“Ma” 
“chine”
“Work” 
“Complete”
“Wear” 
“ring” 
“Heavy metal outfit”
“Pounding” 
“Heavy” 
“Music”
“Fixing” 
“Light”
Describe yourself.
“Jo” 
“king”
“Game” 
“ming”
“Watching” 
” Film”
“Soup” 
“Soup”
“Love farm” 
“ming”
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)
Fig 2. The Quai St. Bernard 1932 by Henri Cartier Bresson (Magnum Photos. 2020, Henri Cartier-Bresson)
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.
Fig 6. Madrid 1933 by Henri Cartier Bresson (International Center of Photography, 2021)
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
(Fraenkel Gallery. 2021. 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
Photographic Reference
Magnum Photos. 2020. Henri Cartier-Bresson • Photographer Profile • Magnum Photos. [online] Available at: https://www.magnumphotos.com/photographer/henri-cartier-bresson/
International Center of Photography. 2021. Siphnos, Greece. [online] Available at: https://www.icp.org/browse/archive/objects/siphnos-greece
Hull, C. and >, M., 2021. Composition Techniques From Henri Cartier-Bresson. [online] ExpertPhotography. Available at: https://expertphotography.com/henri-cartier-bresson-composition/
Glover, T., 2021. Henri Cartier-Bresson Quote – IPOX studios & Canon of Design. [online] Ipoxstudios.com. Available at: <https://ipoxstudios.com/henri-cartier-bresson-quote
ASX, E., 2020. Lee Friedlander Puts Your Selfies to Shame. [online] AMERICAN SUBURB X. Available at: https://americansuburbx.com/2013/05/lee-friedlander-self-portrait.html
Magnum Photos. 2020. A Surreal Friendship • Henri Cartier-Bresson • Magnum Photos. [online] Available at: https://www.magnumphotos.com/arts-culture/art/surreal-friendship-henri-cartier-bresson/
McNally, O., McNally, O. and McNally, O., 2021. Yale Photo Show Offers Intimate Insights Into the Jazz World. [online] Wnpr.org. Available at: https://www.wnpr.org/post/yale-photo-show-offers-intimate-insights-jazz-world
Fraenkel Gallery. 2021. Lee Friedlander | Fraenkel Gallery. [online] Available at: https://fraenkelgallery.com/artists/lee-friedlander
Magnum Photos. 2021. The Suffering of Light • Alex Webb • Magnum Photos. [online] Available at: https://www.magnumphotos.com/arts-culture/alex-webb-the-suffering-of-light/
Bibliography
Aperture. 2020. You Must Live and Look. [online] Available at: https://aperture.org/editorial/cartier-bresson-live-look/
Alumni.sae.edu. 2021. Learn basic composition rules with Henri Cartier-Bresson | SAE Alumni Association Europe. [online] Available at: https://alumni.sae.edu/2014/12/11/learn-basic-composition-rules-with-henri-cartier-bresson/
Artnet.com. 2021. Italy by Lee Friedlander on artnet. [online] Available at: http://www.artnet.com/artists/lee-friedlander/italy-a-5VtGP9kxI__Vh1lC7eXNlQ2
Bowyer, S. 2020, “SEEING DOUBLE: THE SUBJECT OF VISION IN LEE FRIEDLANDER’S SELF-PORTRAITURE”, Photographies, vol. 13, no. 3, pp. 323-339.
