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Journal articles on the topic 'Street photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Clark, Catherine E. "The Commercial Street Photographer: The Right to the Street and the Droit à l’Image in Post-1945 France." Journal of Visual Culture 16, no. 2 (2017): 225–52. http://dx.doi.org/10.1177/1470412917716482.

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This article examines the history of the commercial street photographer, or photofilmeur, in France from 1945 to 1955. Although itinerant photographers had long operated, they organized as a new profession after the Second World War in response to hostile reactions from other ‘sedentary’ photographers, conservative officials, lawmakers, and the police. Tracing the fight to regulate and even ban photofilmeurs in state and police archives, courtroom accounts, and union publications, this article reveals a struggle over the who, what, and where of photography: Who has the right to photograph whom

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KUBIE, OENONE. "Reading Lewis Hine's Photography of Child Street Labour, 1906–1918." Journal of American Studies 50, no. 4 (2016): 873–97. http://dx.doi.org/10.1017/s002187581600058x.

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Lewis Hine's child-labour photographs are among the best-known social-documentary photographs ever taken, yet historians have neglected his photography of children working on the streets of America's cities. This paper explores the disputed symbolism of Hine's street-labour photographs. Far from simply depicting another appalling form of child labour, Hine's child street labourers, and the newsboys he photographed in particular, represented a range of ideas from masculinity and entrepreneurial spirit to the dangers of the new urban life and the apparent ignorance of immigrant parents. The symb

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Haran, Barnaby. "‘We Cover New York’: Protest, Neighborhood, and Street Photography in the (Workers Film and) Photo League." Arts 8, no. 2 (2019): 61. http://dx.doi.org/10.3390/arts8020061.

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This article considers photographs of New York by two American radical groups, the revolutionary Workers Film and Photo League (WFPL) (1931–1936) and the ensuing Photo League (PL) (1936–1951), a less explicitly political concern, in relation to the adjacent historiographical contexts of street photography and documentary. I contest a historiographical tendency to invoke street photography as a recuperative model from the political basis of the groups, because such accounts tend to reduce WFPL’s work to ideologically motivated propaganda and obscure continuities between the two leagues. Using e

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Mountfort, Paul. "Dérives: Street photography as post-/Situationist practice." Australasian Journal of Popular Culture 10, no. 1 (2021): 21–38. http://dx.doi.org/10.1386/ajpc_00036_1.

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Street photography has hardly lacked for popular cultural currency, as attested by those ubiquitous black framed prints and coffee table tomes. However, it has long been a relatively marginalized genre within photography that has seen relative critical neglect even compared to other demotic forms concerned with the everyday, such as the family portrait (Bourdieu) and snapshot (Barthes). This article seeks to sketch a series of potential intersections between street photography’s antecedent, formative and breakout phases on both sides of the Atlantic and the Situationist International’s (1957‐7

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Purbasari, Sophia, and Febrika Cahyadi Sambodo. "Design of Street Photography Promotion Media in Bandung City Case Study on Bandoeng Photostreet Shooter Community in Bandung City." ArtComm : Jurnal Komunikasi dan Desain 2, no. 1 (2019): 71–88. http://dx.doi.org/10.37278/artcomm.v2i1.163.

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Street Photography merupakan salah satu aliran dari photography, yang lebih mengutamakan subject (point of interest) di ruang publik (tempat umum). Street Photography merupakan kegiatanpositif yang mampu memberikan sebuah wawasan dan pengetahuan yang digabungkan sehinggamenghasilkan sebuah photo ruang waktu yang berdampak pada masyarakat. Street photography dapatmenjadi alternative dalam mendokumentasikan perkembangan zaman dari dahulu hingga kedepannyasebagai evaluasi untuk berkembang menjadi yang lebih baik. Dalam perancangan media promosistreet photography di kota Bandung bertujuan untuk me

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Rodriguez, Richard T. "On the Subject of Gang Photography." Aztlán: A Journal of Chicano Studies 25, no. 1 (2000): 109–48. http://dx.doi.org/10.1525/azt.2000.25.1.109.

