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
Jesse Marlow. Street Photography.
Lynn Smith. Street Noir Workshops at Australian Centre for Photography, Sydney
Valérie Jardin. Street Photography.


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.”

From In-Public

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.”


Steve McCurry’s images of Jodhpur, India, also known as the Blue City, are some of his most recognisable and beautiful. Join Steve’s exclusive online masterclass and study how he creates his iconic imagery.