Don McCullin. 2021. Don McCullin · Biography. [online] Available at: https://donmccullin.com/don-mccullin/
Encyclopedia Britannica. 2021. Lee Friedlander | American photographer. [online] Available at: https://www.britannica.com/biography/Lee-Friedlander
Google Arts & Culture. 2020. Lee Friedlander – Google Arts & Culture. [online] Available at: https://artsandculture.google.com/entity/lee-friedlander/m04s3jx?hl=en
Huxley-Parlour Gallery. 2021. Henri Cartier-Bresson: ‘The Father of Modern Photojournalism’ | Huxley-Parlour Gallery. [online] Available at: https://huxleyparlour.com/the-father-of-modern-photojournalism-2/
Huck Magazine. 2021. Alex Webb’s vivid street scenes capture life at its most poetic. [online] Available at: https://www.huckmag.com/art-and-culture/photography-2/alex-webb-magnum-photography-suffering-light/
Huck Magazine. 2021. Photographer Alex Webb shares the secrets to his success. [online] Available at: https://www.huckmag.com/art-and-culture/photography-2/magnum-photographer-alex-webb-lessons/
INTERVIEW, C.R., 2018. Q&A: Alex Webb On Street Photography as “Exploration and Discovery with the Camera”. Photo District News (Online)
Ivanova, T., 2020. How to Use Gestalt Theory Principles for Photography. [online] ExpertPhotography. Available at: https://expertphotography.com/gestalt-theory-photography/
info@PhotoQuotes.com, H., 2020. Henri Cartier-Bresson Quotations and Tips about photography in Printer Friendly Format. [online] Photoquotes.com. Available at: https://www.photoquotes.com/printableshowquotes.aspx?id=98
Jardin, V. 2018;2017;, Street Photography: Creative Vision Behind the Lens, 1st edn, Routledge, Milton.
Lewis, G. 2015, Street Photography: The Art of Capturing the Candid Moment, Rocky Nook, Sebastopol.
Kieffer, M., 2020. Lee Friedlander: Capturing The ‘Real’ America. [online] Culture Trip. Available at: https://theculturetrip.com/north-america/usa/washington/articles/lee-friedlander-composing-the-real/
LensCulture, R., 2021. Redefining Street Photography with Alex and Rebecca Norris Webb – Photographs by Alex Webb and Rebecca Norris Webb | Interview by Cat Lachowskyj |
LensCulture, R., 2021. Redefining Street Photography with Alex and Rebecca Norris Webb – Photographs by Alex Webb and Rebecca Norris Webb | Interview by Cat Lachowskyj |
LensCulture, L., 2020. Lee Friedlander Retrospective – Photographs by Lee Friedlander | LensCulture. [online] LensCulture. Available at: https://www.lensculture.com/articles/lee-friedlander-lee-friedlander-retrospective
LensCulture. [online] LensCulture. Available at: https://www.lensculture.com/articles/rebecca-norris-and-alex-webb-redefining-street-photography-with-alex-and-rebecca-norris-webb
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Zakia, RD 2013, Perception and Imaging : Photography–A Way of Seeing, Taylor & Francis Group, Oxford. Available from: ProQuest Ebook Central.
Iewduh
“I only know how to approach a place by walking. For what does a street photographer do but walk and watch and wait and talk, and then watch and wait some more, trying to remain confident that the unexpected, the unknown, or the secret heart of the known awaits just around the corner.” – Alex Webb
Alex Webb has had a notably successful career for someone who says 99 percent of street photography is about failure. Alex Webb is a member of Magnum Photos, created a deep archive of photographs rich in color and complexity from his early work in Haiti and along the U.S.-Mexico border to recent U.S. Rust Belt projects. I’m always a big fan of his work and still continue to emulate in a way that I can achieve in my ability within my own craft.
The only way you can take amazing street photographs is by walking on the streets a lot. You will open yourself up to several more chances to shoot on the streets while you are out wandering on the sidewalks, and also experience the atmosphere of a place. It is difficult to get a perfect photograph taken. There’s a lot of stuff beyond your grasp. How your subject looks, the light’s intensity, the background, the moment, and so on. Go out and do as much shooting as you can. Although 90% of street photography is about failure, the more you go out and shoot, the greater your chances of taking amazing photos.
This is the ultimate kind of self-therapy – for my mind, well-being, mental health, and my overall optimism and positiveness towards life. One of the reasons why I like street photography.
Street photography is one of the most artistic creations that is accessible and democratic. You can walk around the block and take pictures of whatever you see. Street photography lets us connect with strangers and others, emotionally, physically and vocally. And the closer we relate to other people, the less miserable we feel.
