Roundup 2018 #17

by Renzo Grande | Instagram

Have you ever taken a candid photo of a stranger? What made you do it? There are many different motivations for street photographers. Some like to get right in peoples faces. Some stay at a distance and photograph the environment, leaving the subject in silhouette. Some like finding amusing juxtapositions, complex geometry or dramatic light. There’s no right way to be a street photographer. Thank god for that.

For me, I like to get inside people’s heads. I’m fascinated by how my camera can capture an expression or gesture of a complete stranger. Someone I’ll never talk to. Whose name or political leanings I’ll never know. My camera leaps over that huge barrier of social bullshit and right into their laps. There it is, recorded, a relatable little moment where I begin to empathise with that person. I feel closer to them, and by extension, closer to humanity.

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There’s something about street photography that’s exciting, it’s the appeal of getting that moment of capture. When you combine that with the bit of mystery that night time photography provides, it’s no wonder night street photography is so popular.

But this is also one of the more challenging types of photography to get right. The reason for that is the lack of light, making photography more difficult.

This article is full of tips to make you succeed when you go out at night to take these photos. So read on if you want to get some great city street night photos.

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Digital has revolutionized street photography, allowing anyone with a smartphone or inexpensive digital camera to capture unexpected moments whenever and wherever they occur.

But for all its benefits, digital photography has an obvious drawback. Digital cameras allow for an almost infinite number of shots, most of which stay hidden away on camera or computer hard drives, or on remote servers in the cloud. Compared to film, painstakingly developed into physical prints, digital can seem both instant and instantly forgettable.

When you can snap anything, you tend to snap everything. The photographer’s art is diminished as a result. Here are more reasons why street photography should keep faith with film and print, at least some of the time.

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For famous photojournalist Sir Don McCullin, the landscape has changed irreconcilably since the days when dozens of printed pages were dedicated to his photo stories, leading him to declare: “Photojournalism is dying. Young people are being encouraged to go into photojournalism and there’s no outlet for it – newspapers and magazines are much more interested in the wealthy, the glamorous and celebrities. They don’t want suffering people in their newspapers. It doesn’t make money for proprietors. Photojournalism hasn’t lost its way but it’s been conveniently pushed aside.”

We spoke to photojournalists and influencers working across the industry about the state of affairs today, and asked their opinions about the future of photojournalism in the digital age.

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Magnum photographer Abbas has died in Paris on Wednesday April 25, 2018, at the age of 74. In a career that spanned six decades, he covered wars and revolutions in Biafra, Bangladesh, Northern Ireland, Vietnam, the Middle East, Chile, Cuba, and South Africa during apartheid. He also documented life in Mexico over several years, and pursued a lifelong interest in religion and its intersection with society.

Magnum’s current president Thomas Dworzak paid tribute to the veteran photographer, who for many at the agency has been both a friend and mentor:

“He was a pillar of Magnum, a godfather for a generation of younger photojournalists. An Iranian transplanted to Paris, he was a citizen of the world he relentlessly documented; its wars, its disasters, its revolutions and upheavals, and its beliefs – all his life. It is with immense sadness that we lose him. May the gods and angels of all the world’s major religions he photographed so passionately be there for him.”

Magnum Photos