By David Walker


“New York City, 1963,” by Joel Meyerowitz. From 1962 to 1965, Meyerowitz and Garry Winogrand “pounded the streets every day” with their cameras cocked and ready, looking for the “fragment of perception that stimulated our consciousness,” Meyerowitz recalls.

When we asked photographers to define “street photography,” they cited the work of several photographers as examples: Helen Levitt, Eugène Atget, Diane Arbus and William Klein, among others. But the photographer most frequently mentioned is Garry Winogrand (1928-1984). To photographers who knew Winogrand personally and those who know him only through his incongruous, witty work, he epitomizes the genre. Photographer...


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INTERVIEW // Blake Andrews by Karl Edwards

Shoot First, Ask Questions Later

In Public’s Blake Andrews is an outspoken street photographer and blogger based in Eugene Oregon. He shoots mostly black and white film and while his work fits within a broad definition of street photography, he sees himself as a photographer first. Looking for images wherever they can be found. I sat down with Blake to talk about the process of finding images and making photographs.

I met Blake Andrews earlier this year when he was doing a workshop with Matt Stuart in Los Angeles. The first thing I noticed was that his eyes never really stopped moving. He seemed to be constantly looking for images 3 or 4 steps ahead of wherever he was standing. He was pretty busy with the workshop so we agreed to together by Skype when we were both back home. Our conversation touched on street photography but we spent more time talking about his process of finding images and the importance of making photographs.

I hope you enjoy the interview as much I did!


StreetShootr: Hi Blake, thanks for taking the time to talk with us today!

Blake Andrews: My pleasure, Karl. I’m glad to be here.

SS: Let’s jump right into it. I understand that you don’t really think of yourself as street photographer in the strictest sense?

BA: I guess that’s what I best fit into in terms of my work being candid and found moments and just being open to possibilities. But it’s never been a clean fit for me to look at myself as a street photographer or even compare work to traditional street photography. I just do what I do. I found my thing and whatever. If some people think my work is street photography or not isn’t important to me. It doesn’t have to be one thing or the other.


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EXHIBITION // Jerome Liebling: Brooklyn and Other Boroughs 1946 – 1996

Exhibition: April 24th – June 6th, 2015
Opening Reception: Friday, April 24th, 6 – 8 PM 

Woman and Shopping Cart, Brighton Beach, Brooklyn, New York, 1985 

Steven Kasher Gallery is proud to announce Jerome Liebling: Brooklyn and Other Boroughs, 1946 – 1996. This is the second exhibition of Liebling’s work at Steven Kasher Gallery. The show features 50 black and white and color photographs taken in Brooklyn, Manhattan, and the Bronx over a five decade span. The exhibition highlights Liebling’s roots in, love for, and inspired representations of his home city.

Jerome Liebling (1924-2011) was born in Harlem and grew up poor in Bensonhurst, Brooklyn. In 1942, Liebling quit his first semester at Brooklyn College to enlist in World War II, serving in the notoriously deadly glider infantry. The carnage he witnessed fueled his creative impulse to “figure out where the pain was..." Liebling returned to Brooklyn College in 1946 to study art under the G.I. Bill. Ad Reinhardt's Bauhaus-influenced design classes honed his formal sensibility; documentary photographer Walter Rosenblum opened his eyes to the power of the photographic image.

In 1947, Liebling joined the Photo League, a socially minded collective of photographers who fanned across New York to document hidden corners of the city. For Liebling, children surviving the rough-and-tumble city streets became a symbol of fortitude. "Their faces could inform all that they felt, from grace, to reflective questioning, to supreme prescience," he said. "Sometimes there was a hint of defeat, but more often there was improvisation and brilliance." One Easter morning in Harlem, Liebling encountered a young child dressed in his Sunday best: broken shoe-laces, tattered trousers, a threadbare tweed coat and cap.  Hands buried in his pockets, the boy spread his coat open wide, and the click of Liebling's shutter transformed him into Butterfly Boy. This image of a winged superhero who could soar away from his impoverished world has become a beloved icon, appearing on public posters and billboards in New York, Paris, Amsterdam, Japan and elsewhere.

