Funny, tragic and often bizarre, Stephen Leslie’s photos in his book Sparks are an unique ode to street photography, matching short fictions with the images that inspired them.
• An exhibition of selected prints will be on display at theprintspace gallery in London until 5 September.
3Street Photography Types: From Bruce Gilden to Doisneau
Famous street photographers cover many photography styles.
Our article aims to point out a few of these types of street photography. This will help you with inspiration.
You’ll also figure out where your photos fit in the grand scheme of things.
Unobtrusive
An unobtrusive street photographer doesn’t intrude into the personal space of their subjects. They tend to be a few steps back. They’ll capture more of the scene and surroundings than an intrusive photographer would.
By standing a little further away, they go unnoticed. They stand on the borderline of too close and too far away.
This draws the least amount of attention.
These photographers are the observatory kind. They’re happy to watch and not involve themselves too much.
5Celebrating 30 years of photojournalism at Visa pour l’Image
Beyond the exhibitions and screenings, where hundreds of thousands of visitors can discover or rediscover some of the best of photojournalism produced around the world, Visa pour l’Image, the annual photography festival held in Perpignan, France, is also a meeting place.
The first time I attended, 10 years ago to the day, my colleague, then Diane Smyth of the British Journal of Photography, and I found ourselves speaking to two giants of photojournalism: Noor photographers Yuri Kozyrev and Stanley Greene. Not only were they answering our questions, but they were reacting to each other’s work and anecdotes. I fell in love with photojournalism that day.
This year, as the festival turns 30, its director has distilled that feeling of wonder and rediscovery in an anniversary exhibition composed of a selection of his favorite images ever taken or shown at Visa pour l’Image.
The contact is the earliest method of printing a negative in the darkroom and remains the most simple. The negative is sandwiched between glass and photographic paper, exposed to light and processed accordingly. Until roll films were introduced in the early 20th century, enlargements were very rarely made. While the technology did exist, the majority of large-format negatives in use, such as 8x10in, were contact printed.
A 19th-century process such as Albumen – one of the primary methods of printing prior to the introduction of silver gelatin in the 1870s – was so insensitive to light that contact printing was the only practical method of production. Large format cameras are still used today, and while most negatives will be printed with an enlarger, many photographs produce contacts as finished work. A more recent innovation is the ability to print digital files onto inkjet film to make a negative, which can then be contact printed: a hybrid process combining digital capture and traditional darkroom printing.