It’s something that has to be practiced for hours and days and months and years on end. The practicing never stops. It doesn’t for me. I may be a
professional editorial photographer but moreover in the context of the street I’m a “Practicing Street Photographer.” Would you want a doctor or an
attorney who wasn’t “practicing”? I think not.
As much as I don’t think a perfect photograph exists I think we all hope that it actually does and we’re there to make it when it presents itself.
I don’t find that in the studio. Okay, sometimes, I do.
I don’t expect to find it at a Hollywood party. Okay, once in a while.
I kinda think it’s out there on some street.
Somewhere.
I’ll settle for perfect moments for the time being.
They existed in San Francisco in 2003. Prague in 2001. Paris back in the forties and I’m sure even today. They are everywhere. Back when the style was defined through the past and into the future. On the street. In restaurants, cafes and bars.In your city tomorrow and yesterday.
And they look so nice, as the European masters pointed out, using black and white film.
They look amazing as rectangles.
I don’t see life in a square neither did most of them.
As much as I am a fan of Mr. Newton I’m not sure I enjoy his fashion-vis-á-vis-street-photography sets.
I don’t think contrived moments have anything of significance in the genre of street.
In fact, nothing about street photography should be contrived.
I don’t believe stripping saturation from a street-like-photograph is street photography in its purest form.
It’s done with film.
Black and white film. That said, I’m more inclined to think that colour is allowed after having viewed material by Garry Winograd. Somehow he
only allows colour to enhance the photo and not define it or let the colours provide their own definitions.