In 1949 Liebling accepted a position teaching photography and filmmaking at the University of Minnesota. Twenty years later, he returned to New York to discover that the city of his childhood had vanished. ''I came back, and it was a disaster," he said. Liebling's 1970s photographs of the crumbling South Bronx depict a bleak realization: theButterfly Boy may not have escaped to a better place after all. The young man in the picture Charlotte Street is trapped amidst ruins, in devastation as harrowing as Liebling's wartime experiences. Despite their imagery of senseless destruction, his photographs reveal the ever renewing spirit of humanity pushing up through the cracks.

In the late 1970s, Liebling rediscovered the long-lost Brooklyn of his childhood in the oceanside neighborhood known as "Little Odessa" in Brighton Beach. He spent three decades photographing there in brilliant chromogenic color as the old wave of Jewish denizens gave way to the new wave of Russian immigrants.

Liebling’s daughter, filmmaker Rachel Liebling, says “There was nothing as exciting as wandering the streets of Brooklyn with my father.  He found mystery and intrigue around every corner. The people on the streets – with their indefatigable energy and their human foibles – became larger-than-life through his lens. Human struggle took on mythical proportions; the perseverance and ingenuity of everyday people was heroic in his eyes.”

Jerome Liebling: Brooklyn and Other Boroughs, 1946 – 1996 will be on view April 24th – June 6th, 2015. Steven Kasher Gallery is located at 515 W. 26th St., New York, NY 10001. Gallery hours are Tuesday through Saturday, 10 AM to 6 PM. For more information about the exhibition and all other general inquiries, please contact Cassandra Johnson, 212 966 3978,


Introduction to Composition for Street Photography by Eric Kim

Eric is one of the most well-known street photographers out there, today. In his continues efforts to shoot and share, Kim has put out the full presentation he used in hisIntroduction to Composition for Street Photography talk at Gulf Photo Plus 2014

Gannon Burgett  


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Exploring Street Photography by Nick Bedford

Somewhere along the way last year I lost the drive to pursue my main passion which was portraits. I struggled with it for months, but what came of it was a new found interest of simply taking pictures again, not spending time setting up lights, finding locations and everything that comes with portraits. What this lead to, not without a good deal of influence from the other WECC members, was an appreciation for street photography.

Corner Queen & Edward Streets, Brisbane Fuji X100s - VSCO Kodak Portra 800

Corner Queen & Edward Streets, Brisbane
Fuji X100s - VSCO Kodak Portra 800

If you look at the vast array of street photography out there, the core of it involves nothing more specific than simply making pictures in your environment, whether in your own city or when travelling, with minimal influence on your subject matter.

What this grants anyone who ventures to do street photography is limitless range and potential. Pictures are everywhere. Portraits of strangers or friends, architectural points of view, candid moments of people, political and social commentary, the list goes on, and while all photography requires practice and technique, I'll be the first to agree with many that say it's one of the more challenging genres of photography, especially when you're not used to it. It's also very rewarding since it relies so much on timing, serendipity and perhaps most of all, confidence.

Queen Street Mall, Brisbane Fuji X100s - VSCO Kodak Portra 800

Queen Street Mall, Brisbane
Fuji X100s - VSCO Kodak Portra 800

It requires constant observation and a keen eye for interesting people and/or moments. I saw these two sitting together on a bench and decided to shoot from the hip as I walked by. I was lucky enough to time the shutter right to place them where I like in the frame, just off center but also from their lower perspective. Sometimes shooting like this, people are half out of frame, nowhere to be seen or there are other mishaps like exposure settings and focus going wrong.