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This paper examines the figure of the Chicano gangster in “gang photography, ” which represents Chicanos affiliated with street gangs in the greater Los Angeles area. Gang photography encompasses documentary photography, self-produced gang photography, as well as police photography. Moving beyond the aesthetic and personal desires by which the practice of photography is typically framed, I insist that we must come to terms with the sociopolitical forces underscoring all representations of Chicano gangs. My title refers to overlapping meanings of the subject. The subject or topic of gang photog

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Даваасүрэн, Золбоо. "Гудамжны гэрэл зураг Монголын гэрэл зургийн гол төрөл болох нь". Монгол судлал 46, № 1 (2022): 147–55. http://dx.doi.org/10.22353/ms20224617.

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Since the development of photography in Mongolia, street photography has developed simultaneously. Nowadays, street photography is emerging strongly among the types of photography. In this study, we considered the development of world and Mongolian street photography and the definition of street photography. In this way, it is crucial to clearly show the growth of street photography, bring Mongolian street photography into the research cycle, and increase the value of street photography.

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TAJUDDIN, LAILI MARDZIAH, ANDRIALIS ABD RAHMAN, NOR AZIYANA ABD RAHMAN, and ROSLIZA AHMAD. "OVERVIEW OF STREET PHOTOGRAPHER OBJECTIVES FOR THE PHOTOJOURNALISM GENRE." Quantum Journal of Social Sciences and Humanities 5, no. 6 (2024): 212–20. https://doi.org/10.55197/qjssh.v5i6.495.

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This study is a review of borderless street photography, aiming to explore the objectives behind each captured subject and the storytelling conveyed through the recorded and displayed images. The methodology used combines both contemporary studies and literature references. Several images from current street photographers were selected for analysis, linking the purpose behind the captures with insights from previous literature. Interviews with photographers were also conducted to further strengthen the data obtained. The analysis revealed that the purpose of street photography, whether direct

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Misiak, O. "Transformations of street photography in the era of digital technologies." Culture of Ukraine, no. 86 (December 24, 2024): 14–20. https://doi.org/10.31516/2410-5325.086.02.

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The purpose of the article is to explore the main features of street photography’s development in the digital age. The methodology. Several methods were used to analyze the street photography genre. The logical-analytical method helped to organize and summarize key ideas. The subject-analytical method allowed a deeper look at photography as a form of art and social communication. The system-analytical method showed the connection between technology and the evolution of the genre. The typological method identified the main stages of street photography development, and the historical-cultural me

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Schwartz, Stephanie. "Street Photography Reframed." Arts 10, no. 2 (2021): 29. http://dx.doi.org/10.3390/arts10020029.

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Majewska, Martyna Ewa. "Composting the Monument: Pope.L, Police, and the Trouble With Representation." Visual Arts Research 48, no. 1 (2022): 102–16. http://dx.doi.org/10.5406/21518009.48.1.09.

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Abstract The ways in which we view, process, and respond to photographs of racialized policing and police brutality are conditioned by existing imagery. Yet the images we are most likely to encounter, and the ones we are therefore most accustomed to viewing, fail to account for the totality of racial injustices, violence, and oppression. Photography's ability to occlude inconvenient truths and reproduce certain power dynamics as opposed to others has been identified in numerous analyses of images documenting civil rights activism. Corroborating such findings, photographs capturing the street p

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Kusrini, Kusrini. "Fotografi Jalanan: Membingkai Kota dalam Cerita." Journal of Urban Society's Arts 3, no. 2 (2016): 102–9. http://dx.doi.org/10.24821/jousa.v3i2.1482.

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Fotografi jalanan (street photography) menjadi sarana bagi fotografer Erik Prasetya untuk menggambarkan kota Jakarta secara visual dalam buku foto Jakarta: Estetika Banal. Di dalamnya terdapat hasil kerja fotografi selama sekitar 20 tahun yang berisi cerita tentang Jakarta. Foto-foto tersebut dicermati secara keseluruhan untuk mengetahui gambaran umum tentang Jakarta yang diusung oleh fotografer. Fotofoto tersebut dipilih sesuai dengan deskripsi umum dan dibahas lebih lanjut untuk mendapatkan cerita tentang Jakarta pada 1990-2000’an. Dalam foto-foto tersebut, Jakarta merupakan kota dengan masy

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Wei, Zhenyang, and Lin Zhu. "Humanistic Emotions—Expressing Emotions Through the Practice of Street Photography." Scientific Journal Of Humanities and Social Sciences 7, no. 8 (2025): 166–71. https://doi.org/10.54691/809gkc60.

