Tag Archives: street photography

contest Ricoh – SPITW

Photographers of all ages, backgrounds and levels of experience are invited to participate a competition in the organized by the group “Street Photography group in the world” in collaboration with Ricoh Imaging Europe

ENROLLMENT AND PARTICIPATION METHODS:

To participate to the Contest

DURATION:

Four weeks from 1st to 28th October 2020

THE JUDGES PANEL:Representatives for Street Photography In the World and Ricoh to decide winner based on a number of factors such as lighting, competition and theme.

THE PRIZE:

GR III Street Edition – Special Limited Kit.

THE WINNER:The competition will run for 4 weeks. The winner will be announced two weeks after the close of the competition.

Good luck to everyone!

www.ricoh-imaging.eu

www.streetphotographyintheworld.com/

Interview with…Simone Morelli

RESEARCHED BY ROBERTA PASTORE

How important is photography to you? Would you have imagined, a few years ago, that this passion would play an important role in your life?

Until a few years ago, I would have never imagined I would grew fond of photography. Over time, this art form has become a passion of mine and the language through which I can finally express myself. Before approaching photography, I had tried to give free rein to my creativity through writing, but once I entered the world of photography, I understood that this was the best way, so much so that it almost became an obsession.

  • Who are the masters of photography who inspired you in your photographic works?

I started shooting photos out of curiosity and before approaching the masters of photography I developed my own style. I lived for a few years in Stockholm and at that time I was gifted a Russian analogue camera with which I started shooting, trying above all to immortalize the human figure, therefore preferring people as subjects of my shots. Subsequently I started to approach the masters of photography who intrigued me and later inspired me: from Trent Parke to Joel Meyerowitz, Josef Koudelka, and then Gerry Winogrand, James Natchway and finally Marco Pesaresi

  • Are you interested in deepening your passion with readings and studies on culture and photographic language?

I am fond of photo books, a passion that was transmitted to me by a very important person, a point of reference, my teacher Stefano Mirabella. He made me enthused and opened my eyes to a specific photographic style, Street Photography. Another fundamental person in my photographic journey is my friend Perry Hall, from whom I learned the basic notions of development and printing of analog films. Photography remains for me an expressive language in all respects, a different way of telling myself, to make myself known to others. Photography has made me more sensitive, it has given me the opportunity to reflect and pay attention to small things, also through the works of other photographers. This should be an opportunity that everyone should have, so that they are more aware of the world we live in.

  • Taking a shot on the street can sometimes be difficult; coping with people’s reactions or making sure that they are not invasive in the various situations that arise is not always easy. What is your approach in these circumstances?

Taking street photos is not easy task because in some occasions we run into one of the innumerable reactions that an individual can have. This also depends on the place of belonging of the subject, city or village; if we are in Italy, Japan or India, the subject’s approach toward the street photographer can vary, but often even being in your own city, the reactions can be different from person to person.

However, the shooting moment itself does not cause me problems, I even like finding myself in difficult situations, where I still take the shot in a natural way without hiding. I am a photographer and I don’t need and want to hide it, and if someone does not accept the fact that I took a picture of him, I try to motivate the subject and make him understand my intentions, showing some of my shots saved on my smart phone, in a cordial and smiling way. This approach of mine has often helped me and allowed me to have further interaction with the subjects I shoot.

  • In recent years Street Photography has taken hold, many photographers are dedicated to this genre. What do you think is the reason why many prefer to shoot on the street?

Internet and social platforms have given photography a way to emerge. Street Photography has caught on, compared to other styles, precisely because the “street” is within everyone’s reach and also because it is possible to use different tools for this kind of photography, from the optical bench to the Smart Phone. It remains a style that can be approached with ease, capturing moments of life without inordinate preparation and no posed shoot. The important thing is to get involved and be surprised by everyday life.

  • What is the element that differentiates it from other genres?

Street photography it’s different from other styles because it’s always spontaneous and usually no one is posing for the shot (even if it’s not always like this). The photographer must be able to read the scene regardless the situation in front of him and create a composition, therefore take a nice shot.

  • Which subjects inspire you and urge you to look for the shot in the city where you live or in the places you frequent?

My favourite subjects are people, I like to observe them, capture the expressions and attitudes of mankind, but I do not disdain a beautiful landscape or the animal world, everything that is life for me is very attractive.

