It can be very easy to arbitrarily limit oneself by genre; I think the effect this has on the mindset
of a photographer can potentially really damage the quality of the work they look to produce.
I think that street photography is one of the broadest and most inclusive genres, and it’s
interesting to see the ways that some photographers are distancing themselves from the name:
some have started to call it “everyday photography/documentary” or “life photography” among
other terms. “Street” is a very loaded directive, which really implies that the photography must
take place on a street — or even that the subject of the image is the street.
Street Photography Doesn’t Need to be ‘On the Street’
1. Street Photography Doesn’t Need to
be ‘On the Street’
OCT 12, 2019 SIMON KING
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2. It can be very easy to arbitrarily limit oneself by genre; I think the effect this has on the mindset
of a photographer can potentially really damage the quality of the work they look to produce.
I think that street photography is one of the broadest and most inclusive genres, and it’s
interesting to see the ways that some photographers are distancing themselves from the name:
some have started to call it “everyday photography/documentary” or “life photography” among
other terms. “Street” is a very loaded directive, which really implies that the photography must
take place on a street — or even that the subject of the image is the street.
In my own understanding of street photography, I incorporate the idea that “street” is more of a
mentality, similar to the idea of a street artist, street musician, or street dancer, who can ply their
art/technique pretty much anywhere, rather than being anything to do with a physical location.
It connotes improvisation and spontaneity.
For me, the location doesn’t matter as much as the actual content of the image, which has most
recently been a balance between action and interaction. Whether it’s an action of a subject, or
interaction between subject/s and environment that’s what tends to catch my eye and keep my
interest.
3. I think that photographers who take “street photography” too literally end up with fairly basic
images of what tends to happen on a street – people walking from one place to another,
people standing around, people crossing roads. This doesn’t really offer anything distinct to an
audience and is unlikely to provide anything of substance on repeat viewings.
Of course, things like interesting characters, interesting compositions, or use of the light can
elevate these, but without that core action/interactivity I find the majority lacking. It didn’t take
long for “straight” streets to lose my interest and focus – I think even street corners provide
more room for interesting interaction than something as basic as a straight path.
There are so many other options for places to exercise a street eye. London has many
incredible squares, both iconic and residential. Iconic squares provide massive foot traffic, and
many opportunities to capture street portraits, candid scenes, and interesting details. The
cozier residential squares offer intimacy and often isolation, with calmer conditions. People
tend to let their guard down, and a camera can go unnoticed in a crowd, or otherwise
photogenic location.
4. For me, a street itself is more a conduit between these places of interest. Aside from when
something exceptional or out of the ordinary is happening, which provides perhaps a crowd, or
unique conditions, I don’t see many opportunities for photographs on the street itself.
I think Londoners are used to maintaining a respectful distance, which makes the 28-35mm
techniques of layering, stacking, and close up flash a little trickier – these styles I associate with
New York and Japan, and are not something I’ve seen executed well in London.
5. Other spaces I feel are prime for street photography include bus stops/garages, on public
transport itself, stations, squares, parks, beaches, galleries, and museums. All of these are
places where people really exercise behavior other than simply wandering around, and offer a
far more diverse range of environments to work with.
6. In the past when I’ve produced this kind of write up I’ve wondered whether it’s actually
worthwhile or necessary, and I’ve seen this sentiment in the comments as well. Why spend time
defining things when you could simply act, and shoot, and not worry about it? This is a valid
argument. After all, the “greats” didn’t have access to this kind of blog to get lots of different
opinions about their field, they simply produced work. There are fantastic examples of street
photography taken all over the world, even in rural areas, where there isn’t even a street
nearby!
My answer is that the connected nature of art and photography means it’s unavoidable to have
this kind of discussion around a genre. Language greatly informs the way we frame ideas and
conceptualize our actions – whether conscious or unconscious. Photographers I know
personally have become frustrated with shooting street photography as they are limited by the
definition, the issue I mentioned at the beginning of this article. Their street results have not
yielded the results they wanted or expected, but their work shines in other areas.
It would be so simple for them to excel if they only shifted their understanding of what they
were out to create and the tools and boundaries they were able to use to do so.
7. About the author: Simon King is a London based photographer and photojournalist, currently
working on a number of long-term documentary and street photography projects. The opinions
expressed in this article are solely those of the author. You can follow his work
and you can read more of his thoughts on photography day-to-day over on .
Simon also teaches a short course in Street Photography at UAL, which can be read about
.
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• Reply •
bdebre • 3 hours ago
FFS "street" is understood by all but the most pedantic or literal. It's
fine.
△ ▽
• Reply •
Jonathan Maniago • 8 hours ago
If "street photography" sounds too ambiguous, I suggest "public
candids" as an alternative.
△ ▽
• Reply •
Andy • 16 hours ago
I agree with many of the points made by the article author. For me,
I'm not sure "Documentory Photography" really works either... I tend
to relate that more to photo journalism and documenting events of a
news or historical nature. From my perspective, I think "public
photography" really describes the spirit and intention of "street
photography". As far as the comment: "Should we photograph the
Homeless etc..list endless...that's what makes it fun and more
interesting than other genres"; this often comes up and is debated
extensively. I really think in comes down to exercising "commonsense
and good judgement" and also has a situational facet as well. For the
example of "homeless subjects"... I don't personally see an issue if
you don't show an identifiable face without permission. Some
powerful images can be created and stories told with the subject
remaining anonymous.
△ ▽
• Reply •
Jerry Syder • 20 hours ago
Great discussion on a genre that is broadly used, so much so that I
adapted it in my own "street portrait" project. At first, I was merely
looking for an association, something to tag it with on Instagram.
Then, when I come to talking about it, I would refer to it as my "Street
Photography" project. As you say, for me, it's the mentality or idea or
style behind the word Street.
△ ▽
• Reply •
Des Byrne • 21 hours ago
Good topic to discuss all the greats whom we now call street
photographers shot in parks on beaches in circus tents..etc..since it's
such a subjective genre lots will disagree with your article....same
as..Is posed shots street photography? Should we photograph the
Homeless etc..list endless...that's what makes it fun and more
interesting than other genres..
△ ▽
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9. • Reply •
kbb • a day ago
I still say it'd be more accurate and less embarrassing to call
documentary photography 'Documentary Photography'.
△ ▽
Sam J. • a day ago
Cool article I don't do much street photography but I'll be in London
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