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Sokak Fotoğrafçılığı Hileleri - Yeni Başlayanlara Tavsiyeler (Mayıs Ayı 2024)
Sokak fotoğrafçılığı, halka açık bir yerde günlük hayatı kaydeden bir fotoğraf türüdür. Ortamın tanıtımı, fotoğrafçının, çoğu zaman bilgisi olmadan yabancıların samimi fotoğraflarını çekmesini sağlar. Sokak fotoğrafçılarının mutlaka sosyal bir amacı yoktur, ancak aksi takdirde fark edilmeyebilecek anları izole etmeyi ve yakalamayı tercih ederler.
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Alfred Stieglitz, Berenice Abbott ve William Eggleston dahil olmak üzere çok sayıda fotoğrafçı sokakta fotoğraf çektiler, ancak kendilerini sokak fotoğrafçıları olarak görmediler. Örneğin Stieglitz, 20. yüzyılın başında sert hava koşullarında New York City ve Paris sokaklarını fotoğrafladı. Abbott farklı bir yaklaşım izledi: 1930'larda kentsel mimariyi aşağıdan belgeleyerek aydınlık ve karanlık kontrastını ve yapılı çevrenin büyüklüğünü vurguladı. Eggleston, günlük, ortak mekanlar, insanlar ve genellikle halka açık yerlerde veya sokakta bulunan şeylerin büyük ölçekli resimlerinde renkli fotoğrafçılığı güzel bir sanata yükseltti. 1950'lerin ve 60'ların sokak fotoğrafçılarını etkileyenlerin çoğundan etkilendiyse de,caddenin ruhunu yakalamakla ilgilenmiyordu.
Halkı görsel olarak belgelemeye yönelik dürtü, Edgar Degas, Édouard Manet ve Henri de Toulouse-Lautrec gibi kentsel yaşamın özünü yakalamaya çalışan fotoğrafçılarla yan yana çalışan 19. yüzyıl ressamlarıyla başladı. Bazıları fotoğrafları resimlerine yardımcı olarak kullandı. Ressamlar, ressamlar ve fotoğrafçılar sokağa stüdyo gibi davrandılar, dünyevi ve muhteşemleri, özlü figürleri ve tuhafı kaydettiler. Sanatçılar, ortamlarını iki boyutta statik bir görüntüde kendiliğindenliği ve hareketi uyandırmak için ellerinden gelenin en iyisini yaptılar. Claude Monet gibi izlenimciler, zaman içinde hareketi ve değişimi ifade etmek için kompozisyonlarına kabataslak darbeler kattılar.Monet aynı konuyu aynı perspektiften tekrar tekrar boyadı, ancak günün farklı saatlerinde ışıktaki değişimin konuyu nasıl etkileyeceğini görmek için bir kamera oldukça verimli bir şekilde yapabilirdi. İlk başta kamera, sanatçının elinin yerini alabilecek bir araç olarak görüldü, ancak zamanla kameranın benzersiz kapasiteleri - anlıklığı ve insan gözünden daha fazlasını görme yeteneği (ve daha iyi odaklanma ile) - açıkça bir resimden ayrı bir fotoğraf koydu ve fotoğrafçılığı ek bir çalışma değil, ayrı bir araç olarak kendi başına değerli kıldı.ancak zamanla kameranın benzersiz kapasiteleri - anlıklığı ve insan gözünden daha fazlasını görme yeteneği (ve daha iyi odaklanma) - açıkça bir fotoğrafı bir resimden ayırır ve fotoğrafçılığı ek bir çalışma olarak değil, kendisi.ancak zamanla kameranın benzersiz kapasiteleri - anlıklığı ve insan gözünden daha fazlasını görme yeteneği (ve daha iyi odaklanma) - açıkça bir fotoğrafı bir resimden ayırır ve fotoğrafçılığı ek bir çalışma olarak değil, kendisi.
The first images to exemplify street photography were those produced by French photographer Charles Nègre, who used his camera to document architecture as well as shops, labourers, traveling musicians, peddlers, and unusual street types in the 1850s. Because of the comparatively primitive technology available to him and the long exposure time required, he struggled to capture the hustle and bustle of the Paris streets. He experimented with a series of photographic methods, attempting to find one that would allow him to capture movement without a blur, and he found some success with the calotype, patented in 1841 by William Henry Fox Talbot. The calotype could capture an image in one minute, a stunning efficiency when compared with the 15 to 30 minutes required for a daguerreotype. Some of Nègre’s photographs were staged to evoke action, and some occasionally included accidents—a blur of a figure moving across the composition. Those accidents serve as some of the earliest examples of movement captured in the still image, an expression of the energy of the street.
