(a) Images submitted to the group are accepted after the administrators vote on them.
(b) Everyone can submit up to 2 images per week, except from the crew of the group who can submit up to 1 image only.
(c) You may ask for a critique if your image is not accepted on the group and if time permits, you will get one.
(d) All images should be submitted to the "Street Photography" gallery.
(e) Only admins can submit street photos that caught their attention to the "The Crew's collection" gallery.
PE Cliff Notes on History of Street PhotographyCLIFF NOTES ON HISTORY OF STREET PHOTOGRAPHYPE Cliff Notes on History of Street Photography by myraincheck
Photography first emerged in the eighteen century http://www.photohistorytimeline.com/?page_id=52, but it wasn't until roughly the 1880s and 1890s that film speeds became advanced enough for a normal street scene to be captured (without having to use a long shutter speed that would normally result in blurs). Also around this time, the flash was developed, allowing the photographer to venture into areas that were once too dark for exposure. But one of the assisting inventions of street photography was the emergence of portable cameras, especially small 35mm, rangefinder cameras, first introduced towards the late 1800s, most famously the Leica, as used by Henri Cartier-Bresson.
Photographers of both Europe and North America spread the popularity of the genre and developed the art behind it. Some well-known street photographers were Henry Cartier-Bresson, Robert Doisneau, Robert Frank, Diana Arbus, William Klein, Walter
PE The Streettog: An Unexpected JourneyTHE STREETTOG: AN UNEXPECTED JOURNEYPE The Streettog: An Unexpected Journey by myraincheck
“There is nothing like looking, if you want to find something. You certainly usually find something, if you look, but it is not always quite the something you were after.” (J.R.R. Tolkien, The Hobbit, )
Taking a successful street photo, a photo that is able to strike, surprise, trigger an emotional response is not easy. You have to be looking, without really knowing for what.
You have to be looking for the unexpected.
You have to be alert, focused, intuitive, to foresee what could be a potential good street photo.
"Street Photography may be the single most difficult photographic genre. It is a fierce challenge: to condense from the chaos of reality something visually valid and psychologically revealing about both the subject, the viewer and perhaps the photographer into a rectangle in a fraction of a second. The editing process can be downright heartbreaking: so
PE Street and neighborhoodPE STREET AND NEIGHBORHOODPE Street and neighborhood by myraincheck
Sometimes deciding if a photo fits Street category or not can be really quibbling.
Every subject can be photographed with a street approach and fit street photography, and every subject can be photographed with a not-street approach and fit something else.
Categories mean nothing outside this place (or other art sites) and mean nothing about the value or quality of an image.
Though they are useful to make it easier to see, discover, find street images.
I hope that these few lines will be able to clear some of the most common doubts in submitting to street category, and would spare you flipping a coin before submitting.
So let's try to set some "limits" to street photography, even knowing that the edges between street photography and other neighbors genres of photography will ALWAYS be thin, vague, and often subjective.
ENVIROMENTAL PORTRAIT, SPONTANEOUS PORTRAIT OR STREET?
PE Street, children, is a state of mindSTREET, CHILDREN, IS A STATE OF MINDPE Street, children, is a state of mind by myraincheck
Street, children, is a state of mind: what defines street photography is not the subject, but the 'forma mentis' of the photographer.
Street photography is a way to look at the ordinary and see something special or unusual in it, to look at everyday situations and find a decisive moment in them, to look at candid happenings and see iconic interactions between people and surroundings in them.
The iN-PUBLiC | Manifesto, one of the most representative sites about street photography in the world, states that "all the photographers featured there have been invited to show their work because they have the ability to see the unusual in the everyday life and to capture the moment".
The subject of a street photo is not necessarily interesting, unusual, unseen in itself, but its strenght comes from the NARRATIVE CONSTRUCTION that the photographer is able to create around the subject. The way the photographer presents it,
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