Worldwide Photographer's RightsUPDATED!! SEE EDITION 2: http://fav.me/d5d9tt6
Worldwide Photographer's Rights 1
In conjunction with my dA friends I have compiled a booklet of advice and information on laws in relation to street photography around the world.
I first intended this to be a journal, but it kept growing and will grow further with your help
Download here: http://fav.me/d5bkuez
If you have relevant info on countries not listed or have noticed errors, then please leave a short and concise note to me here.
Please try to include a link to a reputable webpage for confirmation.
This may be added to this booklet in a future edition.
I have created a folder where future editions will go http://dougnz.deviantart.com/gallery/38878298
:iconmarx77: :icontoolbazar: :iconmyraincheck: :iconAfricanObserver: :iconamiejo: :iconAnnieta-Photography:
:iconarslanalp: :iconEarthHart: :iconAkronadoreR: :iconIkarisou: :icontruerebellion: :iconNunoCanha:
Please fave this journal and su
The Battle We Didn't ChooseNote - these aren't photos of me or by me but a feature of photos from:
Photos copyright Angelo Merendino
Learning to love your declines :)Although I've never had any formal training in photography I've chatted to others who have and also my daughter went to art school for a few years.
The students I've talked to told me of teachers who push conceptual art and whose own photography wasn't that great. A case of "those who can do, those who can't teach"?
I don't know but none of the students I talked to were particularly impressed with their courses. Still, I suppose it looks good on a CV and is a way of networking.
For real world work though, I find dA to be better than a degree course. I've learned more in my 20 months on here than I could ever have learned in a tertiary institute.
To follow are some of my observations on why dA is such a great place of learning (yes, I'm having a quiet day at work, which is where my rambling journals originate)
When I first joined dA I used to get quite precious and offended if I ever get a submission declined by a group. "How dare those peasants decline my masterpiece!!
The street photographer as a serial killerThe street photographer a schizophrenic, scientific serial killer?
Two things made me think of this connection a documentary which covered the various types of killers: those who kill from afar (by bombs or by shooting with a hunting rifle) the closer kill, such as a pistol shot, and the close up killer who enjoy watching the victims face as he thrusts the knife in.
The best street shooters are the latter, they want to smell the perfume and see the facial expression before they shoot.
One of the many symptoms of schizophrenia is being captivated by details. Some drugs mimic this, hence the stereotype of the spaced out hippy contemplating a flower.
This is also a characteristic of the street photographer. We can be confronted by a mass of hundreds of people on a city street but we notice the small, unusual things those two are about to kiss, that homeless person is wearing an expensive watch, that tattoo mimics the dress pattern.
But being able to see these t
Matt StuartMatt Stuart is a British street photographer - wow, check out his site:
David Peat's street photographyDavid Peat is an award-winning documentary film-maker from Scotland. Travelling across the globe for the past 40 years, he has also been building a huge portfolio from his passion for street photography.
But the 64-year-old had never enlarged any of the pictures beyond tiny contact sheets until two years ago, when he was diagnosed with Myeloma, an incurable cancer.
Not wanting to leave thousands of uncatalogued, unseen images lying in boxes he began going through the collection. The photographs are now the subject of an exhibition at the Watermill Gallery in Aberfeldy, Perthshire.
Decisive Moment vs Moment to DecideHenri Cartier-Bresson defines "The Decisive Moment" as follows:
"There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. Oop! The Moment! Once you miss it, it is gone forever."
However, Henri Cartier-Bresson didn't only take one single photograph when he saw a decisive moment ready to happen (David Hurn refers to this as a "pregnant moment") but rather took several images of the same scene.
That truth is reinforced by the fact that "Gare" is one of only two photographs I know of that Cartier-Bresson cropped. There was a fence off to the left, and he didn't have time to move to the right before it was time to shoot.
You can see the original, un-cropped version in his book, Henri Cartier Bresson: Scrapbook.
If you look carefully at the masters work like Cartier-Bresson, Elliott Erwitt, or
Matt WeberMatt Weber shots his way through life.
Started out as a taxi driver and saw so many things on the streets that he kept saying "If only I had a camera…" A camera seemed like the only way to capture the crazy stuff which was happening almost every night.
