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Thismanisarovingandimpassioneddaguerreotypethatpreservestheleasttraces,andonwhichare
reproduced,withtheirchangingreflections,thecourseofthings,themovementofthecity,themultiple
physiognomyofthepublicspirit,theconfessions,antipathies,andadmirationsofthecrowd.
VictorFournel,ontheideaoftheflneur
Writingaboutstreetphotographyisdifficult.Itisdifficultbecausedefiningwhatstreetphotographyis,is
difficult.Asktendifferentstreetphotographerstodefinestreetphotographyandyouwilllikelygettendifferent
definitions.Thatdifficultytodefine,theindividualityofapproach,ispartofwhatmakesstreetphotographyso
compellingbothtoviewandtodo.
Evendeterminingwhenthetermstreetphotographer,orstreetphotography,cameintouseisdifficult.Wasit
in1877whenAdolpheSmithpublishedStreetLifeinLondon,whichwasacompendiumofstreetphotography
chroniclinglifeinLondon,Englandinthelate19thcentury?Wasitintheearly20thcenturywhenWalker
EvanswasproducinghisNewYorksubwayseriesofphotos?Itmaybedifficulttopindownexactlywhenthe
termcameintousehowever,wecanbecertainthatthepracticeofthecrafthasbeengoingonsincethe
dawnofphotography.Itsoriginscancertainlybetracedtothe19thcenturyFrenchconceptoftheflneur
today,ofcourse,wemustalsohappilyincludetheflneuseinrecognitionofthewomenwhoareengagingin
streetphotographyandtheactionofflnerie,agenerousdefinitionofwhichwouldbestrollingaboutmaking
observations.Amoreprecise,andlesscomplimentary,definitionoftheflneurisonewhoidles,orloafsabout.
Whichmay,ifwearebeingtruthful,beaccuratetoo.SusanSontag,inhercollectionofessaysOn
Photography,alsoreferencedthetermindiscussingearlypractitionerssuchasAtget.
Therearethosewhotakeaveryconservativeapproachtothecraftandsaythatitmustbecandid.Thesubject
canhavenoawarenessofyourpresenceorknowthattheyarebeingphotographed.Ithinkthatisaveryrigid,
constrainingdefinitionandbasedonthepeopleIveheardandseenexpressit,theydosototryandmake
themselvesseemsuperiorandpurerandtotrytoinvalidatetheworkofothersinanattempttomaketheir
workmorerelevantorvaluable.Thatmindsetisnotsomethingthatshouldbeencouraged.Thereisroomfor
muchbroaderthinkinginthetentofstreetphotography.Someofthemostwellknownstreetphotosarenot
candids.VivianMaiersworkishighlyregardedandlittleofitiscandid.PerhapsthebestknownofWilliam
Kleinsphotosisnotacandid.
Thegentlemaninthephotobelowwascompletelyawareofmypresence,hejustdidnotcare.Hewasgoing
abouthisworkoffixingthebicycleanditdidnotmattertohimintheleastthatIwastakinghispicture.Itisnot
acandid,butitisnotposedandheisdoingwhathewouldhavebeendoingifIwerenottakinghispicture.Its
astreetphoto.

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TheBicycleFixer

Hereisanotherexampleandthisoneillustrateshowtheimagenotbeingacandidcanbemorecompelling
thanifitwere.
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ThisfamilywasoutonasunnySundayproselytizingandtryingtospreadtheword.Ilikedthelinetheycreated
withtheirpositionsonthesidewalkandthesignbeingheldbythefatherprovidedtheexplanationofwhatthey
weredoing.JustasIwasabouttopresstheshutterrelease,allthreeofthemlookedatmesimultaneouslyand
hadscowlsontheirfaces.Perfect!asitturnedout.Thecontrastofthecontemptontheirfaceswiththe
messageofloveandcompassiontheyweretryingtosellmakesforaveryinterestingsocialcommentary.And
makesforamuchbetterimagethaniftheyhadnottakennoteofmeatthelastsecondandsoreadilymade
theirscornevident.