  • What is the limit that should not be crossed in a street photo. Are there ethical rules or is it allowed to take everything back?

Reading texts on photography and the observation of the work of other photographers has made me aware of the fact that we can photograph anything and any type of situation. Photographing details, or peering with a telephoto lens through an illuminated window or in a park in the night can be equally surprisingly. Certainly, photography has limits that must respect ethical rules that assure that none is harmed in any way. My showing off during the shot is therefore a desire to make the subject participate in what I am doing.

  • What makes a street photo effective? Can you recognize, when you’re on the street, the details that can make a good snapshot of a good photograph?

Answering is quite complicated; I could say, yes, I know what makes a street photo a good photo, but it is difficult to explain it, because the subjects, the shots and the framing styles you can choose are truly infinite. I could therefore answer like this: a good framing, a subject of great impact or a situation of great impact, or both together. The other element is certainly the emotion that taking a shot gives me, for example I love the feeling I have when the subject looks into the camera.

  • Has Street Photography as a genre developed in you the attitude to interpret everyday situations with an original vision and your own style?

I don’t like to keep the same style, I also like to approach the shoots with different tools, often changing the camera and using different types of films, I even use sometimes a “pinhole camera”. I can shot landscapes, portraits and other styles and I tend to change often the point of view. I consider myself an experimenter on photography.

  • In a street photo, do you think that the contrasts of light are important for telling a story or are they just an aesthetic fact?

The light’s contrasts may be important for telling a story, it depends, if the content of the shoot is good and the photo “speaks up”: so it can be more than a mere and aesthetic element and be decisive for the success of a photo.

  • After the shot, what are the actions you take in terms of processing and editing?

I usually shot film, and I want to focus on the action I’m trying to catch on camera, so I prefer to wait to see the picture and let it rest. In this way I can go back to it after a while and watch it with a clearer mind and a rested eye: I do this because I love to take the picture with my mind and only then with the camera. For example I worked on my last project with a digital camera, but to follow my philosophy on shooting I covered the camera’s screen with a piece of cardboard.

Do you prefer black and white shots or color?

Normally I love to shoot in black and white, but sometimes I also enjoy the color even if it ends up distracting me. My vision is in black and white.

  • We often hear about “photographic projects” also in Street Photography. Have you ever documented a situation from which, subsequently, a story or the idea of ​​a project was born?

Yes. My latest project, for example, was born by chance at a time when I was uninspired. Reviewing my old shots, I was struck by a photo that I had never given much attention to. The subject was an elderly lady, with an absorbed look watching out of a small bus window. That photo gave way for my “In The Bubble” project.

  • Many times we look at the photos we have taken over the years. Is there one you are particularly attached to and why?

Yes, there are, but all of them are photos that I have not yet taken. These are the shots that perhaps we all have inside and remain etched within us and make us want to go further and try to improve ourselves, trying to tell ourselves to others. I think a photographer is egocentric but also very shy.

INTERVIEW WITH … ARTURO CAÑEDO

RESEARCHED BY ROBERTA PASTORE

How important is photography for you? Would you have imagined a few years ago that this passion would have played such an important role in your life today?

Photography was important for me since I was a child, when I left school my desire was to be a cinematographic film director, but in the 90s in Peru the economic crisis changed the course and dream of many young people who, like me, changed their profession to help to their families; I studied economics and dedicated myself to it for many years. More than 10 years ago I resigned my position in a management in a banking institution to resume my photographic career, not in cinema, but as a documentary photographer. The economy and photography got together.

Who are the photographers that inspire you or have inspired you in your photographic work?

It is not only the great classic photographers of world documentary photography that have inspired or motivated me. To be honest, inspiration comes from everything that surrounds me, music, literature, photography in all its genres, design, cinema, poetry, my family, traditions, my culture, my country. , my food, etc., all this plays an important role when reproducing an image in your brain, an image full of emotion, feeling, aesthetic and that you always try to reproduce. It would be ungrateful and unfair to mention only some excellent photographers, more and more great artists appear that inspire you in one way or another.

DOWTOWN LIMA Proyecto de Arturo Cañedo

Are you Interested in deepening your passion with readings and studies on culture and photographic language?

