Making images in public forces one to confront a lot of personal demons.

It requires boldness to be surrounded by others and make images of them as they go about their daily lives.

Yet one feels oddly safe hiding behind the lens, as though it is a shield from accusations and confrontation.

The best work is not shot as a voyeur with a telephoto or zoom lens but up close as a participant with a wide angle or standard focal length.

Masters of the decisive moment, such as Erwitt, Bresson and Frank, all used Leicas with 35 mm and 50 mm lenses.

How then is one confronting personal demons?

My own belief and indeed the very essence of my artistic doctrine is that the best photography arises from making images that express how one sees the world.

It is intensely personal.

Street photography can be a recording of what is in front of the photographer,  a simple and dull piece of content gathering.

An amazing street photograph is at once a vehicle that transports the mind to past memories or triggers an array of emotions, not unlike a Grimm’s Fairy Tale.

An image rich in information with foreground, mid-ground and background leads the viewer in, telling multiple stories in one overall composition.

Is this easy? Not at all.

Is it worth trying for again and again?

It is a challenge worthy of a life long commitment and the rewards are beyond price.

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