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Cartier-Bresson was associated with the post-war French [[Humanist photography|Humanist School]] whose photographers found their subjects on the street or in the bistro. They worked primarily in black‐and‐white in available light with the popular small cameras of the day, discovering what the writer [[Pierre Mac Orlan]] (1882-1970) called the 'fantastique social de la rue' (social fantastic of the street)<ref>In the preface by Pierre Mac Orlan to Ronis, Willy (1954), Belleville-Ménilmontant, Arthaud, retrieved 29 February 2016</ref> and their style of image-making rendered romantic and poetic the way of life of ordinary European people, particularly in Paris. Between 1946-1957 Le Groupe des XV annually exhibited work of this kind and street photography formed the major content of ''Five French Photographers: Brassai; Cartier-Bresson, Doisneau, Ronis, Izis'' at MoMA December 1951-24 February 1952,<ref>"For a contemporary review see Jacob Deschin, 'The Work of French Photographers', New York Times (23 December 1951), X14. The u.s. Camera Annual 1953 which includes a selection of photographs from the exhibition under the revised title, ''Four French Photographers: Brassai, Doisneau, Ronis, Izis'' (because he could not be contacted by time of publication, Cartier-Bresson was omitted) Kristen Gresh (2005) The European roots of The Family of Man , History of Photography, 29:4, 331-343, DOI: 10.1080/03087298.2005.10442815</ref> and ''Post-war European Photography'', also at MoMA, 27 May-2 August 1953,<ref>Jacob Deschin, 'European Pictures: Modern Museum Presents Collection by Steichen', New York Times (31 May 1953), X13; US. Camera Annual 1954, ed. Tom Maloney, New York: U.S. Camera Publishing Co. 1953.</ref> both curated by [[Edward Steichen]]. He drew on large numbers of European humanist and American humanistic photographs for his 1955 exhibition [[The Family of Man]], proclaimed as a compassionate portrayal of a global family, which toured the world, inspiring photographers in the depiction of everyday life.
Cartier-Bresson was associated with the post-war French [[Humanist photography|Humanist School]] whose photographers found their subjects on the street or in the bistro. They worked primarily in black‐and‐white in available light with the popular small cameras of the day, discovering what the writer [[Pierre Mac Orlan]] (1882-1970) called the 'fantastique social de la rue' (social fantastic of the street)<ref>In the preface by Pierre Mac Orlan to Ronis, Willy (1954), Belleville-Ménilmontant, Arthaud, retrieved 29 February 2016</ref> and their style of image-making rendered romantic and poetic the way of life of ordinary European people, particularly in Paris. Between 1946-1957 Le Groupe des XV annually exhibited work of this kind and street photography formed the major content of ''Five French Photographers: Brassai; Cartier-Bresson, Doisneau, Ronis, Izis'' at MoMA December 1951-24 February 1952,<ref>"For a contemporary review see Jacob Deschin, 'The Work of French Photographers', New York Times (23 December 1951), X14. The u.s. Camera Annual 1953 which includes a selection of photographs from the exhibition under the revised title, ''Four French Photographers: Brassai, Doisneau, Ronis, Izis'' (because he could not be contacted by time of publication, Cartier-Bresson was omitted) Kristen Gresh (2005) The European roots of The Family of Man , History of Photography, 29:4, 331-343, DOI: 10.1080/03087298.2005.10442815</ref> and ''Post-war European Photography'', also at MoMA, 27 May-2 August 1953,<ref>Jacob Deschin, 'European Pictures: Modern Museum Presents Collection by Steichen', New York Times (31 May 1953), X13; US. Camera Annual 1954, ed. Tom Maloney, New York: U.S. Camera Publishing Co. 1953.</ref> both curated by [[Edward Steichen]]. He drew on large numbers of European humanist and American humanistic photographs for his 1955 exhibition [[The Family of Man]], proclaimed as a compassionate portrayal of a global family, which toured the world, inspiring photographers in the depiction of everyday life.

