2Storytelling Street Photography
“Stories are sometimes subtle and covered by more prominent features, such as light or composition. Sometimes, however, stories are told very strongly, as with the famous picture V-J Day in Times Square by Alfred Eisenstaedt.
This picture is an excellent example of storytelling in street photography, as it is not very emphasized in many composition principles; yet still it has become one of the most iconic street photographs of all times. This can mostly be attributed to the story behind and around the picture that unfolds in the mind of the viewer. I would argue that some of the most famous street photographs have become famous because they tell a strong story and not because of their composition.
Not all stories require much action. In fact, the lack of action in a shot can sometimes open up the storytelling space for the viewer. “Old Man and the Sea 2” tries to achieve exactly this. By omitting the action, the photograph provides more possibilities for interpretation—it is opening up for storylines to unfold.”
Do you believe that Photographers can create a story in a picture or is this more dependent on the viewer and his fantasy? Other argue that photos are unable to tell any story because they are static frames without any movement or progression.
3The Hidden History of Photography and New York
by Jordan G. Teicher
“New York City’s contribution to American photography and American culture ultimately transcended any particular technology, Orvell said. By making images essential to the way people saw themselves and others, the city’s photographers, for better or worse, changed the fabric of American social life.
“Photography in this early period you might say is establishing in a popular form the major premise of our way of interpreting other people,” Professor Orvell said, “which is that we can tell who people are by looking at them.”
Have a look at one of New York’s first collection of photographs from the 1850s showing the editorial staff of the New York Times and the streets of Manhattan.
4Motion Blur in Street Photography
by Mitul Shah
The idea of capturing movement in a photo is not something people think of doing often, but if done right, it can significantly improve a photo. Though motion blur is quite difficult to capture at times, with the correct equipment and patience, you can have a fascinating action photo.
Learn in this Tutorial how to create movement through panning shots or slower shutter speeds. With the help of the blur, the shots become more action packed and interesting – putting emphasize on the speed.
5Street Photography and Kodak Tri-Film
“In recent years, thanks in part to social media and the ease with which participants can share images, street photography has enjoyed unprecedented popularity. A generation of digital cameras, inspired in part by the classic tools of street shooters, has combined with the power of social networks and easy image sharing to empower a new generation of photographers to embrace street photography. The results: A glut of photos: many of them mediocre, some good, and some of them really good.
But even the best of digital street photos have a problem. Digital street photos are too smooth. They’re too clean. They seem clinical. They have very little noise, and certainly no grain. That grittiness, dirtiness that reflects the chaos of the street is missing. And so, software tricks are employed to emulate the graininess of classic films. Click a button, and your grainless digital image suddenly looks like it was shot with the film of choice for many street photographers throughout the years: Kodak Tri-X.”
With Kodak’s recent revival of vintage film, the interest in film photography over digital technology seems on a rise. Film has a very unique gritty look that can’t be truly achieved through modern emulation. Even though there are plug-ins and presets out there that simulate the look – it is never the same as the original film. Have a look at the tremendous difference of the real Kodak Tri-X look and its digital counterparts.
6Ethics in Street Photography
“The right of a person to privacy in a public place is equal to the right of a photographer to take a photograph in a public place” – Nick Turpin
Street photography can be loosely defined as photography that attempts to capture different aspects of life in our cities. It’s a type of photography that has become increasingly popular, in part due to the ubiquity of camera phones, with more and more people snapping whatever catches their eye on the streets. Conversely, that means more people than ever are having their photographs taken without any formal consent.
Either side of this equation feels differently about this state of affairs. Photographers loudly proclaim their “right” to take a photograph of whatever and whomever they like in a public place. And they have a point: In most countries of the world, the law is on their side. A person has no right to their image if they are photographed in a public place. Which means that photographers are legally entitled to snap away without seeking anyone’s permission. But just because you have the right to do something doesn’t make it right. And so we enter the somewhat fuzzy area of ethics: Who are you? And…
Ethics in Street Photography is a very hot topic. While some people like Bruce Gilden stat that there are no ethics in Street Photography others are already limited by their country’s laws.
Myles Cummings presents his point of view on the topic and underlines his arguments with statements from fellow Street Photographers.
7Tales from a Street Photographer in St. Petersburg
Text by Ellyn Kail – Photos by Aleksandr Petrosyan
Petrosyan carries his camera with him everywhere. He says he no longer notices the bitter temperatures when he’s honed in on someone or something interesting, though sometimes he brings with him an extra battery in case the original dies in the cold.
“I do not believe that a photograph can change the world,” the artist says. And that’s never been his intention. In fact, he prefers to remain somewhat detached, but that’s not to say his pictures lack an emotional valence.