RighteousIndignation

Soifitdoesnothavetobecandid,doesthatmeanthatthesubjectscanbestaged?Again,itdependsonto
whomthequestionisposed(sorry,hadtodoit)andwhatismeantbystaged.Stagedcanmeansimply
askingsomeoneifyoucantaketheirpicture,placingtheminacertainlight,oralteringtheirbodyposition,orit
canmeanamoreelaboratesetupofmultipleelements.Personally,Itendtoputposedshotsintoasubgenre
thatIwillcallstreetportraiture.Thatdoesnotmakeitanylessvalid.EffortslikeHumansofNewYork,started
byBrandonStanton,whichhasbeencopiedincountlessothercitiesaroundtheworld,isaperfectexampleof
thevalidityofstreetportraiture.Thedifference,inmanycases,isthatstreetportraitureoftenisaccompanied
byastoryorquotefromthesubject.Thesubjectistellingtheirownstorythroughthephotographer.Whereas
withstreetphotography,thephotographeristellingthestorythroughthesubject.Hey!Thatmaynotbeabad
waytothinkaboutit.Whatdoyouthink?Anotherdifferenceisthatwithportraiture,thepersonhasgiven
permissiontohavetheirpicturetaken.Thatisadifferentrelationshipbetweenthephotographerandthe
subject.Itisamorecollaborativeexchange.Whenitcomestothearrangementofmultipleelements,almost
likeamovieset,theanswerisnothatdoesnotqualifyasstreetphotography.
Doesstreetphotographyhavetoincludepeople?Doallstreetsettingsthatincludepeoplecountasstreet
photography?Doesithavetobeonthestreet?Doesithavetobeinanurbanarea?
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Thesequestionsandotherswillbeexaminedaswemovethroughtheseries.
Onapersonalnote,Iamintriguedbystreetphotographyprobablybecauseofhowdifficultandchallengingitis
todo,nevermindtodefine.Itmaywellbethemostfrustratinggenreofphotographyandthekeeperrateis
certainlyalotlowerthaninothertypesofphotography.Ialsoenjoywatchingpeople.Interactingwiththem,
less.Butwatching,yes.Voyeuristic?Maybe.ButIthinkweallhaveabitofvoyeurinus.
HeresthedefinitionIhavedecidedtoworkwithinwritingthisseries:Streetphotographyissliceoflife
photography.Whatdoesthatmean?Tomeitmeansshowingtheeverydaygoingsonofpeoplelivingtheir
lives.Iseverymomentmemorableorworthyofbeingphotographed?No,certainlynot.Mostofuslivepretty
boringlivesdaytoday.Buteverynowandthen,interestingthingshappen.Whetheritsacertainsituationor
event.Whetheritisanunfortunate,orfortunate,happenstance.Whetheritisaunique,orhumourous,
confluenceofconditions.Interestingandphotoworthythingsdohappenonafairlyregularbasisandthegoal
ofstreetphotographyistocapturetheminacompellingway.Itdoesnothavetobecandid.Itcaninclude
streetportraiture.
ButIdothinksomeboundariesneedtobeestablished.Wherethoseboundariesaresetisreallyapersonal
decision.Herearemine.Streetphotographyisnotexploitativeofpeopleindisadvantagedpositions.Asan
example,photographinghomelesspeoplejusttophotographthemisexploitingsomeoneinadisadvantaged
position.Inmyopinion.Thatsnottosayhomelesspeopleshouldnotbephotographed,butthatdoingso
shouldbeapproachedwithempathyandrespect.Laterintheserieswewilllookatthismore.Childrenaremy
otherpointofcaution.ItisrarethatIwillphotographachild.WhenIdo,theparentorguardianhasgiven
permissionformetodoso,ortherejusthappentobechildrenpresentinalargergroupscene.AndIwould
neversubmitaphotoofachildforstockeveniftheparentorguardianwerewillingtosigntherelease.
Whatwearegettingintohereistheideaofethics.Ormaybemoreaccuratelyintegrity.Ethicalbehaviouris
doingtherightthingwhennooneiswatchingevenwhendoingthewrongthingislegal.Thatstatementis
widelyattributedtoAldoLeopold,althoughitcannotbespecificallysourced.Despitethat,itpresentsan
interestingthoughtprocess.Itimpliesthatethicsandintegrityarethesamething.RosieDiManno,a
newspapercolumnistinToronto,phraseditadifferentway.Shewrote,Ethicsisdoingtherightthingwhen
peoplearewatchingintegrityisdoingtherightthingwhennobodyslooking.Iagreewiththatdistinction.The
conceptsofethicsandintegrityareonesthatwillcomeupagainoverthecourseofthefollowingpages.
Doesthatmeannoonecanorshouldbephotographedinanunflatteringorcompromisingway?Notatall.If
thepersonisthearchitectoftheirownundoingorthecauseoftheirownembarrassingsituation,thentheyre
fairgame.
ThephotobelowwasshotinNiagaraFalls.Iwasheadingbacktothecartogohomeafterseveralhoursof
shootingandcameacrossthisAsianfamilywithfourgenerationsinthegroup.Mostwereconcentratingonthe
babyinthepram.Exceptforthegrandmother.Shewasstandingbytherailinglookingoverthegorge.Icould
seeshewasstartingtomessaroundandthoughttomyselfsheisnt,shewont.Ohyesshedid!
Embarrassingsituation?Tomanyitwouldbe,yes.Althoughthereissomemeasureofwhatmaybe
acceptableornotindifferentcultures.Exploitative?Nobecauseshewasthearchitectofherownsituation.
Ergo,fairgame.