Click on photo for full size
Ki Jingkhang iit ha Iewduh (Windows at Iewduh )
A series of photographs at Iewduh, Shillong
Iewduh is an iconic local market place at the heart of Shillong and is one of the largest and busiest markets in Shillong, where you can get just about everything from vegetables, clothes, spices, fish and livestock, household appliances, market stalls, etc. The marketplace has been financially affected now due to the pandemic, but the government has reopened it again but with healthcare restrictions such as wearing mask and hand sanitisation.
At the beginning, it inspired me to grasp how the crisis is affecting livelihoods and how financially. I tried taking photographs with the camera, then suddenly I turned to the buildings above me and spotted that window which had cobwebs all on it. For years, I was astonished that the window is still not shut. Then I looked around, and I saw those windows as if a new world exists above me. So a photographer has to be, look for things that none other can notice, that are so beautiful. Then the lifeless windows above me pulled my focus down.
Click on photo to see the full size
Composition
Content
- Introduction
- Composition in street photography
- Negative space
- Henri Cartier-Bresson’s photography
- Steve’s McCurry photographic manipulation
- Lee Friedlander’s social landscape photography
- Conclusion
Introduction
From the start of my art project, I’ve been fascinated by composition- shapes, symmetry, lines and almost anything that’s geometrical. I remember for the first time that, as an instrument in photography, I discovered the rule of thirds. As a result of this, it has changed my perspective on the world in the field of photography, Then I found photography of the path, which captured emotions, strength and daily life. I pursued photography as a result of gaining inspirations from fellow photographers such as Steve McCurry, Lee Friedlander and Henri Cartier-Bresson. There works has painted a frame in the way I would like, and waiting eagerly to reach the right section of the shot to see “the definitive moment.”
First of all, I believe that composition is important because it helps the viewer’s eyes to direct their photograph. For starters, your composition will decide what you want to see (or not see), for example, you can better direct the eyes of the viewer towards the main subject with a simple background. Another trick, with leading lines, you can direct the viewer’s eyes towards the main subject.
I think it is also pleasing to the eyes to have a good composition. I think there is a rhythm in our mind that is drawn to the beauty of the lines, shapes, curves, light, colour and art. We attempt to recreate the beauty that we see in nature, or try to captivate the beauty of our fellow human beings, such as street photography, documentary films, and paintings.
Composition is a way to attract the viewers’ eyes to the most important elements of their work. A strong structure will lead to creating a masterpiece even in the plainest settings with the most unnoticed objects and subjects. On the other hand, while the subject is fascinating, a poor composition will totally destroy a photograph. A poor composition photograph, as opposed to clear and normal exposure or white balance errors, cannot normally be corrected in post-processing. Cropping often may save an image, but the right solution only works where other areas of the image are trimmed up and cut.
Composition in street photography
Street photography is a photographic type that captures everyday life in an artificial, natural or public space. It does not necessarily require the essence of “streets” or even an urban setting, while big cities would definitely offer the photographer more opportunities. The setting enables the photographer to look at candid moments of people and their interaction in the environment, often without them knowing. Street photographers do not create a social mindset of how things should be when they are in their shooting environment, but prefer to separate and capture moments that are unnoticed. Too often, photographers rely on the uniqueness of their subject and do not pay enough attention to the overall framing and composition of their images. Although I am always looking for subjects that tells a story, composition is always an important factor for creative processing. Street photography is usually considered not to require much post processing and editing. It is one of the most difficult but also one of the most treasured photographic genres. It is not easy to document people on a daily basis, hard work and patience, even some courage to approach to photograph complete strangers is very much needed. Most of the crucial points I’ve experienced and learnt so far is that you follow your instincts and gut feeling whenever you shoot in the streets. If you shoot in a crowded street, the awareness of the photographer in the perspective of the public is ignored as this captures the uniqueness and realism of the photo. I don’t stress myself while shooting, I composed an image through visualizing lines, triangles and shapes. With absolutely any kind of camera, you can perform well in street photography, or even with a camera phone. You can do that with a DSLR camera with a variable zoom lens. However, there are various advantages for various equipment. A zoom lens allows better chances at varying focal lengths, but it’s bigger, more visible and narrower. A prime lens limits you to take images from your camera at a certain distance, but also allows more light and fixed focus. Prime lenses give you a huge advantage while you are restricting yourself to a specific focal length. With this focal length, you will begin to look at the world more intuitively, you will enhance the capture of the pictures under the parameters of this focal length.
