The Phyla of Street Photography

If you spend time studying a particular genre of anything, you start to see the genre’s edges, as well as its internal patterns and repetitions. Groupings. Street photography (of people) has them, and I wanted to sketch out a few examples, list perceived pros and cons, and generally prove how writing something down helps to completely confuse the issue. Plus, classifying anything is arbitrary and dictitorial, which makes it that much more fun! I’ll be updating this entry with examples (maybe even in color!), as they come to mind.

The Juxtaposition: Surprising and often humorous combinations of two (or more!) unexpected things. The refined sugar in street photography’s morning cup — that extra kick. Also known as the what? the huh? or the how’d they do that?

Pros: These pictures burrow deep in one’s memory because they’re connected to a physical reaction, a jolt of laughter, or the ah-ha! of instant understanding. They make the viewer feel smart, because the understanding instantly unifies the viewer with the photographer’s intent, as in, “wow, wouldja look at that!” while hinting that there’s something deeper below the surface, which may in fact be absent. An unexpected thrill.

Cons: These pictures are often hobbled by their own strength. A photograph that limps around on a crutch of humor or surprise can’t always stand on its own. To mix metaphors, the juxtaposed slice-of-life picture is just a slice, not a sandwich. Not enough mustard or soul. These photos can be satisfyingly glib and ironic, but how satisfying is irony, really? (Wink wink)

The Moving Masses: Photos of people engaged en masse, doing something together, even if everyone’s going in different directions.

Pros: The familiarity of ubiquity. I don’t understand the allure of these pictures, even the ones I take. They seem to function best historically, when the viewer can say oh look how styles have changed, men used to wear such funny hats.

Cons: The sledghammer of the aggregate. Declaration of the obvious, as in yes, there are a lot of people in cities and occasionally they stand very close to each other and look like herded farm animals. The photographyness of these can be evident because the subject(s) are often looking right at the camera, with annoyance.


The Street Portrait: Soul’s beachhead. A person, isolated against an urban backdrop, caught in a moment in which their private, inner self is publicly visible. May or may not be candid. These can be rewarding to study, and the best hold up to much scrutiny, like classical sculpture. Where an emotional tide flows back and forth between subject and viewer.

Pros: The end of anonymity. By isolating the subject, a face (but most important, feeling) is given to the masses. A connection’s made between the viewer and the subject that may run deeper than the photographer’s intentions. Generally, people enjoy looking at other people who are “visually interesting” as long as that person is printed on a piece of paper (or on a screen) and can’t say “why are you looking at me?” which is a question that may have already been pitched at the photographer.

Cons: Street portraits are fun to look at in a museum or gallery, but they can be tough on a living room wall, year after year. Humans are an unpredictable bunch, especially when you’re connecting with them on a strong, emotionally acute level. It’s easier to prefer pictures of architectural facades, couches on the sidewalk, or slick, windswept empty streets. As with the other examples, if a portrait is just a portrait, it may not have staying power. The weakness of anonymity, as in “who is that?” when the answer is “I dunno. Some guy.”


Walker Evans

Abstract: Compositional framing of humans on the street such that you can’t tell where the street begins and the human ends or vice versa. The Wonder Bread of street photography. Incredible shelf-life, and people prefer it to that seedy, unpredictable, slice-your-own stuff.

Pros: Forget bread, this is the supermodel of street photography. Pretty, and pretty great for parties, but often empty. Compositionally pleasing, though the pleasantness is glossy and thin. Having one in your hands makes you look good to people who like splashing each other in the shallow end. Perfect for a hotel lobby.

Cons: Perfect for a hotel lobby.

Example: Your neighborhood stock photography agency.

The Perfect Peopled Moment: As a viewer, my biased preference. The assignment – to combine the surprise jolt of juxtaposition with a portrait’s humanity.

Pros: The darting ephemeral has been plucked-out, sat down and stilled. It’s often a photograph of something or someone you’ve never seen before, or if you’ve seen it, you haven’t had the chance to stand there and study it and be amazed. Makes you wonder how the photographer did it to such a degree that you actually remember the photographer’s name (or maybe even write it down!)

Cons: The humanity takes away from the power of the moment, or the moment takes away from the power of humanity. It’s a fine balance, and it’s easy to fall off either side. As a photographer, you can’t go out and find these (as you might with a plain portrait or something abstract), they find you, even if you put yourself into the kind of situations that are fertile for these pictures. Actually, “they find you” is wrong. If you’re in the right place with the right subject, these moments gently tap you on your shoulder. As a viewer, the experience is unified: admiration for the photographer’s vision on up to the unpredictable emotional hit.


