photo essay street photography

18 Immersive Photo Essay Examples & Tips

By Tata Rossi 13 days ago, Professional photography

A photo essay tells a story or evokes emotion through a series of photographs. The essays allow you to be creative and fully explore an idea. Such essays exist in a variety of forms – from photos only to images with brief comments or written essays accompanied by shots. Choose a photo essay example that you can easily do based on your professional level and the equipment you use.

1. Protests

• View the “Resistance” photo essay by David Moore .

A great idea for photo essays for students is to shoot the protest to show its power. You can capture people with signs and banners to demonstrate what they are standing for. Besides, you can learn how to capture moving subjects. Use the best example of photo essay and don’t forget about angles, composition, and framing.

To create a photo essay , go up to the front and photograph the leader of the protesters walking forward. After that, go back to the end of the group to take pictures of families joining the protest. As a result, you will gain experience shooting big groups of people in motion.

2. Transformation

• View the “A Self-Portrait Every Day” photo essay by Noah Kalina .

This idea is all about capturing the way a person changes. You may take photos of a pregnant woman and then capture the same model with a child. By documenting the development of the child for several years, you can tell a great story in the form of a photo essay.

However, you can also create a photo essay about the transformation of different objects. For instance, you can create a time-lapse series to capture the history of a renovated building. While you will have to take a lot of similar photos to bring this idea to life, it will allow you to achieve an impressive result.

3. Local Event

• View the “Monday Marathon” photo essay by Quinn G. Perini .

Whether you are a resident of a large city or a small town, you can find an opportunity to visit a local event, like a marathon or a festival. This is a nice chance to follow modern photography trends and bring photo essay ideas to life.

You can capture the before-and-after stages of the event. Arrive earlier and take pictures of the preparation activities, then shoot the actual event starting with the official beginning.

Keep photographing even when the event is over and capture the cleaning up and disassembling processes.

4. Photowalk

• View the “Empty Campus” photo essay by Elise Trissel .

Explore the location where you live and find interesting objects to capture in the vicinity. Using the most interesting photo essay examples, you can decide how to make the best decisions. Don’t hurry and try to discover which angles you can use to capture the unique atmosphere of each place.

If you live in the city, you may capture architectural details, wide shots of busy streets, or just take photos of passersby and street signs. Think about the details that make every location unique. For instance, you can try capturing reflections to see how they allow you to see the city from an unusual angle. You can find reflections everywhere, so be sure to pay attention to mirrored buildings, puddles, and fountains.

5. Place Over Time

• View the “At Home in the Ozarks” photo essay by Kylee Cole .

If you want to document changes and show how the streets, buildings, and parks in your city change over time, select your favorite locations and start to visit them regularly to capture the way they look during different seasons.

• View the “Last Moments” photo essay by Ross Taylor .

You don’t necessarily have to focus on profound photo essay topics to evoke emotions. Capturing pets enjoying their worry-free and untroubled life seems like an easy but interesting activity.

Choose any animal – from a domestic bird to a dog, cat, or horse. For more emotional images, use such pet photography ideas when your pet is still a baby and recreate these shots when it is older or is in its final days.

7. Street Style

• View the Tribal Street Photography photo essay by Hans Eijkelboom .

People often express themselves with the help of clothes. The way passers-by on the streets are dressed may reflect the clothing style of a whole society. That’s why you can travel around the world and capture people’s outfits in various areas. When taking portrait photos in the streets, you can also include some of the surroundings to put them in the context.

You can ask people in the streets to pose for you or try to capture them in movement. Select a suitable location for taking photos and create a photo essay to document what kinds of people one can meet in this location. When doing urban photography , you should ask people for permission before taking photos of them. You can ask their contacts and send them your photos later.

8. Abandoned Building

• View the “Lost Collective” photo essay by Bret Pattman .

Old buildings are excellent architecture photography essay topics for students since you can capture a large number of elements. They allow you to imagine what a particular street looked like in the past. You may use a photo essay example for students as references.

Get approval before going in, but mind that such places are far from being totally safe. Bring various lenses: the macro lenses – for details and the wide-angle one – when you want to include many elements in one shot.

9. Alternative Lifestyles

• View the “Last Nomad Hippies” photo essay by Roberto Palomo .

Some people decide to lead a lifestyle that differs from the one generally accepted by society. Explore different areas and look for people with an unusual way of living. You can capture candid photos of regular people or take pictures of a person with an unusual hobby.

Take pictures of those, who reside in extraordinary conditions, representatives of various subcultures, or the LBGTQ community. These photo essay topics show other people that it is okay to go out of their comfort zone and run against the wind.

10. Social Issues

• View the “Juveniles in Prison” photo essay by Isadora Kosofsky .

The best photo essay examples for students are related to social issues, like unemployment, domestic violence, gender discrimination, and more. Address the topic carefully and look for a proper perspective.

Your shots may draw the people’s attention to a truly burning and relevant matter and have a stronger effect than any text.

11. Behind the Scenes

• View the “Follow Me” photo essay by Marius Masalar .

If you are going to visit an event, get ready to take some behind-the-scenes photos. For instance, you can document the preparations for a festival. Capture the work of the lead event planner and other professionals to tell the story of the festival from an unusual angle.