Totally, for 5 years I have been developing a photographic project based on the population of the capital of Peru, it is called DOWNTOWN LIMA. The objective of this project is to portray from my point of view the character of my city using different photographic and lighting techniques. Therefore, documenting me is absolutely essential and important.

Taking a shot in the street can sometimes be difficult, dealing with people’s reaction is not always easy. What is your approach with the camera when you find yourself photographing strangers on the street?

The key word to this question is RESPECT, and this value is something that I not only have to say or manifest, but I have to prove it even in a corporal way. The people around us feel when you respect their space and it is at that precise moment that the doors of their world open for you.

In recent years, Street Photography has boomed, what do you think it’s due to? And what evolution has there been?

Definitely this photographic current has increased and the evolution of the internet through networks is one of the sources of this growth. The speed and immediacy of them, from my point of view, are not the best ingredients for an evolution within the aesthetic and language parameters that we are used to. We are enjoying a new language, a new way of showing photography, but like any process this tends to develop, improve and change.

Which subjects, both as people and places, inspire you more and urge you to look for the shot, or do you think better represent this city?

As part of being a documentary photographer, the elaboration of projects where the structure of themes is essential, in the case of my DOWNTOWN LIMA project, the relationship between the place and the subject is what denotes my work and the connotative theme the use of technical lighting and development respectively

What, then, makes a street photo effective? Can you quickly recognize the details that can make a good photo out of a simple shot?

I am convinced that the internalized knowledge of camera management as well as the exposure and photographic composition are the basis for our shooting decision to be correct within what we consider correct. Finding the different, intriguing, strange, interesting, outstanding, etc., are aspects totally foreign to the knowledge or not of the camera and technical management. Experience directly influences our ability to see and look at these aspects.

Is there something unique about street photography that differentiates it from other genres?

Definitely the ability to find control in the chaos is what, personally, I am more and more passionate about street photography.

In a street picture, do you think the contrasts of light are important to tell a story or are just an aesthetic fact?

In Lima, my hometown, I teach personalized photo seminars, about camera management and photographic composition, and also as an introduction to the photographic language. The latter indicates that when one is taking a photo, all the technical and composition related resources, that can help to denote and connote an image, must be used in order to make as rich as possible. So, I believe that it is not only the contrast of lights (very fashionable today in groups and on social networks) that should be used to produce a beautiful image.

Which are the limits of ethics in a street picture, or is it possible to shoot everything?

The ethics of people is a function of the level of values they have. For me, within my values and ethics, I have a limit, which may be different from others. Respect is my main tool that tells me how far I should go.

Your street photography is extremely focused on the portrait. What do you look for in the face of a potential subject, what are the characteristics that move you to take a photo and, in your opinion, which is the characteristic that a good street portrait must have?

My DOWNTOWN LIMA project is based on people and on the relationships and interactions they have with the surrounding environment and the urban space. It is essential for me to focus on the foreground or on the close-up view, with the use of wide-angle lenses for a correct composition of the subject, the environment and the situation experienced by it with naturalness and spontaneity, trying not to interfere too much by capturing it as quickly as possible.

What reaction do your subjects have once photographed? Do you happen to interact with them?

I always interact with my surroundings, in such a way that I become part of them, otherwise it would be very complicated to obtain images with the type of photographic technique that I use.

What kind of camera do you use and which focal point do you prefer for your work and why?

The camera and the focal point are determined by my project, for the case at this stage of DOWNTOWN LIMA, I use my APS-C camera and a 24mm as well as my flash.

Has street photography, as a genre, developed in you the ability to photograph in any light condition and to interpret everyday life situations with an appealing vision?

In my workshops I always mention that street photography is the best method of study for any type of photography. By the way, I take my photography workshops in the street.

Interview with… Antonio Femia

Researched by Roberta Pastore

ANTONIO FEMIA

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Antonio Femia was born in the deep south of Europe in 1973. After graduating in architecture, he moved to Rome where he has practiced the profession until 2014, when the passion for travel and storytelling led him to leave for a tour of (almost) the world that lasted years, along with his girlfriend. He tells about his travels on European travel magazines and on his blog www.totolemoto.it.

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Going back in time, how was your passion for photography born and how did you get into the world of Street Photography?

