To shoot personal street photography is to only photograph what appeals in your heart. To use your street photography as a tool to empathise with your subject. To show your own soul through the photos you shoot of others.via How to Shoot Personal Street Photography by Eric Kim.
Xyza Cruz Bacani on Street Photography:
The thing I like the most about street photography? It’s free, [..] I shoot daily to relieve my stress. It’s my way of having fun.via Filipino photographer Xyza Cruz Bacani’s story of perseverance is inspiring by James Gabrillo.
Jesse Marlow on Street Photography:
The essence of street photography is that it won't be the same in an hour's time .. It's about developing a stylevia Has Instagram changed photography forever? CCP's birthday brings the present into focus by Ray Edgar.
Maybe I have developed my own style on the street? Something I will explore more with time.
Joel Meyerowitz on Street Photography:
[street photography is] an arms-length contact with somebodyvia Spain : Miss Maier by Tintin Törncrantz by Tintin Törncrantz.
Ella Rubeli on Street Photography:
the act of street photography relies on the presence of forces that are beyond human control: light, chance, time.via Two cutting edge photography shows at Monash Gallery of Art by Ella Rubeli.
Daniel Arnold on Street Photography:
I'm very happy to be around anybody who's engaged in their moment. Shooting gives me new affection for all people. [..]People are so on guard and used to being photographed. Everybody sets out to look a certain way and it never goes quite how they expect. It's catching those moments in between that makes for an interesting picture.
On the Prowl With Instagram’s Ultimate Street Photographer by Mary H. K. Choi.
StreetShooter on Photography and Life:
all the sudden it occurred to me that everything in the universe has the ability to teach and to learn. So even on the streets making photos the energy you receive is equal to the energy you send. So your intent is to make photos but ya know, you aren’t in it alone. [..] If life is a give and take miracle then it stands to reason that photography is also. So that means that we think we are the origin of our work but that’s not true. We are not alone in life.via Philly Street … Thoughts With … Olympus Pen EP-5 by StreetShooter.Our photographs and I am only talking about photography, are a collaboration between life and ourselves. We hope for and strive to find a synergism with the street and make the photos that represent that synergism. We can not rightfully state that we are the Origin of our work. [..]
If you are like every reader that ever was or ever will be on this blog [streetshoot.net], then you are aware that you don’t take any photographs, you collaborate wit Mother Light and The Street and you make your photos.
Tomorrow is another day and if I wake and am healthy, I’m hitting the streets. I hear tell Life is out there and I’m gonna look for it.
Take fifteen minutes and rejuvenate yourself by watching this short film. I did and it was more than worth it. At the least, you’ll see some really pretty photography and filmmaking, but I hope you find some inspiration along with it. Maybe you’ll be motivated to explore the belly of the beast in your own city and wait for those moments to make order out of the chaos yourself.via Into the Belly of the Beast: Rob Norton's Gorgeous Documentary on Australian Photographer Markus Andersen Will Bring out the Street Photographer in You by Aaron Brown.Trying to find out more about Markus. Surprised I don't more about him. A fantastic video and I learnt a lot from it. I know I think the same way as he does when photographing on the street. Just have to get out there more often.
When I take “street” photos (*) now, they are a little different. I don’t feel I’m of the HCB (*) school of finding moments. I don’t care much about moments. I probably won’t be famous, so the photos I take are for me. Things that are unique to where I am and things that will remind me of what it felt like to be here.via November 8th, 2014. (*) by jtinseoul (*).
His subjects tend to stare back at his camera sadly or in a slightly bewildered fashion. Around them, the world tilts – the horizon line is seldom level – but there is always what might be called a Winograndian logic to his compositions, an instinctive grasp of the geometry of a good photograph. His interest was the rhythm of the streets and the people who created it.via Garry Winogrand: the restless genius who gave street photography attitude (*) by Sean O'Hagan (*).
The mid-20th century was when street photography became well known, thanks to photographers like Henri Cartier-Bresson, Garry Winogrand and others. Armed with unobtrusive hand-held cameras, they rapidly snapped pictures of passersby, searching for unstudied compositions [..]Brian Sholis (*) continues:
In the 21st century, for better or worse, there are fewer people at home during the day and we’ve offloaded a lot of that ‘eyes on the street’ to surveillance cameras,Steven Rosen (*) summarises:
At the same time, those cameras fill many with unease.Brian Sholis (*) concludes:
So 21st century street photographers are dealing with techniques and issues far different from their forebears
What unites them is they’re incredibly attentive and able to reveal things that we might not otherwise see because the street is such a kinetic and dynamic placevia Street Photography in the 21st Century (*) by Steven Rosen (*).
I'm a street photographer (*) at heart, so I approached Rochester (*) [the subject (*) - see HCB post (*) specifically] the same way I often approach somewhere I'm shooting, [..] Walking, meandering, allowing my camera and experiences (*) to guide me.via Last days of Kodak town: the decline and fall of the city photography built (*) by Dave Stelfox (*).
Street photography (*) has always been about capturing the fleeting nuances that somehow coincide and create a sum larger than its parts in public view, for those astute enough to notice. The magic lies in the subtleties, not the obvious; learn to do it right, or move on...via In Your Face- Photo Complaints III (*) by Reciprocity Failure (*).
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 (*).
So when I am shooting spontaneously on the streets, I think it is random events that hit my eye. I might see something interesting and respond to it. Sometimes I know what I got, sometimes I think I got something good, but don’t. Sometimes it is a total surprise. I might take a photo of something very quickly, without being quite sure of everything going on. And in the editing process I can discover interesting things.via Making a Fiction in the Mind of the Viewer: Interview with Jack Simon (*) by Eric Kim (*).
a photo has to touch (*) you. It has to evoke some kind of emotion (*); astonishment (*) for different reasons.via Variety is the Spice of Life: Interview with Peter Kool (*) by Eric Kim (*).
in general I think Street Photography (*) work should primarily convey the artistic sensibility and personality of its author.from which Chris expands:
There’s something confessional and diaristic at the heart of Street Photography (*), hidden as it may be through a layer of visual abstraction. Also, I think that the process of navigating the ethical terrain that every street photographer must deal with is one that helps you mature as a person.via Observe Collective Interview #2: Chris Farling (*) by Eric Kim (*).
The Street Warrior moves forward thru time but sees the world as a passing journey.via The Ricoh GR … Defining Your Vision Part 2 (*) .
The street warrior is in tune with himself and seeks the next image not because it’s the elusive butterfly but because he counts back in time.
Knowing that each and every image recorded may be the last or even close to the last, he is prepared to make the next image the one that marks his place in time.
I'm wondering if even street photography (*) can be trusted to tell us anything beyond what is in the photographer's own heart at the moment--via 'We Have Not Loved Life': Garry Winogrand at SFMOMA (*) by Larrisa Archer (*).
I wonder if it is in fact the most deceptive of all genres, for the very reason that it posits a certain objectivity, not rehearsed and posed but candid and full of accidents, an imprint of a reality that is out there for anyone and everyone to witness together.
I wonder if, regardless of the literal elements of the scene, the tone an image takes on and expresses is due to the photographer's own moods, his own prejudices, enthusiasms, "abortive sorrows and short-winded elations."
And then I wonder if this is in fact any less reliable than the notion that the images can say something objectively true about their over-arching subject (for instance, America) when that subject is itself so complex, many-sided, and open to a seemingly endless range of interpretations.
