| inviato il 21 Gennaio 2016 ore 12:32
Io la interpreto più come paesaggio urbano personalmente. Straquoto Filiberto sugli smartphone e Angelo Aiello sulle distrazioni urbane delle grandi città. |
user46920 | inviato il 21 Gennaio 2016 ore 13:26
“ Io la interpreto più come paesaggio urbano personalmente. „
Ma tu le interpreti tutte come paesaggio urbano !!!???  |
user46130 | inviato il 21 Gennaio 2016 ore 13:33
Siccome la Street Photography è una corrente della fotografia, come tale ha delle regole umanamente riconosciute che vanno al di là della libera interpretazione personale.
I testi sono riportati dalla pagina
street-photography-manifesto.tumblr.com/
"Street Photography is not portraiture, it is not still life and neither does it concern itself with urban landscape. Street Photography is instinctual, un-premeditated, reactive and spontaneous, it is unposed and untagged and most importantly it is candid. Candid in this context literally means it is done in such a way that the subjects are not aware they are being photographed at the exact moment the image is being captured. The subjects are always people (who are strangers) and the the theme focuses around human moments - not ?humanistic' moments. This difference in words is subtle but semantically considerable. Eugene Smith was a humanist photographer. Garry Winogrand was a street photographer, though he hated the tern precisely because it was used so loosely by some.
The unescapable hallmarks of Street Photography are that it is enigmatic and quirky and more often than not surreal. That it creates relationships within the frame that may well not exist in reality. Relationships between strangers or between people and their surroundings. It achieves this through intentional juxtapositions, a combination of selective framing and exact timing. Asking a stranger for permission to photograph them in the street, instantly makes it a portrait, a street portrait albeit but not Street Photography. The moment a subject collaborates, he or she is posing. Documentary photography encompasses portraits and especially when it is humanist photography, but that is not the case with Street Photography. To call a picture a street photography portrait is in itself an oximoron.
Street Photography does not concern itself with the Truth. Rather, if it is a good Street Photograph, it is a lie that might make us realize something about life, or some truth. As per Picasso's quote, Street Photography involves creating a fictional narrative that allows the photographer to express him or herself. Street Photography has therefore, more in common with Art than it does with journalism. It is not documentary or humanist photography, however, these are the two genres that many amateur photographers most often confuse Street Photography with.
Let's take a closer look at the motivation behind Street Photography compared to Documentary photography.
There is only one subject in Street Photography: people. Conversely, the subjects for documentary photographers can be everything and anything; including people is not a pre-requisite depending on the topic being covered.
Street Photography is conducted in public places, primarily in the street. Documentary photography is conducted at the specific place that the topic dictates and this may well be in public places but also non-public places (hospitals, schools, factories, corporate offices, business premises, private homes, the environment, the weather, nature, wildlife and so on).
Street Photography concerns itself with Life, Humanity, everyday random moments, human interaction, whereas documentary photography concerns itself with Life, humanity, human interaction but very specific moments or events or the outcome of a specific event.
Street Photography is expressed through unexpected and unpredictable actions that lead to a ?Decisive Moment', a poetic moment, a poignant instant. Documentary photography on the other hand, is expressed through the objective presentation of facts for an ongoing activity or situation over a finite period of time which can run from as short as a single day or as long as over a number of years.
Street Photography is completely subjective whereas documentary photography must by definition be objective. One creates a reality the other attempts to present reality. Street Photography is all about realising "a truth" compared to Documentary photography which is all about making us aware of "The Truth".
A street photographer is not familiar, nor cares about the subjects, it is totally irrelevant who or what they are or what their ?situation' is. A street photographer creates the ?situation', where one does not exist. In contrast to this, a documentary photographer is deeply concerned and motivated about the subject, has conducted prior research and has formed opinions about it and is ultimately doing this in order to raise awareness of a situation or event. For example the victims of AIDS due to blood transfusion, or the victims of the tsunami or the poor and destitute, or a particular street protest and so on. These are all subjects that documentary photographers tackle because they have an agenda. The street photographer is only concerned with what a potential subject is about to do in front of the camera, how to frame it in order to create a situation and finally how to select the best timing to trigger the shutter in order to make that moment a meaningful one.
In Street Photography the photographer must find ways to become invisible so as to be able to capture candid moments. This is most often achieved by shooting from the hip at very close range. The documentary photographer on the other hand, may or may not choose to photograph in a candid way, rather, he or she may have a need to photograph surreptitiously or from a considerable distance, due to potential risks involving the subjects and the specific ?situation'. In order for the street photographer to recognize a decisive moment about to occur, he or she must be fairly close to the subjects and traditionally the practitioners of the form limit themselves to lenses of 50mm or shorter (on a full frame sensor or 35mm film). The journalist and documentary photography, on the other hand, might choose a range of focal lengths from an arsenal of lenses depending on what they are photographing.
