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Nick Turpin has run dozens of street photography workshops in Europe, but nothing compares to Paris, where his students are often confronted by furious pedestrians who don’t want to be in anyone’s picture.
Google Glass has received a lot of criticism, particularly when it comes to privacy.
It’s another typical day: there’s a commute, work, people in the street; it’s been done before, and it can be expected to happen again tomorrow. But for Stephen McLaren, these seemingly humdrum routines are packed with weirdness. He’s the guy with a camera, a wry sensibility and a measure of both luck and patience; a San Francisco-based street photographer of Scottish extraction whose work feels like a field guide to how normal things can be really odd, contradictory — and visually rich. “I’m a naturally inquisitive, kind of curious person,” he said. “So I’m really quite happy to hit the ground running, to just kind of see what transpires.”
Image @ Joel Meyerowitz “Vaguely Stealthy Creatures”: Max Kozloff on the Poetics of Street Photography By Martin Patrick, Afterimage, December 22, 2002 The critic Max Kozloff frequently reminds his readers of the inherent instability of meaning within the photographic medium.
Brassaï had Paris. Weegee had New York. Mark Cohen, well, he has Wilkes-Barre. He has lived in the down-on-its-luck small city in northeast Pennsylvania for 69 years — his entire life. He started taking pictures of car wrecks for the local newspaper while he was in high school and ran a photo studio from his house for more than 35 years. In between the weddings, portraits and commercial assignments — on which he raised a family — he shot quirky street images for his own pleasure.
New York Street Photography
A Guest post by Angie Muldowney . I love the poignancy of street photography; the way it can portray the world in an ironic, tragic, educational or funny way – often all at the same time! I would love to have the confidence to point my lens directly at someone and shoot, even from a distance – more often than not though I just don’t have the ‘hutzpah’. Whilst I may be cowardly in this respect, I am determined, so here are some ways I have found to make the whole process a little less daunting for me and less intimidating for my subjects. This isn’t a technical guide (there are already some great ones on this very site); rather, I am suggesting some sensitive and less confrontational ways of getting candid street shots. 1.
Fred Herzog (b.1930, Germany) is a photographer known primarily for his photos of life in Vancouver, Canada. He worked professionally as a medical photographer. He was the associate director of the UBC Department of Biomedical Communication, and also taught at Simon Fraser University. He grew up in Stuttgart, but was evacuated from the city during the aerial bombardment of the Second World War. His parents died during the war (of typhoid and cancer), after which he dropped out of school and found work as a seaman on ships. He emigrated to Canada in 1952, living briefly in Toronto and Montreal before moving to Vancouver in 1953.
A year ago I was making frantic phone calls left and right. I’d heard from local travel photographer Yves Perrault via twitter that he’d purchased an X100 at a photo store called Lord Photo, a 30 minute drive from where I live. I had also just learned that the Montreal shop where I had reserved the camera - with deposit, thank you - had known all along they wouldn’t be part of the first shipment. Needless to say I was pissed. Not because I had an acute case of G.A.S (well, I did) but mostly due to the fact that I desperately wanted the camera for our upcoming France trip and its availability appeared seriously jeopardized for months to come, due to both heavy demand and the horrible tsunami disaster. On April 7 2011, I finally got the call I was hoping for: they had one X100 left (of three), and it now had my name on it.
Once in a while I receive a random e-mail full of trifling talk about my photographs and, specifically, about something I consider to be my passion and my right; photographing on the streets. The latest one came right after I expressed my liking for a certain male photographer’s personality, but not his latest work. It read simply “You are not good enough to be shooting on the streets, stop trying to run with the boys!” My first reaction was anger; son of a gun!
Taking photographs of things that are plainly visible from public spaces is a constitutional right – and that includes federal buildings, transportation facilities, and police and other government officials carrying out their duties. Unfortunately, there is a widespread, continuing pattern of law enforcement officers ordering people to stop taking photographs from public places, and harassing, detaining and arresting those who fail to comply. Learn more » Your rights as a photographer: When in public spaces where you are lawfully present you have the right to photograph anything that is in plain view.
Bruce Davidson Bruce Davidson/Magnum Photos In the spring of 1980, I began to photograph the New York subway system. Before beginning this project, I was devoting most of my time to commissioned assignments and to writing and producing a feature film based on Isaac Bashevis Singer’s novel, Enemies, A Love Story .
Stare, Pry, Listen, Eavesdrop No better advice has ever been given to street photographers than that offered by Walker Evans, one of the greatest American photographers of the mid-twentieth century: ‘Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.’
(Above image “ Untitled ” by Christos Kapatos ) I just finished reading “ The Black Swan ” by Nassim Nicholas Taleb, where he discusses many misconceptions and fallacies that we face as humans. He talks from a scientific-philosophical viewpoint, and has many fascinating insights. One of them was about knowledge—and that it isn’t necessarily additive—rather something subtractive.
There have been a number of well-publicised cases over the past few years where seemingly normal, perfectly law-abiding citizens (yes, photographers are citizens too, you know) have been stopped from doing what everyone had assumed was perfectly legal and publicly acceptable, that is to take photographs in a public place. Or as we call it, street photography. Is street photography legal?
There are some terrific photographers in the Museum of London’s current exhibition, London Street Photography . The photographers range from John Thomson, who was a 19 th -century pioneer in this genre when long exposure times and bulky cameras made such photographs minor miracles, to Nick Turpin, who founded the website In-Public in 2000 to give contemporary practitioners a place to congregate and keep the genre going. Turpin’s is classic work that catches the chance juxtapositions and silly associations on which hand-camera street photography has thrived since Henri Cartier-Bresson was declared a boy genius by the Surrealists in the 1930s. Thomson was an inventor of the genre because he risked his laborious equipment on frivolous moments, like the one at which a little girl came skipping by “Hookey Alf,” a worker who had lost a forearm in an industrial accident.