Street photography is photography conducted for art or enquiry that features unmediated chance encounters and random incidents within public places.

Street Photography is a sub-genre of photojournalism…

Street photography does not necessitate the presence of a street or even the urban environment. The concept of the “flaneur” or people watcher is often referred to street photographers

This image below was taken in Seville at the beginning of Henri Cartier-Bresson’s career as a photographer. It has a strong geometric form. The viewer sees the gang of boys through a large hole in a wall which frames the scene. Without knowing the date of the image one might guess that it was taken during the Spanish Civil War (1936–9) or afterwards. The fact that it was taken in 1933 gives it a strange sense of premonition; the boys are playing at war in the ruins of a war that has not yet happened.

Henri Cartier-Bresson : *Children in Seville, Spain*, 1933.

Blog Post 1 : Define, describe and explain street photography.

Include images, moodboards, hyperlinks to relevant articles and URLs and add a video or two on street photography if you can

Take care in your choice of images…browse the list of street photographers below and choose from the work to “speaks” to you…

Aim to show knowledge and understanding of how street photography can reflect the life / lifestyle / politics / history / social class of an area or group of people…

Do the images make a statement…or ask a question?

Blog Post 2 :

Henri Cartier – Bresson and

“The Decisive Moment”

Create a blog post / case study about Henri Cartier-Bresson that includes…

Brief biography
Mood-board of key images
Select one image and apply Technical | Visual | Contextual | Conceptual analysis (image analysis)
His contribution to MAGNUM Photo Agency
Add any other relevant research / insights

Then Compare and Contrast Cartier- Bresson to one (or more) of the following street photographers…

William Klein
Diane Arbus
Vivian Maier
Robert Frank
Bruce Gilden (see below)
Martin Parr
Saul Leiter
William Eggleston
Gordon Parks
John Bulmer
Trent Parke
Garry Winogrand
Raghubir Singh
Lee Friedlander
Joel Meyerowitz
Tony Ray-Jones
Bill Owens
Fred Herzog
Alex Webb
Ernst Haas
W.Eugene Smith
Robert Doisneau
Brassai
Weegee

Discuss in detail the differences / similarities / intentions / outcomes and, of course, the photographers’ technical and visual approaches

Image result for saul leiter — Saul Leiter

Image result for martin parr — Martin Parr

Blog Post 3 : Practical Response + Photo-shoot

Add your contact sheet
Choose 3-5 images to develop as final outcomes
show your editing process
qualify your choices and present them in a suitable format

Technique : Taking street photographs

Be more aggressive
Get more involved (talk to people)
Stay with the subject matter (be patient)
Take simpler pictures
See if everything in background relates to subject matter
Vary compositions and angles more
Be more aware of composition
Don’t take boring pictures!
Get in closer (use 50mm lens or less)
Watch camera shake (shoot 1/125 sec or above)
Don’t shoot too much!!!
Not all eye level : try holding the camera at waist level
No middle distance in your pictures

Article on Trent Parke’s Techniques

CLICK HERE

Article On Japanese Street Photography below

https://www.huckmag.com/art-and-culture/photography-2/tokyo-street-photographer-mikiko-hara/

Bruce Gilden

‘What do artists do all day?’ – Dougie Wallace, Featured on BBC. from Wren Agency on Vimeo.

Think | Answer | Discuss

What are you expecting to see / encounter on your own photo-shoot?
How do you think you will deal / cope with your expectations?
Can you devise a photo-shoot plan for street photography?
What would include / exclude in your plan?
Remember to be respectful to others

Suitable locations to position yourself…

airport
bus stations
cafes
restaurants
street corners
doorways / entrances
steps / stairways
road crossings
shopping centres
supermarkets
markets
harbour terminal

Marking Criteria

The four assessment objectives clearly outline expectations, so you must provide high quality evidence for each AO…

AO1 : Develop ideas through sustained and focused investigations, informed by contextual sources, demonstrating analytical and critical understanding

AO2 : Explore and select appropriate resources, media, techniques and processes, reviewing and refining ideas as work develops

AO3 : Recording ideas (taking photos) that are relevant to intentions, reflecting critically on work as it progresses

AO4 : Present a personal and meaningful response(s) that realises intentions, and makes connections with other artists

Ensure your process looks like this…

Mood-board, definition and introduction (AO1)
Mind-map of ideas (AO1)
Artist References / Case Studies (must include image analysis) (AO1)
Photo-shoot Action Plan (AO3)
Multiple Photoshoots + contact sheets (AO3)
Image Selection, sub selection (AO2)
Image Editing/ manipulation / experimentation (AO2)
Presentation of final outcomes (AO4)
Compare and contrast your work to your artist reference(AO1)
Evaluation and Critique (AO1+AO4)

>>Find resources here<<

M:\Departments\Photography\Students\Resources\Portraiture\TO DO

Historical Purpose of Portraits

A portrait is a representation of a particular person. A self-portrait is a portrait of the artist by the artist

Portraiture is a very old art form going back at least to ancient Egypt, where it flourished from about 5,000 years ago.

