Why is composition important in Street Photography?

An analysis on composition in Street Photography – discussing the works of Henri Cartier Bresson, Lee Friedlander and Alex Webb Webb 

About Street Photography

This genre, often known as “candid” or “social documentary” photography, usually includes people, or the notion of people, in a public setting. It should be noted that the photograph does not have to be taken on the street. The human aspect, for example, could be on the beach or within a structure. The concept of “people” is more essential than the concept of “street”. Street photography may not necessitate a street or even a city, but it does necessitate people, or at least the concept of people (Jardin, V. 2018). Composing a photograph is arranging elements within it in a way that better serves the work’s central idea or goal. Moving the items or subjects may be used to rearrange the components. Since the photographer normally does not have the option of moving his subjects himself, street photography necessitates anticipation because the photographer must wait for them to take the best position within the image. The photographer can also rearrange elements by moving their own role.

Composition is greatly influenced by the two sides, the creative artistic aspect and technical aspect of how the photographer wants to position the camera relative to the subject. The masters of street photography were recognized as such not because they had a random collection of individually amazing photos, but because their body of work communicated a clear, coherent, and often emotional perspective. Henri Cartier-Bresson was first influenced by the Surrealist school of art, but after World War II, he adopted a more photojournalistic style (Lewis, G. 2015).

One of the advantages of street photography is that, it is not necessary to have many camera equipment. Throughout their careers, successful street photographers have been known to use only one camera and one or two lenses. Some photographers capture their subjects in a very discrete and subtle approach. Others are blunter, even demanding. Some individuals are introspective, while others are impetuous.  Most photographers tend to develop a style   that is most suitable with their identity, outlook on life, what they are most comfortable with, and what strives them to achieve.

History

From the above photograph (Fig.1), the used of center composition and negative space provides significance towards the subject. French photographer Henri Cartier-Bresson, is known for his commitment to photographic art which allowed him to claim the reputation of “the founder of modern photojournalism” (Huxley-Parlour Gallery. 2021. Henri Cartier-Bresson: ‘The Father of Modern Photojournalism’).

Henri Cartier-Bresson, is a professional photographer widely described as the world’s greatest. His photography is always about capturing moments when reality reveals itself to the camera whether it was a split second before the heel of a leaping man’s foot enters the surface, or the movement of a wheel in motion. In addition, he established the well-known photographic idea of the “decisive moment” in the process. He established it at a period when photography was still a relatively modern form of art (Henri Cartier Bresson, Alumni.sae.edu. 2020) 

In The Quai St. Bernard (Fig. 2), Bresson’s idea of the composition rule of leading lines attracts the eye to draw forwards to the subject and by placing his subject towards the corner right using the rule of thirds to create the idea that there is an interaction between his subject and the background. When he was asked what makes an outstanding composition, his answer was geometry. He started off as a painter and he identified himself as a surrealist rather than being named a photojournalist in the early years. The distinction between excellent photography and an ordinary one may be geometry and framing just a few millimeters. He never made images and had a disdain for them. My primary emphasis is the use of symmetry, curves and visual flow. The structure and balance of shapes within a stage is related to geometry.

This interrelation of forms is almost always unchanged, which ensures that great insight and awareness must be developed and caught at a certain moment. Cartier-Bresson believed that a person was born with or wasn’t able to understand these three factors at once; it couldn’t be taught easily (Henri Cartier Interview. Aperture. 2020)

In the above photo (Fig. 3, A & B), shadows are incredibly crucial. It’s all about painting with light in photography, and there cannot be light without darkness. In any scene, shadows can provide us with shapes, forms, and textures as an overlay. They provide us with two scenes in a single frame. In Bresson’s photograph, the concept is the same. The use of shadows to highlight the subject and their interaction, also adding a sense of depth to it. Working only in black and white photography, the photographs of Cartier-Bresson seem to distil the abstract meaning of life into something pure. His rejection to either crop or manipulate his images feels the creative uniqueness and refreshing in contemporary practice, and allows the viewer to see the photo in a way that he would like them to see. Decisive Moments encourages us all to observe important features and to respond that bit faster, and to enjoy experiences that, without waiting to recognize and relate to them, could live and die without ever being experienced.

Cartier-Bresson‘s philosophy of photography has a fascinating point of argument, that one must be invisible, from the subject or trying to adapt to a certain environment and blending in with the subject so as  to capture a perfect timed shot or the critical moment that may be waiting for the scene to surface.

As a photographer, one would say that the pursue of symmetry comes naturally with experience. When a photo is balanced, it is free of conflict and gives us a sense of comfort. This is exactly what the Fibonacci spiral provides. It is much difficult to understand than the rule of thirds because of its complex geometry.  This is why many photographers are unfamiliar with the Fibonacci spiral or the golden ratio of photography, but for Henri Cartier Bresson, his ideas and thoughts were as a painter then later his transition to a photographer was much easier in implementing these rules into photography. (Hull, C., M., 2021. Composition Techniques from Henri Cartier-Bresson). In Fig 5, Bresson crafted one of his most iconic photographs which plays a huge impact in photography till today. In better understanding, he uses the Fibonacci spiral by placing the stairs in spiral leading towards the cyclist positioned towards the corner left down the street.

