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    Street Photography: Pocket guide
    Street Photography: Pocket guide
    Street Photography: Pocket guide
    Ebook141 pages38 minutes

    Street Photography: Pocket guide

    By Margaret Brown

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    About this ebook

    Street Photography provides expert advice on the best types of cameras and lenses for street photos, with handy shooting tips on all aspects of the genre and website links to the world’s best street photography.
    The book includes easy to follow techniques, from zone focusing, framing, single-frame/burst capture, positioning, timing, and 4K movie options, through to the aesthetics and practicalities of colour versus B&W, and how to develop your own street photography style.
    Street Photography author is Photo Review Australia's expert, trusted technical editor Margaret Brown.
    LanguageEnglish
    PublisherMedia Publishing
    Release dateMay 17, 2018
    ISBN9781922156334
    Street Photography: Pocket guide
    Author

    Margaret Brown

    K.K.'s story is about how she was mislabeled as being a slow learner, while it was believed she had dyslexia. It wasn't until she was in middle school before she was diagnosed as having, 'photophobia,' a condition caused by the eye, itself. Photophobia is caused by the aqueous humour in the eye. The aqueous humour is a fluid at the front of the eye, which helps to maintain the shape of the eye. Light passes through this fluid on its way to the retina. The shape of the eye can determine eye fatigue, such as handling glare from a computer, dealing with lighting conditions, which can distort what one sees, as well as having difficulties with organizational issues, such as not seeing items that may be directly in full view.

    Read more from Margaret Brown

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      Book preview

      Street Photography - Margaret Brown

      Credits

      Sponsor

      Author

      Margaret Brown

      Creative Director

      Melissa Kallas

      Publisher

      David O’Sullivan

      ISBN: 978-1-922156-33-4

      Order print and ebook editions online at

      www.photoreview.com.au/guides

      All content in Street Photography is protected under copyright and cannot be reproduced in any form without written consent from the publisher.

      Published July 2017. All rights reserved.

      Media Publishing Pty Limited

      ABN 86 099 172 577

      PO Box 4097

      Balgowlah Heights NSW 2093

      Australia

      P: (02) 9948 8600

      E: edmail@mediapublishing.com.au

      www.mediapublishing.com.au

      The Photo Review Pocket Guides series includes Photo Backup, Photo Editing, Travel Photography, Low Light Photography, Action Photography, Lenses Guide, Printing Digital Photos, Digital SLR, and Compact System Camera Guide.

      www.photoreview.com.au

      Introduction

      What is street photography?

      Street photography has been practised almost since photography was invented, although it only became recognised as an artistic genre between the 1920s, when the 35mm rangefinder camera was invented, and came of age in the 1960s. During this period, John Szarkowski at the Museum of Modern Art in New York raised the snapshot to a higher aesthetic level, making it a prominent motif in American photography. Photographers like Henri Cartier-Bresson, Robert Frank, Bill Brandt, Diane Arbus, Walker Evans, and Dorothea Lange became household names, largely because their photographs appeared in popular magazines like Life.

      Street photographers can choose to take candid shots of subjects who are unaware of being photographed.

      Street photography survives as a genre, despite the proliferation of camera-phones. Although anyone with a smart-phone can take candid pictures in public places, most of these photographs are little more than snapshots and easily forgotten. True street photography requires a lot more than point-and-press picture-taking.

      What’s involved?

      From the first, there has been on-going controversy about what constitutes street photography. Must it always record human subjects? Must the subjects be unaware of being photographed – or can they be posed? And, if aware of being photographed, to what extent can they participate in the act of creating the picture?

      Subjects may be well aware of the camera.

      There may be no people in the shot; just evidence of their presence.

      Some street photographers insist street photographs have to be candid and shot without permission from the subject. Others say the images must record a decisive or inspiring moment and yet others imply photographers should aim to document people and their behavior in public places (although this practice has its own genre: documentary photography).

      The overlap between street and documentary photography can be difficult to define. In general, however, documentary photography conveys a deliberate message, whereas street photographers simply reflect the society of the time.

      Wikipedia defines street photography as photography that features the chance encounters and random accidents within public places. Human subjects are not mentioned specifically.

      The definition continues: Though people usually feature directly, street photography might be absent of people and can be of an object or environment where the image projects a decidedly human character in facsimile or aesthetic.

      Whichever definition you choose, your photographs must be taken in public places; not in private venues. You don’t need to travel to ‘faraway places with strange-sounding names’; often the best places for street photography are close to home.

      Useful links

      John Szarkowski Photographs

      www.bit.ly/Szarkowski-lensculture

      Street photography definition

      www.bit.ly/street-photog-wikipedia

      Chapter 1

      What you can and can’t photograph

      The issue of street photographers taking photographs of strangers in public places without their consent has always been controversial. But in recent years photographers have found it increasingly difficult to practice street photography because of a climate of exaggerated fears about invasion of privacy and increasing regulation of public space. Both

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