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| Photographer: John Thomson "Caney" The Clown [Street Life in London] 1877 Woodburytype London School of Economics - Digital Library |
Street photography has always held a special interest for me. I like it
because I know it takes a special kind of photographer to be able to put
a stranger at ease for a photograph, and that has never been more true
than today. With the advent of security cameras and issues regarding
privacy, people today are definitely hesitant when it comes to a
stranger taking their picture.
Most street photography, however, occurs without the consent and knowledge of the subjects. The movement of people in an environment is frozen in the discovered dynamic found by the photographer's lens. That is the beauty of the great street photographs I know of.
If we look back just 40 or 50 years, “modern day” street photographers like Garry Winogrand (1928-1984) or Lee Friedlander (b. 1934) worked the streets, or stood in one spot until the right person(s) happened to walk in front of their lens for what they saw as their own “decisive moment.” Both shot constantly, quickly and intuitively, and part of their technique was being quick and non-obtrusive about it. Winogrand, for example, took hundreds and hundreds of images a day, constantly moving and shooting in order to get the shots he wanted.
Most street photography, however, occurs without the consent and knowledge of the subjects. The movement of people in an environment is frozen in the discovered dynamic found by the photographer's lens. That is the beauty of the great street photographs I know of.
If we look back just 40 or 50 years, “modern day” street photographers like Garry Winogrand (1928-1984) or Lee Friedlander (b. 1934) worked the streets, or stood in one spot until the right person(s) happened to walk in front of their lens for what they saw as their own “decisive moment.” Both shot constantly, quickly and intuitively, and part of their technique was being quick and non-obtrusive about it. Winogrand, for example, took hundreds and hundreds of images a day, constantly moving and shooting in order to get the shots he wanted.
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