There are still millions of things and people that are worthy to be shot. Many street photographers I know tend to get bored of photographing where they live myself included.
One of the beauties of street photography is that regardless of where you photograph whether it be a suburb, a mall, a city-center, or even a beach the moments which you photograph will never be the same. You will never get the same exact person wearing the same outfit in the same exact spot, with the same exact light, and the same exact expression or look in their face.
Always look for the silver lining in street photography. Monochrome has stronger elements of abstraction or symbolism. This is perhaps an element of taking you to another place. Black and white has that physical effect on me. If I am out wandering and I see photographs hung on the walls of a restaurant, say, if they are black and white, I get a rush! That is the difference between the two. So what interests me is seeing my own work differently: the new, vague feeling of accepting the color work as my own.
That is where I am now. At that vague, flickering stage. However now that I am working exclusively in color, I look for bright hues, contrasts of different colors, vivid advertisements, and signs of consumerism. Daido Moriyama loves the concept of the snapshot, and enjoys the casual approach to photography:. Especially of their daily lives. The casual attitude toward photography is the same as mine.
There is nothing right or wrong. Strive to take better photographs, to explore more, and to find the nuances in the city or place in which you live. When you look at street photography, the majority of it is in black and white. Why is that? Well I would surmise that contemporary street photographers love the sense of nostalgia associated with black and white. After all, all of the masters shot in black and white. But then again, that is all they had.
Now we have the option of shooting in black and white or color. Yet, most street photographers I have seen gravitate still more towards black and white. Daido has shot the vast majority of his street photography in black and white. Rather, he tried to find something deeper in meaning through his monochromatic images:. Monochrome has stronger elements of abstraction or symbolism. This is perhaps an element of taking you to another place.
Black and white has that physical effect on me. It tends to be more abstract, symbolic, and helps us see the world in a unique and novel way. If I am out wandering and I see photographs hung on the walls of a restaurant, say, if they are black and white, I get a rush!
That is the difference between the two. On the contrary, now that he is shooting digitally, he finds the idea to be quite exciting and challenging:.
So what interests me is seeing my own work differently: the new, vague feeling of accepting the color work as my own. That is where I am now. At that vague, flickering stage. I think when you make the conscious decision to either shoot in black and white or color, you should do it purposefully. Based on my personal experiences, I have found that when I am shooting in black and white or color I see the world in a different way.
However now that I am working exclusively in color, I look for bright hues, contrasts of different colors, vivid advertisements, and signs of consumerism. It is thought of being unintentional, amateurish, and uninteresting.
Especially of their daily lives. The casual attitude toward photography is the same as mine. There is nothing right or wrong. Not only that, but Daido is fascinated with the idea of having his viewers be active participants in looking at his photographs. He wants his photographs to resonate with his viewers and with himself :. At first sight a photograph looks straightforward as it slices off a scene or a moment in time. But the images that photography captures are actually ambiguous.
However, when it is presented in front of different viewers various perspectives will be developed by viewers, which will enrich the content of the photo. Daido is also very aware of the fleeting nature of moments, and values the ability for the camera to record the present. Not only that, but he also wants to preserve his feelings through his photographs as well:. Therefore taking a photo of the present is to preserve it. That is the essence of photography.
Your feeling is always a reflection of the photo you produce. The past cannot be captured by the present. I used the default settings, but it had appropriate sharpness and rich tone. Great for street photography. Pictures should be looked at in bright light. Unfortunately it is an era when photographs are massively produced and consumed. But it is absolutely good that pictures are being taken whether they are thrown away or not.
Photography is to capture all the things your eye sees within a certain period of time. I devote myself into it based on my moral. Everything you see including people and the background are part of the street. Moriyama is a big believer that anything can be made into a photo.
He has said that photography has never been anything other than copying, hence why he takes photos of posters and billboards, even when it contains an image by another photographer. But basically, I think everyone should be free to copy anything they want to. What else is a photograph but a copy to begin with? Most of my photographs are taken on the street, of objects on the street.
I want to capture the relationship between objects and people. Most people only take snapshots of things immediately around them in their daily life. But out on the city streets, everything you encounter is alien and unknown. Moriyama also always returns to the same places: empty dark alleys, the doorway of a strip club, neon signs, overcrowded subway stations.
He is not interested in beauty. Most of my work, whether shot in Japan or abroad, is made on the street. I like to photograph the cities I visit and the people I encounter there. One of my best-known images, a shot of a stray dog taken in , is an example of the kind of thing that catches my eye. Of course, a sharp eye is fundamental. And of course, you have to be alert, sensitive, responsive, at ease in your own body, so that you can react to the stimuli around you immediately.
But above all, you have to have desire. That desire the photographer must feel in the instant he takes the shot. To take a photograph that is at all interesting or meaningful, you must become one with that desire when you press the shutter button…. Daido Moriyama: In Pictures was produced by Tate in before his joint exhibition with William Klein at the gallery.
In this short documentary, we follow Moriyama as he walks the Shinjuku neighborhood in Tokyo with a camera in-hand. Moriyama is perhaps best known for using the Ricoh GR series of cameras which has gained a cult status amongst street photographers. He mainly used the Ricoh GR1s 35mm film camera with a fixed 28mm lens and sometimes a Ricoh GR21 for a wider field of view.
Remember though that the Ricoh GR was only released in Yes, many photos were shot using the legendary GR but they only accounted for a small percentage of his overall body of work. Daido currently uses a digital camera and edits his images in Silver Efex Pro to match the look of film.
Before this, he used a cheap Nikon Nikon S He has played around with the Ricoh GR digital cameras too but preferred the Nikon with its zoom function for its flexibility. Moriyama will shoot with anything. He has used a lot of cameras, and when he gets bored of them, or they stop working, he sells them or gives them away.
The lighter the better. He claims to have never bought a camera for himself; all the cameras he uses have been given to him. To Moriyama, a camera is just a tool. Then again, any camera will do just fine including the one you own right now. A camera is a tool, no different to a pen used by writers or a brush by painters.
He captures the image or snapshot on the street and then makes the photo in the darkroom or in Silver Efex today.
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