Alternatively, you can capture the events happening backstage during a drama production. Take pictures of actors and actresses when they are getting ready for the performance. Try capturing the emotions of the main lead and show how stage workers make final preparations. You can also document the work of designers and makeup professionals.

12. Landmarks

• View the “Volte-Face” photo essay by Oliver Curtis .

The pictures of landmarks are typically taken from a certain spot. One of the best photo essay ideas is to try shooting sights from various angles. You will also have an opportunity to improve your composition and your framing skills.

If you take a look at any pictorial essay example, you will see that the variety of perspectives is endless: through the streets, in the morning, afternoon, and evening, with a drone or including reflections.

    • View the “Family” photo essay by Olivia Moore .

You can capture the way family members interact with each other and demonstrate the strong connection they share. In some cases, it makes sense to focus on capturing candid photos when doing family photography .

However, you may also opt for a different approach and focus on more difficult social topics. For instance, if you want to examine the issue of immigration, you can take pictures of a family from another country. In addition, you may show how families cope with other social issues, including poverty or unequal access to healthcare.

14. A Day in the Life

• View the “A Day in the Life of Carlos Gaytan” photo essay by Sandy Noto .

One of the best photo essays concepts is related to a day in a person’s life. The main character can be any person – a relative, family member, teacher, writer, or policeman.

People are generally interested in finding out facts about the lives and daily routines of others. The life of every human is incredible, especially if you learn it in more detail. This idea is especially suitable for taking documentary photos. For instance, you can select any photo essay sample you like and then capture a portrait of a person with the tools they use for their work.

15. Education

• View the “School Day” photo essay by Nancy Borowick .

You can also take great photos in the classroom capturing the interactions of teachers and their students. Avoid distracting them, as it will be easier for you to take natural shots. Using a variety of settings, you can make your photo essay more engaging. For instance, you may visit chemistry labs, capture teachers during a break, and take photos in other locations.

• View the “Meals From the Motherland” photo essay by James Tran .

You can also focus on specific meals to create a professional photo essay about food. To make it more attention-grabbing, try using different food photography ideas .

For instance, you can take photos of popular meals, capture the meals made by a specific person, or document cooking traditions in different countries. When taking photos in a restaurant, pay attention to the surroundings as well to capture the unique atmosphere of a place.

17. Capture the Neighbors

• View the “Our Neighbors” photo essay by Jeanne Martin .

Regardless of the place where you live, you have to establish good relationships with your neighbors. People who live nearby can also be great models for professionals who specialize in portrait photography. To implement this idea, make sure to capture people at home or in front of their houses to include some of the surroundings in your photo essay.

You will discover many interesting facts about people who live nearby. Shooting a photo essay will allow you to learn them better and establish a strong connection with them. This way, you can create a sense of community and discover what holds its members together.

18. Climate Change

• View the “Effects of Climate Change” photo essay by Sanya Gupta .

It is possible to a variety of photo story ideas bring to life examining the impact of climate change. Travel to places most affected by climate change, for instance, glaciers or famous resorts.

Capture the way the continuous drought has influenced the environment, animals, and the inhabitants. As an alternative, take pictures of environmentalist protests or inexhaustible energy sources.

Photo Essay Tips for Students

Explore your topic . An in-depth exploration of the main topic of your photo essay will help you find the best ideas for conveying your message. You can also find some sources for inspiration and useful materials. This stage allows you to learn more about your subject and select the best way of organizing your photo essay.

Create a storyboard . Using a storyboard, you can better understand what shots you need to take and what order can help you to tell a story in the best way. It will also allow you to create the right mood.

Take as many pictures as you can . To create a compelling story, make sure to take a lot of photos. It will allow you to choose the best pictures for your photo essay. Besides, you will always have backup photos if some of your pictures get damaged.

Experiment with different techniques . By changing the angle and using a variety of editing techniques, you can transform the way your photos look. When taking photos, try using different angles to capture the subject in the best way. You can also try changing the distance from the model, using black-and-white film, or employing a range of developing methods.

Add text . While some photographers create photo essays without text, it can still help you bring your point across more clearly and make it easier for a viewer to understand what you imply. By providing extra information, such as some facts, you can change the perception of your image. If you don’t know how to write descriptions, you can hire a professional writer to perform this task.

Enhance your photos . To edit your pictures, make sure to use professional photo editing software like Adobe Lightroom or Photoshop. Using the available tools, you can improve and change your photos. They allow you to fix issues with lighting, adjust WB, make colors richer, crop your pics to improve the composition, and perform other tasks. In case you need to edit your photos in a consistent style, you can use Photoshop Actions or Lightroom Presets.

In some cases, your pictures may require more advanced editing. If you see that your skills are insufficient or if you don’t have enough time, you can outsource the task of enhancing your photos to the FixThePhoto team. They will professionally enhance your pictures for a budget price. Their prices start from $1.50 per photo.

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To streamline your workflow and quickly edit your essay photos like a pro, make sure to apply these actions to your photos. Even if you use a photo essay example when taking pictures, you can utilize these actions to give your images a professional feel, tweak colors, edit lighting, and improve the overall look of your pics.

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13 Of The Most Iconic Pictures From The History Of Street Photography

"For me, the genesis was an instantaneous recognition that photography might be able to stop moments that were once invisible."