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Human emotions, as a fundamental aspect of human experience, manifest in diverse ways within the visual arts. Street photography, characterized by its immediacy, spontaneity, and authenticity, emerges as a compelling medium for capturing and communicating emotional states. This study adopts street photography as a methodological tool to investigate how visual language—such as composition, lighting, and unposed moments—encodes both individual and collective emotional expressions. By conducting field-based photographic practices and subsequent image analysis, the research deciphers emotionally c

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Bordeniuk, Serhii, Iryna Gavran, and Valeriia Hrymalska. "Features of Street Photography and Its Similarities with Cinematography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (2021): 278–85. https://doi.org/10.31866/2617-2674.4.2.2021.248772.

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<em>The purpose of the study </em>is to analyze the visual features of street cinema photography and techniques for its implementation; establish the role of light, colour, composition and historical features of the street genre of photography; to prove the importance of conscious departure from the established laws of photocomposition for the implementation of creative ideas. <em>The research methodology </em>consists in the application of the following methods: theoretical – for the study and analysis of scientific publications, articles and photo albums of street photog

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Anom Purnomo, Aji Susanto. "CITRA SUREALISME JALANAN: ANALISIS STREET PHOTOGRAPHY KARYA ROY RUBIANTO MELALUI KONSEP HASARD OBJECTIF DAN THE MARVELOUS." specta 9, no. 1 (2025): 65–78. https://doi.org/10.24821/specta.v9i1.15033.

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Kajian ini bertujuan menganalisis street photography karya Roy Rubianto dalam buku foto INTIP melalui dua konsep kunci dari aliran surealisme Andre Breton, yaitu hasard objectif dan the marvelous. Dengan pendekatan kualitatif deskriptif, peneliti menginterpretasikan empat foto terpilih menggunakan pendekatan fenomenologi “studium” dan “punctum” dari Roland Barthes untuk mendeskripsikan aspek yang ternampakkan dalam sebuah citra fotografis seperti komposisi, pencahayaan, dan penjajaran. Punctum digunakan untuk mendeskripsikan aspek yang tidak ternampakkan seperti pengalaman sensasi estetis yang

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García Ranedo, Mar. "Entre la fotografía documental y la fotografía callejera: marginalidad y género." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 181. http://dx.doi.org/10.7203/laocoonte.0.5.12406.

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Resumen Con este artículo, propongo un acercamiento analítico a dos series de fotografías, Pulsaciones y Utterances, de la que soy autora, que cuestionan el estatus fotográfico de la imagen y que ayudan a definir las diferencias y paralelismos entre lo entendido por fotografía documental y fotografía callejera. Ambas series se establecen a partir de fotografías “robadas” que persiguen visibilizar a la mujer y sus modos de ocupar el espacio público desde prácticas ciudadanas que revelan problemáticas de equidad y diferencia en relación al género. Con esta aproximación conceptual, dichas s

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17

Schellini, Marcelo. "Sonâmbulo: anotações sobre um gesto na penumbra e as fotografias de André Leite Coelho." GIS - Gesto, Imagem e Som - Revista de Antropologia 9, no. 1 (2024): e209366. http://dx.doi.org/10.11606/issn.2525-3123.gis.2024.209366.

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This review describes and critically analyses the conceptual relationship between the photographic act and André Leite Coelho's photography book Sonâmbulo. The text exposes the photographic practice as both a consequence and an artefact of urban space. It suggests a common ontology between photography and the city by elaborating on intersections between street photography practice and its history. The discussion also addresses the aesthetic choices of the book's graphic design and its layout as a possibility for subjective representations of the city space in its fragmented and transitory perc

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Luvaas, Brent. "Ethnography and Street Photography." Anthropology News 58, no. 2 (2017): e325-e332. http://dx.doi.org/10.1111/an.393.

