Interview Archives - Street Photography

Andy Greaves: Street Photography Steeped in Sense of Humour

Joy Celine Asto — Fri, 22 Aug 2025 21:06:35 +0000

Andy Greaves: Street Photography Steeped in Sense of Humour

Every creative leaves a part of themselves in their work, and it can’t be any more true than Chesterfield-based street photographer Andy Greaves. While he doesn’t purposefully go out looking for humour and absurdity in his street photography, it shows subtly in his street snaps, and he simply lets it happen.

“I respond to what’s in front of me,” he muses. “I tend to see things that way. I’ll see a scene and think, ‘Wow look at that, I’ve got to have it.’”

With a life-long passion for photography since he was 18, Greaves even completed an MA in Photography at Leicester De Montfort University in 2009, soon after he retired from full-time employment. Today, he mostly does street and documentary photography at least once or twice a week all-year round, centered around a long-term project documenting his hometown in the United Kingdom.

”If something catches my eye, I find that’s a good enough reason to make a picture. I’m generally looking for scenes which capture the essence of my town and the people that live here. I’m trying to capture what’s going on in society and the country as a whole. I feel that many of the problems in society are played out on the streets.”

An acute sense of humour with a dash of eccentricity

“I’ve always had an acute sense of humour and a certain amount of eccentricity. Always been able to see the funny side of things and I still enjoy making people laugh,” he says on where the humour in his work most likely comes from. ”Although not always intentional, I think this comes out in my image making. I don’t believe you can make good images without giving something of yourself and I think my images reflect who I am as a person.”

This affinity for British humour, in which pathos and slapstick often go hand-in-hand, played a big role in his upbringing. He attributes it to the silent films and classic slapstick comedies he grew up with and eventually learned to love. “Laurel and Hardy, the Marx Brothers, Will Hay. As a kid, my dad allowed me to stay up late to watch these films, plus the English classic sitcoms like ‘Til Death Us Do Part, Steptoe and Son, Dad’s Army and the Carry On films. Later I loved the absurd surreal comedy of Monty Python and Spike Milligan.“

While a dash of humour is part of how he sees and documents everyday life, it’s not about making fun of or humiliating people. “On the contrary, I’m trying to capture the everyday madness, absurdity and mundanity in all our lives,” he quips. This perspective, he adds, is encapsulated in a famous Mark Twain quote he placed on his bedside cabinet: “When we remember that we are all mad, mysteries disappear and life stands explained.”

Telling stories of a world in colour

Many street photographers gravitate towards black and white, for reasons that remain widely discussed. But for Greaves, the aesthetic “immediately anchors images in the past and present a nostalgia viewpoint.” Save, for example, the works of photographers like Daido Moriyama and Anders Petersen, which he described as “graphic and challenging.” This is why he made the conscious decision to go colour when he switched to digital, and never looked back.

“For me, the world is in colour, and that’s the story I’m trying to tell,” he also notes. But with the unpredictable lighting conditions in the UK, he tends to go for bright and punchy colors instead of setting a mood. If the colours clash, he simply takes it as the story he’s telling. “I’m not interested in photographic conventions or making pleasing images for others; I’m interested in telling the story.”

In addition to sticking to color, context is key in his notion of an ideal street photograph. It needs to have meaningful layers that can be dissected and discussed. “It might raise more questions than it answers; why, what, where, when? It might be surreal or absurd, sad or humorous… That’s the magic really, you just don’t know what you’re going to come back with but context is the most important thing to me.”

Keeping an eye out for absurdity that tickles

“The most challenging aspect is getting close and trying to remain unobtrusive and always trying to capture the essence of something,” Greaves reflects on the hurdles that he often needs to overcome as a street photographer. However, as he frequents the same places over and over, he has also noticed that a lot of people are now getting used to his presence. While it has made things easier, keeping his perspectives fresh and his images more impactful remain a constant challenge.

“Not repeating myself is a constant challenge, as is trying to improve. Like a lot of photographers, I sometimes get challenged so learning to deal with those situations can be challenging at times.”

This pursuit for authenticity and candidness manifests in one of Greaves’ favorite photos, its story giving us a view into the “essence of something” that he strives to capture:

“I have a few favourites but the one I’ve included is a particular favourite from my Chesterfield work. I go to town most Thursdays as that is when it’s busiest. There’s always some interesting characters around and you never quite know what you’re going to get. I tend to like busy in my images. Walking between the market stalls, I came across this scene which I found quite humorous. Three adults looking down at a remote controlled toy which had just tipped over. I took a few shots and this was the best. The absurdity of it just tickles me.”

Deal with what you know

With his learning background on photography, it was inevitable for Greaves to have a deeper knowledge and understanding of the works of many iconic and inspiring photographers, and for these to become the foundation of his own. By writing an essay on Garry Winogrand for his MA, he shares, Winogrand’s phenomenal snapshot style became a major influence to his approach.

The equally iconic philosophy of the “decisive moment” also became integral to his practice that he describes as having trained himself to automatically wait for the moment to happen. “It’s become second nature knowing when to press the shutter so I don’t really think about it now. These days, it’s more a question of asking myself if the scene in front of me is saying what I want and feel about the society that we’re living in. The here and now. I have a list in my head of things to look out for so that helps.”

All these elements have coalesced into the backbone of his current worldview and approach to street photography: “Deal with what you know.” This statement from his university tutor, he said, was the best advice he received, and the wisdom he now wishes to impart to his fellow photographers.

“I’m not sure my view is unique but I think you have to consider what makes you tick as a human being and tap into your personality… I think aspects of my personality, upbringing, surroundings and continued life experiences inform my image making, and this is reflected in my work. At least, I hope it is.”

Check out Andy Greaves’ website and follow him on Instagram (@andygreaves_uk) to see more of his humour-steeped street photography.

The post Andy Greaves: Street Photography Steeped in Sense of Humour appeared first on Street Photography.

Jens F. Kruse: Street Photography as an Emotional and Aesthetic Decision

Joy Celine Asto — Fri, 15 Aug 2025 16:54:18 +0000

Jens F. Kruse: Street Photography as an Emotional and Aesthetic Decision

Born in Germany but living in the beautiful island of Mallorca since 1999, Jens F. Kruse’s street photography journey began the same way as many of ours did. A family member’s camera opens the door to an adventure of self-discovery, creativity, and intuition. And the rest, as they say, is history.

“Photography has accompanied me for a long time: in the 1970s, I secretly borrowed my father’s SLR camera – an Edixa, whose sound and feel I still remember vividly. Those early moments, where I tried to capture the unspectacular in everyday life, awakened something in me that remains to this day.”

Later, through his studies in art and music with a focus on photography, he learned to think conceptually and work in series, and became the foundation that shapes his vision and work. This eventually led to starting a photo blog in 2009. What started out as “very deliberate and conceptual” became “freer, more emotional,” but it still wasn’t intentionally street photography.

The “aha” moment

Until his “aha” moment came in 2017 in Stockholm. A man suddenly walked into the frame but he pressed the shutter anyway. “My heart raced; I felt like I had just done something completely new. When I looked at the image later, I realized: I hadn’t captured what was there, but what I felt. From that point on, I dedicated every spare minute to street photography.”

Then, the “aha” moment culminated in something most likely unplanned and unexpected. When it comes to fresh starts, very few photographers take the plunge to do street photography full time the way Kruse did. “After the pandemic, I dared a fresh start in 2020: I sold my business and, at over 60 years-old, committed myself fully to photography. Since then, I’ve been working professionally in urban spaces – it’s become my home,” he shared.

The big jump turned out to be worth it. Since then, his work has won awards at street photography festivals and exhibited internationally. Recently, he has also been invited as a juror and speaker at street photography festivals. Apart from his own photography, Kruse also actively works as the founder of membership-based community SPuM (STREET PHOTOGRAPHY and MORE), a protected space for street photography in the German-speaking world. By intentionally avoiding the noise of social media, the group takes the focus — and pressure — away from chasing perfect images, recognition, or likes. Rather, they consciously develop their personal photographic vision, with Kruse at the helm of conversations, discussions, activities, and projects within the group.

