#3 : I didn't realise. My street journey

So its about now that I reflect on my past work in greater detail. I need to get really and I mean 'really' critical of myself. Before, the majority if not all of my photographs had been taken whilst walking the streets of a city where I had a free day or sometimes two! Usually just grabbing shots as I saw them. It still amazes me looking back on these images how many 'street' scenes I took. That is, those with humans in! Subconscious image making I guess you could call it.

Street? I wonder whether that is the correct term for this type of photography. Those that are into 'street photography' are really recording an event by observation. That event has to be something that resonates with the photographer. Be that colour, fashion, facial expression or a comical scene. So with that in mind maybe ' a documentarist photographer' or 'photo-documentarian' is the correct description? They're a bit of a mouthful though don't you think? I'll leave at 'street photography' sound cool!

I've mentioned before for me real street 'togging is with a human element so, where does 'street photography' start and where does it end? Could you say that photographing buildings and architecture is street photography, after all generally these images are taken from the 'street'. Would you consider traffic movements, confusing street signs, blurred lights or panned movement with no human element involved is street photography? Isn't it just great how photography starts off with one genre and you can then diverse, manipulate and record to your hearts content as you see fit. I suppose when I think of it, all of the above could be considered 'Street Photography'.

My journey, as I have mentioned before, in 'street photography' started in Stockholm and it was just grabbing shots. Now I've got to rethink my style. It's been said before you can't just walk the street and grab shots as and when you want to. No, for me now I have to pick and choose when to make an image. Or otherwise my Lightroom catalogue will overflow with endless amount of 'no improvement'. Choosing the right time, the light and shadow, subject and of course making those street portraits is really important to me now. Realising and studying the skill of the masters Saul Leiter, Joel Mayerowitz, Fred Herzog, William Klein, William Egglestone and of course the master of all Henri Cartier Bresson (my list of favourites could go on and on!) has helped me endlessly. If you haven't checked these guys out before the please DO IT!

What is there more to say? Well there is no end to this journey and there is more to come. Like all photography images that are made when you go back the image will be different to make. Isn't that what we love about this past-time. It's new and different every single time.

For me the streets are 'alive', and I can't get enough!