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Wallhead, Emma. "Street photography 1930s–1950s." History Australia 16, no. 2 (2019): 410–11. http://dx.doi.org/10.1080/14490854.2019.1591165.

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20

Bordeniuk, Serhii, Iryna Gavran, and Valeriia Hrymalska. "Features of Street Photography and Its Similarities with Cinematography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (2021): 278–85. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248772.

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The purpose of the study is to analyze the visual features of street cinema photography and techniques for its implementation; establish the role of light, colour, composition and historical features of the street genre of photography; to prove the importance of conscious departure from the established laws of photocomposition for the implementation of creative ideas. The research methodology consists in the application of the following methods: theoretical – for the study and analysis of scientific publications, articles and photo albums of street photography masters; empirical – to observe a

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Kariuki, Udo, Etenesh Okafor, and Olalekan Abioye. "Impact of Street Photography on Social Awareness in Nairobi, Kenya." Art and Society 3, no. 2 (2024): 1–7. http://dx.doi.org/10.56397/as.2024.04.01.

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This research explores the multifaceted realm of street photography in the dynamic urban context of Nairobi, Kenya. Focusing on the potential of this visual medium for social change, the study delves into the ethical considerations, cultural sensitivities, and societal impact associated with street photography. It investigates the role of street photographers as storytellers and their influence on public discourse, aiming to shed light on pressing social issues and challenge ingrained perspectives. The guidelines proposed for responsible street photography offer a comprehensive framework, emph

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Pradana, Yoka, Fiqie Lavani Melano, Jasmine Alya Pramesthi, Syahira Malva, Jesicca Christin Abigael, and Muhammad Harsya Helmansyah. "Pelatihan Street Photography Sebagai Konten Promosi Pariwisata Pada Siswa Smk Pariwisata." Bengawan : Jurnal Pengabdian Masyarakat 4, no. 2 (2024): 179–86. https://doi.org/10.46808/jurnal_bengawan.v4i2.169.

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Street Photography adalah jenis foto yang dapat dijadikan sebagai konten promosi pariwisata. Pariwisata merupakan sektor yang memiliki peran penting dalam perekonomian Indonesia, terutama dalam menciptakan peluang kerja bagi masyarakat lokal. Namun, pengembangan potensi pariwisata seringkali terhambat oleh kurangnya keterampilan profesional yang dimiliki oleh sumber daya manusia di daerah tujuan wisata. Salah satu keterampilan yang esensial di dalam mempromosikan pariwisata adalah fotografi. Fotografi tidak hanya berfungsi sebagai dokumentasi, tetapi juga sebagai sarana efektif untuk menarik m

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Knowlton, Eloise. "Showings Forth: Dubliners , Photography, and the Rejection of Realism." Mosaic: an interdisciplinary critical journal 55, no. 3 (2022): 115–31. https://doi.org/10.1353/mos.2022.a948453.

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Abstract: This essay asks what Dubliners may owe to a realism derived not from literary realism's models, but from a photographic realism newly emergent as photography moved, during Joyce's youth, out of the studio and into the street. Employing a distinction from Lyotard's early work, it claims for late nineteenth-century photography a disruptive figural force that erodes a prior, painterly, discursive order of the photographic, and traces this figurality in Dubliners .

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Starrett, Marilyn. "Street Photography and the Flaneuse." Visual Communication Quarterly 27, no. 3 (2020): 172–78. http://dx.doi.org/10.1080/15551393.2020.1798145.

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Luvaas, Brent. "Post No Bill: The Transience of New York City Street Style." Fashion Studies 1, no. 1 (2018): 1–20. http://dx.doi.org/10.38055/fs010101.