Senior Photo Essay Editor

For more than half a century, legendary photographer Joel Meyerowitz has found inspiration in the streets. In public spaces, where most passersby would likely never offer a second glance, Meyerowitz has created a lifetime of work through his sharp eye and quick wit. At 82 years old, the artist is as productive as ever.

In a new book called How I Make Photographs , Meyerowitz reveals the secrets to his prolific career as a street photographer by outlining the tips and tricks that have kept him inspired and productive along the way. The book shares insight into some of Meyerowitz's most iconic photographs from throughout his career and is a true love letter to photography.

Here, Meyerowitz speaks with BuzzFeed News about how his career began and shares some advice for staying inspired and creative while social distancing.

Can you tell us a bit about how you first got into photography and where that took you?

I was actually an abstract painter in New York City while in graduate school. I had a job doing graphic design at a small company and my boss sent me out to watch a photographer shoot the pictures for this booklet we were working on. The photographer ended up being the legendary Robert Frank. Photography was something I didn’t care or know anything about — as far as I knew, photography was about fashion and advertising. But as I watched Robert Frank work, something clicked for me and I thought to myself, Oh my god .

When I left that shoot and went out on the street, the world was suddenly so alive with possibilities that had once seemed invisible to me, suddenly there seemed to be meaning. When I got back to my office that afternoon, I quit my job. So for me, the genesis was an instantaneous recognition that photography might be able to stop moments that were really invisible.

From there I went out on the street and began shooting. I didn't know any better, so I put color film in the camera and I shot in color. Black-and-white photography was the standard back then, so when I began showing my pictures to friends, everybody would tell me that my pictures should be black and white if people were to take me seriously. I thought to myself, But the world’s in color! Why should I be shooting black and white? I really couldn’t understand this.

I tried to find books on the subject too, but quickly realized that there weren’t many out there. Not like today, where there’s a photo book a minute — in those days, there was really nothing to look at. I eventually discovered three books that became my education: Robert Frank’s The Americans , Henri Cartier Bresson’s The Decisive Moment, and Walker Evans’ American Photographs . Some people read mystery novels and they grow to become mystery writers, while some people read poetry and discover their skill to become poets. It’s the literature you read that guides you to the truth, and these three books showed me what photography is supposed to be. I remember when I first saw Robert Frank’s book, it just overwhelmed me as being a dark, poetic vision of America. I hoped that someday I could also make a photography book like that.

Can you tell us about your new book How I Make Photographs ? What made you want to write a how-to book?

That’s a really good question and one that I had to work through with myself before beginning the book. I was thinking about what it was like for me to first see Robert Frank’s book. Frankly, I wrote this book for the new generation of photographers, what I like to call the smartphone generation.

There are a billion people on the planet carrying around a phone every day and they’re making all kinds of pictures. Most of these pictures are center weighted and familiar-looking pictures, but every once in a while someone is caught off guard by taking a picture that has incredible characteristics and qualities. They may look at it themselves and say, “Wow, I did that? I would like to improve my game.” It’s for those people that I wanted to make this book. This book is like a giveaway of everything I know. I don't have any secrets to hold on to. I feel that this is what you have to do as an artist — give away everything you learned and allow people to make something out of it on their own.

Many photographers are now stuck indoors due to the pandemic. How can a person maintain their creativity while working in the same surroundings every day and with little or no human interactions?

I spent two months in lockdown while I was in London. Every day we were allowed to go out for a walk or exercise for an hour, which forced me to be creative about making pictures inside. When you’re in the same space day after day, you have to open your eyes to what’s there in space.

Because my wife is a writer and I’m a photographer, we posted a challenge on our Instagram feed asking for our followers to send us their photographs made inside or even an essay or story on the theme of being inside. We decided that if we can find 25 writers or photographers, then we’d publish the work in a book. At this point, we must have 1,900 photographs!

People rose to the challenge in remarkably creative ways. Some of the suggestions we offer is to observe the light in your room or apartment and witness what the light does over the course of a day. What about the actual structure of your interior? What do the walls look like? How do they meet the floor? What do the furnishings look like? Look at things as if you never saw them before, as if you’re a martian landing on a mysterious planet in the state of wonder.

Throughout your long career, what has kept you motivated from decade to decade?

I think every artist, if they’re really serious about their medium, comes to a point where they reach some kind of limit — when you ask yourself, “Is this all there is?” It’s easy to flat-line at this point and choose to stay on a plateau, and there are artists that can manage to do that, even peers of mine who from my perspective haven’t developed.

For me, maybe because I came from an art history background, I kept asking questions of photography — like what other ideas can a photograph encapsulate? I’ve always thought about photography as being about ideas. Yes, a photograph can look like a picture, but really in it is the organic power of an idea about something, whether it’s about space, light, time, or the interrelationships between disconnected things. A 35mm picture is just a rectangle and everybody has the same space to work with, but what you can invent and come up with within that space is how you develop.

I’ll give you an example — I was in London celebrating New Year's Eve this year, and on New Year’s Day I woke up and thought to myself, What kind of challenge could this year bring? Of course, who knew it was going to be a pandemic, but at that moment I challenged myself to begin making self-portraits. I'm 82 years old, and this is something I haven't really done before. As of today, I have made over 800 self-portraits.

In your experience, what is it that makes a good photograph?