Walker Evans worked 1938-1941 on a series of candid portraits made in the New York subway in order to practice a pure 'record method' of photography of people who would unconsciously come 'into range before an impersonal fixed recording machine during a certain time period'.<ref>See Evans's manuscript in the Getty Museum collection (JPGM 84.xG.953.50.2), 'Unposed photographic records of people', first published in Walker Evans at Work, New York: Harper and Row 1982, 160.</ref> The recording machine was 'a hidden camera',<ref> Walker Evans, 'The unposed portrait', Harper's Bazaar 95 (March 1962), 120-5, in Greenough, Walker Evans, 127. </ref> a Leica concealed beneath his coat, that was 'strapped to the chest and connected to a long wire strung down the right sleeve'.<ref>Walker Evans, 'Twenty thousand moments under Lexington Avenue: A superfluous word', unpublished draft, Greenough, Walker Evans, 127.</ref> However, due to Evans' sensitivities about the privacy of his subjects, the work was not published until 1966, in a book 'Many Are Called',<ref>{{Citation | author1=Evans, Walker | author2=Agee, James | author3=Sante, Luc | author4=Rosenheim, Jeff L | author5=Metropolitan Museum of Art (New York, N.Y.) | title=Many are called | publication-date=2004 | publisher=New Haven Yale University Press New York Metropolitan Museum of Art | edition=First Metropolitan Museum of Art/Yale University Press ed | isbn=978-0-300-10617-6 }}</ref> with an introduction written by Agee in 1940.


The beginnings of street photography in the [[United States]] can also be linked to those of [[jazz]], both emerging as outspoken depictions of everyday life.{{Citation needed|date=March 2016}} This connection is visible in the work of the [[New York school of photography]] (not to be confused with the [[New York School (art)|New York School]]). The New York School of photography was not a formal institution, but rather comprised groups of photographers in the mid-20th century based in [[New York City]]. [[Robert Frank]]'s 1958 book, ''[[The Americans (photography)|The Americans]]'', was significant; raw and often out of focus,<ref name="ohagan-guardian">{{cite news | url = http://www.theguardian.com/artanddesign/2014/nov/07/robert-frank-americans-photography-influence-shadows | date = 7 November 2014 | accessdate = 27 December 2014 | first = Sean | last = O'Hagan | authorlink = Sean O'Hagan (journalist) | publisher = [[The Guardian]] | title = Robert Frank at 90: the photographer who revealed America won't look back}}</ref> Frank's images questioned mainstream photography of the time, "challenged all the formal rules laid down by Henri Cartier-Bresson and Walker Evans" and "flew in the face of the wholesome pictorialism and heartfelt photojournalism of American magazines like LIFE and Time."<ref name="ohagan-guardian" /> The mainstream photography community in America fiercely rejected Frank’s work, but the book later "changed the nature of photography, what it could say and how it could say it".<ref name="ohagan-guardian" /> It was a stepping stone for fresh photographers looking to break away from the restrictions of the old style<ref name="West" /> and "remains perhaps the most influential photography book of the 20th century."<ref name="ohagan-guardian" />
The beginnings of street photography in the [[United States]] can also be linked to those of [[jazz]], both emerging as outspoken depictions of everyday life.{{Citation needed|date=March 2016}} This connection is visible in the work of the [[New York school of photography]] (not to be confused with the [[New York School (art)|New York School]]). The New York School of photography was not a formal institution, but rather comprised groups of photographers in the mid-20th century based in [[New York City]]. [[Robert Frank]]'s 1958 book, ''[[The Americans (photography)|The Americans]]'', was significant; raw and often out of focus,<ref name="ohagan-guardian">{{cite news | url = http://www.theguardian.com/artanddesign/2014/nov/07/robert-frank-americans-photography-influence-shadows | date = 7 November 2014 | accessdate = 27 December 2014 | first = Sean | last = O'Hagan | authorlink = Sean O'Hagan (journalist) | publisher = [[The Guardian]] | title = Robert Frank at 90: the photographer who revealed America won't look back}}</ref> Frank's images questioned mainstream photography of the time, "challenged all the formal rules laid down by Henri Cartier-Bresson and Walker Evans" and "flew in the face of the wholesome pictorialism and heartfelt photojournalism of American magazines like LIFE and Time."<ref name="ohagan-guardian" /> The mainstream photography community in America fiercely rejected Frank’s work, but the book later "changed the nature of photography, what it could say and how it could say it".<ref name="ohagan-guardian" /> It was a stepping stone for fresh photographers looking to break away from the restrictions of the old style<ref name="West" /> and "remains perhaps the most influential photography book of the 20th century."<ref name="ohagan-guardian" />