Eugène Atget, another early street photographer, documented the streets of Paris in the late 19th and early 20th centuries before they were demolished and rebuilt according to the new city plans implemented by Baron Georges-Eugène Haussmann. Atget made albumen prints using a large-format view camera that he lugged with him throughout the city. In contrast to Atget, photographer Charles Marville was hired by the city of Paris to create an encyclopaedic document of Haussmann’s urban planning project as it unfolded, thus old and new Paris. While the photographers’ subject was essentially the same, the results were markedly different, demonstrating the impact of the photographer’s intent on the character of the images he produced. Atget’s goal was to document old Paris before it vanished, regardless of what replaced it. Given the fine quality of his photographs and the breadth of material, architects and artists often bought Atget’s prints to use as reference for their own work, though commercial interests were hardly his main motivation. Instead, he was driven to photograph every last remnant of the Paris he loved. The mingled passion and urgency of his mission shine through, resulting in photographs that narrate his own experience of the city, qualities that anticipated street photography of the 20th century. Atget’s photographs were not mere documents or experiments with new technology. They reveal the city through his eyes. His work and fundamental understanding of photography as an art form served as inspiration to generations of photographers that followed.
Photography on the move and the Leica
The next generation of street photographers, though they likely did not refer to themselves as such, was ushered in by the photojournalism of Hungarian-born photographer André Kertész. Street photography as its own genre originated as an offshoot of photojournalism. In fact, many early street photographers started out as photojournalists or fashion photographers and often continued to perform those roles for a living while they pursued their art during their off-hours. Kertész was working in Paris beginning in 1925, and by 1928 he was using a Leica, a handheld lightweight camera that offered both mobility and greater anonymity.His street scenes of Paris sometimes captured people at close range in a manner not seen previously, exhibiting his bold risk taking and strong intuition about the camera’s capabilities. Though using a medium and a technology that were still in their infancy, Kertész mastered the ability to capture spontaneous activity without sacrificing thoughtful composition. Early in his career, he associated with abstract, Surrealist, and Constructivist artists, especially Dutch painter Piet Mondrian, whose abstract, geometric canvases likely had a significant impact on Kertész’s measured approach to composition.
In the 1930s Hungarian photographer Brassaï (born Gyula Halász), began to gain a reputation for his night photographs, using a technique he learned from Kertész while they were both living and working in Paris. Unlike his peers, Brassaï used a larger-format Voigtländer camera with a longer exposure time, forcing him to be more calculated and thoughtful in his practice than he might have been if using a Leica. (It is thought that he may not have been able to afford a Leica at that time, but he did, however, use one in the late 1950s to take colour photographs.) Brassaï’s photographs of the Paris underworld illuminated by artificial light were a revelation, and the compilation of the series that he published, Paris After Dark (1933), was a major success.
French photographer Henri Cartier-Bresson, an admirer of Kertész, is often credited with bridging art and documentary photography. Cartier-Bresson was a champion of the Leica camera and one of the first photographers to maximize its capabilities. The Leica allowed the photographer to interact with the surroundings and to capture moments as they happened. Its relatively small size also helped the photographer fade into the background, which was Cartier-Bresson’s preferred approach. While discussing his work, Cartier-Bresson coined the phrase “the decisive moment,” which resonates particularly well with the street photographer’s aim: taking advantage of that split second in which the elements of a photograph come together with clarity. It is because of this fundamental understanding of the art of picture taking that he is often credited with rediscovering the medium all over again roughly a century since its invention. He took photographs for more than a half century and influenced generations of photographers to trust their eye and intuition in the moment.
In the United States just before World War II, several photographers, including Walker Evans, Dorothea Lange, and Berenice Abbott, were starting their careers and beginning to more clearly define the potential of photography as it would be practiced in full force a decade later. It was during that period that street photography really began to take form as a unique subgenre of documentary photography. During the Great Depression, photography was becoming ever more present in books, newspapers, and magazines as well as in gallery and museum exhibitions. Evans, Lange, and Abbott, among many others, were making sense of contemporary circumstances, not only the economic struggle but also modernization and the growth of cities and industry. With advanced photographic technology, they took to the streets in cities, towns, and rural areas across the country to document the people and places that encapsulated the American experience.