Good photography is an emotional decision

Today, Kruse spends his days roaming the streets of Palma de Mallorca and other European cities with a camera in hand, and describes his days as “creative and fulfilling” even if he comes home with nothing remarkable.

“I know every corner, every shadow, every leaf, every trash bin – and yet, new images still emerge. It’s not about spectacular places, but about an open mind…What fascinates me most are the small, fleeting stories of everyday life. I observe what people do, where they go, what they look at – and imagine what they might be thinking or experiencing.”

In capturing these street scenes, his goal has been to tap into the mood and emotions of these everyday moments, with the firm belief that good photography is always an emotional decision. “For me, that means, photograph what attracts you! If a subject moves or intrigues you – go for it. Regardless of whether it’s currently ‘in style’ or fits a trend. Because in the end, you are telling your story – no one else can see or tell it like you can. That’s what makes it valuable.”

He also notes that while the technicalities of photography will help hone your craftsmanship, most truly great images don’t follow rules. Instead, they carry a kind of depth or magic that you can’t see but only feel.

“And that’s what I aim for: feeling. Atmosphere. A moment that doesn’t need to be explained – but felt. Maybe some will shake their heads at that – but for me, it’s the heart of photography.”

Making an aesthetic decision that abstracts reality

Speaking of atmosphere, mood, and feeling in the context of street photography, Kruze acknowledges the notion that black and white is the dominant preference, based on the belief that it shows “the soul unfiltered.” But he also reasons that choosing to shoot (or edit) in black and white is already a filter since we see the world in color; thus, for him, it’s more an “aesthetic decision that abstracts reality.”

“In earlier times, of course, it was a technical necessity. But the black and white ‘dogma’ persisted in street photography until the 1960s, when photographers like Joel Meyerowitz, and later William Eggleston or Stephen Shore, began using color consistently as a narrative tool – and opened entirely new visual languages,” he elaborates. But he has also decided on a clear stance when it comes to his own work.

“I want to show the world as it is – and for me, that means showing it in color. Maybe the Mediterranean light on Mallorca also plays a role. The colors here – the blue sky, the warm earth tones of the architecture, the shifting light – shape my perception and naturally flow into my work.

“That doesn’t mean I reject black and white altogether. Sometimes, a monochrome image does work better, especially when contrast or form takes center stage. But for me, that’s the exception.

“Color is more than just visual information. It creates mood and atmosphere. It can be loud or quiet, warm or distant, direct or subtle. In street photography, I use color intentionally to include these layers in my images.”

Visual clarity over “Decisive Moment”

Every street photographer knows Henri Cartier-Bresson’s “Decisive Moment” by heart, but Kruse offers an alternative view. “What exactly is the decisive moment in public space – amidst all the fleeting, chaotic, unstructured scenes around us?” he asks.

His answer anchors on creating an inner order, or what he interestingly describes as a “visual clarity in the urban mess.” But this, he adds, has an elusive quality that you feel rather than see — a frenetic energy instead of plain visual information.

“That search for energy drives my creativity. I try to create images that go beyond mere documentation. Ideally, they unite my personal presence, photographic know-how, visual language, and storytelling instinct. When all that comes together in a single frame – perhaps that’s my own decisive moment.”

All these perspectives — pursuit for visual clarity, emotional decision-making, and aesthetic choices — eventually became encapsulated in what he considers to be a good street photo: it has to touch his soul.

“It has to strike a chord within me – trigger something beyond just seeing. It doesn’t matter whether the image is minimalist or visually complex. It’s not about formal categories. It may not be “beautiful” in the classical sense, but bold, raw, or flawed. In fact, perfection is often the biggest enemy of a strong image. It feels sterile, neutral – a collection of average criteria: pleasing, but quickly forgotten. Perfection is the opposite of life – and the opposite of art.”

One of his favorite photos out of all he has taken so far is a perfect example. It ticks all the boxes: idea, moment, technique, and intuition. While he admits it doesn’t always happen, chance often plays a role, and sometimes he discovers that everything works later on.

“This particular photo is one of my personal favorites. It was taken on an August morning in Palma de Mallorca, at the harbor promenade. From across the street, I saw a cruise ship with a smoking chimney – almost like a toy version in the vastness. Joggers and cyclists were using the cool early hours on the shared path. While crossing the street, two-thirds into the motion, I noticed a very specific perspective: the ship appeared to be floating in a giant bathtub, framed by the concrete balustrade. I knew instantly: this is my shot.

“But I had that view from just one spot – right in the middle of a busy main road. I waited through several traffic light phases, let scenes pass, but nothing felt right. Then I saw her: a jogger with a ponytail, coming from the right. I was at the red light. I calculated the shadow she would cast, and knew that if I don’t go now, the moment is gone. So I stepped into traffic – amid honking horns – and had one single shot: click.”

As a final note, Kruse asserts with certainty: “I don’t shoot from the head – I photograph with my entire body, with my story, with my intuition. That’s what makes my work personal and perhaps even distinct. Past and future only exist in the now. I prefer to live in the present, without forgetting yesterday and without fear of what’s to come. That attitude shapes not only my photography, but my entire way of being.”

Visit Jens F. Kruse’s website and follow him on Instagram to see more and stay updated with his street photography.

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Nika Pailodze: Telling stories of unrepeatable moments through street photography

Joy Celine Asto — Mon, 09 Jun 2025 16:30:41 +0000

Nika Pailodze: Telling stories of unrepeatable moments through street photography

“The street is like a stage, where different angles tell different stories,” says Georgia-based Nika Pailodze, who likens the street as a treasure trove of stories waiting to be captured and told. While his photography journey began with nature scenes and a borrowed camera, he eventually gravitated towards documenting everything that happened around him.

Later, he enrolled in a university program in literary studies, which helped him understand storytelling techniques and gave him a broader perspective when observing different subjects. This, coupled by his fascination for various forms of visual art, encouraged him to take his camera everywhere and photograph everything, from staged scenes to hikes and people out in the streets.

“Eventually, I began doing all of this professionally and started participating in various competitions. Since then, I’ve taken part in many contests, sometimes winning or reaching the finals,” he continues.

With photography now an inseparable part of his life, Tbilisi-born Nika, who also now goes by Da Miane, always travels with a camera. However, he almost never shoots commercially and rarely works on projects. “Mostly, I take on the role of an observer and don’t plan anything in advance, unless it involves staged scenes,” he notes.

Street photography as an everyday affair

Since 2014, street photography has been an almost everyday activity for Nika, a practice he began with a small digital camera borrowed from a neighbour. He often says that he is lucky that the street frequently offers up scenes he could never have imagined. From the mundane to highly contrasting situations, he finds joy in capturing everything, especially the interactions between people and their environments. “The stranger or more contrasting, the better,” he adds.

“I’m drawn to people’s clothing as much as the environment they move through, so if I’m in a familiar place (and I know every corner of Tbilisi), I can roughly predict where someone might go and prepare in advance to photograph them in front of an interesting backdrop. I also shoot spontaneously; a camera is always ready. I especially love those moments when I’m not expecting anything and suddenly have just a few seconds to react.”

This dedication to street photography also made an impact in the rare chances that he does documentary projects on the side. Photographing as he would in the streets allowed him to put some valuable skills to work, particularly approaching and communicating with strangers, and looking for interesting angles for documenting life in his chosen locations.

“If you look at my series “Mountainous Adjara” (Link to Website At The Bottom) you will see that my street photography background has greatly influenced my photography. I didn’t need to pose anyone, because with the experience I gained on the street, what a person would do, already gave me time to prepare for the appropriate shot.

“Street photography taught me how to communicate with strangers and, more importantly, understand them—what kind of people they are and how to approach them. This helped me a lot during the Adjara project and made it possible for the people I photographed to feel comfortable and free.”

The unnamed heroes of street photography

Instead of naming iconic street photographers as his sources of inspiration, Nika considers his street photography subjects as his heroes — ordinary urban people like sellers and buyers in the markets of Tbilisi. He has been photographing them long enough to easily identify certain personalities and even observe changes in their routines.