One may say that a good composition is one that is most pleasing to the eye. Consequently, the objective of a good composition should be to show your subject or object in a flattering, aesthetically pleasing manner. Yet that view is a little shallow. Not every work of art should be pleasing or beautiful to the viewer. Some artists seek to convey, stronger ideas and their subject matter, and the choice of composition helps to accomplish this.
Leading lines is one of the most common photography compositional technique. Yet it’s a strategy that we don’t really listen to or adopt. It paves a simple path for the eye to navigate through the various picture elements. Usually, they start at the bottom of the frame and direct the eye up and down, from the foreground of the picture to the background, usually leading to the main subject. The easiest place to find a lead line is on the lane. Roadways are necessarily leading as they go somewhere, give us a sense of motion, and the lines always point so far inward that they hit a vanishing point a position where two or more lines intersect in abstract infinity. Leading lines are the main compositional feature that carries our eyes through the picture. They can be used to create a narrative, to put emphasis on a place, and to establish a bridge between the elements in composition.
Negative Space
Some of the compositional elements are well known as the rule of thirds, while others are rarely discussed. Understanding negative space in Street Photography is a way of spacing up the image and turning your focus to the subject. Negative photography space can be an interesting way to compose your images. Normally, we try to fill in the frame with interesting elements that support the space within a frame. The frame should be small so that you can’t get any closer without deleting objects that are important to the shot. The negative space in photography is a bit different today. Instead of filling our frame to its maximum, we consciously add “white” space to the image. It may sound contrary at first, but it’s a great technique in Street Photography to place an order in your shot. As Street Photographers, we often face the problem that our images are either too cluttered or that we need to get so close that there is not enough room in the picture to tell a story. Getting close is one of the most valuable tips, but not the solution to any problem. It may help to avoid unwanted objects, but it can also contribute to very uninteresting close-ups. Often the topic only wants a little space to expand in order to boost the appeal of the photograph. Negative space in photography can help to make this room available, but it can also help to focus on the subject. You can combine negative space with leading lines to focus even more on your subject. There is a lot of arguments as to how negative spacing is used in terms of photography theories. I always recommend this strategy, but you are not expected to follow it thoughtlessly. Zooming out to give the subject and their storey more room to develop will make a photograph more interesting if the surrounding area creates a negative space. By experimenting with different crops during post-processing and see if a closer crop has a positive impact on the image or if a wide-open shot suits your taste better. When I’m on the streets, I play with this theme, search for places that don’t show anything, add a rhythm to your composition, and encourage your viewer’s creativity.
Henri Cartier-Bresson’s photography
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”. Henri Cartier-Bresson, a professional widely described as the world’s greatest photographer. Instead, he wanted to catch the moment when reality itself unveils to the camera whether it was the 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. This means the situations can never arise in the same atmosphere, and the photographer needs to be careful, but still quick and still ready to take a shot. Take a camera, then head out! Observe the world around, and use the crucial moment’s thought to create what he calls a decisive moment. He has worked with the world’s most popular newspapers and magazines. In fact, he was one among the founders of Magnum Agency, the world’s first independent photography agency. Before Cartier-Bresson started working as a photographer, he spent more of his career in fine arts painting which possibly gave him considerable knowledge of the concepts of composition. Afterwards he switched to other newspapers. He worked primarily as a photographer after 1931, but also as Jean Renoir’s assistant in filmmaking. He turned to drawing after doing all he could in painting, and dedicated it to the last years of his life.
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 practise, 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 recognise 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 you must be invisible to take a decent shot but also that you must catch the critical moment that may be waiting for the scene to surface. I found this very difficult to imitate. Particularly walking around the streets of London with so many people, you can really stick out from the rest with a DSLR camera.