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Granny

Thefurtherquestionisraisedaboutthedifferencebetweenethics,integrityandlegality.Issomethingethical
simplybecauseitislegal?That,onceagain,isapersonalpositionthatweallmusttakeforourselves.The
ideaoflegalityisnotevensomethingthatisequalforall.Differentcountrieswillhavedifferentlegalregimes
andwhatislegalinonemaynotbeinanother.Ethicalconstraintswilldifferbasedonculture,aswilllegaland
moral.WhatweconsiderethicalinthewestmaybedifferentfromwhatsomeoneinAsiaortheMiddleEast
considerstobeethical.
Areethicsequivalenttomorality?Onthispoint,Iwouldsuggesttheanswerisno.Societalmoralsarethings
wecan,generally,allagreeon.Murder,theft,assault,thelawssurroundingthesearebasedonhistorical
societalmorals,andoftenonreligiousbeliefs.Themoralcodeofasocietyappliestoeveryoneequally.Ethics
areamorepersonalmatter.Societalmoralsareimmutable.Ethicsaremoremalleable.
Moralscanbeimposedonpeople.Ethicscannot.Ethicsmustbeagreedtovoluntarily.Manyorganizations,
photographic,orotherwise,haveacodeofconductoracodeofethics.Itisverycommonforasocietysuchas
ProfessionalPhotographersofCanadaorWeddingandPortraitPhotographersInternationaltorequire
memberstoadheretoacodeofconduct.Isthisnotimposinganethicalstandard?No.Membershipinthese
organizationsisvoluntary.Whenonechoosestobecomeamembers/healsochooses,orissupposedto
choose,tobeboundbythecodeofconductthattheorganizationsetsout.
Inorderforanethicalcodetobevaliditmustalsoberealisticandachievable.Establishingethicalguidelines
thataretoovague,orthatarenotrealisticallyachievable,issimplyarecipeforconfusion,frustrationandfor
violatingthatcode.Iknowofaphotographerwhosefirstprincipalis:toleavethesubjectbetteroffthanbefore
thepicturewastaken.Itisaninterestinggoal,butitisneitherrealisticnorachievable.Itissimplynotpossible
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tomakesomeone,something,orthelargerenvironment,orsociety,betteroffbythesimpleactoftakinga
picture.Ifthefirstguidingprincipalofanethicalcodeisnotviable,theentireethosfallsdown.
Ethicsandintegrityinstreetphotographyarenodifferent.Wewillallhaveourideaofwhatisandisnotethical.
Thosepersonalconstructswillbebasedonmanythings.Ourculture,ourupbringing,ourownpersonallevelof
integrity.Icanonlyaddressmyethicalboundaries.Youmay,ormaynot,agree.Yoursmaybemore,orless,
stringent.Icansaywithabsolutecertaintythatmylimitsarenotsharedbysomeothers.Ihavebeencalled
subhumanfortakingthepictureoftheAsiangrandmother.Whenanethicalcodeisnotrealistically
achievable,thenthereistoogreatanimpetusforintegritytobecompromised,orbeentirelyfugacious.
Photographyisbothawindowandamirror.Whatdoyouwanttoshow?Whatareyoupreparedtosee?
Photographyisawindowthroughyoutotheoutsideworldforyourviewer.Itisawindowintoyouforyour
viewer.Inthatsense,italsoactsasamirrorforhowyourworkisperceivedandwhatitsaysaboutyou.Ifyou
donotlikewhatyouseeinthatreflection,thenitmaybeanopportunitytoreexamineyourethicsandyour
integrity.Ifyoufindyourselftoooftencleavingtoocloselytoyourethicallineevencrossingit,itmaybetimeto
reexamineyourethicsandyourintegrity.
Somewhopracticestreetphotographyandthosewhoenjoyviewingitwilloftensaythattheyaredrawntoit
becausethedocumentarynatureofitmakesitmorereal.Thethingis,nophotographyisreal.All
photographyisafictioncreatedbythephotographerbasedonthechoiceofframing,exposuresettingsand
thedecisiononwhentopresstheshutterrelease.Photographyshowsamomentfrozenintime.Evenlong
exposurephotographyisanexcerptoftime.Inorderforathingtobereal,itneedstohavecontext.Itneedsto
haveapastandafutureandweneedtoknowthecircumstancessurroundingit.Photographydoesnothave
that.Evenwhenthephotoshowssomeofthecontext,thesurroundingelementsthatmaybecontributingto
theactualshotwetook,thepastandfuturearestillmissing.Wewillexaminethismorethroughouttheessay
series,particularlywherewetalkabouteditingstreetphotosandhowthechoicesmadeineditingcan
profoundlychangetheperceptionoftheimage.Wewillalsotalkaboutwaysinwhichphotographerscan
addressthecontextualissuesandhowstreetphotographersmaybewellpositionedtotellstoriesthattodays
photojournalistscannot.Iamnotaloneinthislineofthoughtabouttherealityofphotography.Noneotherthan
acclaimeddocumentaryphotographerDorotheaLangesaid,Adocumentaryphotographisnotafactual
photographperse.[1]Sheisalsoreputedtohavesaid,Photographytakesaninstantoutoftime,alteringlife
byholdingitstill.
Theimagebelowisanexampleoftheconceptofreality.Asitisframed,itlookslikeaveryloving,elderly
coupleoutforawalk.Itistouching,poignant.ItitleditLove?.Whythequestionmark?Whatyoudonotseeis
thatthehusbandiswalkingwithawhitecaneandthathehashisarmaroundhiswifeasmuchforsupportand
directionasanythingelse.Context.

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Love?

