ShopUpgrade to CoreGet Core
Deviation Actions
792 Views
Lately, Street Photography is struggling (like all forms of expression) in search of new ways to explore, a little anxiously, without understanding that everything has already been said and done, and that we are living in the “future” but we are not mentally prepared for it.
We need to use new technology, with great simplicity, just like David Hockney.
www.telegraph.co.uk/culture/cu…
Looking at the results achieved by this artist, you come to realize that everyone can use new technology, but not everyone can use it "artistically". But that's not what I wanted to talk about ... let's go back to the Street.
As administrator of two groups of Street Photography on Deviantart I've noticed that, lately, sociological images no longer interest people, in fact it seems that photographing harsh realities (dirty and sad) is "annoying". Photographers are rather keen to explore the use of decorative style.
We always talk about wanting to "tell" possible stories but actually we "freeze" only concepts, stylish games: shadows and colours chasing each other.
That's no more Street Photography. That's Graphic Street, Conceptual Street, Shadow Street and not least Ghost Street, with photographers often waiting ages for the ultimate shot, sometimes even creating the premises for it to happen. And then there is the tendency to super colourful (Hipstamatic...). Sometimes shots are fun, often the human element matters little. And anyway, they are beautiful photos.
(There were already such forms at the time of analogue photography perhaps less plastic.)
My approach to street is narrative. I shutter when I think I see something magical in the reality in front of me. Something that I should imagine, but that I would like to communicate to others, too. I am satisfied with one click when it manages to tell a little bit more than what you see at first glance. Sure, the desire to show something more than mere reality it's at the base of street photography. But ... for me it's the “magic”, the “imagination”, that triggers my photography. And this “magic” can be as sad as cheerful ...
Of course then there is photography that represents life. But that's another thing ...
read: batsceba.deviantart.com/#/jour…
www.facebook.com/notes/batsceb…
(Shadow Street) - Alphan Yilmazmaden
Iryna Fedorovskaya

(Ghost Street) Mirko Arganese
(Conceptual Street) Mary Cimetta
(Graphic Street) Jean-Daniel Beley
(super colourful Street)Alex Reyes
We need to use new technology, with great simplicity, just like David Hockney.
www.telegraph.co.uk/culture/cu…
Looking at the results achieved by this artist, you come to realize that everyone can use new technology, but not everyone can use it "artistically". But that's not what I wanted to talk about ... let's go back to the Street.
As administrator of two groups of Street Photography on Deviantart I've noticed that, lately, sociological images no longer interest people, in fact it seems that photographing harsh realities (dirty and sad) is "annoying". Photographers are rather keen to explore the use of decorative style.
We always talk about wanting to "tell" possible stories but actually we "freeze" only concepts, stylish games: shadows and colours chasing each other.
That's no more Street Photography. That's Graphic Street, Conceptual Street, Shadow Street and not least Ghost Street, with photographers often waiting ages for the ultimate shot, sometimes even creating the premises for it to happen. And then there is the tendency to super colourful (Hipstamatic...). Sometimes shots are fun, often the human element matters little. And anyway, they are beautiful photos.
(There were already such forms at the time of analogue photography perhaps less plastic.)
My approach to street is narrative. I shutter when I think I see something magical in the reality in front of me. Something that I should imagine, but that I would like to communicate to others, too. I am satisfied with one click when it manages to tell a little bit more than what you see at first glance. Sure, the desire to show something more than mere reality it's at the base of street photography. But ... for me it's the “magic”, the “imagination”, that triggers my photography. And this “magic” can be as sad as cheerful ...
Of course then there is photography that represents life. But that's another thing ...
read: batsceba.deviantart.com/#/jour…
www.facebook.com/notes/batsceb…
(Shadow Street) - Alphan Yilmazmaden