Use of Geometry
When he 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 millimetres. 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 anything.
“The genius of Cartier-Bresson, was having a frame, a notion of geometry in his brain and in his eye, which he obviously had but that he used a lot when he studied with André Lhote when he looked at paintings, and when he looked at the works of Paolo Uccello for example. He spent hours at the Louvre looking at his work. He did that all his life, and it shaped his brain. When he took a picture, the frame was obvious because that was something that came naturally to him.
That was his strength because not everyone can take a picture like, for example, the photo of Saint-Lazare, of a man jumping across a puddle, with his reflection in the puddle of water, and on the wall in the background, is a poster with a man jumping in the same position. He took this photo behind a fence without being able to approach the subject completely, which he then had to frame, and that there’s only one of them because it’s just one single moment – you truly have to be able to judge distance by simply sight.”
Reference: Magnum Photos. (2018). Henri Cartier-Bresson: Principles of a Practice • Magnum Photos. [online] Available at: https://www.magnumphotos.com/theory-and-practice/henri-cartier-bresson-principles-practice/.
Magnum Photos. (2019). Henri Cartier-Bresson • Photographer Profile • Magnum Photos. [online] Available at: https://www.magnumphotos.com/photographer/henri-cartier-bresson/.
Steve’s McCurry photographic manipulation
Steve McCurry, a Magnum photographer and national geographic magazine contributor, confessed to a compilation of his photographs using the programme Photoshop to edit photos and to cross the legal red line in photojournalism which others find to be the ethical line. McCurry is remembered famously for his photograph of the Afghan Girl featured on the cover of the June 1985 issue of National Geographic. PetaPixel website broke the news earlier this month when the Italian photographer Paolo Viglione shared an image, he spotted on his Magnum photographer ‘s blog, McCurry ‘s trip to Cuba. The photo revealed remains of a street sign from the leg of a passer-by. This post led the social media users to turn around and challenge the credibility of the works of the photojournalist. After then McCurry ‘s personal profile has been erased in its entirety and included an archive of his images from some year.
Although it is generally acceptable to process RAW camera files and slightly tweak colours and lighting using an image editing tool such as Photoshop, most picture agencies prohibit the removal or insertion of objects in the picture.
“Any alteration of the journalistic truth of his images, any manipulation of the facts, regardless of how relevant he or others might feel they are to the deeper ‘truth,’ constitutes an ethical lapse,” said Elliot.
McCurry did provide a statement to PetaPixel. We’ve added bolding to emphasize the relevant parts:
“My career started almost forty years ago when I left home to travel and photograph throughout South Asia. I went into Afghanistan with a group of Mujaheddin in 1979, and thus became a photojournalist when news magazines and newspapers picked up my pictures, published them around the world, and gave me assignments to provide more images of the war.
Later on, I covered other wars and civil conflicts in the Middle East and elsewhere, and produced photo essays for magazines, but like other artists, my career has gone through many stages.
Today I would define my work as visual storytelling, because the pictures have been shot in many places, for many reasons, and in many situations. Much of my recent work has been shot for my own enjoyment in places I wanted to visit to satisfy my curiosity about the people and the culture. For example, my Cuba work was taken during four personal trips.
My photography is my art, and it’s gratifying when people enjoy and appreciate it. I have been fortunate to be able to share my work with people around the world.
I try to be as involved as much as I can in reviewing and supervising the printing of my work, but many times the prints are printed and shipped when I am away. That is what happened in this case. It goes without saying that what happened with this image was a mistake for which I have to take responsibility.
I have taken steps to change procedures at my studio which will prevent something like this from happening again.”
Reference: Letzter, R. (n.d.). The “Afghan Girl” photographer faked some of his photos. Does it matter? [online] Business Insider. Available at: https://www.businessinsider.com/steve-mccurry-photo-editing-scandal-2016-5?r=US&IR=T
petapixel.com. (n.d.). Botched Steve McCurry Print Leads to Photoshop Scandal. [online] Available at: https://petapixel.com/2016/05/06/botched-steve-mccurry-print-leads-photoshop-scandal/.