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The sidewalks outside New York Fashion Week are lined with makeshift plywood walls. They are designed to keep pedestrians out of construction zones, but they have become the backdrops of innumerable “street style” photographs, portraits taken on city streets of self-appointed fashion “influencers” and other stylish “regular” people. Photographers, working to build a reputation within the fashion industry, take photos of editors, bloggers, club kids, and models, looking to do the same thing. The makeshift walls have become a site for the staging and performance of urban style. This photo essay

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Mountfort, Paul. "Defending the Candid Gaze: Theory, the Archive, and Depolicing Street Photography." Journal of Asia-Pacific Pop Culture 9, no. 1 (2024): 4–27. http://dx.doi.org/10.5325/jasiapacipopcult.9.1.0004.

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Abstract Since practically the dawn of photography, there have been concerns over street photography’s invasive and potentially exploitive nature, from late nineteenth-century tropes of pests and “sneaky characters” trailing women in public parks to more recent panics over “camera fiends” and even state security warnings of the need to be vigilant of photographers potentially casing infrastructure for terrorist attacks. This article argues, using potted history and critical theory, that such straw-man arguments distract from the real dangers that the policing and curtailment of public photogra

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Ruchel-Stockmans, Katarzyna. "Community-Based Photographic Archives and “Potential” Histories of the Cold War in Eastern Europe." Život umjetnosti, no. 111 (July 2023): 48–61. http://dx.doi.org/10.31664/zu.2022.111.04.

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The article proposes to look at the recently emerged online photographic archives in Eastern Europe as a form of digital commons. The bulk of the collected photographs in these archives are vernacular, family or amateur photographs, the sort which obstinately resists being included in the histories of photography. The online archives under scrutiny here, Fortepan in Hungary and Karta/CAS in Poland, disregard the established divisions between the photographic genres, allowing the reconfiguring of the hierarchies and values perpetuated by other archives and museum collections. Most significantly

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Novak, David. "Photography and Classification of Information:." Street Art & Urban Creativity 1, no. 1 (2015): 13–25. https://doi.org/10.25765/auc.v1i1.22.

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Street and urban creativity is a global phenomenon and graffiti art is one of its manifestations. This article briefly discusses some approaches to photography as to one of the main visual research methods in the research of graffiti art works. Moreover, a framework for the classification of information contained in photographs of graffiti art works is proposed. A three level system of classification is introduced based on a provided example.

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Harmash, Yurii, Alina Pasynok, and Dmytro Ivashkov. "Bachelor's photo project “Street Football”." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 97–112. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235096.

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The author’s message for this Bachelor’s photo project was to study the leading artistic and stylistic solutions of genre photography and reproduce them in a Street Football — photography series. The research covers all aspects of this topic and can be a staging ground for further topic study and consideration.

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Abilova, Ramina O., and Yana Yu Kirillova. "Photographic Heritage of the Kazan Pharmacist Arnold Brening: History and Composition of the Collection (1904–37)." Herald of an archivist, no. 3 (2023): 861–75. http://dx.doi.org/10.28995/2073-0101-2023-3-861-875.

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The article presents results of studying photographic heritage of the Kazan pharmacist Arnold Brening (1879–37). Its first part examines his biography drawing on documents from the State Archive of the Republic of Tatarstan and on private archive of his granddaughter Tatyana Brening. Close attention is paid to the professional development of A. Brening, from his apprenticeship at the Brening Heirs Pharmacy to obtaining a pharmacist's degree at the Imperial Kazan University, from tenant to owner of the pharmacy at the corner of Bolshaya Prolomnaya (Bauman street, since 1930) and Universitetskay

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Muhamad Ali Tamrin. "Fotografer Jalanan Kajian Atas UUD ITE dan Hukum Ekonomi Syari’ah Studi di Kawasan Makam Gusdur Jombang." Salimiya: Jurnal Studi Ilmu Keagamaan Islam 4, no. 3 (2023): 83–99. https://doi.org/10.58401/salimiya.v4i3.1125.

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Photography is an inseparable part of human life in this millennial era, especially for those who like to travel, the tendency to capture every moment has almost become a tradition, but if done by others without permission, problems arise, how the legal impact on the practice of street photographers in terms of the ITE Law and Sharia Economic Law. The data collection method uses documentation, interviews, and observation methods. After that, it is studied with a descriptive analytical approach, which examines data collected in the field about street photographers, and the information is then s

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Harmash, Yurii, Alina Pasynok, and Dmytro Ivashkov. "Bachelor's photo project "Street Football"." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 97–112. https://doi.org/10.31866/2617-2674.4.1.2021.235096.