The roots of visual composition can be traced back to painting, not photography. While a painter may build a scene on a blank canvas, a photographer, especially a documentary photographer, must work on his framing. One of the many examples of compositional rules, is how painters may use leading lines and natural features to create an image dependent on the composition.

“This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition – an organic coordination of visual elements.”                     – Henri Cartier-Bresson

The surrealist movement influenced Henri Cartier-Bresson, and as a painter, he was inspired by surrealist photographer Man Ray. One of the psychological principles used by photographers, the gestalt principle, the concept is about human perception laws that describe how we group similar elements, recognise patterns, and simplify complex images when we look at objects. Designers apply the principles to arrange content and other interfaces in an aesthetically pleasing and understandable manner in which an audience can read and easily interpret (John Suler. Photographic Psychology. 2021). Henri Cartier-Bresson photographed some of the famous painters of his day like Pablo Picasso, Marcel Duchamp and Man Ray. This just shows the influences that heavily impacted Bresson’s career (Magnum Photos. 2020. A Surreal Friendship).           

Gestalt psychology explores the mind as a whole. It is composed of a variety of values. In psychology, there are several gestalt concepts. Not every one of them can be used in photography. The simpler it is to look at the composition, the easier it will be to understand it. The Law of Similarity, for example, is frequently used by street photographers to transform busy compositions into stunning street shots. If two elements resemble each other, our mind classifies them as belonging to the same group. Colour, shape, size, texture, or any other attribute can be used to stimulate the law of similarity. Understanding the similarity law allows us to make connections between unrelated elements by using their colour, shape, size, or texture. This law applies to repetition. Another example, is the Law of Proximity which is frequently used by portrait photographers to make their subject appear as if they are grouped together. Close proximity of objects creates a sense of familiarity. If you walk into a room and see two people sitting together, you might assume they’re friends, even if they’re strangers. (John Suler. Photographic Psychology. 2021)

Photography doesn’t always have to focus on art and storytelling. A photographer may expand their knowledge of photography by studying various topics, such as psychology. One can change the way a camera is used and compositions are created by following a few basic principles.

In the above photographs (Fig. 6, 7 and 8), the main subject and the background can often be in direct contrast. The main subject can be notice instantly. When there is little or no contrast, it may be difficult for the audience to distinguish the main subject. Bresson’s idea of the figure to ground theory would then add depth and symmetry to his photographs. Figure to ground refers to the understanding between objects and negative space, with regards to the foreground and background. It’s one of the first things people notice when they look at an image. It’s easier for the mind to differentiate components in photos that are in direct contrast to each other. Images with a figure to ground ratio are more likely to attract the eye of the audience. This is a fundamental visual perception theory (John Suler. Photographic Psychology. 2021).

Self-portraits

Self-portraits do not fall under the “classroom” definition of photography composition, that’s because most of the photography books do not include self-portrait as a genre that is fascinating and appealing to the readers. But from artist’s perspective it is believed to be fascinating in compositional technique that one can use to create more interesting pictures.       

The above photograph is particularly interesting because it depicts Friedlander in an objective light. When artists make self-portraits, they are often making a representation of the individual as they would like to be seen, rather than an image of themselves. Friedlander, on the other hand, does not attempt to make himself look more attractive, interesting, or intelligent, instead he takes a step back and create photographs that are true to life and most importantly which depicts the interaction between him and his environment .       

In the above images (Fig. 9 and 10), the artist becomes an integral part of the photo. Every individual enters the scene and becomes a part of it. The environment has an effect on a person’s personality. People can play various roles in various environments. They’ll take on various personas. Self Portrait portrays the multiple elements of people, as well as the influence that people have on their environments and the impact that the world has on them. But in (Fig. 9, A and B) there’s quite a similarity in the composition of the subject, which consisted of a frame within a frame, to highlight the depth of the subject by using shadows and reflections.

Today, this genre is quite on the rise due to the emerging pop culture along with advanced technology in mobile camera phones having front facing and better quality cameras unlike the early days where artists would have to make use of different alternatives such as mirrors and reflections, which believed to have worked since it was applied for a specific compositional task of interaction with the environment.

Social Landscape

“I always wanted to be a photographer. I was fascinated with the materials. But I never dreamed I would be having this much fun. I imagined something much less elusive, much more mundane.” – Lee Friedlander                

A master of contemporary photography, Lee Friedlander is known for his exploration of the American social landscape (Kieffer, M., 2020. Lee Friedlander: Capturing the ‘Real’ America). He does have a remarkable ability to organise a tangled mess of seemingly insignificant stuff into powerful compositions within a photograph’s frame. He values and makes use of the camera’s ability to capture anything within the frame, no matter how insignificant and less importance. The details that we neglect would be captured by the camera as willingly and democratically as the main subject. In Friedlander’s composition, various street objects such as signs, phone booths, chain link fences, walls, statues as well as blurry reflections in windows and other surfaces are included, sometimes filling his frames with as much imagery as they can accommodate.
(The Image Journey. 2020. The Social Landscape).

