Features of Street Photography and Its Similarities with Cinematography

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 and compare visual elements between cinema and photography. Scientific novelty. The detailed analysis of the main compositional methods designed to simplify the composition and analysis of the main components of a spectacular visual image that enhance the visual impact of cinematic photography on the viewer were conducted. Conclusions. The article describes in detail the visual features of creating cinematic street photography. The elements of street photography, the affinity of style with cinematography are generalized, the components for creating a strong visual effect on the audience are identified.

A documentary investigation of the Imvunge group of street photographers in Durban with specific reference to the develpment of photographic and business skills (1999-2009)

The aim of this research is to document and evaluate the Imvunge group of street photographers in Durban with specific reference to the development of photographic and business skills from 1999 to 2009. This study will focus on a discussion of how members of the Imvunge group started their photographic careers as street photographers and how, through participating in projects and workshops, they developed their photographic skills and became professional photographers. This will include an investigation of both photographic skills such as image capturing, lighting techniques, image presentation and visual literacy; as well as business skills such as basic accounting and marketing. Chapter One provides an account of the history of photographic techniques and street photography in Europe, Africa, South Africa, KwaZulu-Natal and Durban in order to provide a context to the formation of the Imvunge group of photographers. Chapter Two provides an historical background of the candidate’s work as a street photographer in Durban from 1969 to 1989, before registering at Technikon Natal for formal training in photography. It also discusses his life history from being a young businessman, a lecturer, in order to provide information regarding the business and photographic skills acquired and which he was able to impart to street photographers. Chapter Three documents the formation of the Imvunge Street Photographers’ group; the partnership between the Imvunge group and the Durban Art Gallery, the Imvunge group’s exhibitions and projects, the history of selected members of the Imvunge group and an analysis of their work to provide evidence of an improvement in their photographic skills. The conclusion will present findings from this research project and will include a proposal for areas of research.

‘OVERLOAD’ POTRET TRANSPORTASI ANGKUTAN BARANG DALAM KARYA STREET PHOTOGRAPHY

Humans are creatures that are able to move and move from one place to another. Long before the wheel was discovered as part of the means of human transportation, animals and livestock such as horses, cows, camels and even elephants were used as a means of transportation. Apart from being a tool to speed up and lighten the travel time of these animals, sometimes the burden is attached to the rider. After the wheels were found, humans made transport vehicles that functioned as places for passengers and goods which were then pulled by animals so that the loads carried became more efficient and more efficient. Along with the development of time from time to time until finally motorized vehicles were found, the distance between the movement of people and goods was getting farther, more numerous and faster. Humans can move freely with current road facilities and adequate facilities. Almost everyone today can afford a vehicle from a bicycle to a plane depending on the abilities and needs of each individual. Movement or mobilization is not only human but also goods. Movable goods clearly require transportation assistance and humans as the perpetrators and are supported by the ease of road facilities and infrastructure. Each vehicle created has its own specifications and specifications, be it designation, capacity and recommended load. For example, passenger vehicles are not allowed to carry goods and vice versa. Especially if it is related to the recommended load capacity, whether it is a passenger vehicle or goods, it will clearly affect the safety of both the driver, passengers and luggage. Seeing the tendency in Indonesia, things related to the transportation function and discipline are often violated, the writer and photographer in this study is interested in the theme of 'overload', namely the portrait of transportation, especially freight transport in Indonesia, which is often seen carrying excess burden or over capacity in street / Street photography works. Photography Keywords: Street Photography, Transportation, Street Photography

Images On The Street : Fashion, Personal Style, And The Sartorialist

Drawing on urban modernity and subcultures, the street photography of the online site, The Sartorialist, is interpreted within a history of everyday style on the streets (or "streetstyle") since the mid-twentieth century. The paper argues that, as a digital archive of streetstyle, The Sartorialist creates a convincing portrait of the mythic notion of self-invention through fashion by tying style to a variety of elements of the real. Through a distant reading of the archive and semiotic analysis of the images, the underlying structures of meaning-making on the site are revealed. Through a condensation of Nancy's theory of the image and Benjamin's conception of the wish in the dream, I argue that The Sartorialist both validates and highlights the ultimate limitations of the urban project of fashion and encourages a particular way of looking at the world.

Images On The Street : Fashion, Personal Style, And The Sartorialist

Drawing on urban modernity and subcultures, the street photography of the online site, The Sartorialist, is interpreted within a history of everyday style on the streets (or "streetstyle") since the mid-twentieth century. The paper argues that, as a digital archive of streetstyle, The Sartorialist creates a convincing portrait of the mythic notion of self-invention through fashion by tying style to a variety of elements of the real. Through a distant reading of the archive and semiotic analysis of the images, the underlying structures of meaning-making on the site are revealed. Through a condensation of Nancy's theory of the image and Benjamin's conception of the wish in the dream, I argue that The Sartorialist both validates and highlights the ultimate limitations of the urban project of fashion and encourages a particular way of looking at the world.

Street Photography Reframed

Afraid of contagion [...]