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The author’s message for this Bachelor’s photo project was to study the leading artistic and stylistic solutions of genre photography and reproduce them in a <em>Street Football</em> — photography series. The research covers all aspects of this topic and can be a staging ground for further topic study and consideration.

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Versey, H. Shellae. "Homeless on Main Street: Using Photovoice to Highlight Older Adults Among the Hidden Homeless." Innovation in Aging 4, Supplement_1 (2020): 728. http://dx.doi.org/10.1093/geroni/igaa057.2583.

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Abstract Homelessness is a reality for a growing number of Americans living in small towns and rural areas. However, unlike in cities, housing instability may be less visible. Using a photo-elicitation method (i.e., Photovoice), this study explores the meaning of place and obscured visibility to currently and formerly homeless older adults living in a small town in central Connecticut. Participants (N = 27) were recruited from a local service agency, given cameras and asked to photograph areas around town that were meaningful to them. Photographs were developed and followed by in-person, semi-

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Rezvan, Efim A. "Istanbul by Alfred Eberling: Street Photography." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 1 (2020): 59–65. http://dx.doi.org/10.31250/1238-5018-2020-26-1-59-65.

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Witt, Andrew. "The Evicted." Arts 8, no. 3 (2019): 95. http://dx.doi.org/10.3390/arts8030095.

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The following essay examines Anthony Hernandez’s photographic work from the early 1970s to the present. The essay addresses how Hernandez reimagines the genre of street photography in Los Angeles, countering the misconception that the genre, so dominant in the history of the medium, is nearly inexistent in California.

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Tarasov, Volodymyr, and Nataliia Markhaichuk. "FEATURES OF THE ARTISTIC LANGUAGE OF PHOTOGRAPHY IN THE CONTEXT OF INTERSPECIFIC TRANSFORMATIONS: PHOTO-READY-MADE AND PHOTOCOLLAGE (ON THE EXAMPLE OF FOREIGN PROJECTS OF THE VENICE BIENNALE 2010-2020)." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 68 (December 3, 2023): 25–35. https://doi.org/10.26565/2306-6687-2023-68-03.

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The article is devoted to the problem of the artistic language of photography, which is actively transforming in the direction of new types and genres of art. The authors examine the projects of the Venice Biennale 2010s - 2020s by I. Makhami, L. Kita, E. Kotatkova, A. Crosby, V. Mutu, M. Zukerman-Hartung, J. Stezakera, T. Michie that use photography as the main component of artistic expression in works and projects. The article uses the example of the analysis of specific projects and individual works of art to show the unique property of photography to represent one's own species identity, i

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Wikan, Daniar. "City of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 3, no. 01 (2017): 59–68. http://dx.doi.org/10.33633/andharupa.v3i01.1315.

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AbstrakCity Of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan adalah sebuah upaya dalam memotret kehidupan ODMK khususnya yang terlantar di jalanan. Fotografi potret dalam City of Madness mencoba memberi penggambaran ikonik secara detail dari ODMK yang terlantar, gambaran tersebut mulai dari mimik wajah, bentuk tubuh, cara berpakaiaan, serta ciri-ciri fisik lainnya. Dalam rangkaian karya fotografi City of Madness, fotografer memotret orang gila yang ditemui di jalan-jalan kota Semarang –Yogyakarta secara tidak terduga. Foto orang gila atau lebih tepatnya iko

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Agbo, George Emeka. "The #EndSARS Protest in Nigeria and Political Force of Image Production and Circulation on Social Media." IKENGA Journal of Institute of African Studies 22, no. 2 (2021): 1–29. http://dx.doi.org/10.53836/ijia/2021/22/2/002.

