Photography

Daniel Hartley-Allen's first serious venture into documentary photography reads a bit like a legend. This interview is part of the series, The New Storytellers, which showcases the rich new crop of young documentary photographers working from Australia.

Digby Fullam performs a picture critique on ‘The Corner’ by Antonio Toledo in the weekly StreetHunters.net feature "Crit My Pic"!

Winter conditions at home didn't stop us to take advantage of a good offer and spent a long weekend exploring Istanbul.

Une interview de Chris Garvi, photographe de rue à Marseille

Christophe Agou, 1969-2015

When, in August 1968, Russian tanks thundered into Prague, a 30-year-old theatre photographer loaded his Exakta Varex camera and ventured out into the streets to capture the invasion, risking his own life in the process. Against the odds, his negatives were smuggled out of the country and found their way to the New York offices of Magnum Photo agency, who helped publish the images in newspapers around the world.

In this new Street Tips episode of Street Focus, Swiss photographer Thomas Leuthard shares his Top 10 Street Tips.

The street-style photographer Karl-Edwin Guerre is easy to spot in the forest of lensmen who regularly gather outside fashion shows - all of them hunting for name-brand editors sporting head-turning looks that appeared on the runway less than 12 hours earlier.

After dislocating his shoulder for the 3rd time, doctors told London born artist, Lord K2, that he must refrain from contact sports. Although quite harrowing to hear, Lord K2 took on this period of placidity to develop some new, and ultimately gratifying hobbies. With a history of fine art exposure, an impressively stamped passport and dexterous hands, Lord K2 left behind his job in the stock market and began his professional career as a stencil-based street artist and photographer.

Most photographs of real-life events tend to be documentary by nature, but the kind of photographic image-making that makes a point of approaching its subjects with an “objective” viewpoint and a for-posterity sense of purpose — can such photos ever convey a truly neutral position vis-à-vis their subjects? Should they? At what point does a photographer’s “objective” mode of observing the world become an activist’s way of presenting what he or she captures on film?

Photographer Arlene Gottfried has always been an avid people watcher. Born in Brooklyn in 1960, as a child she was fascinated by the diverse communities populating the New York borough. "My mother used to say, Arlene – just don't wander!" she once explained in an interview with TIME Magazine. "Then I started wandering, but I got a camera because it gave it a little more meaning... A life of wandering is really what it all is."