How did you start photography, and when did the turning point occur that made you focus exclusively on street photography?
Coming from a family where painting and music were part of the daily routine, my father always guided me towards art. However, being too young then, I had no interest in these activities, as racing pigeons and activities with them were more important to me back then.
After several years, I had the opportunity to move to London, where I met a man named Dan, a photography enthusiast with a professional camera. He would bombard me daily with stories about the photos he took during his vacations and how clear they were. These stories ignited a spark in me, and I told Dan I wanted a camera to try taking pictures.
I was discouraged a few times and told it was difficult and expensive; I was stubborn and bought a small camera from a shop selling old items. I remember coming home, holding the camera in my hand, pretending to take pictures, and dreaming of the wonderful photos I would create, the large lenses I would attach to the camera, and the colourful straps I would wear around my neck.
The first steps were simple, starting with ducks in the park, flowers in front of the house, the garden, people passing on the street, and other simple things that any enthusiastic beginner photographs at the beginning. Then came the more difficult stage, where I began studying different photographers, buying books, reading biographies of famous photographers like Ansel Adams and Steve McCurry, and discovering camera models, editing techniques, composition, and everything related to photography. I photographed almost all genres, including weddings. Still, I had a special love for street photography and the connection I had with it, as well as the atmosphere and the feeling that the street personally inspired in me. One day, I decided to give up other photography genres (including wedding photography) and focus exclusively on street photography in the way I saw it. After this decision, I began to study street photography more and sharpen my instinct for hunting light and the moments happening around me. I dreamed of capturing photos as impressive as the ones I had seen in significant magazines, capturing decisive moments as I had read in the great Bresson's book. Still, I knew how much work awaited me and how many kilometres I had to walk on this path.
Why street photography? What drew you to this genre?
OS--Good question! Street photography captivated me from the beginning with its authenticity and unpredictability. I like to capture life in motion, immortalize fleeting moments, and explore human interactions in the urban environment. Each city has its unique story and atmosphere, and I try to capture them through my lens.
In search of models and techniques to inspire me, I studied the works of great street photographers. Robert Frank fascinated me with his ability to convey deep emotions and authenticity in images. Fan Ho inspired me with his complex compositions and play of light and shadow. Brassai revealed to me the beauty of the night and the mysterious atmosphere of the city, and Saul Leiter taught me to see beauty in details and colors.
I learned a lot from these biographies, but I understood that street photography is more than techniques and equipment. It's about being present at the right moment and observing the beauty in seemingly mundane details. It's about creating harmonious compositions and capturing authentic expressions of people.
Over time, I experimented with different cameras and lenses, but I learned that it's not the equipment that makes the photographer, but their passion and vision. I learned to adapt to any conditions and see the artistic potential in any frame.
Street photography has become more than a simple passion for me; it's an integral part of my life, and I'm glad I had the courage to follow my passion and dedicate myself to this photographic genre. Every day, I aim to capture as many authentic moments as possible and explore the city where I live. Each photo is a story in itself, and I like to believe that through images, I can convey emotions and messages to those who view them.
Is education important in street photography, or is it an intuitive genre where experience and practice can compensate?
Yes, education in street photography is essential. Studying the works of established street photographers like Henri Cartier-Bresson, Garry Winogrand, or Robert Frank is important to understand how they approached this genre and what messages they conveyed through their images.
It's useful to read about the history of street photography, key moments, and the evolution of this genre. This will give you a broader perspective on this field and help you develop your own style and photographic story.
Another important component of street photography education is constant practice. You can't expect to become a master in this genre if you don't practice regularly. Go out on the street as often as possible, observe people, architecture, and the surrounding environment, and try to capture interesting moments or the specific emotions of a situation.
Besides theoretical and practical education, it's important to be open to feedback and consistently seek to improve. Attend workshops, showcase your work at contests or presentations, and ask for opinions from professionals or other passionate photographers. This way, you'll have the opportunity to learn from others' experiences and improve your skills.
In conclusion, education plays a crucial role in street photography. It requires knowledge of this genre's history, pioneers, and philosophies, as well as constant practice and a desire to develop as a street photographer. Only this way will you be able to express your ideas and convey emotions through your images.
What would be the first advice you'd give to a beginner photographer passionate about street photography?
I have a lot of advice for a beginner photographer, and I'll start with:
Educate yourself on this genre of photography by acquiring quality books.
Don't invest too much time and money in sophisticated equipment or the latest lenses.
Start exploring the city you live in.
Learn to see light and moments.
Play with different forms of composition.
Go out photographing alone. This way, you'll concentrate more on what you have to do.
Be consistent in your photographs.
Learn to be patient.
Don't be afraid to photograph unknown people or unexpected situations.
Be open to feedback and analyze your photographs to learn from mistakes and improve.
Don't hesitate to experiment with different angles and perspectives to create interesting images.
Use the manual settings of the camera to have full control over exposure.
Pay attention to small details, like facial expressions or gestures, which can add emotion and story to your photos.
Try to capture authentic and spontaneous moments, avoiding creating situations or intervening too much in the scene.
Develop your own style, and don't try to imitate other photographers. Instead, focus on expressing your own vision.
Participate in workshops or meetings with other street photographers to learn and get inspired.
Promote your work through exhibitions or by creating an online portfolio to receive feedback and attract attention to your talent.
Don't get discouraged by failures or negative criticism; use them as opportunities for growth and learning.
Enjoy street photography, see it as a form of artistic expression, and explore the world around you.
Be curious, open to new experiences, and never stop learning and developing as a street photographer.
What are three books that should not be missing from a street photographer's library and why?
It is a tough question, but I can answer it because of my street photography genre.
The Decisive Moment by Henri Cartier-Bresson is a book I recommend to all street photographers. It's a great photo book, with the concept of the "decisive moment" defining the elegance of Cartier-Bresson's images. The decisive moment refers to that unique and fleeting moment when all elements in the frame align perfectly, resulting in a captivating and meaningful image. Henri Cartier-Bresson is considered one of the pioneers of street photography, and this book is a compilation of his most representative works. His photographs are characterized by excellent composition, the play of light and shadow, and the ability to capture emotions and stories behind the photographed subjects. This book will inspire, challenge, and help you develop your photographic skills, allowing you to capture unique and meaningful moments in your journey as a street photographer.
Street Photography Now is a book that presents 46 image creators renowned for their candid representations of everyday life on our streets, subways, parks, and beaches. It includes Magnum masters like Bruce Gilden, Martin Parr, and Alex Webb.
Magnum Contact Sheets presents a collection of 67 Magnum photographers, showcasing their creative methods, strategies, and editing processes behind some of the world's most iconic images.
What are the steps for a successful shot? Location, light, the decisive moment? What catches your attention first, and how do you compose a shot?
Photography is not just about capturing a beautiful image but rather about creating a story and conveying emotion through images. Therefore, composition is an essential element in my photography process. I enjoy playing with different angles, lines, and shapes to achieve an interesting and balanced composition. Also, light plays a crucial role in my photography. I try to make the most of natural light, whether it's sunlight during the day, the warm light of sunset or artificial light I find at night. Light can create the right atmosphere and add depth and texture to my images, and sometimes, I even wait hours to catch the perfect light for a particular scene.
As for the subject, I like to capture the authenticity of the moment and the naturalness of people, trying to connect with my subject and understand their movements and reactions to capture the moment I need in my photograph, considering that I never shoot in burst mode. Of course, there is no magic recipe for achieving successful photos in every situation. Each scene is unique and requires increased attention. However, I believe in my ability to see and capitalize on a scene in just a few seconds. Sometimes, finding the perfect composition in a certain light can be challenging.
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