“It’s very interesting to observe how they change. I’ve even felt worried when someone hasn’t appeared in their usual spot for a long time. I’ve often wanted to approach them and show the photos I took, but I never do. These are characters I see in my own way, and they might be completely different people in reality from how they appear in my photos. I don’t even know their names,” he muses.

In a way, Nika sees these people as “nameless heroes” who exist only in his photos. “Once they leave my frame, it’s like they stop existing and only come alive again when seen through my camera. It doesn’t matter what social class they belong to. What matters is that they are in the right place at the right time when I see them.”

The ideal street photograph as a concoction of many factors

What constitutes the so-called ideal street photograph often varies depending on who you ask. But for Nika, it’s a combination of many factors, such as composition, angle, luck, characters, environment, and lighting. He also considers the street as a stage where all these factors and characters come together to tell different stories; and it’s the job of the photographer to extract the narrative fragments that they find interesting.

Timing is another important ingredient in street photography, often encapsulated in the philosophy of the “decisive moment.” However, he thinks its impact has already somewhat waned, to the point where his definition of the decisive moment has shifted.

“Of course, the decisive moment is important, but today, when we can shoot 120 frames per second, the magic of that moment has somewhat faded. At least among professionals, it’s no longer as impressive unless something truly exceptional is happening. Photography, first and foremost, is about framing—everything starts and ends there. A poorly framed shot can ruin an entire photo,” he explains. “Equally important is choosing the best frame from among many. Perfection doesn’t necessarily mean technical perfection—often, it’s the opposite. For me, the ‘decisive moment’ in my photos is the moment of choosing, because that’s what ultimately determines which image remains.”

Then, there’s also the topic of preference for colour vs. black and white for the ideal street photograph. Some purists would argue that black and white is the way to go, for its ability to emphasise composition and add drama to a photo. For Nika, however, what matters more is how and when one uses colour — or the lack of it.

“I don’t dismiss black and white photography and even consider it a kind of colour. Sometimes black and white can be more colourful than any colour photo, and vice versa. I always shoot in colour and may later decide to convert the photo to black-and-white during post-processing. Most often, my photos remain in colour.”

Likewise, he believes that colour can play a big role in street photography, especially in tricky or poor lighting conditions. It can turn a mundane situation into something more interesting through contrasting or complementary combinations.

“Colour can highlight a person from the background based on what they’re wearing and help place emphasis on the main subject. Colour is an independent carrier of both emotion and information and, besides what’s shown in the photo, it can create a preemptive emotion or impression. This can be both a good and a bad thing.”

The pitfall of familiarity

Having photographed life in Tbilisi so many times, Nika finds familiarity to be the biggest challenge in doing street photography. “The hardest part is finding the energy and curiosity to go out and photograph again. Familiar places, familiar faces—it feels like I’ve already captured everything,” he muses.

Still, the street always brings him surprises, presenting different challenges at different stages in his photography journey. “There was a time when I feared photographing strangers, wondering what they’d say if they noticed me,” he shares. “But with experience, that fear goes away—you begin to understand people’s types and how to approach them. When I shoot in a market, the biggest challenge is avoiding too many distracting or unnecessary details in the frame, because at first glance, it all seems like pure chaos.”

Despite these challenges, the photos he ends up with give him the energy to keep going, fuelled by the prospect of landing another memorable capture. Case in point is a favourite photo that he took in a market barbershop.

“There was a small barbershop, and the pink colour caught my eye. Upon closer look, I saw a bald man shaving another bald man’s head. It was a very strange and striking scene. I only managed to take one photo before the stylist noticed and got very angry—he told me not to take photos. Since then, I’ve returned many times and asked for permission to shoot, but he always refuses aggressively. This difficulty makes me love the photo even more.”

Finally, when asked about what he considers to be unique about how he sees and documents the world around him, Nika says he almost never thinks about the uniqueness of his work. And that if everything is unique, then nothing truly is. “Besides, street photography inherently implies uniqueness—each moment is unrepeatable. What matters most is the emotion I get from my photos. Let others decide if they’re unique.”

Make sure to check out Nika Pailodze’s website and follow him on Instagram (@da.miane.photographer) to see more of his work.

The post Nika Pailodze: Telling stories of unrepeatable moments through street photography appeared first on Street Photography.

In Conversation With Kim Jaekyoung on Street Photography

Joy Celine Asto — Sat, 10 May 2025 12:58:23 +0000

In Conversation With Kim Jaekyoung on Street Photography

As with any street photographer, Kim Jaekyoung is passionate about capturing everyday moments unfolding on the streets. It all began when his wife gifted him a camera 25 years ago. However, his idea of what street photography shifted when he moved from the city to the Korean countryside more than 10 years ago. “These days, my everyday surroundings are mountains, rivers, and open fields, not dense cityscapes…I find it in the hands of farmers, neighbors on their walks, or mist-covered rice paddies at dawn.”

Still, the unique tension and spontaneity that can only be found in urban environments often beckon him to travel to cities and within and outside Korea. It led him to work in India and other countries, where he documented the “subtle intersection where lives overlap.” It’s not surprising, given how street photography grew beyond just a craft for him, but a way of seeing the world.

“It’s the unexpected combinations—a sudden shaft of light across a stranger’s face, two people unknowingly crossing paths—that pull me to raise my camera. These moments can’t be forced. Most of the time, they appear only when I’m simply walking, open to whatever the street offers. Those surprises are what keep me coming back to street photography.”

While photography has felt deeply intuitive for Kim, he can’t point to a specific moment that shaped his style. Rather, it’s a poignant amalgamation of everything in his life, and the unpredictable rhythm of the streets.

“It’s more like a slow accumulation of everything—my upbringing, the places I’ve lived, the experiences I’ve had. The photographers I admired, along with films and paintings, all left their marks too…over time, my way of seeing has naturally taken on the form it has now. Rather than a sudden inspiration, it’s been a gradual shaping of my inner instincts.”

Inspired by the anonymous and the contemporary

He also shares the experience of many street photographers who became drawn to the work of masters, most notably Henri Cartier-Bresson and the magic of his “decisive moment.” Kim profoundly described it as “when time and space fold into one,” resulting in “photos that felt like more than images—they carried rhythm, structure, and a glimpse into life itself.”

Alex Webb was another major influence, who captivated Kim with his layers of color and complex framing. “Even in his visually rich scenes, the emotions and stories were clear. Both of them showed me what street photography could be.”

Fast-forward to the present, he finds more inspiration from contemporary photographers, especially those working in places like Korea and India, where life unfolds with different textures. He even cites anonymous or lesser known photographers as his heroes, drawing motivation to pick up his camera from their fresh perspectives. “After all, a true hero is someone who moves you forward. It’s less about famous names and more about how photographers approach people and space.”

Melting into the flow of the “decisive moment”

Asked about Cartier-Bresson’s iconic photography philosophy, Kim states that while it remains central to his work, he interprets it differently at present. Instead of waiting for a serendipitous, picture-perfect scene to unfold, he tries to “melt into the flow and sense when the tension naturally rises.”

For him, it’s less about keeping an eye out for drama, but also paying attention to things as simple as “the slight distance between people, the turning of a head, or the direction of a fleeting light.” Capturing these subtle yet emotional cues at the right moment serves as the core of storytelling in his photography.

“It’s like the silence between musical notes—small, almost-missed moments often carry the most emotion. It’s about responding instinctively before thought catches up, like scooping up a handful of water from a moving river.”

Kim also sees melting into the flow as the photographer blending into the scene, their presence seemingly almost invisible. To achieve this he understands that he has to spend a lot of time simply being in the environment—watching, waiting, sometimes enduring long stretches where nothing happens.

“Timing is also critical. To catch the brief instant when people, light, and architecture fall into alignment requires intense focus,” he continues. “And for the scene to feel natural, the photographer has to almost disappear. It’s not easy, but when it works—when people and space come together like a story—it’s worth all the effort.”

Echoing the voice of colour

One of the most widely practiced street photography styles is shooting in black and white to minimize distractions and focus on composition, expression, and emotion. Kim aligned with this notion for most of his work, and found that “it reveals the structure and tension within a scene, and sometimes, it even folds the past and present into one frame.” That was until a year ago, when he decided to explore color as well, realizing that some locations and situations simply call for it.