The Triple Crown: A combination of two and a half of the above. A juxtaposed moment with the soul of a portait and a dash of abstraction. A portrait within the abstract masses. A finely-balanced moment you can sit back and study while learning something about yourself, the subject, and what it means to be human.

Pros: All

Cons: None




Thanks for reading. There’s more to come on 2point8. More clumsy writing, more interviews with photographers who have interesting things to say about what it is they do, and perhaps an ongoing email chat or two. If there’s something you think 2point8 should tackle, leave a comment or send me mail at It’s been sunny this spring, so I’ve been outside a lot, happily away from the computer.

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26 thoughts on “The Phyla of Street Photography”

  1. I’d add to the above the frenetic, dark, and rather violent type of street photography where the main subject of interest is the photographer’s own ambiguous personal reaction to his surroundings, rather than the people around him. Early Klein, Moriyama, and so on. The best thing about them is how fresh and raw the perspective can be even today. The worst thing is that it often gets mistaken for the crap that people cut off from their roll tips.

    Nice mini-essay by the way!

  2. who are you???? If you always write like the page I just read here then… “you’re a goddam genius Private Gump!”

    very insightful on masters and the impacts of their works. I especially appreciate the comments “pro/con” about work on a wall.

  3. Your writing’s not clumsy at all. You cover all the bases quite well. I prefer to concentrate on the pros since my work fails to satisfy me 99% of the time, and I think one has to feel good in order to have a chance at succeeding…

  4. Don’t forget the “Lotta stuff going on here” photo (for lack of a better term) which combines the Moving Masses with the, what?, the decisive moment?, which for this moment we can interpret as the apogee of some recognizable and meaningful gesture, but happening multiple times within the frame; a sociological tableau. e.g.: Winnogrand in his party shots in Public Relations. Hmm. Maybe that’s a triple crown.

  5. You’ve hit the nail on the head as to why art is hard to create. It has to have a special combination of qualities.
    Your writing is elegant, thoughtful and funny- that’s a good combination of attributes as well. I really laughed when I read what you said about street portraiture. Yours are among the best I have seen, and yet you make light of hanging them up at home and having to say ‘it’s just some guy”.
    Keep up the fantastic work- written and photographed.

  6. And- I forgot to mention that there exists street photography without any people (or animals).
    I do hate it when it’s referred to as “cityscapes”.

  7. First of all, great post. I echo others when I say that your writing is very far away from clumsy. I really enjoy watching you think through photography.

    You wrote:

    If you spend time studying a particular genre of anything, you start to see the genre’s edges, as well as its internal patterns and repetitions. Groupings.

    What’s crazy is the way in which a regular perusal of Flickr speeds up that process. So many images . . . so many great images . . . but, as you write, patterns become clear so much more quickly than they did before broadband and social networking made it possible for us to see so many images in such a short amount of time. It’s something I find amazing, distressing, humbling, and exhilirating, all at the same time.

  8. Reading through your site for me is like having a dejevue moment. Like hearing my own voice speaking in many instances. I work out of Cape Town in South Africa as a Professional Photographer. My subjects are varied from still life studio shots to commercial portraits, landscapes, stock library and products. My passion however, is capturing moments. Meaningful moments, be it a persons expression or an exchange or interaction. I too prefer not to ask for permission as it spoils the natrual flow of the elements that combine to make a great shot. Thanks for sharing its great.

  9. these photos reminds me of the quote, “the newspaper lies, the TV lies, the radio lies, the street, they howl with the truth”

  10. I am a professional street photographer based in Paris. I can only repeat what Paul hofman said “Reading through your site for me is like having a “déjà vu” moment. Like hearing my own voice speaking in many instances. “… Thanks a lot for all.

  11. Thanks for this; very insightful. I’ve come to hate the ubiquity of some of these types of street photography, and am hopeful that someday I can achieve the all/none shots, but would they mean anything in this mass of images we have all created?

  12. Hmm,

    Some good thoughts. In general I just walk around and try and see something that interests me (easy in China). I guess I am not sure at the time what style they fall into, I would say that most are of the portrait and humanity kind. The juxtaposition can be hard at times unless you have found a place that allows you to shoot time and time again to get the elements to line up.

    In any case, I just go and shoot and try not to think too much – unless a scene reminds me of someone else’s photo and then for sure I try to replicate or extend how I thought the other photog did it.


  13. Such so interesting, the last comment, that I can see, was sent on Dec 4 2010, maybe the “shop window” is in a corner where people don’t pass!

  14. I come to read again 2point8 and, very funny, I find what I’ve writed on May 08 2011 – Your commentis awaiting moderation!! hahaha (It’s a long way to..?)

  15. Love the taxonomy. Well rationalized and inspiring. But wish all the types had photo examples, especiallly “The Abstract.”

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