I believe it depends on a certain propensity towards image, the same that led me to study and practice architecture, a discipline that somehow starts from the same assumptions to arrive at almost opposite results: they both require knowledge of things and men, an understanding of the worlds in which one operates. But then architecture leads to the vision of something that does not yet exist, while photography describes something already existing. Undoubtedly street photography entered by force in my shots during the first travel in the East, but it was something I needed to remember. For a long time, photography was my strictly personal notebook for jotting down faces and situations.

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Was it easy to capture life while it is happening, in the places you visited during your travels?

It was easier at the beginning when I was shooting for me and disclosure of what it came out was not expected. I would also add that recklessness and unpretentiousness help luck. In any case I always felt a little embarrassed when freezing moments of people’s lives. I think in a sense that “the cholitas”, Andean women with colourful dresses, are right when they refuse to be photographed. They still believe that when you take their picture, you steal their soul. More than once I told them, “I wish! I would be really a great photographer if I did. ” In contrast, there are countries like Pakistan where almost no one pays any attention to someone wielding a camera in his face, making everything much easier. All this to say that, beyond the technicalities and the equipment, photography is made of space and time: framing and defining moment. The rest comes later.

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What is the element that you try to grasp when you’re in a city or a small town?

I do not always succeed, but when it happens I feel really satisfied. The purpose of my trips is to try to understand a little more of this great and miserable thing that it is humanity, that everywhere has the same root but changes depending on local cultures and their mix with globalizing elements. The very mutual relationship of influence between humans and their habitats fascinates me, a relationship that can be harmonious or hostile but in which, in any case, humanity change an ecosystem to make it a landscape, a natural or urban one. And this in turn affects the characters and human types. One of the things that fascinates me the most of the various cultures is popular devotion, a motor that drags the lives of those who have nothing and that is used by those who have everything to justify their actions.

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How do you combine photography and therefore the need to document on the go with the experience of a motorcycle trip, often in solitary?

Travel Reportage is a rather aleatory term and in the end, in hindsight, meaningless. You have to put together landscape photography, architecture, portraits, street photography by applying the modus operandi of the journalistic reportage, the real and serious one. The problem is that the latter requires rather dilated dwell times, that when traveling are often not available for various reasons. One must therefore be quick to grasp the topical elements to tell a place and its culture, with the imminent risk of reproducing stereotypes that misrepresent the reality of things. And by stereotypes, I mean both postcard-like images or any dramatic images of any discomfort: the substance of things is often in the middle and to find it, one needs time. Then there are the technical difficulties related to the medium and the type of client. Apart from the awkwardness of the dedicated technical clothing, the difficulty is when you have to make shots for the publishing industry. The magazines for which I produce my shots, as well as the sponsors, need a certain number of shots with the motorbike running in the environment, something that all things considered, it is correct in the economy of a story. It is a small punishment but a very challenging one, especially when you are travelling alone. In this case, one needs to put up the tripod, set an adequate depth of field and go up and down the street like an idiot. The situation improves considerably when the travellers are a couple: usually for these shots I become the “model” for my wife Alessandra, starting from the frame that we studied together, she moves on the field in search of something more compelling and personal. Her contribution to the reportage was also very instrumental in shots with human subjects since, as a woman and a rather cheeky one, she could interact freely with other women encountered in Islamic countries or in India and gain access to places prohibited to me, as the home kitchens that in those countries are strictly the preserve of women. To be there in two also makes easier to tell the interactions created with the locals with spontaneity.

 

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Although it may be difficult to choose, of which shot and of what situations do you keep the strongest memory?

There’s a picture I am very fond of, portraying a couple in their shop in La Higuera, the tiny village where Ernesto Guevara was killed. I was during the celebrations for the Holy Virgin of Guadalupe, with a cumbia band playing in a continuous loop, while everyone drank, incessantly chewing coca leaves to mitigate the effects of alcohol. No one was able to help me solve the problem I had on the bike, turning my stay in some kind of imprisonment, made even more difficult by discrimination I suffered as a “gringo”. The only place open to eat something was the “bodeguita” of this couple, where the woman served me the only dish available: a corn soup with inside the head of a hen, darkly turned grey by the cooking process. The man tried to talk to me, but he was too drunk to hold a sensible conversation unlike his wife that, clear headed and active, was putting aside the proceeds of the day. I took the photo after paying for my meal, taking advantage of the confidence between us. And I really like it because I think it sums up in some way the lives of those people: he tries to be the landlord but is only a facade figure, as stated by his habitual alcoholic lost gaze, while it is his wife that runs the show every day.