“Recently, I’ve started moving more freely between black and white and color. Color isn’t just decorative—it’s a part of the atmosphere and rhythm of a place. Especially in places like India, color is reality itself. Stripping it away sometimes feels like erasing the essence of what’s happening.”

Now, Kim chooses between black and white and color depending on what the scene requires. “If I want to emphasize emotion and structure, I lean toward black and white. If I want to capture energy, complexity, and life, I go with color. Each voice tells a different story.”

The ideal street photograph

The tendency to chase perfect composition and technical precision did not escape Kim when he was starting out, and he believed that it’s possible to capture perfection even in unpredictable street moments. Over time, his thinking veered away from the idea that the best street photo should be flawless. He started embracing the emotional weight that small imperfections bring to his compositions.

“A good street photograph makes you stop. Maybe you don’t fully understand it at first, but you return to it, drawn back by something lingering. It holds a clue, but not everything is revealed at once,” he stresses.

The ideal street photo, he finds, is not about explanation, but “the air, the light, the subtle gestures that naturally tell a story…. [they] feel like a piece of reality casually left in front of you, carrying an invisible current of emotion underneath.”

Encapsulating all that in a photo, however, doesn’t come easy. For Kim, the biggest challenge is capturing the relationship between people and space in a way that feels natural and convincing.

“Street photography is an art of observation and chance. To create an image where people and their surroundings harmonize takes more than a quick snap—it demands countless quiet choices.”

A record of fact and feeling

Most photographers see street photography as an offshoot of documentary photography, where a photo is a slice of reality frozen in time. Meanwhile, Kim’s work often leans more towards the abstract, demanding a closer look for the viewer to process what the photos are telling or making them feel. Or even, what Kim himself was feeling as he pressed the shutter.

“Rather than proving what I saw, I hope my images leave behind what I felt. For me, it’s not about shouting a message. It’s about leaving an echo that stays with the viewer long after they look away.”

This ideology manifests in one of his favorite photos, taken in Ladakh, India in 2010. He shares:

“That year, a rare flood had struck Ladakh, and life was at a standstill. Shops were shuttered, streets were silent, and exhaustion hung in the air.

While walking, I came across a quiet street where motorbikes were parked in front of closed shops. A few donkeys wandered among them, and people passed by in silence, not acknowledging each other, each absorbed in their own direction.

The scene was heavy, yet strangely beautiful. Humans, animals, machines, and the skeletal remains of the city all shared the frame without clashing.

More than anything, there was a quiet solidarity—a sense that life, even battered, was still moving forward in small, stubborn steps.

This photo holds the memory of that time and place for me—the way photography can record both fact and feeling at once.”

Make sure to visit Kim Jaekyoung’s portfolio to see more of his work.

The post In Conversation With Kim Jaekyoung on Street Photography appeared first on Street Photography.

Marco Giusfredi on Street Photography: Life Slips Away, I gather It In A Photograph

Johnny Mobasher — Fri, 14 Feb 2025 13:05:22 +0000

Marco Giusfredi on Street Photography: “Life Slips Away, I gather It In A Photograph”

When I first saw Marco’s Street Photography, I was not sure to which decade they belonged! His website & Read:

Very little is known about Marco Giusfredi’s life and The man himself (Oh No!)

Some anonymous witnesses report having seen him wandering the streets of Paris with an uncertain gait and a precarious balance, as if he suspects he might have taken a wrong turn. Others claim that he passed away several years ago, but an unscrupulous individual concealed his death in order to continue receiving his state benefits. According to this version, the most recent photographs that can be seen on social networks or occasionally at small festivals are the work of the said unscrupulous individual. ( An Imposter Street Photographer!?? )

Then on another Page I read : In 2073 Marco We Was the Recipient of the ‘Emerging Passed Away Unknown Photographer Award”

WHAT!??

2073???!!!

I immediately remembered reading the wonderful ‘The Real Frank Zappa Book” by Frank Zappa in which Zappa ReCoins a Phrase from The Composer Edgard Varèse which goes: The Present Day Composer Refuses to Die! Which way back, I ReCoined To: The Present Day Street Photographer Refuse To Die!

2073 on Marco’s Website Now made better sense me! A Present Day Street Photographer

I just Love his Street Photography! I just Love that in Some images, I recognise the same obsessions! Are they indeed Obsessions or just Similar interests & opportunities? I think Brilliant Street Photographers, are obsessed!

At first glance, I couldn’t help but to compare Marco’s photos to the works of other street photographers, but after a few viewings, I stopped. WHAT IS THE POINT, I thought! There is One Earth, Millions of Streets, Millions of People, Millions of Photographers, Millions of Cameras, Millions of Subject and devices and BILLIONS of pictures….. But what only matters, is which Picture resonates with you. Which one, makes you pause? Which one brings you a smile? The longer the Pause, the more you imagine your own colourful story about it, and the more conversations you can have with yourself about it. The more you return to the picture, the longer the internal conversation. The Bigger the Joy & Pleasure. That’s what Really matters. In The photo ( s ) that capture your mind, you see “YOURSELF”, regardless of how famous or unknown the Photographer is. That’s Marco’s Street Photography. That’s YOU.

Looking through Marco’s Street Photography, I wondered to which decades they belonged? To me, Some of Marc’s Pictures are reminiscent of the 1950’s, some The1960’s, some The 70’s, some 1990’s & some yesterday!

On Marco’s website, I then landed on “Desire To Waste” which according to Marco, is his long-term photographic project that seeks to explore the many facets of desire permeating public spaces. Desire as the energy that drives the photographer into the streets. Desire that sparks encounters, sublimates the moment by freezing it in a state of unresolved contradictions, where everything is still possible… and then nothing more. Lost desire that isolates the subject in an inner journey, searching for a drive to escape the labyrinth. Desire that strives to transcend the conventional separation between public and private, high and low, prosaic and poetic. The desire to become something else.

I was even more curious.

Marco lives in Saint-Denis, Not far from Paris where most o this street photography is shot. He mainly shoots on the Streets and in Public Places & believes that “The practice of street photography involves a certain tension, an openness towards the outside, towards others, and it offers the possibility of forgetting oneself, providing great relief.”

How True.

Marco is Self Taught, he continued: “I didn’t go to a school to learn how to take photos. I don’t like schools, I don’t like any school. Neither public nor private.

However, I learned from others. You meet people, photographers, images… all of this has an influence, but I don’t think I can refer to a particular photographer.”

For years, he barely moved away from shooting in Paris & why not, It’s as eventful and as exciting as cities like NYC or London. He says that he didn’t feel the need to move. But he adds: “lately, I’ve been wanting to explore other territories, perhaps even less dense ones” but in tandem he still continue to practice photography in Paris.

I ask him, What is Great Street Photography? “An image in which at least at first glance, The Photographer’s virtuosity does Not appear” . Nothing else needs to be added to Marco’s response!

I particularly love & was drawn to Marco’s low level, almost from the ground up angle of view shots! How easy is that? Do people notice you when so close to them & you are so low? Does Palpitation kick in?? How do you do it I ask?

“It depends, he replies. You have to be either very fast or very slow. Sometimes, slowness is reassuring. When you can’t avoid being seen, speed can be perceived as an aggression. In that case, approaching almost in slow motion, accompanied by a glance, a gesture, or a grimace, can lead to a silent happy consent.”

Confidence is what comes mind! A Charming Mannerism infused with “Desire”, spiced with Humour, excitement & a little cheekiness. Is this natural to All Street Photographers? To Marco, it evidently is. Can others practice & develop the skill? Maybe but just about maybe.

Before we end, I’m curious to know if The much talked about Photography Laws in Public Places in France, are a Problem for Street Photographers? He replies “The law isn’t really be a problem yet. It’s more the distorted perception that people have of the law that causes the issues. Those who (thankfully a minority) , express disapproval of a photo often refer to the right of image and believing their consent is required, when in fact, according to the law, you can photograph freely in public spaces. Problems can arise, if at all, upon “distribution” of the image, it’s usage. That’s how it seems to me anyway, though I have no legal training.”