While much of his work is not obviously spectacular or obvious on first glimpse, much of it appears to be amateurish snapshots (in the above photos Fig. 11, 12 and 13) but on noticing that spending more time with it has helped to see the world through his ideas of exploring randomness into something unique and beautiful, and to appreciate the amazing relationship between random objects of different shapes and angles that can be found in his photographs. Friedlander is inspiring because he has brought his own unique vision towards his photography, creating images that are influenced by his sensitive vision, humour and knowledge, and lack of pretence. He is known as a point-and-shoot photographer who uses minimal professional equipment and manipulation. (Encyclopaedia Britannica. 2021. Lee Friedlander)

Friedlander’s photographs have huge influence due of the subject matter and composition, not because of the technical handling or editing. Anyone can learn to manipulate photographs into something visually appealing, but taking a basic piece of equipment out into the world and taking a snapshot that can perform in the same arena is a different issue. True photographers are the ones that perform and understand the art of photography, and Lee Friedlander is one of them. He is also often associated with street photographers, and with good reason. He’s one of the few street photographers whose work has a quality that goes beyond the genre and into fine art.

Colour

“I came to photography through books. Initially it was Henri Cartier-Bresson’s The Decisive Moment and [Robert Frank’s] The Americans, maybe some Ray Metzker, Lee Friedlander and [William] Klein – but always in book form. I think photography is uniquely suited to it…” -Alex Webb

Alex Webb is best known for his vibrant and complex colour photographs of fascinating or surreal moments, often in places where socio-political tensions exist. His interest in colour photography, which he began in 1979 after transitioning from black-and-white photography, he attributes to his work in Latin America and the Caribbean. Webb has published a survey of his colour photographs spanning 30 years, as well as sixteen photography books, including The Suffering of Light (Magnum Photos. n.d. Alex Webb. Photographer Profile).

Alex Webb’s world is a mosaic of hues (in Fig. 17). Each locations he visits has a special and expressive radiance of colours. Webb’s style of photography shows a wide range of colours that evokes a variety of emotions. He considers himself a typical street photographer, citing Cartier-Bresson, Friedlander, and others as influences (LensCulture, R., 2021. Redefining Street Photography with Alex and Rebecca Norris Webb).
Webb’s work is characterised by a strong use of colour and a strong sense of depth. A detailed depiction from the foreground, mid-ground, and background can be seen in several of his photographs. The beauty of this is that it invites the audience to examine his dimensional perspective of his photographs. One can begin to look at the objects that are closest, then gradually move into the mid-ground, and finally out into the background. (Huck Magazine. 2021. Photographer Alex Webb shares the secrets to his success).

In Fig. 17, Webb uses the figure to ground principle, in his photographs, the use of contrast to highlight and separate the relation between the foreground and the background. It is easier for the viewers to analyse the photograph when the subjects are separated and plainly visible, he would often use colour, shadows or natural lighting as medium of separation between his subjects and also to bring depth.
Alex Webb’s photographs are typically composed of multiple layers of interaction of his subjects. The foreground, middle ground, and background all have their own focal points. Webb understands how to carefully frame each layer of the photograph to direct the viewers gaze from the foreground to the background.

In the above photos( Fig. 15, 16 and 18), Webb’s consistent handling of light serve as a lesson to everyone that natural lighting can be of much use in the streets. Webb is able to use shadows and silhouettes to mask and highlight specific compositional elements, as well as use the light to emphasise the vibrant tones by shooting in direct sunlight. Also notice that he has a habit of exposing the highlights on many occasions, which means that certain sections of the scene are in deep shadow. It’s an excellent technique for giving the scene a three-dimensional perspective. In Fig. 15, 16, and 17, the photographs usually have several angles which provide depth to the subject in the background and foreground. There are focal points in the foreground, middle ground, and background. Webb knows how to carefully arrange each layer of an image so that the attention is drawn from the front to the back.

Just composition?

Photography theories, in my opinion, are more meaningful and complex in terms of interpreting an image. A professional photographer possesses three essential characteristics: technical expertise, a keen sense of composition, and a solid understanding of exposure. Composition, on the other hand, can be highly subjective in the sense that each photographer has their own unique ability to communicate with their subject. A strong composition can assist in satisfying the principles and laws, but it will never tell us how to get closer to, relate to, or open our hearts to the subject in their own environment. It is critical to have a good composition, but more importantly, a photographer should capture an intimate and soulful connection in order to add a bit of soul to the photograph. It’s all about emotions, mood, and spirit in street photography. Composition can teach an audience what to look for in a photograph, but it cannot teach how to feel about it.

“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures” -Don McCullin

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