William Klein and the motion blurTwo masters of photography sign the entry of photography in contemporary art. Robert Frank's book "The Americans", and William Klein "New York" initiate a revolution: photography is seen as a break with the old school and their clean and perfect images (Cartier-Bresson, Doisneau, etc.): deframing, fuzzy, grain, movement and camera shake, strong contrasts.More Like This
It adopts the lesson of Capa: "If your pictures are not good, it's because you're not close enough". Klein has imposed a style and a look to the "instinctive" photo. The reality is experienced with subjectivity as it is shown. Sometimes disturbing, sometimes violent.
William Klein has said that blur is part of photography's own language. This picture below wouldn't have made the edit for a lot of street photographers working in 1961, or today, but he recognises that this is photography doing what only photography can do. It's part of the 'medium specificity' of the camera to signify movement in this way. In another of his
Street Photography Tutorial - IPART IIMore Like This
The series of 5 articles about Street Photography made by myraincheck and slightly edited by moi* continues with:
STREET PHOTOGRAPHY TUTORIAL - PART ONE
THE HUMAN SUBJECT
(article from photo4u.it - il portale italiano della fotografia translated and adapted to dA by myraincheck)
Let's close our eyes and imagine going out in the streets and looking for unusual things. What do we expect to find? People, first of all.
That's good, the HUMAN PRESENCE is a fundamental element of street photography.
If we want to use only this ingredient, we'll be able to realize a true street photo only if the person we capture will have something unusual or interesting or is doing something unusual or interesting. Otherwise we'll have a good portrait, an enviromental portrait, a wide portrait whatever, but not a street photo.