Lee Friedlander’s social landscape photography
My next important photographer was Lee Friedlander, and I got his to know his works from a teacher who recommended him because of his ‘social landscapes,’ which are related to my own theme. Lee Friedlander is an American photographer who takes black and white images of American cities, but I don’t live in America, so my understanding of photography of the American culture is greatly influenced by him. Something we have in common, though, is that I am interested in seeing his composition, because his work is quite similar to street photography but from a different perspective on the subject he uses in his photography.
“Anything that looks like an idea is probably just something that has accumulated, like dust. It looks like I have ideas because I do books that are all on the same subject. That is just because the pictures have piled up on that subject. Finally, I realize that I am really interested in it. The pictures make me realize that I am interested in something.”
“It fascinates me that there is a variety of feeling about what I do. I’m not a premeditative photographer. I see a picture and I make it. If I had a chance, I’d be out shooting all the time. You don’t have to go looking for pictures. The material is generous. You go out and the pictures are staring at you.”
“I only wanted Uncle Vern standing by his new car (a Hudson) on a clear day. I got him and the car. I also got a bit of Aunt Mary’s laundry and Beau Jack, the dog, peeing on a fence, and a row of potted tuberous begonias on the porch and seventy-eight trees and a million pebbles in the driveway and more. It’s a generous medium, photography.”
Reference: Maher, J. (2017). Lee Friedlander, Photographing the American Psyche. [online] New York Fine Art Photography Portrait & Events, Workshops. Available at: https://www.jamesmaherphotography.com/street_photography/lee-friedlander/
Encyclopaedia Britannica. (n.d.). Lee Friedlander | American photographer. [online] Available at: https://www.britannica.com/biography/Lee-Friedlander.
I was interested in certain elements of his pictures when browsing at Friedlander ‘s work. For this case, I was fascinated by the signs, the area has a lot to give and a lot to grab. If it’s building, traffic or just signposts. Many photos seek to get them in, but I like his photo as it just shows and emphasises on one thing. Other than that, I had even come up with the notion of using signs while I was thinking about the landscape and how I could represent it in a photograph. Today, Friedlander’s work has given me more inspiration and motivated me to use signs in my own photography work.
This picture was cleverly put together and I liked it very much. I had to look at the picture and unpick all the elements when first observed and to determine the context of the photograph. The first part you will see is a lady who has a lookout window in a kind of working environment. However, on the other hand, there’s a poster of a woman dressed up in a fancy attire which provokes sexual connotation of stereotype of woman.
Like signs, I liked this example because it is still an urban example, but without the classical buildings it manages to do so. Often remembered for the ‘American’ scenery, Friedlander also refers to his, I believe style, retro modern American. He used disconnected images of city life, warehouse reflections, fences and banners, and signs all of which combine to understand the urban feel.
Conclusion
To me, photo theories may be of more meaningful and more complex use to interpret an image. In my opinion, a good photographer has three fundamental ingredients: camera knowledge, compositional eye and a vision of an artist. A strong composition can give us guidance, but composition will never tell us how to get closer to, relate to and open our hearts to our subjects.
A nice composition is really important. I should shoot an intimate and soulful composition for myself every day.
I am fascinated with what Cartier-Bresson claimed “taking photos is a way of interpretation that cannot be distinguished from other forms of visual communication,” and when you click the camera shutter, the bond between the object and it has been created. Yet you cannot grasp the picture completely by merely glimpsing it. A good photographer captures time; behind the images a good reader captures it. I have the impression that many of his pictures were “composition for reasons of composition.” In the world we often focused too on nice compositions, we need more humanism in our own photography, particularly in street photography.
Composition, however, is critical for me, feelings, mood and spirit. A composition will show a spectator what to see in your picture, but it cannot show your spectator how to feel in an image.
Just like Steve McCurry’s photo manipulation, he tries to invoke a strong emotion through photo manipulating and changing the perspective of his composition but in its true sense, photojournalism tended to be on the side of truth and democracy, humanism and a kind of universalized view of human experience.