There are so many ways of slicing that question, but I think what we’ve seen from the history of photography is that a good photograph often reveals something of the photographer’s interiority. You learn something about the photographer's wit, their timing, or their vision — how they were able to seize the unexpected moment and make something substantial out of it like meaning, poetry, beauty, or tragedy.

A lot of photographs start in the middle. People tend to use a bull's-eye approach when making pictures, particularly amateurs who don’t have a lot of experience. They want to hit the target. But as their eye becomes more sophisticated, they begin to see that the picture frame itself is this beautiful powerhouse that can be filled with information. If a picture can transcend all of the stuff in it, so that the photographer disappears and the photographer’s effort and tricks fade away, then people can enter the picture and enjoy the experience of an interesting photograph. I don’t know about what makes a picture good or bad, but for me the first entry into a picture is the thought, Oh, this is interesting . Just like life, in a way.

Hey! I'm Colin, I live in St. John’s, Newfoundland, Canada and I was a professional photographer. Over the years my work was published for various different things, from hockey to skateboarding, weddings and just plain ole' news.

I've been seen in various national and international publications, such as The National Post, The Montreal Gazette, The New York Times, Concrete Powder Skate Mag, The Hockey News, theAHL.com, NHL.com, Saltscapes Magazine, and many other formats and mediums, for many of the different genres of photography I shoot.

For a while I was also writing product reviews for the number one photography site in the world, PetaPixel.com.

It began as a hobby 20 years ago and I soon realized that turning it into a career was the best way for me to guarantee I got to keep myself in position to shoot more photos, which is all I've ever wanted to do.

If you are contacting me because you've lost your old wedding photos, be sure to include your wedding date.

• Posted On December 24, 2023

My Love of Street Photography — A Photo Essay

When I first began as a photographer I did so out of frustration with videography. This was back in the days just before the digital video explosion. You needed tapes to record your video to and it just wasn’t easy to endlessly waste tape trying new things.

Digital photography by the way of DSLRs was just coming of age. My first DSLR was a Nikon D70s which I bought instead of a mountain bike. Probably for the best because I’m certain that there are no professional wedding mountain bikers.

You might be the best news photographer around but you don’t have a press credential, have no access to a recurring event, you have no way to shoot any of this stuff.

But I digress.

The other reason I wanted to switch to photography was because you could and try a lot of new things which didn’t require people to accomplish or partake in.

In video if you had an idea it was generally people you would need to make it happen.

That sucked. I’d made a few videos here and there and became quite proficient with non linear editing tools such as Adobe Premiere and After Effects, but I was at the end of the road for video.

I’d been frequently messing with my dads old Canon AE-1 SLR along side video and eventually my desire to shoot photos grew. I bought a DSLR.

I happily set about taking pictures of landscapes and nature. The usual stuff most beginners snap pics of. Their family. Random birds. Rusty locks on sheds. Flowers. Their pets. And so on, till finally I felt pretty good about myself and some how lucked into a “portfolio” review with the legendary Paul Daly.

Paul was great to me, more than he will ever know. I left somewhat embarrassed but also challenged and I frikin’ love a challenge.

I put portfolio in quotes because it was less of a portfolio and more an album of random snaps of crappy subjects, none of which told a story… which was Paul’s first piece of advice he gave me.

Finally he said “you have to shoot more people” and showed me work from his portfolio as example.

He yelled at me for taking his photo, suggesting I was getting in the way. No man, I have a right to stand where I’m to.

It should be said, Paul isn’t a Street photographer. He’s a newspaper and commercial photographer and a very accomplished one at that. And nothing that he showed me was Street photography oriented, it was mostly news and commercial work. Quality stuff, but not anything I had access to.

You might be the best news photographer around but you don’t have a press credential and have no access to a recurring event, you have no way to shoot any of this stuff. You can’t just show up to a concert and get access to the press pit.

What was I to do?

I had direction. I had renewed focus. I had a challenge. I had no opportunity. Especially so in a city with so little occurring relative to other “big” cities.

Even working for free, there’s 20 other photogs also offering to work for free. We’re not in Manhattan where there’s a ton of photogs but also hundreds of events happening nightly, all attended by photography welcoming guests, without a camera jockey to snap them.

I turned to the only easily accessible outlet with a constant stream of the people all doing interesting things: the street.

It wasn’t easy. Learning to take photographs in close quarters to a random stranger is a huge thing most photogs never over come.

I asked to take this doorman’s photograph the night before and he said no. The next night he stopped me and mimed taking a photo and pointed at himself. He had remembered me changed his mind.

The fear of rejection second only to public speaking, which itself has many parallels to street photography. If you’re a photographer that fears rejection and public speaking you have to try it.

Personally I started slow, sticking mostly to the 100-200mm, only occasionally getting close to someone. Soon I began teasing the waters, engaging subjects in conversation, discovering out who they are and what they’re doing.

This is how I cut my teeth as a street photographer and got over my fears of rejection. Before I knew it was sticking the lens as close as I could to people and staging mini photo sessions on busy sidewalks.

I’ve asked homeless addicts on the streets of Ottawa for their picture. I broke language barriers in Manchester, approaching doormen of Indian restaurants for their photo in a part of town where I was in the minority. I’ve been yelled at by police, and yelled back. I shot street in Manhattan, a place so flooded with potential street photography subjects it was like shooting fish in a barrel. I’ve done pop up photography directly in front of people without their express permission — not that it was needed , because a photo had to be taken then and there without their knowledge.