Ifyourpicturesarentgoodenough,yourenotcloseenough
RobertCapa
Capawasawellknownphotojournalistandwarphotographer.Thestatementabovehasbeenmisinterpreted
bymany,Idaresaymost,peopleovertheyears.MostpeoplereadthatstatementandthinkCapawasreferring
tophysicalproximity.Hewasnt.Itwasaphilosophicalstatement.WhatCapawassayingisthatyouneedto
bepsychologicallyclosetoyoursubject.Youneedtounderstandthesubjectmatterinordertomakegood
pictures.HowdoIknowthis?Icangiveyouseveralexamplesofsituationswherethephotographerisnot
physicallyclosetothesubjectbuttheyareabletomakestunningimages.Manyinstancesofshootingsports,
asanexample.Wehaveallseenphotographersonthesidelineswiththeirlonglenses.They,forthemost
part,arenotpermittedtobeclosetotheirsubjectsbuttheystillmakecompellingpictures.Why?Becausethey
understandwhatitistheyareshooting.Theyunderstandtheflowofthesportandcananticipatetheaction.
Theycanbereadywhentheactionhappens.IhavealsoseenandreadinterviewswithlongtimeCapafriend
andeditorJohnMorriswhereheexplainedthequoteandhesaidhewasreferringtoanunderstandingofthe
subject.IhavealsoreadCapaspseudoautobiographySlightlyOutofFocuswherehetalksabouttheideaas
well.
HowclosewasAdamstoHalfDomewhenhecapturedthosefamousimages?Howclosewashetothetown
ofHernandezwhenheshotMoonrise?MoonriseillustratestheintentofCapasquoteverywell.Adamsknew
hisgear,hissituationandlightingintimatelysothatevenwhenrushedhecouldstillcaptureanowclassic
shot.
Streetphotographyisthesame.Whileyouwill,typically,bemuchcloserphysicallytoyoursubjects,thatdoes
notguaranteeagoodphoto.Youneedtounderstandthesubjectandtheplace.Youneedtobeapartofwhat
isgoingon,tofeelthevibeofyoursurroundings.Youneedtobeawareofwhatishappeninginfrontand

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aroundyouandbeabletoanticipatewhatmayhappennext.Thenbereadytocaptureit.Anotherwaytothink
abouttheconceptisthatyouneedtohaveempathyfortheplaceandsubjects.
Onethingyouwillseeasyouworkthroughtheseessaysisthatequipmentisnotvitalfromatechnicalor
technologystandpoint.Youdonotneedthelatestandgreatest,honkinghugeDSLRhangingaroundyour
neck.Infact,oftentimes,thebiggerthecameraandlensthelesslikelyyouwillgetagoodshot.Oldfilm,often
rangefinder,camerasarewhatastreetphotographymentorofmineuses.Thesmall,inconspicuousmirrorless
camerasthathavebecomepopulargenerallyareespeciallypopularwithstreetphotographers.Thecameras