Claims that the 70's were more interesting than the 80's, but in December 1984 bought a competitive camera, an AE-1 and a 50mm lens.
Started out in color film, but one year after he turned to b/w, because color was tricky to develop.
Thinks that failure is important, and that failing over 99% of the time and not giving up is something to be proud of. Takes "awful pictures on a daily basis and always will. There aren't too many other types of photography where that's the expected result."
Suffered from the photographic equivalent of "Writer's Block" for many years and it would be the crazy decision to spend most of my savings on a pair of M6′s and a few lenses that helped him to comeback. "The 28mm & 35mm lenses are the perfec
Free Street e-books - IThe amazing Mary (myraincheck) reviews for us 3 free to download and enjoy Street e-Books
by Thomas Leuthard
CLICK HERE TO DOWNLOAD
Written by Thomas Leuthard, street photographer from Switzerland, already popular in internet through 500 px and flickr community, the free e-book is a 'collection of thoughts about street photography and some tips on how you should work as a street photographer'. The book will be useful to beginner street photographers, while an experienced street photographer will hardly find something he doesn't already know there. So if you are moving your first steps in street photography…go and download it.
The book defines street photography as 'the documentation of life in public in a candid way', ' a mirror of society', 'a single human moment captured in a decisive moment', it encourages to rely on the ey
Street Photography: To Lo And Behold!Street Photography Quiz:
When was the last time a random passenger in a bus made your jaw drop?
Happens with me all the time!
Whenever I go out into the streets, I never plan on what I'm going to shoot, nor do I have a particular theme in mind.
Mind you, planning ahead is highly benefical to a Street Photographer or any photographer for that matter - a practice that almost always yeilds excellent results when properly utilized.
For me, it's just the sheer excitment of stepping into a vast concrete jungle, unsure about what's around the next corner, or perceiving an event that is about to unfold before you, the sound of your heart beating as you walk/run towards the developing scene - all the while hoping that you get there in time to take... that one shot, that ultimate payoff; is all that matters.
Sometimes you could be standing there observing a street scene when you begin to notice things falling into place; a photo opportunity forming right before your very eyes.
Roy DeCarava - Shooting HimselfRoy DeCarava was born in New York City in 1919. His family lived in many areas of New York City during DeCarava's youth, including Harlem. Engaging formal study in fine art painting from a young age, DeCarava began working as a professional illustrator and painter.
He took up photography as an aide to his artwork. Increasingly, he was drawn to photography full time by "the directness of the medium," and soon found himself communicating the themes and ideas of his paintings photographically. In 1955, DeCarava opened a New York City art gallery and exhibition space, pioneering an effort to win recognition for photography as a fine art; the gallery remained open for over two years.
In 1952, DeCarava was the first black photographer to receive a Guggenheim grant. In 1996, the Museum of Modern Art put on a retrospective of his work. He was awarded a National Medal of Arts in 2006, the highest award given to artists by the United States Government.
He never considered himself part of the pho
Street Photography for dummies
What do we need to shoot a Street picture?
1. A camera
Whatever kind of a camera is good. Either it is a ridiculously expensive rangefinder or an unbelievably cheap point and shoot compact. Either it shoots digital or it shoots film. Either it weighs a ton or it weighs few grams. ANY camera is fine as long as you have it with you.
2. A public place
This can be out in the streets or at the beach or inside a hotel's lounge or in a diner place or inside a supermarket or a mall or a school or whatever PUBLIC place. This public place must be visible in our picture. And things must be happening in this public place.
Exactly, people! We need people in candid situations. Definition of "candid" from Merriam-Webster's online dictionary: "subjects acting naturally or spontaneously without being posed" Definition of "candid" from Wikipedia: Candid photography is best described as un-
Rinzi RuizBack!... in Black.
Hopping you entered 2013 the best way possible, and wishing you all a Happy New Year, let's get down to pixels.
Today I bring you Rinzi Ruiz.
He is a Los Angeles based photographer who picked up a camera only 2 years ago (I can relate ) Known to find beauty in humanity and in capturing the emotion, the mundane, and the art in reality that is found everywhere, without ignoring the fact that he has a background in fine arts and graphic design (but photography is "much more fun and rewarding").