Street photography taught me a lot of techniques and skills I use when I photograph weddings. And a lot of life skills that I’ve used in other aspects of non-photographic day to day life.

It taught me how to be fearless behind the lens. And how to persuade people, winning them over in an instant with a smile and a decent sense of humor.

That’s how I became a street photographer.

That’s how I became a better photographer.

Here’s some of my best and my favorite street photographs . And if you enjoy these than you should check out my huge collection of photographs from downtown St. John’s titled “ Environs and Denizens “, a long side project I worked on for many years.

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17 Awesome Photo Essay Examples You Should Try Yourself

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If you’re looking for a photo essay example (or 17!), you’ve come to the right place. But what is the purpose of a photo essay? A photo essay is intended to tell a story or evoke emotion from the viewers through a series of photographs. They allow you to be creative and fully explore an idea. But how do you make one yourself? Here’s a list of photo essay examples. Choose one that you can easily do based on your photographic level and equipment.

Top 17 Photo Essay Examples

Here are some fantastic ideas to get you inspired to create your own photo essays!

17. Photograph a Protest

16. Transformation Photo Essays

15. Photograph the Same Place

14. Create a Photowalk

13. Follow the Change

12. Photograph a Local Event

11. Photograph an Abandoned Building

10. Behind the Scenes of a Photo Shoot

9. Capture Street Fashion

8. Landmark Photo Essay

7. Fathers & Children

6. A Day In the Life

5. Education Photo Essay

4. Fictitious Meals

3. Photograph Coffee Shops Using Cafenol

2. Photograph the Photographers

1. Capture the Neighbors

Photo essays tell stories. And there are plenty of amazingly interesting stories to tell! Photographing photo essays is a great way to practice your photography skills while having fun. You might even learn something! These photo essay examples are here to provide you with the inspiration to go out and tell your own stories through photos!

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Feature Street Photography as Process Street photography is both beloved and poorly defined—this essay offers a considered look at what truly sets this genre apart. Essay by Serge J-F. Levy

Over the past 20 years I have been creating, teaching and looking at street photography. In that time of immersion in the history and contemporary practice of this celebrated style, I have become increasingly interested in enriching the definitions and language that we use around this tradition. My goal is to extend the scope of the genre beyond its title (the streets, most often urban) and beyond its traditional content—most often people and sometimes domestic animals (dogs, and more rarely, cats). Furthermore, rather than using location or content alone to distinguish the genre, I believe street photography is most clearly understood by how the process of creating said images is different from that of working in the documentary, landscape or portrait genres.

Loop Between Woman and Dog, 1976 © Mark Cohen

Street photography is a way of walking through a space while being constantly aware of momentary changes in light. It is a discipline and constant awareness of how one can arrange and frame compositional elements in advance of a yet-to-be-seen sequence of events that may or may not happen: for example, when out seeking images, some photographers prefer the shady side of the street and will walk along a curb to utilize the vanishing perspective lines of the sidewalk merging with the adjacent buildings.

Street photography is about being open to the endless possibility of what might make an interesting photograph; arguing couples, balletic pedestrian movement, uncanny and witty juxtapositions of seemingly unrelated subject matter. Street photography is about spontaneity: the choreography of synchronizing an impulsive emotional or cerebral response that may transpire over the course of milliseconds with making a photographic exposure. And street photography is so often about not knowing what a good photograph will look like, yet trusting the desire and impulse to pick up the camera, frame the scene, and rely upon intuition to recognize the moment where form and content are at an apex.

Weymouth, 2006 © Paul Russell

Some argue that street photography can only happen in public spaces, but because street photography is a process, street photography can happen anywhere: in the subway, at a political convention, at a private party, in the bedroom, and of course, in the streets.

Yet none of these characteristics establishes measurable differences from documentary photography and, indeed, street photography clearly has its similarities to the documentary tradition. Street photographs often contain a narrative. Street photographs, when collected together, often define cultures or places. And like documentary photographers, some street practitioners are quiet observers of the street tableau while others are participants who actively influence the events that transpire within the photographic frame; for example Bruce Gilden’s photographs made in extreme proximity to his subjects .

Untitled from New York City, 1990 © Bruce Gilden / Magnum Photos

Union Square, 2010 © Hiroyuki Ito

Like the documentary photographer, street photographers are responding to the momentary fluctuations within a scene and they are always prepared to make an exposure. But unlike the narrative parameters of the documentary essay, the street photograph is created without being beholden to a greater narrative structure. The street photograph has no duty to serve a larger whole (though it often does); while a street photograph may resonate with other images within the context of a body of work, fundamentally it can exist on its own. The street photograph needs no companionship, explanation or context in order to be understood or fully realized.

Paris, France, 1967 © Joel Meyerowitz

Street photographs are not the only type of images that succeed without the accompaniment of context or companion images. For example, still life and landscape photographs often don’t need context in order for their full meaning or experience to be appreciated. However, another distinguishing aspect of creating street photography is that the street photographer, as opposed to the still life or landscape photographer, approaches each instant tabula rasa and without a prescribed narrative or intention. The photographer happened upon the moment. Because street photographers are always ready for the unexpected, always aware of the appropriate light reading, (and always sensitive to the danger of stepping into oncoming traffic in pursuit of a coveted moment), they are able to seize this unique type of image. Street photography is a process of being constantly immersed in a theater of unbounded possibilities that life has to offer.