Iryna Fedorovskaya

(Ghost Street) Mirko Arganese

(Conceptual Street) Mary Cimetta


(Graphic Street) Jean-Daniel Beley


(super colourful Street)Alex Reyes

Untitled
Mark your calendars for two weeks of outstanding world-class street photography During the festival, the calendar includes numerous exhibitions, special meetings with the public and lessons, in a setting of musical entertainment. Here’s the run-down of events you will not want to miss. Thursday 6: Keef Charles (UK), Martin Agius (Malta); Friday 7: Niklas Lindskog (Sweden), Britta Kohl-Boas (Germany) Anna Lohmann (England / Germany); Saturday 8: Pia Parolin (Germany / France) Nadia Eeckhout (Belgium); Tuesday 11: In connection Zoom John Gill (Yorkshire) and Kevin Lim (Ireland) Wednesday 12: Batsceba Hardy, Livio Senigalliesi, university professor and documentary maker Thursday 13: Stefania Lazzari (Italy), Andrea Ratto (Spain), Friday 14 Mario Mencacci Bandini, Elisa Santoro and Salvatore Uccello Saturday 15 the Alnico 2. All portfolios submitted to us will be evaluated for possible publication on our website and / or in our
ProgesFestival
Progressive Street is proud to announce the launch of its first International Street Photography and Art Festival. This is a prelude to more ambitious plans, and starting in 2023 this annual Festival event will be staged in various cities around the world. We can't reveal much about this inaugural Festival for now. Yet we can take enormous pride in Progressive Street and all that we’ve accomplished in just three and a half years. Our Festival is not for profit. The goal is to discover and show images that are true testimonies of our time, without cultural stereotypes. Images that are not clichés. Images by photographers who document meaningful examples of life, stripped of all artifice. Images that awaken connections, provoke insights and inspire optimism. We turn to photographers who are actively involved in daily life - yet specifically pursue street photography, documentary photography, and photojournalism without distinction between professionals and
Loneliness Belongs to the Photographer
I don't think I'm essentially a street photographer. I guess Photography is just the way for me to express how I see things. It has something to do with a philosophical approach to reality. I have always had this way of observing reality, dwelling on details, on scenes that tell me something. Early on in my life, I felt inspired by what was around me. Eventually, I got into street photography. It was a slow process. And this happened in a city that was not my hometown, where my view got released from all the parameters and preconceptions that you naturally develop in known places. What I perceived in that new urban landscape and became the ghost I kept freezing everywhere and in everyone’s face with my shots was an intense feeling of loneliness. As a photographer, I am already used to entering the world of loneliness because I must be able to become invisible. So I found myself breathing in my own loneliness and the solitude of those around me. It is the distance between the
I want your attention
I am looking for interesting projects for our website https://www.progressive-street.com/out-of-bounds-2
Featured in Groups
© 2014 - 2023 Batsceba
Comments25
Join the community to add your comment. Already a deviant? Log In
y o u . a r e . n o t . c o m p l e t e l y . r i g h t
t h e r e . a r e . g r o u p s . a n d . y o u . k n o w . t h a t . s a y . "Don't bother us with beggars, publicity..." an d . t h a t . i s . p a r t . o f . s t r e e t . a n d . i t ' s . s o c i l o g i c a l
i . h a v e . m a d e . a . b o o k . o f . t h e . c o n t r a s t s . o f . p u b l i c i t y . i n . t h e . c i t i e s . g o o d . o r . b a d . b e c a u s e . i . t h i n k . i t . i s . a n . i n t e r e s t i n g . m a t t e r
n o w . i . a m . d o i n g . a n o t h e r . o n e . w i t h . Ghosts in town
a n d . w h y . s t r e e t . c a n ' t . b e . g r a p h i c . i f . a t . s a m e . t i m e . t e l l . a . s t o r y ?
t h e . m o s t . i m p o r t a n t . t h i n g . i s . t o . h a v e . a n d . c a t c h . f e e l i n g . a n d . i m a g i n e . t h e . s t o r y . b e h i n d

t h e r e . a r e . g r o u p s . a n d . y o u . k n o w . t h a t . s a y . "Don't bother us with beggars, publicity..." an d . t h a t . i s . p a r t . o f . s t r e e t . a n d . i t ' s . s o c i l o g i c a l
i . h a v e . m a d e . a . b o o k . o f . t h e . c o n t r a s t s . o f . p u b l i c i t y . i n . t h e . c i t i e s . g o o d . o r . b a d . b e c a u s e . i . t h i n k . i t . i s . a n . i n t e r e s t i n g . m a t t e r
n o w . i . a m . d o i n g . a n o t h e r . o n e . w i t h . Ghosts in town
a n d . w h y . s t r e e t . c a n ' t . b e . g r a p h i c . i f . a t . s a m e . t i m e . t e l l . a . s t o r y ?
t h e . m o s t . i m p o r t a n t . t h i n g . i s . t o . h a v e . a n d . c a t c h . f e e l i n g . a n d . i m a g i n e . t h e . s t o r y . b e h i n d