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What happens when you’re looking for specific framing, or alternatively do you take photos with an image already in mind?

That’s not always the case. One of the problems of documenting a journey is that often one has to shoot in dark conditions or with other disturbing elements in the scene. My ethics and practice force me to take things as they come, without mystification, and to exploit the difficulties to bring out a usable document. Like everyone, I wait for something to happen trying to be as unobtrusive as possible. Even when I am taking a willing portrait, I avoid to have the subjects take a different pose from the one I found them in. Most of the time I can come up with what I had in mind, some other times I definitely can’t, and I think I should commit myself more. For this reason, I consider an important thing to know the capacity and technical boundaries of one’s equipment, its exposure latitude, the manageability of the resulting digital files, the aberrations and artefacts produced by the lenses.

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Do you usually know immediately that you had found the right shot or do you realize that when you review the pictures taken?

Most of the time I am aware of what I did and that I have a series of good shots with at least a couple better than others. However, sometimes I happened to find photos I had completely forgotten and that instead deserve much more attention. A couple of months ago I was browsing through the photos I have taken in India to send some of them to a magazine and I found several that I had discarded two years earlier. One in particular, a child who turns to look at a girl who comes out of the alley, discreetly moved me: I caught a moment when something beautiful happened, but I had removed that. I did not realize even later, when I chose what to send to the editorial staff of the magazine. It’s not an exceptional shot, but the joy of discovery accompanied me for two days. And these kinds of things are good for the spirit.

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What do you think is the secret to capture the true essence of the road?

Living it from within and abandon it before boredom. Stay into it for a bit, change the observation point by studying the light during the day, talk to those who live it and then move on the scene trying to be invisible while shooting or, conversely, cause a reaction in the subjects. And then leave at the climax, because habit is the enemy of wonder. And to photograph something, you must be at least a little bit surprised.

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As for your works, which are the ones that marked your real entrance in the world of photography?

I never had big ambitions in relation to photography, as I said before it was for “personal use” only. I was forced to take it seriously when I started publishing the stories of my travels in magazines, for which the photos are not a just simple accompaniment of the text but the elements that captures the reader’s attention.

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My training as an architect helped me move in accordance with the instructions of a client, accepting the necessary criticisms and suggestions of those who put together a magazine, without feeling offended by the inevitable initial rejections. The journey of a year through three continents, reported on the pages of the magazine “Motociclismo”, was the training ground where I studied the procedure, almost an artisanship, of putting together the pieces of a story made of words and images: for more than a year, every day it was time to take shots, choose, post-produce, write. All things that I have continued to do after my return to Italy, starting collaborations with “Overland” magazine for England and “Road Trip” magazine for France. After about four years from the first publication, good part of my time is dedicated to editing and writing about past trips and planning future reportages. Nevertheless, I do not think I could be defined as a photographer: I have a lot to learn, and one of the biggest problems I have is precisely how to put together a story that is not a travel story.

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How do you manage the use of color and b / n in your photos?

I seldom use b / n: with the exception of some experiments, from the beginning I have never dwelt into this technique. I have no bias with respect to monochrome, but I believe it presents some important challenges: you have to be concise and to create a palette of greys that do not make you miss the lack of colour. Perhaps I am colour photographer because the world is colourful and I would feel like I am losing something. Certainly, the democratization of digital technology has made this an obvious choice: if I had been born twenty years earlier I would definitely have photographed in BN for economic reasons.

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What kind of cameras do you use and what equipment do you take on your travels?

