Parisian photographer Benedicte Guillon knows her light and shadows. This shot is from Istanbul; click through to Eric Kim’s blog see more of her photos from the Turkish capital, plus dramatic photos from Morocco and China.
(via Interview with Benedicte Guillon, Parisian Street Photographer from the Mobile Photo Group)

Parisian photographer Benedicte Guillon knows her light and shadows. This shot is from Istanbul; click through to Eric Kim’s blog see more of her photos from the Turkish capital, plus dramatic photos from Morocco and China.

(via Interview with Benedicte Guillon, Parisian Street Photographer from the Mobile Photo Group)

This photo by koci hernandez is part of a long post by Eric Kim called Why Instagram Is The Future of Street Photography. I haven’t read the post yet, but this photo is fantastic. Bunch of other good ones there, too.

This photo by koci hernandez is part of a long post by Eric Kim called Why Instagram Is The Future of Street Photography. I haven’t read the post yet, but this photo is fantastic. Bunch of other good ones there, too.

(via Reflections and Light: Dramatic Street Photography from Chicago by Anthony Spatara — Eric Kim Street Photography)
Several good photos in Eric’s post.
Joseph Goebbels, Hitler’s Propaganda Minister, 1933 in Geneva, by Alfred Eisenstaedt.
“I found him sitting alone at a folding table on the lawn of the hotel. I  photographed him from a distance without him being aware of it. As  documentary reportage, the picture may have some value: it suggests his  aloofness. Later I found him at the same table surrounded by aides and  bodyguards. Goebbels seemed so small, while his bodyguards were huge. I  walked up close and photographed Goebbels. It was horrible. He looked up  at me with an expression full of hate. The result, however, was a much  stronger photograph. There is no substitute for close personal contact  and involvement with a subject, no matter how unpleasant it may be.”
(via Alfred Eisenstaedt on Getting Close in Street Photography — Eric Kim Street Photography)

Joseph Goebbels, Hitler’s Propaganda Minister, 1933 in Geneva, by Alfred Eisenstaedt.

“I found him sitting alone at a folding table on the lawn of the hotel. I photographed him from a distance without him being aware of it. As documentary reportage, the picture may have some value: it suggests his aloofness. Later I found him at the same table surrounded by aides and bodyguards. Goebbels seemed so small, while his bodyguards were huge. I walked up close and photographed Goebbels. It was horrible. He looked up at me with an expression full of hate. The result, however, was a much stronger photograph. There is no substitute for close personal contact and involvement with a subject, no matter how unpleasant it may be.”

(via Alfred Eisenstaedt on Getting Close in Street Photography — Eric Kim Street Photography)

Black and White or Color in Street Photography: How Do You Make the Decision? — Eric Kim Street Photography
Interesting post, good advice from James Maher. That’s his photo “Green Umbrella.”
Also, I just added Eric’s blog to my Google Reader. Looks like it’ll be useful.

Black and White or Color in Street Photography: How Do You Make the Decision? — Eric Kim Street Photography

Interesting post, good advice from James Maher. That’s his photo “Green Umbrella.”

Also, I just added Eric’s blog to my Google Reader. Looks like it’ll be useful.