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For many years, the unit of the Nigerian Police Force, Special Anti-Robbery Squad (SARS) was accused of violent crimes and violation of human rights of citizens. One wondered if SARS had dual operational duties – to kill and dehumanise those it ought to protect. Between October and November 2020, multitude of Nigerian youths took to the street to demand for abolition of SARS, thus #EndSARS protest. Photography was at the heart of the social movement. Employing digital methods including compositional analysis and audience interpretation, this paper examines a selection of #EndSARS-related photo

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Brooke, Stephen. "Revisiting Southam Street: Class, Generation, Gender, and Race in the Photography of Roger Mayne." Journal of British Studies 53, no. 2 (2014): 453–96. http://dx.doi.org/10.1017/jbr.2014.10.

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AbstractThis article examines pictures taken by the British photographer Roger Mayne of Southam Street, London, in the 1950s and 1960s. It explores these photographs as a way of thinking about the representation of urban, working-class life in Britain after the Second World War. The article uses this focused perspective as a line of sight on a broader landscape: the relationship among class, identity, and social change in the English city after the Second World War. Mayne's photographs of Southam Street afford an examination of the representation of economic and social change in the postwar ci

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Suazo, Antonio. "A new method for using historical street photography collections as a primary source for cartographic production." Abstracts of the ICA 2 (October 8, 2020): 1–2. http://dx.doi.org/10.5194/ica-abs-2-24-2020.

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Abstract. The production of historical cartographies with the aid of digital tools has become in recent years a very active field of study, especially in urban heritage research. In this way, contributions from disciplines such as computer vision or remote sensing allow today to integrate data from various documentary records, enriching the available urban historiography, and enabling new readings on the relationship between historical cartography and contemporary sources of information. Despite this, little attention has been paid to the use of urban street photography, which continues to be

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Aziz, Abdul, and M. Imam Tobroni. "Aesthetics exploration of chiaroscuro light: capturing the visual atmosphere of traditional markets in Jakarta." Gelar : Jurnal Seni Budaya 21, no. 1 (2023): 80–89. http://dx.doi.org/10.33153/glr.v21i1.5057.

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Photography is needed as a medium of expression and delivery of communication messages. In the field of art, Chiaroscuro is a new vehicle for expression to be translated as a visual object in creating street photography. The main focus that is interesting to know is about the aesthetics of chiaroscuro light in the art of photography. The purpose of this research is to describe how to visualize the aesthetic expressions of researchers about traditional markets in the area of Jakarta. The research method employs an artistic approach within the context of visual field research, emphasizing creati

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Barcellos, Jefferson Alves de. "Fotografia móvel e na rua, uma experiência pós-fotográfica: a prática em uma nova ecologia dos meios midiáticos na rua (street photography)." Transições 1, no. 2 (2020): 179–94. http://dx.doi.org/10.56344/2675-4398.v1n2a20209.

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Durante mais de um século a fotografia de base argêntica sustentou toda o pensamento contemporâneo e também o campo das teorias que abordaram tanto essa linguagem como seus pesquisadores e artistas. Além dos aspectos clássicos que envolviam as discussões que norteavam as escolas que estudavam os fenômenos da imagem, a indústria fotográfica calcou toda sua produção em técnicas e práticas que se originaram no século XIX. Parecia claro que a fotografia como uma expressão artística e um labor, fosse manter sua origem com o avanço das novas tecnologias e sustentaria também suas práxis nos formatos

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Corby, James, and Dragana Rankovic. "Jaipur, Beyond the Frame: A Photographic Essay." CounterText 9, no. 2 (2023): 266–84. http://dx.doi.org/10.3366/count.2023.0309.

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In ‘Jaipur, Beyond the Frame: A Photographic Essay’, defying the colourful aesthetic cliches of the India of the imagination, Dragana Rankovic’s black-and-white street photography documents daybreak encounters and an unpolished view of Rajasthan’s Pink City, offering James Corby an opportunity to reflect on the politics of framing and the economies of visibility in literature and beyond.

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Yotvat, Kariti. "Yotvat Kariti." August 19, 2019. https://doi.org/10.5281/zenodo.3371140.

