The Jitsu Of Seeing Things
Anyone who was ever involved in a street brawl and is reading this with their one good eye, will testify to the fact that when it comes to street fighting; anything goes.
Street fighting isn't just throwing punches or flying kicks and showing off fancy schmancy moves, this is hardcore stuff, man!
All those years of Karate / Kickboxing classes at the local gym goes out the window when you're faced with a drunk dude, who's at least two and a half feet taller than you, sixty three pounds heavier, running full throttle towards you, at lightning speed - in a surprisingly straight line, while holding an interlocking pavement brick, that you swear wasn't there in his hand two seconds and six meters ago.
It is then when you finally begin to understand the gravity of the situation, as you find yourself being overwhelmed with a plethora of ideas that your panic stricken brain is now throwing at you out of sheer desperation, so as to avoid the impending beatdown at the hands of a heavily inebriated, raging, half human, half locomotive with a brick - a sight that will, quite understandably, cause you to drop a few bricks of your own.
Of the hundred or so options you might be presented with, the top three common choices are likely to be :
- Run away screaming.
- Stand your ground and hope for the best.
- Use girlfriend/boyfriend/partner/spouse as human shield, and then run away screaming.
Street Photography is very much like Street Fighting, as both involve having to make quick decisions, especially when being confronted by some angry individual, or when your subject is inches away from stepping on that discarded banana peel.
You have to think fast and move faster - so much so that it begins to feel as if you were watching a scene unfold before you in glorious slow motion, thus giving you enough time to observe every minute detail as you adjust your camera accordingly.
Forget about "seeing things in black and white", or looking through expensive viewfinders, focus instead on mastering the 'Jitsu Of Seeing Things' and seeing them quickly. Observation, not precognition, is the key here folks.
Remember, in Street Photography, anything goes - as long as you get that shot.
A special shout out goes to all the Photojournalists for their dedication in the field of journalism, and for putting themselves out there.
When compared to us Street Photographers who often get yelled at, pushed around, or may even find themselves at the receiving end of a fist, Photojournalists are the ones getting shot at, or worse.
I Street Therefore I Am - Episode 03
Today's featured artists are, in my opinion, among the brightest stars in the Street Photography universe.
With their unique photographic style and understanding of the genre, these brilliant artists have proven themselves as a force to be reckoned within the DeviantArt Street Photography community today.
May they continue to astound us with their amazing body of work.
When asked about how each would define their style of Street Photography, here's what they had to say:
My definition of Street Photography? That question is a bit of a hornets’ nest in my opinion, but I’ll give it a go. My thought is that Street photography is the capture of a snippet of time documenting the interaction of humans, humans and their environment (animals would be included here), or the significant remnants of these human based interactions. The interactions should be out of the ordinary, or ordinary events that are frequently overlooked or go unnoticed, thus stirring a particular emotion in the viewer. These captures would be distinguished from photojournalism only by their newsworthiness. Obviously there are situations in which a photograph that falls outside of this definition would still be considered for inclusion in a collection of Street photographs. Elements of composition, setting, or even color may supersede the above mentioned parameters.Out of necessity, my style of Street Photography has evolved to become one of attempted stealth. My inherent desire to avoid conflict has led me to develop my skills at the use of the hip or “belly” shot. I still prefer to use the viewfinder and will employ that as long as it will not alarm my subject or alter their behavior. I also have a strong desire to maintain traditionally accepted composition, sometimes missing shots in an attempt to get the subjects in just the right place. I have been making a concerted effort recently to loosen up a little on the composition parameters.
Anja R. Lampert
Street Photography... For me it has changed from viewing it as a genre to viewing it as a photographic technique or an approach. I look for the same things, no matter if I am out in the streets or shooting a family gathering, documentary work, architecture, or anything else. I look for street shots everywhere, if you like, even in places that cannot by definition produce a "street photo“ in terms of genre. For me Street Photography has turned into a general photographic approach.
My style... I guess, I still haven‘t figured that out yet... But there are a few things or themes I always look out for or respond to. My pictures are comments I chose to make visually rather than verbally. A recurring theme is waiting, people passing time. Then there are stories that are only told by the remnants. Remnants, leftovers, traces of events already passed, those things intrigue me, and I try to capture the story even though the moment is already gone. Generally speaking, I look for the special moment in everyday life, things, that most people overlook.
Street photography for me is the act of capturing that which we take for granted every day of our experiences in this universe. It's a record of infinitesimal slices of people's lives. For me, the human aspect is central to the act of street photography. Good street photos can be made without people, but I take pleasure in putting the humans of this planet on a little pedestal and showing them off in their wild and natural glory. The city is a jungle of concrete and glass inhabited by a peculiar kind of wildlife: creatures which are self aware and conscious of their connection to each other. My style is to show them directly, unadulterated and without unnecessary adornment. The humans are what they are.Visually, I enjoy color and a tactile 'solidness' in my photos. I try to treat my subjects as action figures upon a stage, frozen in time, mid-action. I love to capture the dynamic feel of a human body in motion; gestures and glances simultaneously evocative and inscrutable. Though I tend to prefer isolating individual subjects in their environments, lately I have made attempts to fill my frames with multiple actors; the star, the supporting men and ladies, and all the extras. Because this is how the city appears before me: a vast web of individuals tied together into a wonderful whole by their beautiful humanity.