How do we define photographic work as art, and can we legitimately assume the mantle of artist, without falling into the trap of sounding pretentious ?
Far from wanting to knock “star names” off their pedestals, I intend to show that one can learn just as much, from bad or error pictures, as from the good ones. Indeed it may be that the “shit photos” separate out the best shooters from the common mortals, just as significantly, as the successful hits do.
Does Street Photography always have to include people? Is it not just more a case of transforming the ordinary into the extraordinary, whether it be objects, buildings or whatever else constitutes the urban landscape.
I’ve always approached photography as the art of capturing reality in a way that is not instinctively obvious to the naked eye. This is one of the fundamental reasons I’ve often been drawn to the vertical format. Framing a picture within the upright dimensions of a 35mm camera, is a compositional choice which creates, by its nature, an alternate perspective.
It was about this time last year, that the world of photography was given quite a serious jolt. One of it's most famous, and popular practitioners- Steve McCurry, a regular with National Geographic and long standing member of the prestigious Magnum agency, best known for his iconic photograph of the Afghan girl, was accused of manipulating his images.
This is the first of a series of articles that I will publish based on my approach and experiences in Street Photography. As the genre is vast and has no set rules and boundaries, it is easier to look at one's own work and that of selected
As an experienced Street Photographer, I'm actually not that comfortable taking pictures of strangers. Should we shoot whatever we want in public spaces, or is it better to set personal limits of responsibility and integrity?
Many Street Photographers talk of a spiritual-like experience when our perceptions are truly heightened and we can suddenly order the surrounding chaos in magical ways, to capture a beautiful single moment. Is shooting on one's own the only way to achieve this - how else can we be totally concentrated, immune from distractions?
When we marvel at the skill of street photographers to extract from the chaotic mass of visual information that surrounds us, a spontaneous and magical moment of everyday life, it would seem that they are just blessed with good luck. The truth however is somewhat different. We head to locations that we know are going to provide us with rich photographic potential.
Earlier this year the world's most prestigious photo agency Magnum brought out their guide for photographers and it was teasingly entitled "Wear Good Shoes " !
When I'm running workshops, most participants are keen to find out what the best way is to shoot strangers on the street. That is to say, without being noticed, or without being ve