Street photographers wander the streets watching, observing, hoping that something will occur before them. They have no preference of whom to photograph and since Street Photography is reactive and spontaneous, there is little to no time afforded to think or intellectualize. Inversely, the documentary photographer has an agenda that narrows down the choices of whom to photograph based on that agenda. Martin Parr only shoots what is relevant to the particular series that he is working on at the time, such as ?the mundane and boring' or the ?cheap and nasty tastes' and so on. Martin Parr is a documentary photographer who has also been recognized and embraced by the art world because of his conceptual thinking, however, he is not a street photographer as many mistakenly label him.
In conclusion, Street Photography as defined by the images produced by the greats during its peak (1950s - 1960s). As a form it is well defined and understood by art historians, academics, critics and curators has very little in common to documentary photography or environmental portraiture or humanist photography. "
Most shooters today are amateurs and have little or no respect for the genre and have even less understanding of the legacy left to us by the masters. To them, we have a message:
JUST BECAUSE YOU SHOT IT IN THE STREET IT DOESN'T MAKE IT "STREET PHOTOGRAPHY"
?Street Photography' is not Urban Landscape, it is not Environmental Portraiture (nor 'street portraits') and it is most definitely not Still Life.
On the contrary, Street Photography is about people, it is candid and it is about life.
When we say candid, we mean the subjects are not aware of being photographed right at the instant the shutter is tripped. They may well become aware of it a split second later, for example if camera flash was used, but at the moment of capture, they were still in their natural state, unaware that they were being photographed. Street Photographs must therefore always contain people.
But Street Photography is a lot more than just candid. Street Photography is an instinctual reactive response to the unpredictability of every day life as observed in public places. It captures human or poignant moments. It creates juxtapositions from unrelated elements or creates relationships between people who do not know each other, simply by using the camera's framing.
As such, Street Photography is subjective, its intent is not journalistic or documentary and it does not represent the truth in any way shape or form. To the contrary, the photographer lines up the elements in the shot so as to suggest a narrative or, better yet, to create an enigmatic situation. Street Photography has more in common with painting that it does with journalism or documentary photography because the author of the image is expressing their artistic vision and is completely disinterested in the subjects. Rather, the photographer is interested in what the subject or subjects are about to do or where they stand in relation to each other and the background. Street Photographs are often described as 'quirky'.
The timing of capturing these moments is crucial and has been coined the 'decisive moment' by one of the forefathers of Street Photography, Henri Cartier-Bresson.
As a fellow street photographer noted, the terms 'street photography' and 'decisive moment' are probably the two most misused terms to be found on the internet today.
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| inviato il 21 Gennaio 2016 ore 13:34
Come ti dicevo, se non c'è una presenza... qui si vedono ombrelli e palazzi... |
| inviato il 21 Gennaio 2016 ore 13:56
@L_perro gran bell'intervento.
Molto interessante la differenza fra il momento umano ed umanistico. |
| inviato il 21 Gennaio 2016 ore 14:00
Immagino che il 90% degli utenti capisca l'inglese.. |
user39791 | inviato il 21 Gennaio 2016 ore 14:05
Sempre meglio che l'aramaico antico! Scherzi a parte molto apprezzabile l'impegno però non sarebbe male cercare e postare testi in italiano. |
user61069 | inviato il 21 Gennaio 2016 ore 14:09
...e firmati da qualcuno che abbia titolo a dare definizioni, altrimenti il mio pensiero vale quanto il loro... |
user46130 | inviato il 21 Gennaio 2016 ore 14:10
Grazie Roberto! Il testo offre tanti spunti interessanti, mi spiace per chi non capisce l'inglese...  |
| inviato il 21 Gennaio 2016 ore 14:12
Postarlo in italiano penso che avrebbe dovuto fare una traduzione con google che può risultare abbastanza buffa
Meglio farsi un copia ed incolla e tradurselo da se. |
user46130 | inviato il 21 Gennaio 2016 ore 14:18
E basta con sta storia che il pensiero di chicchessia valga quanto quello di chi pubblica... Studia, scrivi testi e saggi, diventa istituzionalmente riconosciuto da poter rilasciare interviste dove spieghi il tuo pensiero.
Allora il tuo pensiero varrà quello dei critici e degli studiosi, se no vale per te e basta. |
| inviato il 21 Gennaio 2016 ore 14:18
“ Immagino che il 90% degli utenti capisca l'inglese.. „
appartengo al 10%, e a coloro che nei topic preferiscono un po' di sintesi.
“
Il vero progetto è fare una street senza beccare uno che armeggia con uno smartphone. „
non sarebbe molto documentale, per essere documentali nel 2016 bisogna riprenderli. |
user46130 | inviato il 21 Gennaio 2016 ore 14:19
Si Roberto, hai ragione. Tradurlo con il translate avrebbe alterato di molto il senso e reso irriconoscibili le sottili differenze |
user61069 | inviato il 21 Gennaio 2016 ore 14:27
su internet chiunque può pubblicare... e se non si firma potrebbe essere anche hitler, o gli illuminati che come dice adam kandom ci spingono a fare cose che non vorremmo mai fare...
bresson, che l'ha inventata non la pensava così... poi possiamo dividerci in due squadre, e io sto con bresson... |
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