I believe as a true artist, we must try to capture the essence of life, Lee Friedlander is inspired by a unique photography of his, which informs his sensitive vision, his humour, and intelligence, and his lack of pretension. Friedlander’s own images, as well as his own vision and originality, fascinated me because he influenced my photography. His photography composition seems more about the little things that makes a social environment, and I feel that often people forget about it.
According to Seize Life: Interview with Yvonne Baby (1961)
First published as Yvonne Baby, “Le ‘dur plaisir’ de Henri Cartier-Bresson,” L’Express no. 524 (June 29, 1961): 34-35. The conversation was revised by Yvonne Baby for its republication in the French edition of this volume.
“There are photographers who invent, others who discover. Personally, I am interested in discoveries, not for the trials or experiences but to capture life itself. I flee from the dangers of the anecdote and the picturesque, which are very easy and better than sensational, but quite as bad. To my mind, photography has the power to evoke, and must not simply document. We have to be abstract, just like nature.
Anybody can take photographs. I have seen in the Herald Tribune some taken by a monkey that managed, with a Polaroid camera, as well as some camera owners. It is precisely because our profession is open to everyone that it remains, in spite of its fascinating ease, extremely difficult.
If I am asked about the photographer’s role in our times, the power of the image and so on, I do not want to launch into explanations.
I only know that people who know how to look are as rare as those who know how to listen.”
Reference: en.wikiquote.org. (n.d.). Henri Cartier-Bresson – Wikiquote. [online] Available at: https://en.wikiquote.org/wiki/Henri_Cartier-Bresson?source=post_page
tutor1.net. (n.d.). Henri Cartier-Bresson. [online] Available at: http://tutor1.net/wikiquote/17905
Experimenting with Phone photography part-4
A visit to Richmond Park, London.
Experimenting with Phone photography part-3
A short trip to Swansea, Wales.
Experimenting with Phone photography part-2
Editing in VSCO X
It’s straightforward to work with filters. In the gallery, there’s a preview on the selected photo of what that filter option looks like, along with a shortened version of the filter name. Tapping the filter applies the effect to the image while taping shows more options again. From here the filter intensity and warmth can be modified.
Yet actual film responds differently to various scene situations, such as the colour temperature of the lighting. On the other hand, a digital photograph can be balanced white for different conditions and digital filters are more uniform in the adjustments from one image to the next.
Experimenting with Phone photography part-1
In the world today, there are more cellphones than people. DSLR camera is a popular choice for individuals worldwide when you’re talking about high quality, professional photography. Nevertheless, you have modern smartphones that can capture photographs of the same great quality and, above all, portable. Thus, nothing can match the smartphone if we look at the functioning of the device.
I’m currently using a Xiaomi K20 Pro phone, which uses a triple-lens setup with a 48Mp Quad-Bayer sensor in the primary module, an 8Mp tele-module with a 53mm-equivalent focal length lens, and a 13Mp ultra-wide lens which provides a 12mm field of view.
When you have a smartphone, it’s easy to share information with your friends and loved ones over social media. Using your smartphone cameras, you can quickly transmit your photos and videos taken to social media.
DSLR cameras come with optimised picture editing capabilities. However, We have most of the latest smartphones that have features such as Lightroom, Photoshop, Snapseed and other apps that can more or less convenient to use. Hundreds of such smartphone applications are dedicated to photography.
Travelling out by taking street photos on a smartphone can be a frightening activity. You may feel nervous thinking you could get caught. Most people will be respectful and kind. It is possible to get a lot of fear over taking photos of people while you are taking images. As compared head on to a dedicated camera device, phone cameras aren’t suitable for professional photography, but you can still perform well while shooting on phones. How easy it will be depends on a few factors-night photography, especially night street photography, when you have plenty of light available, it will be much more challenging than daytime photography.
Using VSCO X app for editing
VSCO X has more than 130 presets. Users on the free version can purchase some of these presets in packs. What’s more, the Film X settings, which have FILTERS influenced by Fujifilm and Kodak, are specifically for VSCO X consumers.
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