
Nice to see you as a featured photographer Ton, very much deserved as you are a fine practitioner of the art and an all around nice guy. I don't visit here much any more but have been keeping track of your work, well done!
Great article. I particularly love your photo of the Canal St. Martin in Paris .. Paris is indeed art in many forms. You have a very good eye and all of your photos reflect care of composition and detail .. I wondered how long you waited to get the man on the bridge to be the only one there .. and why you waited for him to be exactly at the mid-point on that bridge .. it is an important element to show scale .. nice touch. Looks like a good place to find a cup of coffee after the shoot.
I enjoyed this article Ton and all this extra attention really is well deserved! To me, your work not only reflects a great care for composition and detail but, above all, a lot of respect for your subjects. Just as your comments show a lot of respect for everybody here on PN. No matter if we present ourselves as " amateurs" or as " pro", you are always honest, always willing to share your knowledge and experiences and always open to other people' s view on things. It's people like you that make me glad I am a member of this community.
Ton, when this came out I was on the road and having some difficult personal times. So I completely missed it until now. Wow, what and honor. And well deserved for sure. Great interview. You're an impressive guy. Congratulations.
, February 04, 2009; 03:37 P.M. 