inmanysmartphoneshaveadvancedtothepointwhereverygoodimagequalityispossibleandwithsomany
peoplepointingphonesatthis,thatandeveryotherthing,peoplehavebecomeinuredtothepresenceofcell
phonecameras,whichcanbeverybeneficialtostreetphotographers.IhaveanoldFujimediumformat
rangefinderthatIwillusesometimesinmystreetphotography.Whileitisalargercamera,becauseitisold
anddoesnotlookasimposingasafancyDSLR,becauseithasafairlysmall,integratedlens,peopledonot
recoilfromitastheycandowithabigDSLR.Aswewilllookatinthenextessay,whatgearisusedisreally
notofsignificance.
Theeyeandexperience,morethanequipment,guidesyoutosuccessfulstreetphotography.Apractisedeye
andgoodtimingwillwinoutoverequipmentanyday.Apicturetakerknowshowaphotographerknowshow
andwhy.Thepicturetakerismoreconcernedwithgearandtechthephotographerismoreconcernedwith
theartandtheweavingofacompellingvisualnarrative.Weare,andstrivetobe,photographers.
Youarelikelytofindafairlysizablegroupofpeoplewhodonotlikestreetphotography.Whosaytheydont
getstreetphotography.Whatissointerestingaboutapersonstandingonacorner?,theymayask.Perhaps
commensuratewiththerenewedinterestinstreetphotographyoverthepastseveralyears,thereisalotof
badstreetphotographyavailabletobeseen.Justasthereisalotofbadexamplesofotherformsof
photography.GoodstreetphotographyiswhatIliketocallslowphotography.Itrequirestheviewertopay
attention,toreallylookcarefullyandseewhatisinthepicture.Ittakestime.Itisnotobvious.Itisnoteasy.It
takesthought.ItisnotOooohhhh,prettyflowertypeofphotography.Itcanbeuncomfortable.Itcanhitalittle
tooclosetohome.Somepeoplearejustlookingforthequickandeasy.Thosepeopleareneverlikelytoreally
getstreetphotography.ThatisOKthough.Thatiswhatissogreataboutartandthesubjectivityofit.Thereis
somethingforeveryone.Eachofussimplyneedstofindournicheandouraudience.
Withthat,letusnowmoveontothemoredetaileddiscussionofstreetphotography.Asyouhaveprobably
gleanedfromreadingthisintroduction,muchoftheconversationwillbearoundthemorephilosophicalsideof
streetphotography.AndIdowantittobeaconversation.Yourfeedbackandthoughtsaremostwelcomed.
P.S.Beforemovingon,Iwanttoputintoyourmindsthreeoverarchingthoughtstoconsiderandthatwillact
asthemantra,ifyouwill,fortheapproachoutlinedintherestoftheseries.See,dontjustlook.Listen,dont
justhear.Think,dontjustdo.Theseideaswillbeexpandeduponaswemoveforward.

