Стрит фото: статьи и ссылки

заметив интересующий вас объект первыми, поднять камеру и навести на место, где через несколько секунд пройдет этот человек. Обязательно сделайте "преднажим" кнопки спуска и сфокусируйтесь на этом месте.Когда человек будет проходить - вам останется только дожать спуск. Фокусировка занимает время и вы можете просто не успеть.Если он вас увидит, то, вряд ли подумает, что вы снимаете конкретно его, потому что ваш фотоаппарат «для него» был наведен на это место заранее.Опускать камеру лучше тоже через пару секунд.
Иногда, правда, самые шустрые успевают говорить «сорри» и отскакивать в сторону, думая, что мешают вам снимать другой объект.

Если же человек явно видит, что вы снимаете его (так ему сейчас кажется), сделав необходимый кадр, посмотрите на камере, что получилось в тот момент, когда он почти подойдет к вам и, тут же, покачав недовольно головой, поднимите фотоаппарат и наведите опять точно туда же, где только что снимали его. Всем своим видом покажите, что как раз его наличие в кадре было помехой хорошему снимку.

http://photo-element.ru/ps/street/street.html

Поэтому, я против нелицеприятных снимков людей. Не опускайтесь до уровня «быдлофото», удаляйте те фотографии, на которых сами не хотели бы оказаться.

"Following in the footsteps of Cartier-Bresson and Elliott Erwitt, Craig Semetko is a connoisseur of the spontaneous moment. With a keen eye for serendipity, he captures the offbeat and the unusual to be found all around us. Each of his images intrigues us, yet lets us draw our own conclusions. Although a skilled technical artist, for him the camera is just a tool. To borrow a phrase from Henri Cartier-Bresson, "Photography is nothing--it's life that interests me." Craig Semetko's photographs have appeared in the New York Times, Los Angeles Times, Chicago Tribune, and publications worldwide. As well as being a photographer, he is a comedic actor and writer of note."

Matt Stuart, with his mix of quirky and accidental images, is quickly becoming one of today's best street photographers. In this video, he explains how he works

"Primarily you need to know that you're not doing anything wrong," he explains. "Primarily, you need to know that you're not hurting anybody. And that what you're doing... you're confident about, you're happy with. And then, you don't kind give off bad vibes. You don't give off fear. We're animals. We smell fear."

The London Street Photography Festival defines street photography as:

Candid, un-staged photography which captures, explores or questions contemporary society
and the relationships between individuals and their surroundings. Situated in public
environments - which are often but not exclusively, urban - street photography is perhaps
more easily defined as a method than a genre. The results can fit into documentary,
portraiture and other genres, but the key elements of spontaneity, careful observation and an
open mind ready to capture whatever appears in the viewfinder are essential.

The photographer and filmmaker Cheryl Dunn has been making pictures in the streets of New York for the past twenty years. She’s drawn to street shooting because “it is pure and uncontrollable and it takes an intense commitment,” she writes in an e-mail. “I feel it reveals a thread in humanity that is random and true and hard to capture.” Twelve decades ago, when Alfred Stieglitz first took to the streets with a handheld 4 x 5 camera, he was driven by the same thrilling mix of difficulty and serendipity. “My picture ‘Fifth Avenue, Winter’ is the result of a three hours’ stand during a fierce snow-storm on February 22nd, 1893, awaiting the proper moment,” Stieglitz wrote in 1897. “My patience was duly rewarded. Of course, the result contained an element of chance, as I might have stood there for hours without succeeding in getting the desired pictures.”

This fall, the Seaport Museum New York pays tribute to Stieglitz’s New York work in a show fittingly titled “Alfred Stieglitz New York.” To accompany the exhibit, the curators commissioned Dunn to make a new documentary about photographers who have used New York City street life as a major subject in their work. “I chose people who have an innate desire to walk the streets and take pictures that cannot be suppressed, and have done this for a long time,” she writes. Here’s a first look at the trailer for Dunn’s film, “Everybody Street.”


In order of appearance, that was Clayton Patterson, Joel Meyerowitz, Martha Cooper, Mary Ellen Mark, Bruce Gilden, Luc Sante, Bruce Davidson, and Rebecca Lepkoff; the film also features Tim Barber, Jeff Mermelstein, Ricky Powell, Jamel Shabazz, and Bonnie Yochelson. Dunn shot the street footage in New York City on a 16-mm. Beaulieu.