Revision as of 05:16, 19 March 2016

Alfred Stieglitz: "The Terminal" (1892)

Street photography is photography that features unmediated chance encounters and random incidents[1] within public places. Street photography does not necessitate the presence of a street or even the urban environment. Though people usually feature directly, street photography might be absent of people and can be of an object or environment where the image projects a decidedly human character in facsimile or aesthetic.[2][3]

Framing and timing can be key aspects of the craft with the aim of some street photography being to create images at a decisive or poignant moment. Street photography can focus on emotions displayed, thereby also recording people's history from an emotional point of view. Similarly, Social documentary photographers document people and their behavior in public places for the purpose of recording people's history and other purposes; photojournalists work in public places, capturing newsworthy events, which may include people and property visible from public places; services like Google Street View also record the public place at a massive scale.

Much of what is regarded, stylistically and subjectively, as definitive street photography was made in the era spanning the end of the 19th century[4] through to the late 1970s; a period which saw the emergence of portable cameras that enabled candid photography in public places.

"Crufts Dog Show 1968" by Tony Ray-Jones

History

Charles Nègre was the first photographer to achieve the technical sophistication required to register people's movements on the street in Paris in 1851.[5] Eugene Atget is regarded as a progenitor, not because he was the first of his kind, but as a result of the popularisation in the late 1920s of his record of Parisian streets by Berenice Abbott, who was inspired to undertake a similar documentation of New York City.[6] As the city developed, Atget helped to promote Parisian streets as a worthy subject for photography. He worked in the city of Paris from the 1890s to the 1920s. His subject matter consisted mainly of architecture, stairs, gardens, and windows. He did photograph some workers but people were not his main focus.

John Thomson, a Scotsman working with journalist and social activist Adolphe Smith, published Street Life in London (1877)[7] prior to Atget.[8] Thomson played a key role in making the capture of everyday life on the streets a significant role for the medium.[2] Paul Martin is considered a pioneer,[4][9] making candid unposed photographs of people in London and at the seaside in the late 19th and early 20th century in order to record life as it was.[9][10] Martin is the first recorded photographer to do so in London with a disguised camera.[9]

Henri Cartier-Bresson, was a 20th-century photographer whose poetic style focused on the actions of people in time and place. He was responsible in the 1950s for the idea of taking a picture at what he termed the "decisive moment", "when form and content, vision and composition merged into a transcendent whole".[11] The idea of the decisive moment inspired successive generations of photographers to make candid photographs in public places before becoming outmoded photographically.[12]

Cartier-Bresson was associated with the post-war French Humanist School whose photographers found their subjects on the street or in the bistro. They worked primarily in black‐and‐white in available light with the popular small cameras of the day, discovering what the writer Pierre Mac Orlan (1882-1970) called the 'fantastique social de la rue' (social fantastic of the street)[13] and their style of image-making rendered romantic and poetic the way of life of ordinary European people, particularly in Paris. Between 1946-1957 Le Groupe des XV annually exhibited work of this kind and street photography formed the major content of Five French Photographers: Brassai; Cartier-Bresson, Doisneau, Ronis, Izis at MoMA December 1951-24 February 1952,[14] and Post-war European Photography, also at MoMA, 27 May-2 August 1953,[15] both curated by Edward Steichen. He drew on large numbers of European humanist and American humanistic photographs for his 1955 exhibition The Family of Man, proclaimed as a compassionate portrayal of a global family, which toured the world, inspiring photographers in the depiction of everyday life.

Walker Evans worked 1938-1941 on a series of candid portraits made in the New York subway in order to practice a pure 'record method' of photography of people who would unconsciously come 'into range before an impersonal fixed recording machine during a certain time period'.[16] The recording machine was 'a hidden camera',[17] a Leica concealed beneath his coat, that was 'strapped to the chest and connected to a long wire strung down the right sleeve'.[18] However, due to Evans' sensitivities about the privacy of his subjects, the work was not published until 1966, in a book 'Many Are Called',[19] with an introduction written by Agee in 1940.