My wishful suspicions were right, he’s Film Fan but I don’t get the feeling that he is Brand or Type addicted or Dependant: “I’ve gone through so many cameras… you know, a camera that’s 40, 50, 60 years old eventually gives up. Right now, I mainly use a Nikon FM because so many were sold, so it’s easier to find spare parts and technicians who can work on them. Then, I also use an Olympus Pen S half-frame and a Mamiya C220 when I indulge in the luxury of shooting in medium format. Lenses between 28mm and 50mm”

But as always, The EYE is his own.

I’m glad that he is around now & that I could talk to him about Street Photography.

I couldn’t probably wait until 2073…. But then again…. Who Knows!

To see more of Marco Visit his Website

And Follow him on Instagram

The post Marco Giusfredi on Street Photography: Life Slips Away, I gather It In A Photograph appeared first on Street Photography.

Pau Buscató : The Mindfulness of What Is Street Photography

Johnny Mobasher — Thu, 30 Jan 2025 21:09:38 +0000

Pau Buscató : The Mindfulness of What Is Street Photography

Pau Buscató, is one of those present day Street Photographers that very wannabe Street Photographer should aspire to! In addition to many other Great past and present Street Photographers, Pau’s Street Photography ought to be studies in any Street Photography Workshop or during Self Education.

In a world where over 8 Billion Cell phones are in use , many claim to be Street Photographers! But where is the Magic? Is There a Secret? No “Secrets” in Pau’s Shots! It’s all Revealed…. if there is a “Secret’, a Key, it is in his Mind! In his Eye….and The ability to anticipate a magical, unrepeatable moment which is “absent” in the photography of those who just CLICK on the street!

The Spontaneous Narrative

Not any snap shot on the street , is Street Photography!

The Days of The “Uniqueness” of colour or Black & White high contract light V Shadows, Silhouettes & Large Hats against the sunlight are probably over! Social Street Documentary is surviving well….Street Portraits are as good as they ever were & continuing…..Street Photo-Journalism is thriving (especially now with the continuity of social unrests ). A Flash in your Face like a shotgun close up, is Nothing new & Body Parts Photography are plentiful! & sure enough there are some fine examples of them on Gallery Walls, In books & on our computer screens. Dead or Alive, Long live the photography of the likes of Alex Webb, Elliott Erwitt, Joel Myerowitz, Robert Frank, Bruce Gilden, Vivian Maier et al to name a few….

When I first saw Pau’s Street Photography, recognised “How it Should Be”… I knew “THIS IS PRIME”… This is What Street Photography is! It’s Not just Shot on The streets! That’s NOT ENOUGH…. So, what is ENOUGH!?

You’ll have to Spot it for yourself!

Pau & I had a conversation about his Street Photography. Pau says it like how it is. It’s to the point, direct, honest & frank.

Pao Buscató is a photographer from Barcelona and currently based in Norway.

Has Street Photography changed since you started? Has Anything Changed on the streets?

I started with Street Photography in 2012 and I’m not sure if it has changed so much since then. Maybe the way photos are shared has changed a bit, for the worse, imo. Those were the Flickr days, and that platform was much more friendly, not as fast paced as Instagram, and, if you looked in the right places (aka groups), it offered lots of opportunities for growing and learning. There was a sense of community over there, with forums, discussions, critique, etc.

In comparison, Instagram is colder and feels more like you’re on your own.

Another thing I noticed that has changed is the way people view our photos. Looking at the Google Analytics or Clicky insights, I noticed that back then most people viewed my photos on a computer screen, while now, unfortunately, most of the times they are viewed on a tiny smartphone device.

Opportunities are the same, I would say. You just need the TIME, really. As life happens, sometimes that’s the most difficult thing to have: enough time to go out and make photos. But the streets are still packed with people and opportunities.

What do you look for in Street Photography? What is a Great Street Shot? What isn’t?

I like to see photos that surprise me, photos that force me to stay with them for whatever reason: an outstanding moment that is hardly ever gonna happen again; or because it has some sort of cognitive friction that messes up with your eyes and brain (see Blake Andrews); or an original and clever idea, a strong emotion perfectly framed… Or all of those together. There is no magic formula.

This doesn’t mean that I don’t like one-liners. One-liners can also have the things I mentioned, and there are good ones and bad ones (the easy ‘low-hanging-fruit’ cliches). Quite often bad ones are the most popular in social media, and I have been guilty of making a few of them, too.. especially when I was starting.

In general, I like to see/feel that the photographer had a clear intent with the photograph. I like to see creativity and originality, because we are flooded with the same type of images being posted again and again.. photos that when you see them, you have the feeling that you’ve seen them before, a million times. We need more of the other ones, the ones that feel unique, original and difficult or almost impossible to replicate.

I love photos that are based on a creative observation made out of our most mundane and underrated surroundings. I love photographs that are able to turn the smallest thing, the most unimportant random thing, into an interesting image.

I’m bored of the typical photos of silhouettes inside a geometrical framing, or similar. If you stay in that place for 10 more minutes you’ll be able to make that very same image 25 more times. I don’t see the point.

DO you have a Favourite photo ? A story?

Not really. I don’t have any favourite one, just some photos that I like more than others. I also tend to get tired of some of my older images. Maybe I’ve seen them too much, and in some cases I think they are quite cliche and wouldn’t make them again.

This photo of my reflection holding an umbrella, for example. It’s from 2015 (Oslo) and I still like it, but there is no special story behind it. I liked the idea of a frame inside a frame, with the added reflection, so I waited there for a while until someone would walk behind the old house. The woman with the red umbrella was a nice final touch of colour that fitted well with the rest of the tones in the frame, and it gave some more depth.

For our gear enthusiasts, Do you shoot film or digital & what is your current on hand gear.

I shoot digital now. When I was starting with Street Photography I did a year and a half of shooting only b&w film and developing at home. I did that so that I could learn the basics of photography, because in 2010, when I bought my first camera (digital) I got trapped in the buying-new-gear race, which got me completely lost, not knowing which direction to take. That’s a typical rookie mistake: thinking that the more and better gear, the better photos you’ll make..

Luckily for me I realized about this, so decided to make a radical change and simplify things: I sold all the accumulated gear and bought a used film camera and a lens. This helped a lot.

Then in the end of 2013 I bought a digital camera again, the tiny Ricoh GR, and have been shooting digital since then, always in colour.

With the GR camera I got very used to the 28mm focal length and have sticked with it. Shooting film on a rangefinder also got me used to zone focusing, and have also sticked with that, even when using digital cameras with great autofocus capabilities. I still think that an already pre-focused camera is faster than the fastest autofocus one. It gives me more peace of mind, too, when I’m out shooting.

My favourite gear is the one that makes my type of shooting easier. For example, the GR or the Fuji X70 are very good for the way I work. They are tiny, 28mm and very easy for zone focusing. I also have a bigger camera, the Sony A9 (first version, from 2017) that I use with a very small manual lens: the Voigtlander Color-Skopar 28mm. I need an adapter because this is a lens with a Leica M mount, but with this combo I work in the same way that with the smaller cameras: zone focusing and the “F8 and be there” approach.

To See More of Pau visit His website

And Follow him on Instagram

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Keith Goldstein On Street Photography And The Psychological Moment

Joy Celine Asto — Tue, 24 Dec 2024 16:03:42 +0000

Some creative minds get into street photography by accident, but for New Yorker Keith Goldstein, it seemed to be an inevitable progression of things. Born in Brooklyn and raised in Long Island, he has called New York City home since 1977. With his professional life rooted in photography, he has taken on various positions within the industry: selling darkroom equipment in a camera store, an exhibition coordinator for a photo gallery, darkroom printer, photo editor in various publications, and finally as a photo editor for various photo agencies. All these while he was also doing commercial freelance and editorial assignments, shooting corporate events, doing his own work, and setting up exhibits.

Still, Street Photography remains a big part of his daily routine. “I photograph almost everyday. Living in New York, I leave my apartment and am immediately on the street I just pick a direction or decide to take the subway to a different neighborhood.”