So, street photography, which involves physically and mentally allowing oneself to meander in search of a photograph, is diametric to a method focused on seeking out images with a goal or purpose. When the intention of the photographer becomes more defined and s/he begins to seek a type of image or specific subject matter, their work begins to step out of the street photography genre and moves toward becoming a documentary project—a documentary project defined, in part, by the photographer’s intention to explore a subject or issue through a photographic inquiry.

New Orleans (Cherries), 2005 © Paul Graham

Of course, many street photographers develop stylistic and content themes in their work. Some seek humorous, unlikely contrasts, visual puns. There’s the popular subject of dogs and an endless coffer of “odd-looking” people. Many photographers work solely in the style of flashed street portraits. Each of these types of inquiries or approaches could suggest intention—which by my definition would fall outside the parameters of street photography.

Los Angeles, 2013 © Ola Billmont

Juggling Boxes after Plainedge High School Homecoming Dance, North Massapequa, NY, 1975 © Meryl Meisler

Perhaps a murky distinction appears here: when is a photographer responding to unconscious impulses—without intention—versus becoming aware of their conscious interests and seeking images that define those interests—with intention? Many street photographers will curate their own work in retrospect, only later learning that there were themes that were developing while they were making their photographs. In this case, the act of reflecting upon one’s own work (or with the assistance of an astute observer) reveals one of the greatest rewards of working so spontaneously: the unconscious concerns of the photographer become revealed through an instinctive approach to making pictures.

From the project “Public Relations” © Garry Winogrand

Admittedly, my initial definition of street photography knocks out some of the most familiar street photography from being recognized as such. Garry Winogrand , one of the most revered practitioners of the genre, created a series of photographs exhibited under the title of “ Public Relations .” Many of the images were made at dinners, dances, press conferences and other indoor venues, and in the streets. He approached this work with the intention of portraying “the effect of media on events.” Because there was a finite intention behind what he was seeking to photograph, much of this work would be excluded from the genre under my definition of street photography. However, for me, many of the “Public Relations” images extend beyond fulfilling his initial narrative and branch out into what makes Garry Winogrand’s photographs so uniquely strong: their ability to defy a singular reading or purpose and to feel so spontaneously spot on. I believe the success of those images is found in much more than their commentary upon “the effect of media on events.”

NYC © Jamel Shabazz

Having rescued Garry Winogrand from the brink of excommunication, street portraiture is another type of photography that deserves closer examination. In this practice, interacting with the subject can dilute the spontaneity of the moment and the photographer often seeks a type of person to fulfill the structure of a narrative idea. For example Bruce Davidson’s “East 100th Street” work (which he would agree is not street photography), Robert Bergman’s “A Kind of Rapture” and Jamel Shabazz’s “Back in the Days” are three projects which are on the indistinct border between street photography and portraiture. Yet the genre is too rich and too important to be overlooked altogether. So perhaps street portraiture resists straightforward classification within the genre of street photography…

Insofar as genres are useful, I hope these reflections provide insight toward defining street photography. However, more often genres limit the possibilities of how a photograph can be approached and experienced by an audience. To me, Diane Arbus’ recently uncovered photograph of a newspaper stirring under a gentle breeze amidst a dark and oppressive ocean of pavement, is much more than a street photograph, a still life, or even a landscape; it is everything a photograph can do that words can not.

—Serge J-F. Levy

Windblown headline on a dark pavement, NYC, 1956 © Diane Arbus

Serge J-F. Levy lives in Tucson, Arizona where he is currently working on a body of street photographs created in the desert landscape. There is almost no pavement in his recent images.

Serge greatly enjoyed his conversations and correspondence with Bruce Gilden, Frank Gohlke, Michelle Groskopf, Meryl Meisler, Ola Billmont, Melanie Einzig, Andrew Kensett, Kimi Eisele, and Hiroyuki Ito while thinking about this piece.

Serge J-F Levy

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Advice for an Unforgettable Photo Essay

Six steps for turning your images into a memorable photo essay, from curating your best work to crafting a title.

A man sits alone on a chair on the side of the road. We see him from above, surrounded by grey cobblestones neatly placed, a broken plastic chair, and some pylons scattered along the curb. A street cat wanders out of the frame and away from the man. He appears lonely, the only person inhabiting the place in which he seems so comfortably seated. As the eye wanders throughout the frame, however, the viewer discovers more: a vast city cast beyond the street and behind the man’s chair. This image closes Sarah Pannell’s photo essay Sehir , a quiet study of urban life.

Possibilities, discovery, and stories: these are some of the most effective elements of a photo essay. Collections of images can help produce a narrative, evoke emotion, and guide the viewer through one or more perspectives. A well-executed photo essay doesn’t rely on a title or any prior knowledge of its creator; it narrates on its own, moving viewers through sensations, lessons, and reactions.

Famous photo essays like Country Doctor by W. Eugene Smith or Gordon Parks’ The Harlem Family are acclaimed for showing a glimpse into the lives of the sick and impoverished. Other well-made photo essays offer a new way to look at the everyday, such as Peter Funch’s much-reposted photo series 42nd and Vanderbilt , for which Funch photographed the same street corner for nine years. As shown by these photographers’ experiences with the medium, a collection of photos can enliven spaces and attitudes. Strong photo essays can give voice to marginalized individuals and shine a spotlight on previously overlooked experiences.

