Click here for link.
Click here for link.
Assignment Ends on Feb 24, 2015!
Editor’s Note: Only photos taken during the assignment (Feb 4-Feb 25) will be selected for the final story.
Street photography. It sounds dirty. It sounds urban.
Behind every syllable is a honking horn, a toothless grin, a siren wailing in the background. Chewing gum under your shoe, the smells of the street wafting up to hit you in the nose.
Street photography is a harsh name for a beautiful pursuit. To tame the chaos. To frame the cacophony of modern life. To capture what it means to be alive.
Street photography is more than a phrase; it is a way of seeing, a way of experiencing life. Sports photography can be street photography on the field. Fashion photography can be street photography backstage. At its very essence street photography is capturing life without interrupting it. Witnessing and capturing a once-in-a-lifetime moment as it unfolds in front of you. A pursuit that intrinsically means photography without permission.
So street photography can be scary.
There are three important elements that make up a successful street photographer—probably more, actually—but for this assignment we will concentrate on three:
• Controlling composition in a fluid environment
• Controlling fear
• Controlling the visual narrative
On the street, you don’t have a backdrop, no seamless, no directing of light. The world is your backdrop and you have to figure out how to frame your subjects within the space they and you inhabit. This means paying attention to the light, to buildings, to walls, to negative space.
Street photography terrifies me. That’s why I practice it every day. Push yourself outside the boundaries of comfort. Photograph on the subway. Shoot that man sitting at the bus stop, or in Starbucks as the setting sun hits his coffee cup. Don’t listen to that inner voice that says stop. Go beyond it.
Once you have the images, figuring out how to say something is the hard part. Are all your images random snapshots or a collection that speaks to your heart? How do you start seeing and shooting something cohesive?
Read the assignment guidelines below.
Clink here for more!
A great portrait is more than just a frozen reflection of the subject’s appearance. It’s a chance moment, blanketed in natural light, in which the subject’s authentic self is visible in her expression, her stance, her aura. A great portrait blurs the line between a subject and her surroundings, all contributing equally to the overall impression of a singular human being.
Photographer Barbara Yoshida captured not one great portrait, but 100. And to make it all the more glorious, her subjects are all female artists, groundbreaking in their own right.
Click link for all Videos + transcripts provided by SFMOMA in 2010.
SFMOMA has been collecting and exhibiting photographs since the museum’s founding in 1935 and is dedicated to the examination of the medium in all its forms. A major symposium on the current state of the field, held at SFMOMA in April 2010, was the first in a series of public programs on photography.
This page archives the conversation begun in the Is Photography Over? symposium. It includes video of the entire program, complete, unedited transcripts of the proceedings, and the original position statements submitted by the participants in advance of the symposium. Additional responses and reports on the two days of the symposium can be found on our blog, Open Space.
San Francisco Museum of Modern Art