Image result for ancient egypt portraits

Before the invention of photography, a painted, sculpted, or drawn portrait was the only way to record the appearance of someone.

But portraits have always been more than just a record. They have been used to show the power, importance, virtue, beauty, wealth, taste, learning or other qualities of the sitter.

Portraits have almost always been flattering, and painters who refused to flatter, such as William Hogarth, tended to find their work rejected. A notable exception was Francisco Goya in his apparently bluntly truthful portraits of the Spanish royal family.

Image result for goya spanish — Francisco Goya : Ferdinand VII of Spain, 1814

Photography 1800’s onwards

We may be used to selfies now, but it’s Robert Cornelius’s 1839 image that lays claim to the first self-portrait. Taken in Philadelphia, Cornelius sat for a little over one minute before covering the lens.

Photojournalism and the picture story vs Documentary (long-form) photography

Photojournalism really started to take shape when photographers could easily transport cameras into war zones. The “Golden Age of Photojournalism” is often considered to be roughly the 1930s through the 1950s. It was made possible by the development of the compact commercial 35mm Leica camera in 1925, and the first flash bulbs between 1927 and 1930, which allowed the journalist true flexibility in taking pictures.

For the first time, ordinary citizens could see the impact of the fighting right there in their newspaper. It was a pivotal moment in photography and it became more and more real between the Civil War and World War II.

Image result for lewis hine — Lewis Hine

Documenting the Public The turn of the century continued to use portrait photography for documentary uses. In 1906 Lewis Hine was hired to document the conditions that child labor workers had to deal with in different factories throughout the U.S. His photographs were used to help pass child labor reforms, like the Fair Labor Standards Act of 1938, which banned oppressive child labor.

The stock market crash in 1929 led to the next round of documentary portraiture. In 1935, photographers were hired to document what was going on in the farmlands of America. The Resettlement Administration, which later became the Farm Security Administration, wanted to see through photographs how the farmers were living. The New Deal offered several programs for artists and photographers, such as the Works Progress Administration. People hired for the WPA documented life throughout America. One famous WPA photographer was Dorothea Lange, who profiled the plight of farmers in America.

201307F03-KC-MigrantMother-Photo-Portrait-thumbnail-1200x1200 — ‘Migrant Mother’ by Dorothea Lange, 1936

The Impact of War Photography

Shell-Shocked U.S. Marine, Tet Offensive, Hue, Vietnam, 1968 © Don McCULLIN (CONTACT PRESS IMAGES)

Put simply, photojournalism is about capturing verbs. This doesn’t mean simply taking an action photo. Communicating the verb is much more than that. Stories are captured in slices while photojournalism strives to convey what is happening in one shot.

Although it is great when it happens, photojournalism isn’t about the best composition, or the best technical details, or a pretty subject.

Photojournalism is about showing the world a story of something that really happened.

“Bearing witness” is a phrase that comes to mind in regards to photojournalism.

Photojournalism allows the world to see through the eyes of the photographer for just a moment. When photojournalism is done right, that one moment conveys volumes of time.

Conveying the full story is part of environmental portraiture where the setting tells us as much about the subject as the subject themselves.

The emotion is often raw in photojournalism. The photographer is not directing the scene as a portrait or commercial photographer would. Instead, the best of them blend into the background and become a shadow figure (unlike the paparazzi). They are there to observe and capture, not become the story or interrupt it.

The photojournalist has a different attitude than other photographers and it’s necessary to capturing those memorable photos. And quite often, that single photo can become a call to action for the millions of people who see it.

Another vitally important part of photojournalism is accuracy. This means that what is in the frame is what happened. The photojournalist is ethically bound not to change the story (though many fall short of this ideal).

Power lines should not be cloned out. More smoke must not be added to a fire scene. What was captured is how it should be. Sadly, the era of digital photography has made it easier than ever to manipulate reality.

The image should be a window into the event. At most, lighten the shadows a touch to see faces or sharpen the image a bit for clarity but do not change the essence of what you capture in the photo. If you do, you change the story.

https://petapixel.com/2013/08/08/exploring-the-art-of-portrait-photography-and-the-role-of-the-portrait-today/

Discuss

Responsibilities
Representation
Code of conduct / ethics
Standards

Blog

design and make an introductory blog post that includes the key features of what you have learned (above)
include images
add hyperlinks
add / embed relevant YOUTUBE clips to help articulate your findings

Marking Criteria

The four assessment objectives clearly outline expectations, so you must provide high quality evidence for each AO…

AO1 : Develop ideas through sustained and focused investigations, informed by contextual sources, demonstrating analytical and critical understanding

AO2 : Explore and select appropriate resources, media, techniques and processes, reviewing and refining ideas as work develops

AO3 : Recording ideas (taking photos) that are relevant to intentions, reflecting critically on work as it progresses

AO4 : Present a personal and meaningful response(s) that realises intentions, and makes connections with other artists