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Innovative or Simply Post-Modern?

New Paradigms in the Study of "Street Photography"

 Street photography is an art photography that features the human condition within public places and does not necessitate the presence of a street or even the urban environment. The subject of the photograph might be absent of people and can be object or environment where the image projects a decidedly human character in facsimile or aesthetic.

The origin of the term 'Street' refers to a time rather than a place, a time when women achieved greater freedom, when workers were rewarded with leisure time and when society left the privacy of their sitting rooms, people engaged with each other and their surroundings more publicly and therein the opportunity for the photographer.

Framing and timing are key aspects of the craft, with the aim of creating images at a decisive or poignant moment. 

Much of what is now widely regarded, stylistically and subjectively, as definitive street photography was made in the era spanning the end of the 19th Century through to the late 1970s; a period which saw the emergence of portable cameras. The advent of digital photography, combined with the exponential growth of photo-sharing via the internet, has greatly expanded an awareness of the genre and its practitioners.

Origins   

Europe    

Paris is widely accepted as the birthplace of street photography. The cosmopolitan city helped to define street photography as a genre and the photography helped to form the city as well.

Eugene Atget, is regarded as the father of the genre, not because he was the first of his kind, but from his popularity as a Parisian photographer. As the city developed, Atget helped to promote the city streets as a worthy subject for photography. He worked in the city of Paris from the 1890s to the 1920s. His subject matter consisted mainly of architecture; stairs, gardens, and windows. He did photograph some workers but it is clear people were not his main focus.

John Thomson, a Scotsman, photographed the street prior to Atget and had more of a social subject style in comparison to Atget. Though he does not receive the same amount of accreditation, Thomson was vital in the transition from portrait and pictorial photography to capturing everyday life on the streets.

Henri Cartier-Bresson, who has a reputation comparable to Atget, was a 20th-century photographer whose poetic style focused on the actions of people. He was responsible for the idea of taking a picture at the ideal moment. He was influenced by his interest in traditional art, as he desired to be a painter. This influence comes through in his skill of combining timing and technique. Street photographs are mirror images of society, displaying "unmanipulated" scenes, with usually unaware subjects.

See also   

Street photographers 

Legality of recording by civilians

Photography and the law

References   

Further reading  

Bystander: A History of Street Photography by Joel Meyerowitz and Colin Westerbeck .

The Sidewalk Never Ends: Street Photography Since the 1970s by Colin Westerbeck .

Street Photography Now by Sophie Howarth and Stephen McLaren  

External links  

- privacy laws in many countries in regard to street photography

in the US by Andrew Kantor

by Linda Macpherson

by Rajesh Thind - issues in the UK regarding photography from a public place 

Photo

Bibliography:

Wikipedia