He is a phenomenal black & white street photographer, a light painter and a user of profound dark shadows and light reflections.
He is currently shooting with his first DSLR, a Nikon D90, and a Fujifilm X100 (because he got physically tired of carrying the bag), and shoots mostly at about F/5.6 to F/8.
Go check him out.
Note: Do you know what is "Chimping"? It's a syndrome, a bad addiction that runs in the digital photography community, and the ma
A Dog's Life!- A S t r e e t P h o t o g r a p h y F e a t u r e -
Seanceby - gabyba33-vu
Resistanceby - cahilus
Ambushby - ZiaulKareem
Stagecoachby - djailledie
Blueby - sevron
wake up friends ...by - punktual
Invasion of Privacyby - RichardBublitz
Aspect Ratio, Composition, Present and FuturePhotography is simply a technology that allows you to record a moment in time, in a box that simply captures a moment of light. Simple and basic as that, no myth there.
But the decision on how to capture that moment and its variables like composition, time and subject matter remain in the hands of photographer.
Let's talk about that box, how it affects composition, and the time we live in. Photographic technology has developed at a rapid pace. From the 19th century's cumbersome daguerreotypes to today's compact digital cameras, photography has become one of the most accessible art mediums, but more related to motion pictures that we might think, being at the same time influence and influenced by each other.
The original aspect ratio used by the motion picture was industry was 4:3, or ratio down to 1.33:1, or just 1.33. Theories why vary from from Euclid's famous Greek "Golden Section", a shape of approximately 1.6, to a shape that simply saved m
PE: 52 Street tips from the Masters
“If you can smell the street by looking at the photo, it’s a street photograph.” — Bruce Gilden
“Turn your attention to the four-legged population.” — Ying Tang
“Take a bus. Do weekly shopping. Pop into a public loo.” — Nils Jorgensen
“Document some evidence of human ingenuity that would otherwise go unnoticed. Do it without including any humans in the picture.” — Michael Wolf
“Get lost in a thicket of signs and structures.” — Wolfgang Zurborn
“Never ignore a cliché.” — Artem Zhitenev
“When you have to shoot: shoot! Don’t talk!” — Il Brutto.
Goodbye Street GalleryIn few days, a whole year will have passed since the day I took over dA's Street Gallery as Street Community Volunteer.
A neglected gallery, full of misplaced images, but also with many worthy submissions.
I visited this galllery everyday, cleaning it (the 24h and 1month popular pages) and informing the photographers of the misplaced images (every single one of them), what Street is all about.
At the same time, 3 days per week, I featured a worthy image as a Street Daily Deviation, taking in account your suggestions as well. The featured images were not necessarily the "best" of the featured deviants. My intention was not to feature "bests" but to draw the community's attention, to active Street photographers, both experienced and new to the genre, in order to boost their dedication to Street. I am content because a lot of times I succeeded.
During this year, a lot of people helped me with their suggestions and with working in Groups, promoting the genre and de
PE: Street Photography for experts
Defining Street Photography
by Dave Beckerman
Most types of photography can be easily defined by their subjects. A wedding photographer takes pictures of weddings. A portrait photographer poses someone and takes their picture. The nature photographer covers a wide area, but it is easy to categorize.
Street photography is difficult to define because it can encompass just about any subject.
If I were to ask you to name a few famous street photographers, you might pick, Garry Winnograd, Henri Cartier-Bresson, or maybe Robert Frank. But if I asked you to define street photography that would be more difficult. You might say that street photography is candid pictures of strangers on the street. That might be a good start, but it doesn't really
There's something about StammyStam, you know you're one of the responsible for me start
doing Street photography. I still remember that reply, once, on FB:
"Don't forget, street is a serious thing!... " So, not only I have to
thank you for guiding me into the right path, but also for being such an
inspiration to us all, with your talent and engaging effort, for
promoting Street Photography to the highest level in dA, and most of
all... for being there.
Yeap, "Mr. Street", you're a great guy.
- Nuno Canha -
"Stam's work is a best practise of voluntary work proving how far you can
reach doing something you are passionate about. One can not imagine the
amount of work he has put into this. If there was a Street
Photographers Award all categories, Stam would be the natural winner.
are many of us out there just taking all kind of stuff for granted.
