- Competitions in September Tree or Trees or part thereof & Open are closing soon! September 13, 2019
- HHCC – External Competition September 5, 2019
- Results for competitions in August – Open August 21, 2019
- HHCC – Street Photography Info August 18, 2019
- Hornsby Heights v Pittwater Interclub Competition August 17, 2019
Another external competition for you all …
by David Curtis, September 5, 2019
Here is some street photography photos and information from Alan Logan who was our presenter for our Street Photography workshop and judge for the Photo Rally.
Eric Kim https://erickimphotography.com/
Jesse Marlow. Street Photography. http://www.jessemarlow.com
Lynn Smith. Street Noir Workshops at Australian Centre for Photography, Sydney
Valérie Jardin. Street Photography. http://valeriejardinphotography.com/
HOW TO SHOOT STREET PHOTOGRAPHY WITHOUT REVEALING YOUR SUBJECTS
Misconceptions about street photography
After years of teaching the art of street photography in many countries and giving presentations at various conferences, it is clear that people have a misconception of what street photography is. For many, the genre is associated with the concept of being in people’s faces, and not in a nice way. Many photographers who are interested in trying their hand at ‘shooting street’ believe that it requires a great deal of boldness and audacity. It is true that the “up close and personal” approach is not for the faint of heart.
When done well, getting very close to your subject will result in some very powerful photographs. It is important to note that it is not the only way to tackle the world of street photography and, thankfully, not the way every photographer approaches it. Can you imagine if every street photographer decided to bring their camera within inches of people’s faces? Although some do it well and in the most respectful manner possible, many are quite aggressive and would undeniably give the rest of us the worst possible reputation and eventually make the beautiful craft of street photography impossible to practice.
Whenever people ask me how they should approach street photography, I always tell them to do it in a way that fits their personality. They should enjoy it, not dread it. What’s the point of doing something that turns you into a nervous wreck? First, how enjoyable would that be? Second, imagine the negative vibes you would communicate to your potential subjects if you dreaded every minute of the experience? It’s one thing to step out of your comfort zone to grow in your craft, it’s another to do something that is entirely against your true nature and ethics.
“It’s one thing to step out of your comfort zone to grow in your craft, it’s another to do something that is entirely against your true nature and ethics.”
“You can be quite far from your subject and still make powerful photographs.”
WHAT IS STREET PHOTOGRAPHY?
Photograph (Verb) From the Greek, phõtos, light, and graphein, to draw, together meaning ‘drawing with light’.
Candid (Adjective) From the Latin, candidus, pure, impromptu, unposed, unrehearsed.
Public (Adjective) From the Latin, publicus, from populus, the people. Able to be seen or known by everyone, open to general view.
At its most basic, street photography is candid photography made in public situations. In photographic terms “street” is not limited to roadways as the word might suggest. It is a stand in for any public setting. Photographers like Helen Levitt, Garry Winogrand, Tony-Ray Jones, Raghubir Singh, Daido Moriyama and Joel Meyerowitz have pioneered a variety of street based approaches, and over the last few decades the phrase has come to mean a great deal more. Recent outlets like Street Photography Now, HCSP, Instagram, and the online street community have expanded the territory in ways still being understood, and the sense of community engendered by the Internet generation has sent street photography soaring to new heights of popularity. Opinions and approaches vary, but fundamentally street photography is a depiction of real life infused with an awareness of visual aesthetics.
Many street photographers look for scenes which trigger an immediate emotional or visual response, especially through humor or a fascination with ambiguous, odd, or surreal happenings. A series of street photographs may show a crazy world. Perhaps it’s a dreamlike world. Or edgy, or dark, or elegant, or mysterious. The paradox that these traits might apply to scenes found in the most everyday and real location —the “street”— is endlessly fascinating.
Street photography is not reportage. For the street photographer there is no duty to document specific subject matter. The chief concern is life in general, and its reduction into frames that stand alone and visually work. This requires a careful selection of visual elements to include and exclude from the final composition, and great attention on the moment selected for exposure. These two factors may at first seem universal to all kinds of photography, but in street photography they are vital, for it is with these tools alone that the street photographer expresses meaning. There are no props or lighting, little preparation time, and ideally no preconceptions. The process is based on seeing and reacting, almost by-passing thought altogether. For many street photographers it is a ‘Zen’ like experience, and some report a loss of ‘self’ when carefully watching the behavior of others, such is their emotional involvement.
