I lead a roundtable discussion for the Film Photographers Association in November, the topic was “Street Photography.” We discussed the nature of street photography, notable street photographers, and related subjects mainly following the outline below. I am presenting the outline, a few short notes, and a selection of my photographs to provide illustrations for the discussion which I hope may continue here. Share your thoughts whether you were at the meeting or not, it will be good to hear additional ideas.
(I forgot to mention at the meeting that Martin Munkacsi was the inspiration for Henri Cartier Bresson to pick up photography. On the left is the photograph that kicked him in the gut and made him commit his life to photography and become a legend. Apparently, upon seeing this photograph he immediately went out and purchased a camera, probably his first Leica.)
Street Photography Conversation Outline
- What is “street photography?”
- How does it differ from “documentary photography?”
- Street photography is always about “life as lived” where documentary photography presents anything
- Street photography is responsive, reactive where documentary photography is contemplative, planned
- Street photography records public life documentary photography may need cooperation of the subject
- Who are the street photographers you are familiar with? What is their style?
- What is decisive moment which has become a misunderstood cliché?
- Images à la sauvette has become “decisive moment” when the book was published in the USA . The first simply means “images on the run” where “decisive moment” has taken a different meaning
- Decisive moment has come to mean “knowing when to photograph”
- In reality it means something external to the photographer, when the confluence of elements create a striking photograph
- Eugene Atget was probably the first “street photographer” as he literally strolled the streets of Paris
- Street photography has some thread common with the surrealist movement
- They revel in presenting the “common, simple, ordinary”
- Atget, Bresson, Kertesz were all embraced by the surrealists
- Even today, when you view street photographs you are witnessing the ordinary life as it unfolds but an interesting moment was arrested to be shared with you
- There was actually a “profession” of “Street Photographer”
- Where the strolling photographer took pictures of people and
- Delivered prints for a fee
- This became very common in some parts with the advent of Polaroid photography
- Totally disappeared with the digital photography
- What are the satisfying elements of street photography
- For the photographer
- For the viewer
- Notable street photographers
- Eugene Atget
- André Kertesz
- Brassai
- Martin Muncacsi
- Henry Cartier Bresson
- Robert Doisneau
- Berenice Abbot
- Jacob Riis
- Lisette Model
- Helen Levitt
- Robert Frank
- Alfred Eisenstaedt
- Gary Winogrand
- Joel Meyerowitz
- Lee Freedlander
- Tod Pappageorge
- Martin Parr
- Tony Ray Jones
- Leonard Freed
- Vivian Maier
… and many more
Leslie Jean says
I have found that the taking of street photography and what I enjoy viewing of street photography are two different things. As I walk down the street and shoot what the city has to offer, is an image of any day activities. What I find interesting when I study images is what is not ordinary to me. I enjoy your images of Turkey more than Rhode Island. I want to see something different than my everyday sights.
A. Cemal Ekin says
Photography always had the ability to bring far away places to within reach of everyone. The exotic seems to have an appeal because of the unknown as you say. That said, I’m sure you will see as you walk, drive, travel within your city things that will delight you, and likely will delight others. As Meyerowitz said “he is curious” about the streets, people, and potential relationships one can capture in a photograph. Thanks for stopping by Leslie.
Haluk Atamal says
After a tiring week of standing and talking in a very busy exhibition, I am enjoying my first free day at home, reading mails and visiting the addresses tucked under the “will be read” directory.
Remarkable photos, Cemal, thank you.
You are also proving that street photography does not have to be only in b/w.
I agree with Leslie about wanting to see something different. On the other hand it goes without saying that we have a lot of superb photographic material here in Turkey, compared to many more civilised places.
A. Cemal Ekin says
Photographs can be “windows” through which viewer would like to see the subjects. That would emphasize the exotic since it would have the appeal of the unknown. Or, we can see them as mirrors, or even opaque surfaces which will make the graphic qualities and our own reflexive thoughts emerge in the photograph. Clearly, it is a tough choice to pick one or the other; but I will suggest considering both angles of view so to speak.
Rest now, you apparently have been running around quite a bit lately.