The beginnings of street photography in the United States can also be linked to those of jazz, both emerging as outspoken depictions of everyday life.[citation needed] This connection is visible in the work of the New York school of photography (not to be confused with the New York School). The New York School of photography was not a formal institution, but rather comprised groups of photographers in the mid-20th century based in New York City. Robert Frank's 1958 book, The Americans, was significant; raw and often out of focus,[20] Frank's images questioned mainstream photography of the time, "challenged all the formal rules laid down by Henri Cartier-Bresson and Walker Evans" and "flew in the face of the wholesome pictorialism and heartfelt photojournalism of American magazines like LIFE and Time."[20] The mainstream photography community in America fiercely rejected Frank’s work, but the book later "changed the nature of photography, what it could say and how it could say it".[20] It was a stepping stone for fresh photographers looking to break away from the restrictions of the old style[2] and "remains perhaps the most influential photography book of the 20th century."[20]

Inspired by Frank, in the 1960s Garry Winogrand, Lee Friedlander, William Klein and Joel Meyerowitz[21] began photographing on the streets of New York.[11][22] Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand";[23] critic Sean O'Hagan, writing in The Guardian in 2014, said "In the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York."[24]

Returning to the UK in 1965 from the US where he met Gary Winogrand and adopted street photography, Tony Ray-Jones turned a wry eye on often surreal groupings of British people on their holidays or participating in festivals. The acerbic comic vein of Ray-Jones' high-contrast monochromes, which before his premature death were popularised by Creative Camera (for which he conducted an interview with Brassai),[25] is mined more recently by Martin Parr in hyper-saturated colour.

Technique

An example of a hand-held portable camera, the Leica I

Most kinds of portable camera are used for street photography; for example rangefinders, digital and film SLRs, and point-and-shoot cameras.

The commonly used 35mm full-frame format focal lengths of 28 mm to 50 mm, are used particularly for their angle of view and increased depth of field, with wide-angle lenses permitting a candid close approach to the human subjects without their suspecting they are in the frame. But there are no exclusions as to what might be used.

A commonly used focusing technique is zone focusing — setting a fixed focal distance and shooting from that distance — as an alternative to manual-focus and autofocus. Zone focusing, using a depth of field scale (on film cameras), also facilitates shooting "from the hip" i.e. without bringing the camera up to the eye. Alternatively waist-level finders and the tiltable LCD screens of digital cameras allow for composing or adjusting focus without bringing unwanted attention to the photographer.

Anticipation plays a role where a relevant or ironic background that might act as a foil to a foreground incident or passer-by is carefully framed beforehand; it was a strategy much used for early street photographs, most famously in Cartier-Bresson's figure leaping across a puddle in front of a dance poster in Place de l'Europe, Gare Saint Lazare, 1932.

Tony Ray-Jones listed the following shooting advice to himself in his personal journal:[26]

  • Be more aggressive
  • Get more involved (talk to people)
  • Stay with the subject matter (be patient)
  • Take simpler pictures
  • See if everything in background relates to subject matter
  • Vary compositions and angles more
  • Be more aware of composition
  • Don’t take boring pictures
  • Get in closer (use 50mm lens [or possibly ‘less,’ the writing is unclear])
  • Watch camera shake (shoot 250 sec or above)
  • Don’t shoot too much
  • Not all eye level
  • No middle distance

Street photography versus documentary photography

Street photography and documentary photography can be very similar genres of photography that often overlap while having distinct individual qualities.

Documentary photographers typically have a defined, premeditated message and an intention to record particular events in history.[27] The gamut of the documentary approach encompasses aspects of journalism, art, education, sociology and history.[28] In social investigation, often documentary images are intended to provoke, or to highlight the need for, societal change. Conversely, street photography is disinterested by nature, allowing it to deliver a relatively neutral depiction of the world[29] that mirrors society, "unmanipulated" and with usually unaware subjects.[30]

Legal concerns

Main article: Photography and the law
See also: Consent requirements by country [1]

The issue of street photographers taking photographs of strangers in public places without their consent (i.e. 'candid photography' by definition) for fine art purposes has been controversial.