It’s easy to think that New York City, as a Street Photography haven, readily provides a specific set of scenes or subjects. But when Keith roams the city, he doesn’t really have any real specific subjects in mind. ”I just empty my mind, walk, and let my surroundings, the people and place, influence what I might react to,” he said. “I am always looking for those moments where people enter themselves, getting lost in their own interior thoughts. There is a certain kind of vulnerability within that moment that people usually don’t show.”

Defining the qualities of the “ideal” street photograph

For many Street Photographers, there are certain elements or parameters that should be present for a photo to be considered a legitimate Ptreet Photograph. Keith, however, doesn’t subscribe to an “ideal” for the genre. Rather, he believes that those qualities are for each of us to define for ourselves. “Stylistic criteria should come from within you, not based upon some conventional or popular style,” he stressed.

“I can understand when a new photographer shows specific influence from someone else. We need to learn, but in the end, why copy or emulate someone else’s style? We are all individuals and each of us have something to say. We each should search, explore, and hopefully define our own ‘voice.’”

As such, he doesn’t think about a style or a specific compositional box to fit his work into. Instead, he looks for meaning in his surroundings, then reacts to what he sees, whether he’s doing street photography or another form of photography. “I am not completely sure what it is until much later. Sometimes, months later.”

In terms of technique, instead of choosing a spot to stop and “wait out” scenes to capture, Keith opts for a more active approach to Street Photography. He prefers to embrace an immersive “certain kind of physicality” wherein he walks, observes, and creates images as a drive-by, “as if one was in a moving car peering out to the scenes going by.” However, it doesn’t always lead to a successful photo. “I miss a lot of what I see. Usually, by the time I get there, what I saw from a block away is gone.”

Learning about the “vocabulary” of photography through the masters

When he was younger, Keith came across many of the classic “master” photographers and familiarized himself with their work. “Weston, Callahan, Adams — I enjoyed looking at their work, but I knew this ‘genre’ was not for me,” he shared. He also visited the small library near his childhood home, but it had a very, very limited selection of photography books. Through it, however, he also discovered the work of Austrian-American photojournalist Ernst Haas, with “The Creation” in particular making an impression on him.

When he moved to New York City to finish his education, he became exposed to galleries and was able to read about the history of photography. Only then did his awareness of other photographers expand.

“Tony Ray-Jones was the first photographer that just bowled me over. From there it was (Robert) Frank, though at first I did not know what to make of him,” Keith continued. “Frank in many ways is more cerebral to William Klein, who really smacked me in the face. The physicality of his image making. The close up wide angle imagery.”

From there, he immersed himself in the work of many other photographers, including Joel-Peter Witkin, Lee Friedlander, and Garry Winogrand, absorbing their imagery and techniques in image making. He likened this to the cerebral journey that writers embark on when they read so they can become better at their craft.

“It is important to look, the same as it is for a writer to read. To write well, one has to learn the vocabulary and go from there. It is the same for image making.”

Searching for the “psychological moment”

While most Street Photographers spend considerable time chasing after the “decisive moment,” Keith confessed that he doesn’t really consider it significant to his creative process. To him, it’s an inefficient way to work, as more often than not, he is unable to get into the “moment” and find a connection between what he was seeing and feeling.

“There are many days where I am out and come home with nothing. I somehow did not connect with what I was seeing and feeling. I was just not in the ‘moment.’ Every press of the shutter is a miss. I can feel that ‘miss’ milliseconds before I release the shutter. On those days, I try to find a quiet space and try to reset.”

What works for him is not looking for images, but seeing and feeling them. He calls this searching for the ”psychological moment,” letting visual organization fall where it may. He found this effective in creating images that resonate to viewers in more ways than one. “I don’t want viewers to respond to just the visual, but I would like the viewer to connect with the imagery hopefully on a deeper emotional level.”

Through this mindset, he eventually gravitated to humans as his main subject, both people themselves and their mark or impact in the environment. He found the psychological moment not only in the presence of humans, but also in the various elements left in their absence.

“Human elements have always appeared somewhere within my imagery or alone, graffiti, discarded detritus, flowers, etc. But it wasn’t until the COVID-19 pandemic that these elements became more a focus as there were no people on the street. These elements become substitutes for missing people. Sometimes, elements can say much about the impact of man in the environment than the people themselves.”

Perhaps, among the most poignant manifestations of this psychological focus comes in one of his favorite images. “’Pork Delivery’ possibly speaks to me on many levels — commentary on the commodification of life, anger, beauty, or simply a document of everyday reality. It was just happenstance that I turned a corner and the scene just unfolded. I might have taken two or three images. This one I felt closest to. Obviously, the pig is deceased, but the look on its face shows it resigned to its fate.”

Street Photography as a visual diary

Some of us may consider Street Photography as a straightforward record of a location at a certain period, or a legacy that they can leave behind. But for Keith, his work sometimes serves as a visual diary, a form of documentation more reflective and personal. Something that reminds him of his journey through life and his place in the world.

“For me, my photography defines who I am. My job just helps me support myself to be where I want to be. To be able to support my family, travel, eat in restaurants, see friends, and make connections. I never wanted to do anything else but express myself in some way for as long as I can remember.”

“I’m sure it had to do with my family situation and my childhood. I don’t want to get into too much, except I was brought up in a single parent household. Abandonment, being alone was an issue. Each image I make tells me exactly where I am in my life at the time the image was made. My work, my writings help me find my place within the world.”

Make sure to check out Keith Goldstein’s website to see more of his work.

The post Keith Goldstein On Street Photography And The Psychological Moment appeared first on Street Photography.

Mikhail Matvienko on Street Photography: I bought a camera and found out that the most accessible genre is street photography

Joy Celine Asto — Sat, 07 Dec 2024 17:54:51 +0000

Moscow-based Mikhail Matvienko’s street photography journey began with a scenario that many photographers can relate to. Working as a film editor for almost 30 years, his job recently shifted towards a more technical direction, sparking in him the desire to seek a creative outlet somewhere else.

“So in 2021, at the age of 47, I bought a camera and found out that the most accessible genre is street photography,” he shared. “It also had the least chance of making money and the most chance of getting into trouble. I decided that it suits me.”

What followed is a path many of us are also familiar with. “After watching educational YouTube videos on photography and buying a book by Henri Cartier-Bresson, I went outside, and since then my passion for street photography has only flared up.”

These days, he usually spends one to three days a week taking photos, always carrying a compact camera and ready to shoot at almost any moment. Apart from Moscow, he especially likes shooting in St. Petersburg, spending two or three weeks a year there to take photos.

”

The “first year” in monochrome

With his background as a film editor, it’s not surprising that he found more potent inspiration in cinema. “The work of Emmanuel Lubezki, the films of Terrence Malick, Andrei Tarkovsky, Leos Carax, Michelangelo Antonioni, Jim Jarmusch – I can’t count them all,” he cited. Eventually, he also began to discover some of history’s most esteemed street photographers, along with his contemporaries that are making their mark in street photography circles across the globe.

“Almost randomly, I can name Saul Leiter, Harry Gruyaert, Alex Webb, Trent Parke. I have especially warm feelings for compatriots who have managed to assert themselves in the global arena of street photography: Gueorgui Pinkhassov, Lesa Kim, Artem Zhitenev, and Ilya Shtutsa.”

As with many photographers, he also found black and white fundamental to his beginnings in street photography. Feeling great about the visual technique — and greatly inspired by iconic names and movements in still and motion pictures — the vast majority of photos from his first three years were monochrome.

“I was greatly impressed by Daido Moriyama, Joseph Koudelka, Alexander Rodchenko, and of course black and white films – German Expressionist Cinema, French and British New Wave, Film noir. I especially want to mention the film by Wim Wenders – Im Zauf der Zeit with the incomparable aesthetics of the ORWO film.”

“But, at this stage, I have deliberately moved away from monochrome images and have been shooting only in color for six months. To some extent, this conscious step is dictated by the fact that in film institutes at the faculties of cinematography, future cameramen are not allowed to use color images for the first year, honing their skills to use form and simple contrasts,” he said, once more in reference to his filmmaking background. “Only then do they move on to chromatic contrasts and balances. So I thought that my ‘first year’ was over.”

