Nick Turpin’s statement
“Now I understand that ‘Street Photography’ is just ‘Photography’ in its simplest form…..”
Is probably the single biggest hogwash statement I have ever heard when it comes to describing ANY form of photography. There is nothing about ‘Street Photography’ that is simple or simplistic, or basic in its values, processes, composition, or artistic elements.
His notion that a child spontaneously pushing a button on a camera, perhaps photographing their sibling, or their favorite toy, or unknowingly, whatever is just in front of the camera, is “Street Photography”, is way off mark to the point of being silly.
That would be like suggesting that any beginner using a paintbrush for the very first time is the purest form of painting, even if it’s a purple shade of Benjamin Moore for a small bathroom. Or, that any mindless pen or pencil doodle on a napkin is the purest form of unhindered carnal art.
The base of “Street Photography” is Photography. The camera, is the medium, the tool, much like a painter uses Paint and Brush. To suggest that a child’s first view through a viewfinder is at its base Street Photography is much like suggesting that a child’s first painted “stick person” is the base of “Fine Art Abstract Nudes”. There is NO correlation, one does not lead to the other.
Keep in mind that Street Photography is an art. As such, when looking through the viewfinder the street photographer composes. Even when blindly shooting from the hip, the street photographer looks at backgrounds and makes decisions. This is after looking at the main subject and making decisions on when to shoot the decisive moment. These are NOT mindless, thoughtless snapshots. And, at all times, the Street Photographer thinks about art, creating amazing images. Never an easy task in such a fluid environment.
Another problem with the statement is that the same can be said of almost any art or any photographic genre. The principles of Sports Photography are as pure as are the skills required. Timing is everything. Sports photographers capture “decisive moments” even more so than most street photographers. When working with models in Fashion Photography, or Portraiture, or Wildlife, it’s the same “raw reaction” and “primitive urge to react” to the scene in front of the photographer that is at the heart of what they are doing. So, ALL forms of Photography are0 Fashion Photography, or is that, Wildlife Photography??
I understand the need, or the want, to think of your art form as being the purest art form, but one should toss any of those thoughts aside. Nick’s example of the very first photo ever taken, “View from Window at Le Gras”
Is another fine example that he has not thought through. He gets it wrong right from the get go. The image maker, Nicephore Niepce, was a scientist. His simplest purest thoughts were to achieve making an image, ANY image, and, as his equipment was in his Laboratory, and large, he pointed it out the window. He did this NOT because the view of rooftops was better, but because there was more sunlight out the window than there was in his Laboratory or Workshop. As a scientist he knew and understood that the extra light was required for what he new would be a rather long exposure. His exposure was in the neighborhood of eight hours. You can’t capture life with 8 hour exposures, but you could capture a picture of a street.
One of his readers rightly states that by defining Street Photography as he does merely simplifies Street Photography down to “nothing”. If Street Photography ‘is’ Photography, every form of, genre of, artistic abstract of photography, then any image taken by a monkey, or chicken, is Street Photography. I think not. Street Photography is so much more than merely pointing a camera with no purpose and pushing a button.
He further tries to correct his statement by defending himself when he accuses a reader of “misreading him.” The readers have not misread him, they have read him very well. It is Nick that has not described his intents very well.
In reading this, and other similarly bad examples given by different Street Photographers, I have pondered why they make these statements? What drives them. I think there are several things to look at that may lead to answers. Another reader of Nicks suggested the “elitism” is partly to blame. This is very true of Street Photography. How can an average Street Photographer, or even a top notch Street Photographer, distinguish themselves from the rest of the world doing Street Photography? In this day and age, it is no easy task.
Well, they start off by laying claim to their art as being the purest form of Photography, even to the point of saying;
“Street Photography is the Prime Mover, the evolutionary inheritance of all Photography.”
This partly comes from other things artists do when trying to differentiate themselves from the rest of the pack, they push boundaries. I think that many photographers have lost sight of the boundaries. Pushing boundaries means amongst other things;
“To take undue risks, esp. through overconfidence, thus risking failure.”
It is the pushing of artistic boundaries within the context, NOT changing the context, to suit your artistic needs. It’s the “Fake News” of photography. Deciding that photos of dogs posed on a chair in a studio is Street Photography, does not make it Street Photography, no matter how many times you say it, who you can convince to say it for you, or how famous you are. Now, its possible that your very naïve clients may agree with you and buy your dog images as Street Photography, but its still not Street Photography.
Many Street Photographers have tried pushing the boundaries of the definition of what Street Photography is versus pushing themselves to push the boundaries of their own Street Photography Art. In the way of pushing the definition, they have failed miserably. Many that have taken this route have NOT pushed the boundaries of their art but rather have lazily attempted to change definitions to suit themselves. Bushing a boundary in a BLUE school is NOT going RED. Those are the Boundaries Broken, much like shooting Fine Art Nudes on a couch in a Studio is NOT Street Photography, it is a change n context. If you believe that Street Photography can be posed, not candid, doing nude fine art on the streets could perhaps be considered Street Photography.
If you believe, like I do, that Street Photography should be ‘candid’ and should capture and be about life on the ‘streets’, then pushing boundaries should stay within this context. A great example of a photographer pushing boundaries is Alexey Titarenko. His long exposures the blur the life component of Street Photography still capture the sense of ‘life’. It could easily be argued that his images ‘enhance’ life as the amalgamated blurs of lives in his images show the bland everyday mundane repetitive nature of everyday life.
If on the other hand you are ok with ‘directing’ or ‘interacting’ with subjects, you could argue that bumping into them to capture their expressions and interactions with the rude person that just bumped into them, is pushing the boundaries. Is it everyday life? Did you capture a real moment? If you captured their reaction ‘before’ they realised they were being photographed, it would still be ‘candid’, perhaps ‘rude’, and if done on purpose could potentially be considered assault, but it would be ‘candid’ Street Photography. This would also be pushing the boundaries.
The point is that it becomes very important to define “What Street Photography is to you?”. What’s your definition? When you start pushing your own boundaries, are your images still in keeping with your definition? If you believe that ‘posed’ images of people on the streets is Street Photography as it captures ‘a person’ on the streets, does photographing them in a pool still count as Street Photography? What about photographing them in a studio? Where do you draw the line?
See you on the confused streets!