USA

A legal case in the United States, Nussenzweig v. DiCorcia, established that taking, publishing and selling street photography (including street portraits) is legal without any need for the consent of those whose image appears in the photographs, because photography is protected as free speech and artistic expression by the First Amendment in the US.[31]

United Kingdom

In the United Kingdom (UK), in terms of photographing people, a right to privacy exists in law, as a consequence of the incorporation of the European Convention on Human Rights into domestic law through the Human Rights Act 1998. This can result in restrictions on the publication of photography.[32][33][34][35][36] The right to privacy is protected by Article 8 of the convention. In the context of photography, it stands at odds to the Article 10 right of freedom of expression. As such, courts will consider the public interest in balancing the rights through the legal test of proportionality.[34]

In terms of photographing property, in general under UK law one cannot prevent photography of private property from a public place,[citation needed] and in general the right to take photographs on private land upon which permission has been obtained is similarly unrestricted.[citation needed] However, landowners are permitted to impose any conditions they wish upon entry to a property, such as forbidding or restricting photography.[citation needed] There are however nuances to these broad principles.

France

In France, a legal case between a street photographer and a woman appearing in a photograph published in the photographer's book decreed that street photography without the consent of the subject is an important freedom in a democracy: "the right to control one’s image must yield when a photograph contributes to the exchange of ideas and opinions, deemed “indispensable” to a democratic society."[37]

Greece

Production, publication and non-commercial sale of street photography is legal in Greece, without the need to have the consent of the shown person or persons. In Greece the right to take photographs and publish them or sell licensing rights over them as fine art or editorial content is protected by the Constitution of Greece (Article 14[38] and other articles) and free speech laws as well as by case law and legal cases. Photographing the police and publishing the photographs is also legal.

Hungary

In Hungary, from 15 March 2014 anyone taking photographs is technically breaking the law if someone wanders into shot, under a new civil code that outlaws taking pictures without the permission of everyone in the photograph. This expands the law on consent to include the taking of photographs, in addition to their publication.[39]