You don’t necessarily need to be a documentary photographer to create a powerful photo essay. Photo essays can showcase any topic, from nature photography to portraiture to wedding shots. We spoke to a few photographers to get their perspectives on what makes a good photo essay, and their tips for how any photographer can get started in this medium. Here are six steps to follow to create a photo essay that tells a memorable story.

Choose a specific topic or theme for your photo essay.

There are two types of photo essays: the narrative and the thematic. Narrative photo essays focus on a story you’re telling the viewer, while thematic photo essays speak to a specific subject.

The most natural method for choosing a topic or theme for your photo essay is to go with what you know. Photograph what you experience. Whether that includes people, objects, or the things you think about throughout the day, accessibility is key here. Common topics or concepts to start with are emotions (depicting sadness or happiness) or experiences (everyday life, city living).

For photographer Sharon Pannen , planning a photo essay is as simple as “picking out a subject you find interesting or you want to make a statement about.”

From Paper & Stories , a photo series by Sharon Pannen for Schön! Magazine.

Consider your photo subjects.

The subjects of your photographs, whether human or not, will fill the space of your photos and influence the mood or idea you’re trying to depict. The subject can determine whether or not your photos are considered interesting. “I always try to find someone that catches my eye. I especially like to see how the light falls on their face and how a certain aesthetic might add to their persona,” says photographer Victoria Wojtan .

While subjects and their interest factor are, well, subjective, when considering your subjects, you should ask yourself about your audience. Do other people want to see this? Is my subject representative of the larger idea my photo essay is trying to convey? Your projects can involve people you know or people you’ve only just met.

“Most projects I work on involve shooting portraits of strangers, so there’s always a tension in approaching someone for a portrait,” says photographer Taylor Dorrell . For Wojtan, that tension can help build trust with a subject and actually leads to more natural images “If there’s tension it’s usually because the person’s new to being photographed by someone for something that’s outside of a candid moment or selfie, and they need guidance for posing. This gives me the opportunity to make them feel more comfortable and let them be themselves. I tend to have a certain idea in mind, but try to allow for organic moments to happen.”

Aim for a variety of images.

Depending on your theme, there are a few types of photos you’ll want to use to anchor your essay. One or two lead photos should slowly introduce the viewer to your topic. These initial photos will function in a similar way to the introductory paragraph in a written essay or news article.

From there, you should consider further developing your narrative by introducing elements like portraiture, close ups, detail shots, and a carefully selected final photo to leave the viewer with the feeling you set out to produce in your photos. Consider your opening and closing images to be the most important elements of your photo essay, and choose them accordingly. You want your first images to hook the viewer, and you also want your final images to leave a lasting impression and perhaps offer a conclusion to the narrative you’ve developed.

Including different types of photos, shot at different ranges, angles, and perspectives, can help engage your viewer and add more texture to your series.

Says photographer Taylor Dorrell: “After I have a group of images, I tend to think about color, composition, the order the images were taken, the subject material, and relevance to the concept.”

From Taylor Dorrell’s photo essay White Fences : “White Fences is an ongoing photo series that explores the theme of suburban youth in the United States, specifically in the midwest suburb New Albany, Ohio.”

Put your emotions aside.

Self-doubt can easily come into play when working with your own photography. The adage that we are our own worst critics is often true. It can be difficult to objectively select your strongest images when creating a photo essay. This is why putting together photo essays is such a useful practice for developing your curatorial skills.

“The most important part for me is getting outside opinions. I don’t do that enough, and have a bias in selecting images that might not be the most powerful images or the most effective sequence of images,” says Dorrell. Your own perception of a photograph can cloud your ability to judge whether or not it adds to your photo essay. This is especially true when your essay deals with personal subjects. For example, a photo essay about your family may be hard to evaluate, as your own feelings about family members will impact how you take and view the photos. This is where getting feedback from peers can be invaluable to producing a strong series.

Collecting feedback while putting your photo essay together can help you determine the strengths, weaknesses, and gaps within the collection of photos you’ve produced. Ask your friends to tell you their favorites, why they like them, and what they think you’re going for in the work you’ve created. Their opinions can be your guide, not just your own emotions.

Edit your photo selection.

Beyond post-production, the series of photos you select as your essay will determine whether you’ve executed your theme or narrative effectively. Can the photos stand alone, without written words, and tell the story you set out to? Do they make sense together, in a logical sequence? The perfect photo essay will give your audience a full picture of the narrative, theme, or essence you’re looking to capture.

A good method to use to cull your images down is to remove as many as half of your images straight away to see if your narrative is still as strong with fewer photos. Or, perhaps, deciding on a small number you’d like to aim for (maybe just five to ten images) and using this as a method to narrow down to the images that tell your story best.

From Taylor Dorrell’s photo essay Over the Rhine , featured in Vice.

Give your photo essay a title, and add a concise written statement.

Finally, you’ll want to create a title and written statement for your photo essay. This will help position your work and can enable the viewer to fully understand your intention, or at least guide their perspective.

A solid written statement and title will be relevant to your topic, detail your primary objective, and introduce your point of view. It’s an opportunity to clarify your intentions to the viewer and ensure they walk away with a clear interpretation of your work. Depending on your photo essay, you may want to include several paragraphs of text, but even just one or two sentences of background can be enough to expand the viewer’s understanding of your work.