TheInterview

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BobPatterson

BobPatterson,fromCleveland,OHisthepublisherofStreetPhotographyMagazine,awebdeveloper,martial
artistandreallycuriousguy.Whenhesnotdoinganyofthosethings,youllusuallyfindhimtraveling,
capturinglifeonthestreetsofCleveland,andtryingtostayoutoftrouble.
Thisinterviewhasbeeneditedforclarityandlength.Photographshavebeenusedwithpermission.Clickon
theimagestoaccesslargerversions.Whatattractsyoutostreetphotography?
IguessittakesmebacktowhenIwasakidandlookingatLifeMagazine.Idseeallthesefamous
photographersandtheimagesthatreallyresonatedwithmeweretheonesthatwerehappeninginthe
momentlikethefamousoneofthesailorkissingthegirlinTimesSquare.Ivealwaysbeenattractedtothat
styleofphotography.AssoonasIgotarangefinderstylecamerainmyhand,Ifeltathome.Whichisfunny
becauseweneverhadoneinmyhomegrowingup.Partofitisnostalgia.Iwastrainedasajournalist,soIm
prettymuchofastoryteller,soIvealwaysbeenattractedtoamorejournalisticstyleofphotography.Ijustlike
beingoutanabout,experiencingthecity,travelingandseeingnewthings.Ijustenjoycapturingthosethings
asIseethem.

GlasgowBusRide

Whatpromptedyoutostartthemagazine?
Acoupleofthings,really.Ivealwayslovedstreetphotography.Afewyearsago,AppleintroducedThe
Newsstand.AguynamedMarcoArmentlaunchedTheMagazine.Iwasreallytakenwiththeideathata
regularguycouldcreateamagazineandhaveworldwidedistributionwithouthavingtogothroughabig
publisher.Youcouldpublishwhateveryouwanted.Asapartofmywebdevelopmentbusiness,Iacquireda
licensetoaproductcalledMagCast.IfiguredIdgiveitatryandseehowitworked.NextIhadtopickatopic
andoneofthemwasstreetphotography.IhadanothertopicbutfiguredIdgowithmypassion.Icontinually
questionedmyselfbecauseImnotthatgoodaphotographer(Ed:Bobisamuchbetterphotographerthanhe
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thinksheis),andIfiguredwhotheheckamIbutIfiguredpeoplecouldcomealongwithmeonmyjourney
andlearnwithmeasItalkedtoallthesedifferentphotographers.
Themagazineisinthethirdyearnow?
Yeah,wejustpublishedoutthirdanniversaryissue.ThefirstissuecameoutinApril2013,sowevebeenatit
threeyearsnow.
Whatareyourthoughtsonethicsinstreetphotography?
Ithinkitboilsdowntobeingrespectfulwithyoursubjects.Ifyouapproachthemwithanideaofrespect,Ithink
thatcoversalotofground.PersonallyIwillrarelyphotographthehomeless.Theyre,forlackofabetterterm,
easytargets.Unlesstheressomecompellingimage.Butjustaguysleepingonabench,no.Andyoullrarely
seeoneofthosephotosinourmagazine.Alotofithastodowithwhereyoucomefrom.IntheU.S.,youdont
reallyhavearightofprivacyinpublic.Wereprobablyalotmoreliberalthanothercountriesinthatregard.If
someoneasksmetodeleteanimage,Imgoingtodeleteitbecausetheydidntwantmetotakeit.Itgoes
backtothatideaofbeingrespectful.Anotherisphotographingchildren.Thatsprettytouchydownhere.Iwill
doit,butImnotgoingtofollowakidaroundtotakeapicture.OnethingIwontdoisstickaflashin
somebodysfaceandencroachontheirpersonalspace.Itrytobeunobtrusive.Imnotthestory.