Stam has ben doing something. He is the true doer when it comes to
street and the inspirati
Margaret Bourke-WhiteAs you know, I normally don't do (features) Journals.
The exception goes to those photographers that had some historical importance in the photography World, those that influence(d) me, those that I believe can move others like they moved me, humanitarian photographers, and that normally live in the "shadow" of the same old Features and references.
Meet Margaret Bourke-White.
Margaret Bourke-White was born in the Bronx, New York, in June 1904.
She was an documentary photographer and a pioneer.
She is best known as the first Western photographer allowed into the Soviet Union (1930), the first female war correspondent, the first female permitted to work in combat zones, the first female photographer for Henry Luce's Life magazine, where her photograph appeared on the first cover, and the first female photographer of Fortune magazine.
In July 22, 1941, when the first bombs fell in Moscow, she was the only foreign photographer on site. It was the biggest scoop. For h
Street Photography Tutorial - IPART II
The series of 5 articles about Street Photography made by myraincheck and slightly edited by moi* continues with:
STREET PHOTOGRAPHY TUTORIAL - PART ONE
THE HUMAN SUBJECT
(article from photo4u.it - il portale italiano della fotografia translated and adapted to dA by myraincheck)
Let's close our eyes and imagine going out in the streets and looking for unusual things. What do we expect to find? People, first of all.
That's good, the HUMAN PRESENCE is a fundamental element of street photography.
If we want to use only this ingredient, we'll be able to realize a true street photo only if the person we capture will have something unusual or interesting or is doing something unusual or interesting. Otherwise we'll have a good portrait, an enviromental portrait, a wide portrait whatever, but not a street photo.
Ruth OrkinOrkin grew up in Hollywood where her mother was a silent-film actress and in 1939 she studied photojournalism. At the age of 10 she received her first camera, a 39 cent Univex, and two years later Orkin began to develop her photographs herself, and when she was eighteen she made national headlines when she rode a bicycle from Los Angeles to New York for the 1939 World's Fair. Of course she photographed along the way.
In 1943 she moved to New York and began working as a nightclub photographer and shot baby pictures by day to buy her first professional camera.
She later became a successful freelance photographer, traveling all over the world and contributing to Life, Look, Ladies' Home Journal and other periodicals.
Orkin is best known for her naturalistic urban portrayals of Europeans and New Yorkers in the '40s, '50s and '60s, and for a series of photos she took from her New York City apartment with a view of Central Park (A World Through My Window, 1978 and More Pictures
The Lucky 13 (street tips)13 Street Photography Tips
Tony Ray-Jones was an English street photographer. In the early 60′s he traveled to the U.S for studying for a Master of Fine Arts in graphic design at Yale. He moved to NY after graduating and got a job as an art director for CBS records but he was determined to become a photographer. In New York he became good friends with Joel Meyerowitz and became part of the NY street photographers scene led by Garry Winogrand.
Jones kept notebooks, a journal if you'd like in which he wrote down his thoughts, lists and plans about photography. In one of those lists, titled "Approach" he listed some tips for better street photographs. These tip are still valid today and can be used as a basic guidelines to better street photography.
1. Be more aggressive- just to be clear, this does not mean at any way that you should jump into situation that could become violent! In a way, this simple
Sebastião Salgado, a living legendAs any boy, I grew up absorving the World. And the World mesmerized me everytime my late dad would bring some journals or magazines where Sebastião Salgado's photos were featured.
I can´t hide the admiration I have for this photographer, this man that is still alive and living in Paris, and the way he changed my way of seeing the World, respecting my fellow man, seeing the light where only darkness seems to exist.
Sebastião Salgado was born on February 8th, 1944 in Aimorés, in the state of Minas Gerais, Brazil. Began his career as a professional photographer in 1973 in Paris, working with the photo agencies Sygma, Gamma, and Magnum Photos until 1994, when he and Lélia Wanick Salgado formed Amazonas images, an agency created exclusively for his work.
He is a UNICEF Goodwill Ambassador, and an honorary member of the Academy of Arts and Sciences in the United States.
Uses Leica, most of the time he uses 28mm, 35mm and 60mm lenses (one for each camera body). He use
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