1. Street photography generally refers to photographs made in public places — not only streets, but parks, beaches, malls, political conventions and other settings — often but not always featuring people going about their everyday lives.

2. Unlike photojournalism, its chief effect is seldom to document a particular subject, but rather to create photographs which strongly portray the photographer's vision of the world. Good street photography often ends up being good photojournalism without really trying, but unlike photojournalism it seldom has an explicit story to tell. It tends to be more ironic or even humorous yet distanced from its subject matter.

3. Street photography often concentrates on a single human moment, caught at a decisive (or deliberately indecisive) moment. However, unlike photojournalism, the moment depicted usually has no significance in and of itself except to the those involved and the photographer.

4. A casual glance, a stolen kiss on a street corner; a man jumping a puddle; a woman lost in her thoughts in a diner; a homeless man reflected in a upscale store window: these are the bread and butter of street photography

5. Street photography is nothing new
Street photography is nothing new. In fact, it has been around in one form or another since the earliest days of photography. As soon as cameras became capable of taking shorter exposures, street photography emerged
Let’s look at some advice from the most recognized photographers from the “street” movement”

6. “Since I’m inarticulate, I express myself with images.”- Helen Levitt
“If your photos aren’t good enough, you’re not close enough.” Robert Capa
“Photographers mistake the emotion they feel while taking the photo as a judgment that the photograph is good” – Garry Winogrand

7. “I suspect it is for one’s self-interest that I look at my surroundings in relation to myself. This is the search for my place in the world, and is indeed my reason and motive for making photographs.” – Lee Friedlander
“I’ve found the photography has little to do with the things you see and everything to do with the way you see them.” – Elliott Erwitt
“It is more important to click with people than to click the shutter.”- Alfred Eisenstaedt

8. “80 percent of good photography is just showing up, but there is a creative fraction of a second when your eye sees a composition--an expression of life itself offering itself to you--and you must know with intuition when to click the camera. That is the moment , the only real moment, when the photographer is creative. Oops! The Moment! Once you miss it, it is gone forever.”- Henri Cartier-Bresson
“Be yourself. I much prefer seeing something, even it is clumsy, that doesn’t look like somebody else’s work.” – William Klein

9. One of my favorites is Gary Winograd, who shot three 36 exposure rolls of black and white film every day of his life, no matter where is was.

10. Winograd’s view of the world is apparent in his photos as he focuses on contrasts and finding scenes of wry humor.

11. Winograd’s street photographs were the “full meal deal,” meaning that he was more than just content focused. He also “found” lines, light and shadow contrasts, framing and other elements of design.

12. Winograd also looked for motifs, recurring patterns, themes, shapes, colors or relationships in a visual scene. What is the motif in this picture?

13. It’s tempting to think of street photography as “secret” or anonymous but much of the time, those pictured are aware of the photographer. Their response (threatening, resigned, willing, etc.) becomes an integral part of the composition.

14. Here is a more recent example of street photography
Here is a more recent example of street photography? What is the motif here? What other design elements do you see at work in this photo? What is this photo’s mood?
(Ironic?)

15. Juxtaposition is an act or instance of placing two things close together or side by side. This is often done in order to compare/contrast the two, to show similarities or differences. Ironic Juxtaposition is a common element of humor, too.

16. The street photographer does not “place” things into juxtaposed relationships. He or she must see them and react quickly, before the moment is lost.

17. In this sense, a street photographer is much more aware of his or her environment. He or she is on the lookout for instances where two unrelated elements fall into place to create a new meaning.

18. Point of view is everything in street photography
Point of view is everything in street photography. This serendipitous moment doesn’t even exist for the subject. It would have no meaning to anyone standing a few steps to the left or right of the photographer.

19. Planning is sometimes involved
Planning is sometimes involved. The photographer of this shot had maybe observed this ice skater on another day and considered the juxtaposition with the statue.

20. Sometimes street photographers will work on a particular motif and will exhibit a series of photos (that may or may not have been taken as a group) to establish a meaning. Each photo gives a context to the others. Look for a continuous motif in the next five shots.

21. Each photo gives a context to the others.

25. Motifs in street photography are usually “found” rather than created
Motifs in street photography are usually “found” rather than created. Here is a series of photographs in which the motif is simply light and shadow.

26. This photo by the same photographer uses light and shadow but when looked at with the other picture establishes another motif? What is it?

27. Here’s a picture that looks like it could’ve been taken by the same photographer, but it’s actually by a current Photo 2 student—Zach Miller.

28. This is also by Zach. Notice how he puts negative space to such good use. This picture is both abstract and minimalistic.

29. Here’s a light and shadow motif in black and white so those of you who prefer monochrome don’t feel left out.

30. Sometimes a motif might just be a color.

31. Sometimes a motif might just be a color.

32. Sometimes a motif might just be a color.

33. Sometimes a motif might just be a color.

34. Sometimes a motif might just be a color.

35. Sometimes a simple, everyday action takes on significance when captured in a moment by a street photographer.

36. Sometimes a simple, everyday action takes on significance when captured in a moment by a street photographer.

37. Sometimes a simple, everyday action takes on significance when captured in a moment by a street photographer.

38. Everyday in the city one breezes past moments like this one
Everyday in the city one breezes past moments like this one. The ready street photographer sees things like this 200 yards away and readies his or her camera, checking light readings and pre-focusing. (Discuss digital limitations here)

39. A close cousin of street photography is Urban Abstraction
A close cousin of street photography is Urban Abstraction. The urban abstract photographer is not interested in narrative stories. Rather he or she uses shapes and colors to communicate the inner qualities of something rather than capture apparent reality.

40. Reflection is just one photographic tool for achieving abstraction.

41. Abstraction concentrates on the visual elements of design without emphasizing the representational aspects of the object—what it REALLY is or WHERE it is.

42. Another method is reductionism
Another method is reductionism. That is when an artist reduces a complex idea or subject down to a few elements, allowing those elements to symbolically stand for the whole.

43. A close relative to reductionism is minimalism
A close relative to reductionism is minimalism. Minimalism strips a scene down to just a few parts—not in an effort to make the parts stand for the whole but to get rid of unneeded complexity. Minimalism is a tool of the urban abstractionist.

44. Here are just a few more examples of street photography.

45. Here are just a few more examples of street photography.
You can find more at these websites:

46. Assignment
Find a spontaneous, street style photo online:
that tells a story to you. Identify the characters and summarize the plot.
Ironic Juxtaposition—One photo of an ironic juxtaposition. The photo should have a “punch line.”
And identify a motif (either a shape, color, texture or repeated element)
Street portraits are pictures (generally close up) you take with permission. They are a more “safe” way of beginning street photos. Find 2 of these. Look for some tips on taking street portraits (google) and write them down.
That shows urban abstraction or minimalism.
Write down 5 locations you think would be rich with possibilities for street photos.