I'm still very new to street photography, especially the kind that requires a little more confidence in taking closer pictures of people. But I like capturing moments like the black and white picture below of people in motion framed by the city around them. One factor of street photography which makes it exciting and challenging is that you don't know exactly what you're going to get until the moment is gone and you review the shot or develop your negatives.

Corner Edward & Adelaide Streets, Brisbane Fuji X100s - VSCO Ilford HP5

Corner Edward & Adelaide Streets, Brisbane
Fuji X100s - VSCO Ilford HP5

I think that's one thing that I've had to let go of and probably a good lesson learnt. You can't keep doing the same thing and hope to find it constantly as interesting as it has always been, unless some things are changing or growing. For me, I had to eventually realise that I needed to shift directions for a while and see where it takes me and rediscover photography in a different way.

Switching Form Factors

I think one of the deciding factors in choosing to go down this route was after shooting a roll of film on a cheap Canonet QL19 rangefinder I bought. It's the model released around 1971 with the 45mm F1.9 lens, which is great for portraits.


I shot about 33 pictures on a roll of Ilford FP4 before the shutter became stuck. I'm still waiting for the negatives and scans to come back so I'm not sure what I got. When the shutter became stuck, I eventually decided to bite the bullet and swap out my Canon EOS M / 22mm lens for the Fujifilm X100s.

In some ways the camera was also a reason why I wasn't venturing out and taking pictures. Both the X100s and EOS M with 22mm lens produce very similar results being a 35mm equivalent focal length, but the Canon EOS M is basically a point and shoot with very little in the way of manual controls.

The difference with the X100s is the optical / electronic viewfinder and easily accessible manual controls which makes taking pictures a much more enjoyable experience than holding the camera out in front of you with live view only. I shoot primarily in aperture priority mode with Auto ISO ranging from 400 minimum to ISO 3200 for low light and a minimum shutter speed of 1/125th. The aperture ring on the lens makes it quick and easy to adjust your aperture on the fly before taking shots and I love the way the EVF in play back mode becomes somewhat of a miniature slide projector.

Digital Film

What put the icing on the cake for me was using VSCO's Film 01 Lightroom presets to process the raw files. The two stock emulations I've used so far are Ilford HP5 black and white and Kodak Portra 800 for colour. I've never really liked the clinical and purely representative look of digital camera images, at least for my own pictures. For portraits and professional work I tend to use the full quality of the raw files I shoot (Canon 5D Mark III) since that is the desired look, but for these and my other personal pictures, I prefer to give them a look akin to different film stocks.

Here are some examples of Ilford HP5 and Kodak Portra 800 Lightroom presets applied to the same raw file.

Interview // Photographer Josh White What You Feel is What You See


Josh White

Josh White is a street photographer from Newfoundland in Canada, and has done the majority of his work in Seoul, Korea. I conducted a video interview with him when I taught my Introduction to Street Photography Workshop with him in Toronto. We caught up, chatted about his beginnings, his inspirations, working in film versus digital, why he prefers black and white, and some memories from Seoul.

Josh—tell us more about yourself.

My name is Josh. I’m originally from Newfoundland in Canada. I lived in Korea for a long time and a lot of people probably know my Korean street photography the most.

Tell us your life story. For those of who don’t know, where exactly is Newfoundland?

Newfoundland is East-Coast Canada, a small island. It wasn’t part of Canada until 1949—interesting fact.

How did you make it from Newfoundland to Korea?

From Newfoundland I played hockey, went to Wisconsin for a year ,and I finished my undergrad here in Canada, then I went to law school. Then I went to Korea to teach English. After that, I got into photography pretty hard. 


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Photography News // DIY $0.30 Soft Release ...

Leica M8 Simon P M Johnosn

After losing at least 5 great quality $$$ metal soft releases from unscrewing,  I thought I would try a 3M glass pad (pack of 10) for about $3.

Fit strait onto the shutter button perfectly and have remained on for the past 6 weeks both on my M6ttl and M8..  Remember to center the pad on the shutter release and apply pressure for about 10 seconds then you cool to go.

