Just because you shoot in the street doesn't make it street photography
- It was a reactive response to the unpredictability of everyday life witness in public spaces
- It usually involves people as the subject, but not always
- The 'decisive moment' is an important part of street photography and should remain subjective
- To work with a composition in a constant moment, using the elements to suggest a narrative
Photography established itself in a period when the growth of the city and industry had already provoked a formidable response.... Graham Clarke
The Flâneur
- Literature of photography, particularly street photography
- Modern extension of the urban observer described by nineteenth century journalist Victor Fournel before the advent of the hand-held camera
Eugène Atget
Late 1880s photography was experiencing unprecedented expansion in both commercial and amateur fields.
1897: Old Paris
1896 - 1927: Street-Hawkers, small tradesman, rag collectors and prostitutes, as well as fairs and popular amusements in the various districts.
Characteristics of Atget: Wispy, drawn-out sense of light, a fairly wide view and limited range of scenes
"This enormous artistic and documentary collection is now finished." Atget wrote this of his life story work in 1920, thought he didn't stop working at this point.
Henri Cartier-Bresson (The Godfather of Street Photography)
Coined the term "decisive moment" and street photography. He focussed mainly on poetic composition of angles and shapes in his photos, using the photographic code of the 'golden ratio'.
Good a taking photos of children with their happy and curious nature.
Weegee (Arthur Felig)
Looked at the emergency services and police, he would take photos of crime and destruction looking at the under-belly of the city, the opposite of glamourising the city and making it look picturesque.
- He was given a police radio, so he knew when things were reported and attended the scene to photograph.
Robert Frank
Quote: "Black and white are the colours of photography. To me, they symbolise the alternatives of hope and despair to which mankind is forever subjected. Most of my photographs are of people: they are seen simply, as through the eyes of the man in the street."
Questions to consider;
Is street photography it's own genre? Can it be objective?
It's a method of photography which essentially puts it into his own genre.
Other Street Photographers
William Klein
Joel Sternfeld
Alfred Stieglitz
Bill Owens
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Studio Notes
Set up your subject, position your camera and decide on your settings. Once you set up your camera and know it's F-Stop from the aperture, you set the lights to match the F-Stop
On the light you can adjust the Wattage and the flash number. Remember the F number on the light IS NOT to do with the F-Stop
You can put a diffuser on the flash lights to soften then light, making shadows less dominant.
When it comes to using the light meter, you must set the ISO to match your camera settings. The next thing you set is the shutter speed (left side number) in the studio, it's recommended to use a shutter speed of 1/125th. A flash gun can only come up to 1/250th. You then need to tell the camera it's using flash. Set the light meter to the thunderbolt and a C. The F number is on the right side, so set it to what you set your cameras aperture to.
Make sure you face your light meter at you camera when testing it. Check the numbers after you flash test as this will tell you if you light intensity is too high or low
When using a secondary light, it's best to set it a stop lower than your primary light. Once they've both been set, the overall light intensity would've increased by half a stop so each light will need to be reduced by 5 clicks
You must plug the camera into the lights so they can communicate. It's the same connection as you would use for the light meter.
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