”

The most democratic but also the most difficult photography genre

Street photography, Mikhail confessed, turned out to be not only the most democratic but also the most difficult photography genre. “I constantly have to educate myself — to study technical aspects, the history of painting, look at an incredible number of photographs, visit museums and develop communication skills,” he added.

It’s easy to see how he arrived at this idea. Anyone with a camera in hand (even a smartphone will do) can roam the streets in search of something eye-catching to snap. But it takes constant practice, steady flow of inspiration, and keen observation to capture an effective and timeless street photo. The ability to find something interesting in the everyday is another skill that street photographers spend honing for years.

“Almost anything can serve as a trigger for my photos – a strip of light, an unusual combination of shapes or colors, patterns, and interesting people. Over time, you start to get aesthetic pleasure from the most ordinary things and wonder why others don’t see it.”

”

Who decides what’s “decisive”?

Despite first being inspired by Henri Cartier-Bresson, Mikhail doesn’t attach much importance to the concept of a “decisive moment.” “Who decides that it is decisive when in minutes, a rider on a beautiful horse passes instead of a cyclist?” he poignantly mused. “It’s just one of the options for the development of the event, which is provided to us by the place, time, and perhaps the universe itself.“

In addition, a big chunk of the decisive moment involves encapsulating a visual story into a perfectly timed shot. However, Mikhail also believes that today’s photography landscape, impacted by mobile photography and artificial intelligence, will shift away from straightforward narratives. These visual stories, he noted, have simply become too perfect and too easily achievable.

“In general, as with the advent of photography in the 19th century, artists were forced to look for new solutions. And with the advent of mass mobile photography and AI, modern photographers will already be forced to move away from simple and narrative forms into more abstract, non-personalized forms or vice versa, to technical and formal simplification. Hence, all this vibe of cheapest camera, films and Polaroids. People don’t trust perfection; it has become too easily achievable.

“Nothing difficult about what you enjoy”

Despite the inherent and perceived challenges of street photography, Mikhail believes the most difficult part of his foray into the genre is walking 20 kilometers or more. “There is nothing difficult about what you enjoy,” he adds, and that he also doesn’t get too upset if he doesn’t get, at the very least, an acceptable photo. What matters to him is that the “skill is getting better.” In addition, he alludes to training one’s observation by “taking pictures with your eyes — only it’s more difficult to save such photos.”

With these ideas, it’s understandable that he doesn’t really have a favorite photo of his own — or rather, the favorites are constantly changing. “Lately, I like the concept of Garry Winogrand that works should be published in a year, when the view of them becomes more impartial.”

Asked to share his recent favorites, he cited a photo of Lesya Kim’s reflection in the PhotoBox, “because she participated in photo exhibitions several times this year and I like how the audience guessed what was on her.”

On a final note, he also believes that the most unique thing about street photography is street photography itself. He describes it as “a genre that gives such an incredible impetus to the development of a creative attitude to the world, and where everything can only begin for you at the age of 50 and older.”

Follow Mikhail Matvienko on Instagram to stay updated with his work.

The post Mikhail Matvienko on Street Photography: I bought a camera and found out that the most accessible genre is street photography appeared first on Street Photography.

In Conversation With Mania De Praeter On Street Photography

Joy Celine Asto — Sun, 10 Nov 2024 21:17:57 +0000

Solitude is not an obvious theme that street photographers explore, although some scenes and cities simply lead them to it. Such is the case for Antwerp-based Mania De Praeter, a neurosurgeon who discovered her passion for photography during the COVID lockdown. Now, she divides her time between her hometown and New York, where her partner lives, wandering through the streets with her camera when her schedule allows.

“I do street photography whenever I have time during weekends when I’m not on call, or when I am in New York. I’m always on the look out for beautiful light and/or shadow and can wait for hours for an unexpected scene to unfold.”

As with many street photographers, Mania finds inspiration in many esteemed masters of the genres. “First of all Saul Leiter. His sense of colour and composition is just extraordinary. Same goes for the Italian photographer Frank Hornet. The well-known Henri Cartier-Bresson, Vivian Maier, and Diane Arbus are all-time favourites of mine. I also admire the Belgian Magnum photographer Harry Gruyaert for his formidable use of light and his photos of Belgium.”

The allure of solitude

A quick peek at Mania’s Instagram feed reveals an evident impulse for the drama in the everyday, mostly through clever use of light and shadows. It’s easy to tie this affinity for emotive photography as a result of picking up street photography during the pandemic. However, she doesn’t follow a specific strategy to achieve this look, but instead works with what catches her eye. “I just begin to walk, often in the morning to catch the beautiful morning light. Then, I look around until a specific shadow, light, or scene catches my attention.”

However, the element that stands out the most about her photos are the mostly solitary subjects that punctuate and complete the dramatic slices of life she captures. She didn’t go after this approach on purpose, but instead emerged as a response to the allure of solitude. “I noticed that I am very much attracted by loneliness, solitude, and some melancholy in street scenes,” she added.

“I try to capture daily scenes that are somehow a bit unique in the way the person is walking or communicating. Like I said before, I am often looking for solitude or people that seem a bit lost or out of place.”

Making the most of unexpected moments

Asked about the most challenging part of her street photography style, Mania answered that it’s finding the right scene. Understandably, there are many factors that can affect a scene on a given day. So, it’s not unheard of for photographers to return to their chosen spots a few times to get the photos they want. Still, she finds comfort in how she was still able to get great snaps from unexpected moments.

“It’s easier on a beautiful sunny day, but I try not to let the weather hold me back. I force myself to go out, even when it’s cold or when it’s raining or when it’s misty. In the past, I have made my best photographs when it was least expected.”

Is her choice to make her final images in color or black and white part of the unexpected? “I most often edit my photos in black and white because it gives that timeless feeling,” she answered. “But I sometimes I just cannot ignore colour.”

Given the many unknowns and unexpected moments that street photographers often have to work with, Mania is often guided by a simple goal. “I just try to make beautiful compositions that makes one want to look at it over and over,” she mused. We see this at work in one of her favorite photos, which highlights this dedication to impactful composition.

“One of my favorite photos has been taken on a corner in Williamsburg. There are many women in the picture and they all walk in different directions but every one of them is talking or on the phone. They are disconnected but very connected in a way.”

Make sure to check out and follow Mania De Praeter on Instagram to see and stay updated with her street photography.

The post In Conversation With Mania De Praeter On Street Photography appeared first on Street Photography.

IGOR ČOKO : STREET PHOTOGRAPHY & VISUAL ANTHROPOLOGY

Johnny Mobasher — Fri, 25 Oct 2024 20:05:49 +0000

IGOR ČOKO : STREET PHOTOGRAPHY & VISUAL ANTHROPOLOGY

What drew me to Igor Čoko , was the Street Photograph of , probably a 7 or 8 year old girl. Crossing the road in the rain, all wet, with her face and right hand stretched towards the traffic, maybe alerting the drivers that she is on the road & crossing!? Her left hand, holding the all wet accordion to stop it from opening. Most probably a “child” working girl with an accordion hanging around her neck, working the streets for a few coins. It’s slightly blurred which indicates both the speed at which she was crossing the road & the speed at which Igor had noticed his decisive moment. The Blur, is actually The Charm of the image which I love and subject of the Image, The Girl, filled me with a heavy heart for a life of a young child, captured in frame.

Attention to details, is a signature of Igor Čoko’s Street Photography which he coins it as “Visual Anthropology” ! it’s a new Term in my Street Vocabulary! It makes perfect sense.

Igor, Lives & works in Belgrade which he calls the New York of the Balkans, Alive 24 hours a day! which makes me feel like running to the airport to catch the next flight with just a camera & no luggage!!

Igor has authored four books, participated in 40 exhibitions, is a lecturer & enjoys a long list of awards.

His Notable project is the “Balkan Route”, The journey and life of refugees, which links Street Photography with Documentary under the umbrella of Visual Anthropology.

We have a conversation about Street Photography & my curiosity on what is in his mind!

