Joel Meyerowitz on Street Photography:
[street photography is] an arms-length contact with somebodyvia Spain : Miss Maier by Tintin Törncrantz by Tintin Törncrantz.
Don't Wonder "What if?" - Jenny P
Joel Meyerowitz on Street Photography:
[street photography is] an arms-length contact with somebodyvia Spain : Miss Maier by Tintin Törncrantz by Tintin Törncrantz.

I Wrote This for You on Caring:
For a second, the wind blew so hard [..] and you had the only hand I wanted to touch.via The In-between Things by I Wrote This for You (Iain S. Thomas).


Hope waits. Ready for us to reach out and grasp its firm hand. [..] There is hope and healing and a future no matter what our circumstances.via A Message To The Broken (*) by Doug Miller (*).

the most meaningful bits have also been the most subtle.via Subtlety (*) by Exile Lifestyle (*).

[..] tips I would give street photographers would be the following:via Photographs are Everywhere: The Extra-Ordinary Street Photography of Haris P (Xaris P) (*) by Eric Kim (*).And if you find all these things– don’t be satisfied with mediocrity.
- Search for the light (*),
- Search for the place (*),
- Search for the character(s) (*),
- Wait for the moment (*)..
Not-ordinary photos are nice but not enough. Extra-ordinary (*) photos are your target.

I like the tension of not knowing exactly what you have.via THE TRI-X FACTOR (*) by INTELLIGENT LIFE (*).

I am very conscious of taking an image and that does take some of the spontaneity out of it. Where the spontaneity comes back in is that I always leave room for luck (*) - the random occurrence that you can’t make happen. There is always an element of chance.via Arts Preview: Philip-Lorca Di Corcia, The Hepworth Wakefield to June 1 (*) at the yorkshireeveningpost.co.uk (*).



When you feel like you’re making pictures - the most important is to make new pictures. The pictures you already took - you already took those pictures. My main drive is to do something new - to make some new kind of picture.via 14 Lessons Mark Cohen Has Taught Me About Street Photography (*) by Eric Kim (*).

Gestures (*), the way people use their hands (*) and facial expressions (*), are very hard to deal with photographically.via Corinna Sauer: Home Story (*) by Jorg Colberg (*).
One of the complications appears to be that the moment we are made to look at a gesture (*), frozen in a photograph, we have to pay attention to something we usually do not think about.
And then it gets weird very quickly.


There are many things you learn by training (*) and discipline (*), but overall you should internalize both theory (*) and technique (*) to a point that you can fully concentrate (*) on the moment when taking pictures. I navigate through [..] my hometown, almost blindly (*) on certain routes, focusing on things that are happening around me. It’s all coincidental, nothing is preset.via Capturing Harmony on the Streets through Graphical Images: Interview with Siegfried Hansen (*) by Eric Kim (*).


Photographs need to be seen with context in mind. Many photographs are created with a very specific context in mind [..] But context can also be an anchor that prevents access. [..] [some] speak directly to us; many of them escape their context and talk of the human condition [..] these photographs show what happens when a master photographer sets up her or his camera: The results will stand the test of time and, inevitably, they will want to break out of whatever context they might have found themselves originally in.via A few thoughts on Lewis Hine (*) by Jorg Colberg (*).







Maybe not knowing why is a good place to start.via 5 frågor till: Alex Webb & Rebecca Norris Webb (*) by fotografiska (*).

I feel that on some level I photograph to understand (*) what it is and why it is I'm photographing. It's a process of understanding (*).via Books of the Year: Alex Webb's "The Suffering of Light" (*) by Stan Horaczek (*).
The camera gazes at all with the same equanimity and finds each person, in his or her own way, dignified, lovable and even beautiful. Walking, the most democratic form of transportation, lends itself to metaphor: we walk into the future, we walk the line, we walk the walk.via Walking the Walk, in a Rhapsodic New York Ballet / ‘Street,’ at the Metropolitan Museum (*) by Ken Johnson (*).