::Weekly Street Photography-august 16th::

Started Aug 16, 2009 | Discussions thread
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Peter Dumont
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::Weekly Street Photography-august 16th::
Aug 16, 2009

The Weekly Street Photography of sunday the sixteenth of august is here.

Please, please don't be shy and show us your (recent) streetpics in this thread.

Underneath you can find :::THIS WEEKS THEME:::
where you can post photographs that fit in with this weeks theme.

below that is the ::: HISTORICAL CORNER ::: where you can post your
personal favorites from masters of street photography of the past!

next is the ::: TECHNICAL CORNER ::: where you can post
technical tips and/or questions concerning streetphotography.

and below that you can find the :::: Off-Topic pictures :::: where you can
post your streetpics that DON'T fit in this week's WSP week-theme.

You can find the WSP Archives here:

http://forums.dpreview.com/forums/read.asp?forum=1029&message=32692512

Streetphotography isn't about architecture, but it is the art of
photographing people in the city as they interact with other people,
their surroundings or with YOU; the photographer.

There are many different ways and styles to do streetphotography.

You can use a long tele-lens and work as a sniper making sure people
won't notice you, or you can use a wide lens and engage with the people
you are capturing with your camera.

Streetphotography is a rewarding form of photography
where style and personality becomes a part of the picture.

Q:

Of all the world’s photographers, the lowliest and least honored is the
simple householder who desires only to “have a camera around the house”
and to “get a picture of Dolores in her graduation gown.”

He lugs his primitive equipment with him on vacation trips, picnics, and
family outings of all sorts. His knowledge of photography is about that of
your average chipmunk.

He often has trouble loading his camera,
even after owning it for twenty years.

Emulsion speeds, f-stops, meter readings, shutter speeds have
absolutely no meaning to him, except as a language he hears spoken
when, by mistake, he wanders into a real camera store
to buy film instead of his usual drugstore.

His product is almost always people- or possession-oriented.

It rarely occurs to such a photographer to take a picture of something,
say a Venetian fountain, without a loved one standing directly
in front of it and smiling into the lens.

What artistic results he obtains are almost inevitably accidental
and totally without self-consciousness.

Perhaps because of his very artlessness, and his very numbers,
the nameless picture maker may in the end be
the truest and most valuable recorder of our times.

He never edits; he never editorializes; he just snaps away
and sends the film off to be developed, all the while
innocently freezing forever the plain people of his time in all their
lumpishness, their humanity, and their universality.

Jean Shepherd - Introduction.

[Ken Graves & Mitchell Payne “American Snapshots”, The Scrimshaw Press, Oakland 1977]

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