Photography

Today StreetHunters.net is announcing the winner of the Monthly Theme Contest for May 2015, John Hughes.

From nudes to surreal collage, street scenes to portraits, a new exhibition charts the astonishingly modern work of maverick photographer Germaine Krull. A pioneer of photojournalism, Krull moved across Europe in the 1920s and 30s mixing with left-leaning intellectuals and pushing at boundaries – both in her work and as a woman

The feeling of Metamorphosis and Solitude. The delicacy of the texture that almost resembles fabric by making every detail and irregularity visible… It shapes pure emptiness in the air, there is no inner shape determining the form of the flower, dictating the subtle movement of its petals.

Newsha Tavakolian (née en 1981;Téhéran, Iran). Photographe autodidacte, Newsha a commencé sa carrière dans la presse iranienne à l’âge de 16 ans en travaillant pour le quotidien féminin Zan. A 18 ans, elle était la plus jeune photographe à couvrir le soulèvement étudiant de 1999, qui a été un événement déterminant pour le mouvement réformiste naissant du pays et pour Newsha sur le plan personnel, en tant que photojournaliste. Un an plus tard, elle rejoignait l’agence new-yorkaise Polaris Images.

Look-up ‘Street Photography’ in Wikipedia and the attempt to define it starts with ‘… a form of documentary photography’. But is it really? Both Street Photography and Documentary photography are well understood traditions, so why is it that the former is so easily confused for the latter?

Undoubtedly there are visual similarities when we compare the two. It can also be argued that Street Photographs can and often do, ‘acquire’ value as documentary images, especially with the passage of time, because they can offer a glimpse as to how people ‘looked’ in the past. But that is where the similarities end.

Imagination is one of the most important things in art and implicitly, one of the most important ingredients of black and white fine art photography. In this article I will talk about how I use imagination in my work and generally how to use imagination in fine art photography, especially black and white fine art photography, in order to create (en)Visionography, and I will study this based on my new image EQUIVALENTS II (you can order prints at this link)

This long exposure image is a new addition to my series EQUIVALENTS, a black and white fine art series where I intend to deal with more complex volumes and relations among them than what I’ve done in the past, where I aim to investigate a new direction and add some new nuances to my work.

is is the story of how I wrestled with death twice to live for photography. Before I wrote this article, I told a couple of people about it since it means so much to me. Although some didn’t understand how I could talk so openly about this topic, I decided that it’s my duty to generate awareness and help others even if it means that I’m revealing my biggest struggle in front of the world.

The Fine Art of Photography gave Morey the opportunity to learn more about the life and work of his peers photographers: “My approach to photography changed. I found that the best shots were those captured between moments within creative spontaneity. I learned that it was important to trust my gut and that every photograph has a time and place”, he says

Le travail du photographe-plasticien Michel Kirch aborde depuis une dizaine d’années les questions de notre « être au monde ». La série Climats interroge spécifiquement l’avenir de notre présence au sein du réel dans le contexte des bouleversements climatiques à venir.

Street Photography has always been paving down the years to treat every lover of photography. Street Photography is an art of documenting People at their very surrounding or environment where they belong. There has always been those classic tales from our Masters of street Photography using film cameras, and still handling it exceptionally well. Well we are not going to comment further on the masters and their intelligence since it being a good old story known almost to all of us.

Ever since I began street photography I have worked almost exclusively in black and white (or monochrome). I think this was partly influenced by the work of others, the traditions of street photography and also because of personal preference. The only times I will produce a colour image is if the colour is vital to the visual impact of the image. I have nothing against colour street photography and, in fact, I find it quite intriguing how styles and the use of colour or black and white varies by country and continent. For example, I have noticed, there appears to be far more colour street photography produced in Asia and North America than there is in Europe.

The best part of being an educator is the fact that I'm learning equally as much... Additionally, knowing others are being inspired pushes me to work harder to hone my skill.

16 of the best Photography Documentaries every Street Photographer should watch to learn more about the masters and the art of Photography.