Slowdayatthebarbershop

Whatdoyouseeastheoneortwocommonthreadsamongthemanyphotographersyouvefeatured
fromdifferentcountriesandcultures?
Iwouldsayeveryoneofthemhasapassionforit.Youhaveto.Theresnomoneyinitsoyouhaveto.Idalso
sayprobablyagoodhealthycuriosity.Theyalllikepeople.Youhavetobegenuinelyinterestedinpeopletodo
thisonaregularbasis.
Whatarethefewcommondifferencesyouseeacrossthespectrum?
Thestylesorapproachesareprobablythebiggest.Somepeoplearelikehunters.Theyreonthemoveallthe
time.Theydontstayinoneplaceverylong.Theothergrouparethegatherers.Theyfindaplacewithanice
backgroundandtheyllstayinthatplaceandjustphotographpeoplewhocomeintothatspace.Wecanget
intothingslikefocallengththosewhoshootreallywideandthenthosewhoshootalittlelonger.
Doyouseeadifferenceintheaestheticofthefemaleascomparedtomalestreetphotographer?
Yes.Myveryfavouriteisawoman.HernameisMargaritaMavromichalis.Womenfeelmore.Muchmore
empathetic.Moresensitivetowhatsgoingonaroundthem.Someofthemseemtoremainmorephysically
distantfromtheirsubjects.Iwishthereweremorewomendoingthis.

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Martialartsmasterrestsinhisdojo.

Whatonethingwouldyouliketoseechangeinstreetphotography?
IthinkIdhavetosaythatIdliketoseepeoplebemoremindfulandtothinkmoreaboutwhatsintheframe.
Tobelessspraynpray.
Whatdoyouthinkaresomeofthereasonsforthegrowthinpopularityofstreetphotographyoverthe
last3,4,5years?
Tobehonest,Imstilltryingtofigurethatoutmyself.Ithinkdigitalphotography,becauseitssomucheasier,is
onefactor.HereintheU.S.,theresageneralmovementofpeoplebackintothecities,areasarestartingto
becomemoregentrified,sopeopleareoutandaboutmore,therearealotofthingsgoingon,theyrearound
peoplemoreandIthinkthathasspurreditsomewhat.Ithinksomeofitisafad.Itmaybelikethegolfof
photography.Golfhadabigupsurgeafewyearsagoandnowitsonthedownswing.(Ed:Weagreedthatas
LorneRubensteindescribedgolfasagoodwalkspoiled,streetphotographycanbeagoodwalkspoiledtoo.)
TheInternet,definitelyhasimpacted.Ithinkthenewretrostyledcamerashasanimpact.Ifyouwereastreet
photographer15yearsago,noonesawyourstuffunlessyouwerepublishedinprint.Noweveryonecan
publishinstantly.Theproliferationofcellphoneshascontributedalottoo.Everyonehasacameranow.
[1]Meltzer,Milton,DorotheaLange:APhotographersLife.Farrar,Strauss&Giroux,1978
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