UPDATE* Well I wrote this post over a year ago (roughly) on my Street Blog. Since then I sold both the Leica M8 & M6, interestingly enough both DIY '3M' Soft Releases still stayed in place after constant use with both cameras.  


    I have since purchased a Voigtlander R4A (above) to shoot my film with. I naturally grabbed some more Glass Bumper Pads from Coles (below). These Generic pads are a slightly different shape but so far have proved as good as the 3M I had previously used. So gar so cooool, give it a go I am certain you will not be disappointed and it wont break the bank. If ya lose one just pop another one on

    I am so surprised how well it adhered to the shutter button, I think I have stumbled onto something ...... * Correction Pack of 10 for $3:50.

    Coles Table Bumpers

    Video // Arthur Fields MAN ON BRIDGE

    Man On Bridge is an interactive documentary about Arthur Fields, a street photographer who captured an estimated 182,500 photos of passersby on O'Connell Bridge. We are producing a web-based documentary that lets people learn about Arthur and allows them to submit their own Arthur Fields photo or Arthur Fields-inspired photo into the online story of the photographer.

    from El Zorrero Films via Vimeo


    To make this project happen, we need your votes!!!!

    Vote here:


    Chatting to the NY street photographer about a new documentary, technology and whether the camera phone has restored photography Dazed Digital are here to share the goods ...

    As part of the Nokia Lumia 925 Low Light Photography Competition, we take a look at the inspiring work of Cheryl Dunn. Street photographer and film-maker too, her work on street photography showcases what's possible with a willingness to get outside and the means to capture what you see. Putting the call out for the next great in the genre Cheryl has mastered, Dazed and Nokia have been inundated with entries. Now it's time for you the public to vote - bid for your choice and give the winner a brand new Nokia 925.

    When Cheryl Dunn first got into professional photography, she found herself trying to capture the unpredictable and frenetic action going down in the boxing ring. This experience, coupled with a love for graffiti, would later lead her down the natural route of street photography, a genre that has provided much of the subject matter for her subsequent, successful career as a photographer and filmmaker. Her most recent endeavour is the feature length documentary Everybody Streeta film doubling as a historical portrait of New York City’s street photography tradition and an introduction to some of its most important practitioners, from early hip-hop style chronicler Jamel Shabazz to former Photo League-member Rebecca Lepkoff. We talked to Cheryl on the phone from New York – the city that inspired both the doc and her own images – about history, technology and whether the camera phone has the potential to yield a new photographic sensibility.

    DD: What was it that first attracted you to shooting in the streets rather than, say, studio work?

    Cheryl Dunn: When I started shooting boxing in the 1980s, I suddenly had a ticket into this really inaccessible world. I used this subject as an opportunity to hone my skills, as it’s very difficult to get great shots of boxing since you’re pinned to certain sides of the ring and have to pick where you’re going to stand. You have to be flexible, instinctual and fast, and that was really the foundation of my photography practice. I also documented a lot of graffiti stuff happening on the street, so I guess two of my early practices led me to do more and more street photography. It was just what made me happy, and I could do it all day, every day.

    It’s really hard and it requires so much patience, it’s not like you can create things or make scenes happen. You can anticipate something and put yourself in a place where it might possibly happen, but you can never create it. That’s what I love about it, actually. Photography is not a democratic medium – in the business sense. More so than ever before, because in the past you kind of had to know what you were doing technically, whereas now cameras sort of do everything for you. So the photography business is more of a personality thing, or about who you know. That is not democratic to me – it’s not necessarily about your talent or skills. That’s something that bothers me about many aspects of life... I think street photography is just like, if you don’t put in the time it doesn’t matter if you are rich or privileged or whatever – you’re not good at it. 


    Everybody Street will be screened at the Raindance Film Festival, 25th September - 6th October 2013.


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