How Did You Get Into Street Photography

I used to be a journalist, spent many years in the media, specialised in long term Reportage projects. I worked as a freelance, mostly for various magazines, and photography was just a backup. When I left journalism in 2008, I switched pen for a camera and tried to think visual, instead of words. The moment that in my mind, I “saw” photographs, composition and scenes, it was a trigger to give the camera the main role. In the written form I was trying to visualise my words, so you could picture the scene I wrote about. But, I found the reality of the visual experience of the frozen, captured moment in a frame, is the best and crucial way of storytelling with a narrative.

Watching street life with my own eyes and being able to capture then, has been a game changer. I was hooked & right into the deep end of the game and knew that there was no way back. And then came Anthropology, a cherry on the cake.

Did you cross from Anthropology into Street Photography?

I did not cross, Anthropology upgraded my Street Photography, gave me a wider picture of understanding the streets and it’s cultural, social background. It was a missing link that I was kind of searching for.

Anthropology and Street Photography are a perfect match, so deeply connected on many levels. Many street photographers are anthropologists too, Mary Ellen Mark, Jill Freedman, Martha Cooper…

What is “Visual Anthropology”?

In short, visual anthropology is a subfield of social and cultural anthropology. Visual anthropology encompasses all visual representations of visual arts, and the production of mass media. Photography is one of the most important parts of visual anthropology, the relationship of visual form and function. Street life is the best field work to understand Anthropology and Street Photography is one of the most important links to understand and observe Visual Anthropology.

Can Street Photography be taught? Can you become a Great street Photographer by going to workshops?

Workshops are helpful, for sure. Sometimes necessary. Someone started all this beautiful adventure, and the whole history behind it to learn about how street photography is actually rich and deep, one of the most important genre of Photography in its history. I run street photography masterclasses and workshops here in Belgrade, my goal is not to teach them just how to shoot and act on the street, but to introduce them to street photography straight from the roots. Street photography is one of the hardest types of photography to do, no doubt. during a masterclass and workshops I meet a lot of people who want to jump into street photography but they suffer from lack of self confidence and similar fears like how to approach to the people. They do not understand what exactly street photography is. It’s very important to be there for them, introduce them with the topics and be a psychological support in efforts to remove fear and prejudice from their mind. At the same time, I have met fantastic photographers, raw talents with a brilliant sense for details, wild and brave to ride the Street Photography mustang. You Definitely need to have the Mojo for Street Photography, with fire in the eyes, to understand the Street, otherwise, all the teaching and theory are pointless.

What Mind Set is a Must Have to be a Good Street Photographer ?

To be ready to feel, read and understand streets. To be without prejudice, fear and to be ready for thinking fast and react, to combine details and tell the story. To make a photograph that I would like, as a viewer, to be able to read and put myself back into the photograph, repeatedly. Whilst walking the streets from point A to point B, we often do not have too much time to look around, read the signs, combine the details, we are in a hurry to get back home tired, frustrated and life is too fast. If you slow down, and put on your anthropological and street photography glasses on, then you will dive into some other dimension, which is actually the true reality, full of life and unexpected moments with details. As a street photographer, you are in a Candy Store of life, able to pick up all the fruits and capture exciting, deep, unforgettable, and once in a lifetime moments. Observing is a must do, and clicking on a trigger is a reward. In the rush of the moment, if some desired detail passes you by, there will be another coming your way soon. Street is fluid and full of surprises. And those are the markers of good Street Photographers. To catch life and its upcoming surprises.

The “Trapped on The Balkan Route” has been mostly shot in open spaces & some on the Street & Clearly has a Documentary feel about it. Where/What is The Boundary line between what you’d call “Street Photography” & “Documentary” ?

Boundary is obvious, when you work on a long term project, Street Photography is documentary too, documenting a wide picture of street life with a narrative. Trapped on the Balkan route was an example of how documentary and engaged photography can change the situation, affect the masses to react in a positive way. I found migrants from Syria and Afghanistan hidden in dehumanised and abandoned warehouses in the city centre near the former Belgrade bus station. I witness a potential human crisis that is about to happen if someone does not react. I put my photos on my Facebook and Instagram pages and got over 2000 shares in the first couple of hours. Many volunteers from all over Europe start coming to Belgrade to help those people. And I was so proud that my photography was the trigger for digging them up from the bottom. It partially happened on the streets, but in other circumstances, out of this story, it could be seen as a street photography. Documentary and street photography are closest photography relatives. Documentary is focused on the matter, the street is looking wider and thinking out of the box, Its is a more creative and flexible way to upgrade documentary in many ways. Because street photographers are able to see and detect more detail that could fulfil the documentary point of view.

What is “Street Photography” ? Is anything shot on the streets Street Photography?

To be honest, street photography is one of the hardest fields of photography to define. Working on the streets, Reportage Photographers, Photo journalists , documentary photographers, wedding photographers, stock photographers are each focused on a relevant theme and subjects. They are captured in predefined rules. Street photographers are thinking and playing out of the box. That is why me and many other street photographers consider street photography as jazz. Street photographers are capable of using all of these genres and converting them into street photography. To tell the story in a creative, profound way.

And of course, you are not a street photographer if you just go to the streets and shoot snapshots. And cliché details. Like, man is going down the street without any visual sense and story behind, or if you make random snapshots of people as a mass and crowd or something like that.

Any thoughts of The Digital age? Has it been good for Street Photography?

Digital age is our reality. And life is much faster than in the analog period. Nowadays we need to be fast as much as the street is. That way, digital photography is necessary. And digital gear is good for street photography the same as analog Leica was good back in the sixties and seventies. Plus now, we have mobile phones that can be useful in some situations. My own Camera setting is usually aperture priority, but there are often moments when I play and enjoy totally in manual mode. That is like a zen experience in street chaos. In the end, all that is just gear. Your eyes and mind are actually the best cameras you will ever use.

Any side effects of Social Media ? Good or Bad.

Well, that is a tricky situation. Social media is helpful and is not. Facebook and instagram are helpful, They are sometimes the main platforms to promote a photographer’s work. In my case, on my recent profiles, before they were hacked and gone forever, Instagram and Facebook were very helpful. Thanks to social media, I have sold my street photography book ,“Subversive street aesthetics” in Serbian language in over sixteen countries. “Karaburma my ghetto” was sold out in a few days promoting the book only via Instagram. But both of those platforms suffer from random censorship, sometimes so meaningless that it can cause serious problems from very stupid reasons covered in some fake morality. But yes, photographers need to use those platforms, if you are not on line, you do not exist. Personally, I prefer Websites over Social Media platforms. That is the place of your comfort zone where you can be truly yourself. Nobody controls you and your work.

What is your favourite or current gear?

The best camera is the one you have in your hands. I like the story, the moments, I’m not addicted to gear. I shot street with Nikon D3, first Canon 5d, loud and heavy as a machine from WWII, and I got pretty good results. I liked the Fuji x100 so much, the first, initial model. Now I use Nikon df and Nikon 50 d 1.4. mostly. I’m a man of one lens. Nikon df is great with an upper command that gives you a feeling of old film cameras and really joy of photography with astonishing results in terms of details, sharpness, quality pictures in general. And all Fuji cameras are great.

“Streets of Belgrade” are all shot in colour. Is there anything to be said about shooting on the streets in Colour or B & W ?

It’s the photographer’s choice. “Streets of Belgrade” I saw in colour from the first moment because of a bunch of details. On the other hand “Karaburma my ghetto”, which is a Belgrade tough neighbourhood, I saw it in mono, because of its realistic aesthetics. Both are good, I would not make boundaries between colour and mono as long as the story works.

Is there a Favourite Image or Street Story that stands out in your memory?

The “Streets of Belgrade”. Belgrade is a two million almost metropolis with constant changes, 24 hours live city with its turbulent history, and a gold mine for pure and raw street photography, often called The New York of the Balkans. I Never get tired of Belgrade.

Any advice / Guidance for New Comers ? Or in general.

Be patient, be original and never, never give up. Do not have your head in the clouds, keep your feet on the ground. Throw away any ego. Life is there for you. Feel the street and just, grab it! Enjoy the light! Use just one camera and one lens, that is enough. And “DANCE” instead of using Tele-lenses.

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