See also

References

  1. ^ Warner Marien, Mary (2012). 100 ideas that changed photography. London: Laurence King Publishing. p. 169. ISBN 978-1-85669-793-4.
  2. ^ a b c Colin Westerbeck. Bystander: A History of Street Photography. 1st ed. Little, Brown and Company, 1994.
  3. ^ http://archive.lfph.org/what-is-street-photography.html [dead link]
  4. ^ a b Watts, Peter (11 March 2011). "London Street Photography, Museum of London". The Independent. Retrieved 28 April 2015.
  5. ^ Mora, Gilles (1998). PhotoSPEAK. New York, Ny: Abbeville Press. p. 186. ISBN 0-7892-0068-6.
  6. ^ [citation needed]
  7. ^ Thomson, J. (John); Smith, Adolphe, (author.) (2014), Street life in London, Edinburgh MuseumsEtc, ISBN 978-1-910144-25-1 {{citation}}: |author2= has generic name (help)CS1 maint: multiple names: authors list (link)
  8. ^ Abbott, Brett; J. Paul Getty Museum (2010), Engaged observers : documentary photography since the sixties, J. Paul Getty Museum, p. 4, ISBN 978-1-60606-022-3
  9. ^ a b c "London street photography through the decades". The Daily Telegraph. Retrieved 28 April 2015.
  10. ^ McDonald, Sarah. "The hidden Camera" (pdf). Getty Images. Retrieved 28 April 2015.
  11. ^ a b O'Hagan, Sean (18 April 2010). "Why street photography is facing a moment of truth". The Observer. Retrieved 15 February 2015.
  12. ^ Jobey, Liz (15 August 2014). "Street photography". Financial Times. London. Retrieved 28 April 2015.
  13. ^ In the preface by Pierre Mac Orlan to Ronis, Willy (1954), Belleville-Ménilmontant, Arthaud, retrieved 29 February 2016
  14. ^ "For a contemporary review see Jacob Deschin, 'The Work of French Photographers', New York Times (23 December 1951), X14. The u.s. Camera Annual 1953 which includes a selection of photographs from the exhibition under the revised title, Four French Photographers: Brassai, Doisneau, Ronis, Izis (because he could not be contacted by time of publication, Cartier-Bresson was omitted) Kristen Gresh (2005) The European roots of The Family of Man , History of Photography, 29:4, 331-343, DOI: 10.1080/03087298.2005.10442815
  15. ^ Jacob Deschin, 'European Pictures: Modern Museum Presents Collection by Steichen', New York Times (31 May 1953), X13; US. Camera Annual 1954, ed. Tom Maloney, New York: U.S. Camera Publishing Co. 1953.
  16. ^ See Evans's manuscript in the Getty Museum collection (JPGM 84.xG.953.50.2), 'Unposed photographic records of people', first published in Walker Evans at Work, New York: Harper and Row 1982, 160.
  17. ^ Walker Evans, 'The unposed portrait', Harper's Bazaar 95 (March 1962), 120-5, in Greenough, Walker Evans, 127.
  18. ^ Walker Evans, 'Twenty thousand moments under Lexington Avenue: A superfluous word', unpublished draft, Greenough, Walker Evans, 127.
  19. ^ Evans, Walker; Agee, James; Sante, Luc; Rosenheim, Jeff L; Metropolitan Museum of Art (New York, N.Y.) (2004), Many are called (First Metropolitan Museum of Art/Yale University Press ed ed.), New Haven Yale University Press New York Metropolitan Museum of Art, ISBN 978-0-300-10617-6 {{citation}}: |edition= has extra text (help)
  20. ^ a b c d O'Hagan, Sean (7 November 2014). "Robert Frank at 90: the photographer who revealed America won't look back". The Guardian. Retrieved 27 December 2014.
  21. ^ O'Hagan, Sean (8 March 2011). "Right Here, Right Now: photography snatched off the streets". The Guardian. Retrieved 15 February 2015.
  22. ^ Jobey, Liz (10 February 2012). "Paul Graham: 'The Present'". Financial Times. London. Retrieved 28 April 2015.
  23. ^ Coomes, Phil (11 March 2013). "The photographic legacy of Garry Winogrand". BBC News. Retrieved 17 January 2015.
  24. ^ O'Hagan, Sean (15 October 2014). "Garry Winogrand: the restless genius who gave street photography attitude". The Guardian. Retrieved 17 January 2015.
  25. ^ 'Brassai talking about photography: an interview with Tony Ray-Jones' in Creative Camera, April 1970, p.120
  26. ^ Tony Ray-Jones archive is held by the British National Media Museum, and exhibited by them in 'Only in England' which toured England in 2015
  27. ^ Newhall, “Documentary Approach to Photography,” Parnassus 10, no. 3 (March 1938): pp. 2–6. 22
  28. ^ Becker, Karin E (1980), Dorothea Lange and the documentary tradition, Louisiana State University Press, p. 36, ISBN 978-0-8071-0551-1
  29. ^ Wells, Liz. Photography: A Critical Introduction. Psychology Press, 2000.
  30. ^ Gleason, Timothy. “The Communicative Roles of Street and Social Landscape Photography.” Simile vol. 8, no. 4 (n.d.): 1–13.
  31. ^ "Nussenzweig v. DiCorcia". New York Supreme Court. Retrieved 2011-12-05.
  32. ^ Human Rights Act 1998 sections 2 & 3
  33. ^ Human Rights Act 1998 Schedule 1, Part 1, Article 8
  34. ^ a b Mosley v News Group Newspapers Ltd [2008] EWHC 1777 (QB)
  35. ^ Campbell v Mirror Group Newspapers Ltd [2004] UKHL 22
  36. ^ Murray v Express Newspapers Plc [2008] EWCA Civ 446
  37. ^ Laurent, Olivier (23 April 2013). "Protecting the Right to Photograph, or Not to Be Photographed". The New York Times. Retrieved 15 February 2015.
  38. ^ Article 14 of the Constitution of Hellas
  39. ^ Nolan, Daniel (14 March 2014). "Hungary law requires photographers to ask permission to take pictures". The Guardian. Retrieved 20 May 2014.

Further reading

  • Bystander: A History of Street Photography by Joel Meyerowitz and Colin Westerbeck, Boston: Bulfinch Press, 1994. ISBN 0-82121-755-0. Boston: Bulfinch Press, 2001. ISBN 9780821227268.
  • The Sidewalk Never Ends: Street Photography Since the 1970s by Colin Westerbeck, Chicago: Art Institute of Chicago, 2001.
  • Street Photography Now by Sophie Howarth and Stephen McLaren, London: Thames & Hudson, 2010. ISBN 978-0-500-54393-1 [2].
  • 10 – 10 years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9 [3].
  • The Street Photographer's Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson.

External links

Wikimedia Commons has media related to Street photography.
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