When practiced well, the result, as Colin Westerbeck writes in Bystander, “is a kind of photography that tells us something crucial and the nature of the medium as a whole, about what is unique to the imagery that it produces. The combination of this instrument, a camera, and this subject matter, the street, yields a type of picture that is idiosyncratic to photography in a way that formal portraits, pictorial landscapes, and other kinds of genre scenes are not.” – Blake Andrews, David Gibson, Nick Turpin, 2016
David Gibson “ It should be reiterated that street photography does not require people; there are always other valid options.”
by David Curtis, August 18, 2019
View this on our website at https://fccnsw.myphotoclub.com.au/f-stop-for-july/
The F/Stop Newsletter for July is now available in by clicking on this link or by using the F/Stop newsletter button on the home page.
by David Curtis, July 31, 2019
Don’t forget to stop in and check out the members outings gallery. You’ll find the link in the home page menu to the right. The page is updated regularly with material from our outings including our recent Astro and sunset evening.
If you have an image you’d like to contribute to the gallery pages please send to Dave Curtis – email@example.com and I’ll upload for you.
by David Curtis, July 31, 2019
Tuesday night was our Street Photography workshop and judging for the recent club outing to Newtown. The evening was hosted by Alan Logan and we’d like to thank him for providing a great presentation and judging our work. There were a lot of great images. Congratulations to our our club members who received a prize!
We’d also like to extend a big thank you to our sponsors, Georges Cameras, Teds Cameras, Camera House, Digidirect and Lynn Holliday for supporting our club. We very much appreciate it.
by David Curtis, July 31, 2019
Just a quick reminder that tonight is our workshop on Street Photography and the judging of our recent photo rally in Newtown. The meeting will start at 7:30pm tonight at Mount Colah Community Centre.
We look forward to seeing you all there.
by David Curtis, July 30, 2019
Elaine forwarded a very interesting article about the history of how photography was undertaken as part of the Moon landings 50 years ago this year. In the spirit of this momentous anniversary have a read…
by David Curtis, July 17, 2019
Another external photo competition which may be of interest.
|Deadline : August 10th, 2019|
The Redlands Camera club Australia kindly invites you to participate in our Photo Exhibition.
FIAP Patronage 2019-251 / PSA Recognition 2019-325 / APS Recognition 2019-19
The Redlands International PRINT Exhibition is the ONLY Qld Print Exhibition, and one of the very few salons in Australia with FIAP Patronage. This is a fantastic opportunity for Australian Exhibitors to take advantage of a Print Salon without the cost of mailing Prints overseas.
This year Redlands Print Exhibition entrants are offered the option to forward their Prints FREE of postage charge
on to the 2019 Maitland International Salon of Photography (FIAP/PSA/APS Patronage).
In addition, entrants forwarding Prints to Maitland Salon will have the potential of having their Prints selected by the curator of the Maitland Art Gallery for display in the gallery after the Maitland Salon closes.
PSA Recognition 2019-236 / APS Recognition 2019-19
Payment by Direct Bank Deposit
AUD $10.00 for the first Section and AUD $5.00 for each additional section.
I look forward to seeing your images in the competition.
Thank you for your support.
Best regards, Noel Clark.
Noel Clark > Exhibition Chairman
Entry Rules HERE:
by David Curtis, July 17, 2019
See you there!
by David Curtis, July 16, 2019
Another international competition you may be interested in:
|2019 West Cumbria Photo Group|
GREAT BRITISH SUPER DIGITAL CIRCUIT 2019
6 Salons – 8 Sections PSA Recognition
Low entry fee
Closing date: August 1, 2019
SOLWAY SMALL PRINT CIRCUIT 2019
6 Salons, 3 Sections: Open Colour, Open Monochrome, Colour Landscape, Monochrome People
PSA Recognition Closing date: November 1, 2019
Full details and entry at www.westcumbriaphotogroup.co.uk
We look forward to your entry and thank you for your support.
Tony Potter ARPS, EFIAP/P, GMPSA, DPAGB, APAGB
by David Curtis, July 10, 2019