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“A few days ago I brought you some tips to keep in mind when we want to do street photography at night. Today I want to show you six more points to consider, but to help you in your street photography from a more general perspective,”says the street photographer, Yotvat Kariti. “I want to remember that today street photographers have many different forms and workflows. Despite this, here I give you some general clues to take into account to make this type of shots,”sha continues. The camera you use is not really important “And I say that I take street photography

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Orhan, Suzan. "Traces of Ottoman Modernization in Abdullah Fréres' Street Photographs of Istanbul." Sanat Tarihi Dergisi, December 14, 2024. https://doi.org/10.29135/std.1495915.

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The history of photography is also the history of modernity and modernization. In other words, it is both an important element and proof of modernity. Street photographs, on the other hand, are visual documents that can present objective images of daily life through the public sphere. This study aims to examine the modernization steps of the Ottoman Empire in the second half of the 19th century through Abdullah Fréres’ Istanbul street photographs and to make a visual analysis of the change in the multinational society structure. Following the invention of photography in 1839, the documentation

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Hadley, John. "Street Photography Ethics." Ethical Theory and Moral Practice, August 12, 2022. http://dx.doi.org/10.1007/s10677-022-10316-6.

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AbstractIn this paper I examine the ethics of street photography. I firstly discuss the close-up ‘in-your-face’ style street photography made famous by American photographer, Bruce Gilden. In close-up street photography, the proximity of the camera to the subject and the element of surprise work in tandem to produce a striking and evocative picture. Close-up street photography is shown to be ethically contentious on wellbeing-related and autonomy-related grounds. I next examine the more orthodox ‘respectable distance’ kind of street photography. In orthodox street photography, the photographer

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Sands, Audrey. "Lisette Model: Twelve Photographs: The Limited-Edition Portfolio and the Market for Photographic Prints in the United States." Getty Research Journal, no. 20 (June 24, 2025). https://doi.org/10.59491/rpcu4653.

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The explosive growth in the recognition of photography as an art form by museums and collectors in the United States between the late 1960s and 1970s is often referred to as the photography boom. In this period, the status of the photograph evolved from functional image to valuable and collectible fine-art object. This article addresses the significance of the limited-edition portfolio during the 1970s in light of this phenomenon, considering, as a case study, the portfolio Lisette Model: Twelve Photographs. Published in 1976 by Washington, DC–based art dealer Harry Lunn, the modern portfolio

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Cavedon-Taylor, Dan, and Dan Cavedon-Taylor. "Arrangement and Timing: Photography, Causation and Anti-Empiricist Aesthetics." Ergo an Open Access Journal of Philosophy 7 (October 22, 2021). http://dx.doi.org/10.3998/ergo.1130.

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According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, I amend CTP with Fred Dretske’s distinction between triggering and structuring causes, thereby overcomi

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Misyak, Oleh. "Genesis of Street Photography in the Context of the Specificity of Digital Age." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 3 (October 16, 2024). http://dx.doi.org/10.32461/2226-3209.3.2024.313278.

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The purpose of the article is to reveal the peculiarities of the development of the genre of street photography in the context of the digitalisation trend. Research methodology. The logical-analytical, subject-analytical, system-analytical, typological and historical-cultural method, as well as the method of cultural analysis, were applied in order to comprehensively and objectively study the problems of the development of the genre of street photography. Scientific novelty. The genre of street photography is studied through the prism of the features of digital photography; the influence of su

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Valkanova, Veselina. "The Socialization of the Photographic Image in Antoan Bozhinov’s book “The Photographic Image in a Communication Context”." Annual of Sofia University “St. Kliment Ohridski”. Faculty of Journalism and Mass Communication, December 10, 2023. https://doi.org/10.60060/fjmc.v31i1.1246.

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The monograph includes texts presenting naturally occurring trends in the history of photography that have acquired distinct forms and stylistic characteristics, such as "street photography" (without analog in traditional representational modes) and "social photography" as part of the broader field of documentary photography (also without analog in fine art). Explores the dynamic tension, attraction, and repulsion between the emerging art of photography and the established canons of classical representational methods. Traces the technologies that imperceptibly infiltrate the photographic image

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