Reduced weights and compact size are essential on the road, at least as much as discretion is for street photography. For this reason, I have been long using good compact cameras. In the long ride I mentioned earlier, the main camera was a Fuji X20 that I loved for the sensor and bright lens but it was pretty damn delicate. As a matter of fact, it died finally in Peru before the end of the trip. I used it for planned shots, for street and architecture, or in difficult light conditions, but it was really bad for videos. I also used a “tough” camera, the Lumix FT-5, small and versatile enough despite not being capable to shot in raw format. It is perfect in dusty environments and in the rain and in general for shooting video or taking pictures from the bike, as it is armoured. Mounted on a selfie stick it was ideal for shooting ourselves while moving thanks to the moderate wide angle lens: my wife was in charge of it, and at one point she looked like a circus acrobat for the strange things she did with that stick. The FT-5 is still an integral part of my photo kit. When I was on my own, I also used a GoPro for photos and videos, avoiding the super boring POV shots. After the Fuji died I switched over definitely to the mirrorless systems that I consider the cornerstone for travellers. I am a happy owner of a Sony A7 that I use with an essential kit of Nikon manual lenses: 24mm f2.8 AIS, 50mm f1.8 D and a heavy 70/210 f4 / 5.6. Even the tripod must be a robust but compact one and I found a good solution in the Velbon aluminium UT series that when folded measures 30 cm. No flash, no additional lights. I feel the lack of a 35mm lens.

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What determines the success or failure of a photo?

The sentiment, no doubt. It is said that for journalism one must keep the proper distance. On one hand that it is true, on the other hand I think not getting involved with what you shoot means you are losing its essence. Perhaps the rule of the right distance applies if you report press agencies or shoot for a catalogue. But if you tell a story empathy is important, you have to insert yourself into it even if you have to go to hell. It is not a job for everyone. And since I do not rely exclusively on images to tell stories I would like to add that some photos turn out well when you do not take them. I speak of all those situations where a camera would undermine the empathy created with the subject, or when you looking for the good shot prevents you from living in the moment. In those cases, I prefer to live the situation as much as possible to report it later with words.

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Do you plan a photo before the realization or are your images the result of a reflection during the post-production phase?

Post-production is an important moment, a key part of the work that serves to highlight the message picked up while shooting. In addition to correcting the physical limits of the sensors and lens aberrations, it is the moment where feelings unfold. It’s like the sound for a musician. To reason about the pictures you are going to take before shooting is a necessary practice that can give excellent results, but the technology does not help in this regard and I decided to impose myself a discipline, perhaps also forced by the equipment: using completely manuals lenses obliges you to reason, before shooting, about the depth of field and about which is the real subject of the photo, without leaving the choice to the camera between its dozens of AF points.

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To compensate for the absence of autofocus in all those situations where shutter speed and correct exposure are required, I use criteria that everybody knew until the ’80s, as the hyperfocal, the rule of 16 or the rule of the reciprocal of the focal length to avoid micro-blurring. In essence, despite having the latest powerful camera, I take shots as it was done in the ’70s and I must say I do not feel the lack of automation. Besides good photography does not really need any of that: Capa did not have the autofocus or the program mode during the landings in Normandy.

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Is there any specific photographer that inspired you?

From the point of view of photography in the strict sense, I really appreciate the work of David Alan Harvey and the use of colour in Alex Webb work. To a “sacred monster”, quite criticized lately, I talking about McCurry, I recognize the undoubted merit of having created a trend, like  he was some kind of rock-star. Generally speaking, the real inspiration comes from Salgado and Koudelka: more than for their work, which I consider among the most powerful of all, both of them feel closer due to their personal history and the choices they made when it was time to figure out what to do with their lives.

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PERSONAL LINK :

http://www.totolemoto.it/interviste/

http://www.totolemoto.it/pubblicazioni/

Motociclismo (www.motociclismo.it)
Overland Magazine (www.overlandmag.com)
 
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Street Photography in the World The Book – Volume 1

Street Photography in the World The Book  Volume 1

for sale :

http://it.blurb.com/b/7787074-street-photography-in-the-world-the-book-volume-1

This book is the result of work that the Facebook group “Street Photography in the World” has been doing for years; with it we have tried to collect the best photos posted in the group during the course of its existence. The choice was not easy: in fact, the group has 160,000 active members who send hundreds of photos every day, and it was one of the first to pay tribute to “Street Photography”, at least on Facebook Thanks to the perseverance of its founder Roberta Pastore, the quantity, but especially the quality of the published photos, has grown with the passage of time. The group has an international character, with authors who come from all parts of the world, a proof that this photographic genre has developed in all cultures. The idea is that this publishing initiative is not to be a sporadic one, but should become a regular event, so as to promote those artists who are outside the commercial logic and help them to publish their work. Each author published here has lent his work for free, and remains the sole owner of the published image rights. Thanks are due to those who daily work with passion in the group, and especially to those who will follow closely this editorial initiative, hoping that this work is appreciated