Consider if you’d like to add the written statement at the beginning of your essay to introduce it, or at the end as a conclusion. Either one can be impactful, and it depends how you’d like people to experience your work.

For his photo essay White Fences, excerpted above, Taylor Dorrell wrote only one sentence of introduction. But for his series Over the Rhine, Dorell included a longer written statement to accompany the work, which is “an ongoing photo series that seeks to explore the Cincinnati neighborhood of the same name and its surroundings. The series was started in response to the shooting of Samuel DuBose, an unarmed black man, by officer Ray Tensing of the University of Cincinnati Police, which happened July 19th, 2015.” Dorell’s text goes on to offer more background on the project, setting up the viewer with all the information they need to understand the context of the photo essay.

Depending on the motivations behind your photo essay and what sort of subject it depicts, a longer text may be necessary—or just a few words might be enough.

Looking for a place to share your photo essays with the world? Take a look at our guide to creating a photography website for tips on showcasing your photos online.

Cover image by Taylor Dorrell, from his photo essay Hurricane Over Sugar .

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How to tell a story through your pictures (with photo essay examples)

Published by Ellyn Kail • 10 months ago

In the mountains of Adjara in Georgia, Nika Pailodze has traveled kilometers on foot to get to some of the remotest regions. In a few areas, he’s lost his phone signal and gone without access to electricity. Setting up his tent for the night, he’s slept beneath the stars, preparing for yet another day of wandering the mountains.

But everywhere the photographer roams, the people of Adjara welcome him with open arms. In this magical corner of the world, where family homes have been passed down from one generation to the next over one hundred and fifty years, he has stood in awe of intricate embroideries. He’s tasted local dishes, carefully prepared by his hosts, and he has awoken to see the morning light kiss the rooftops of their huts.

Once, when traveling through Adjara, Nika met a geography teacher, who, upon learning the photographer would be sleeping in a tent, invited him to spend the night with his family. The artist politely declined, but the teacher continued to check up on him via text to make sure he was safe and warm. “His sincere concern deeply touched me,” Nika tells me now.

When he returns to the mountains, the families he’s visited before are there to greet him, glad of his return. For artists like Nika, who dedicate themselves to photo essays and long-term projects, creating pictures is just one part of an ongoing journey of discovery.

We spoke to three photographers who’ve traveled far and wide in search of once-in-lifetime stories; along the way, we learned about the importance of curiosity, patience, and resilience.

Spotlight on: Eduardo Teixeira de Sousa

Eduardo Teixeira de Sousa , a street and travel photographer from Portugal, has created photo essays around the globe, from Egypt to Patagonia. He was inspired to embark on a journey to Uzbekistan, along with Joao Martinho , a fellow photographer he met through 500px. “We had both read about the rich history of this place as one of the keys to the Silk Road,” Eduardo tells me.

Once there, the language barrier didn’t pose problems for the experienced street photographers. “When English was not an option (well, it usually wasn’t), I kept speaking Portuguese and receiving my answers in Uzbek along the way,” Eduardo remembers. “That worked out well enough—actually, for street photography, this can sometimes even be a good thing, as it keeps communication simple and light.” A smile goes a long way.

While in Uzbekistan, Eduardo abandoned the typical “postcard” shots and searched for something deeper. “I’ll never forget the feeling of heading out with full batteries into the maze of the quiet and dusty streets of Bukhara at sunrise,” he says. “At first, there was silence—then the sound of a fast, cranky bicycle racing around the corner. Suddenly, a man selling bread appeared, warmly shouting at us a rolled ‘bonjour,’ while I tried to swap lenses and adjust my settings for his fast movement.” In the end, he didn’t get that particular shot, but it set the tone for the trip.

Throughout the trip, the photographers encountered plenty of surprises. In Samarkand, they marveled at the vibrant blue tiles and historic architecture. In Khiva, they met a woman who later invited them to her garden. Although she initially declined to be photographed, they won her trust, and she sat for a portrait at the end of the day. She practiced shamanism, and she gave them a special blessing before they left.

Pro tip: Do your research

By the time Eduardo and Joao traveled to Uzbekistan, they’d already seen how its cities had been photographed by other people, and they knew they wanted to capture something different. With that goal in mind, they decided to focus on only three cities, rather than packing too much into their itinerary. “As a photographer, I find focusing on fewer locations puts me a bit more at ease, as I feel I can always return to the same place if somehow a chance was missed,” Eduardo says.

Eduardo and Joao spent a little under a month researching and preparing their itinerary for Uzbekistan, so they were well prepared. At the end of each day of exploring, while backing up his photos, Eduardo made rough plans for the next day—it’s good to have a starting point, at least. Consult guidebooks, blogs, and other resources for tips on local spots.

“Keep a mental library of dream shots,” Eduardo suggests. “That way, you’ll react quicker if they happen to really occur in front of you.” At the same time, however, he always leaves room for chance and serendipity, telling me, “Sometimes, luck happens, too.”

Once you’re out there on the streets, take as many photos as you can. “I’ve trained myself to be a serial shooter, to click first and react later,” Eduardo admits. “When I feel there’s potential in a scene, I actively try to avoid overanalyzing it; instead, I try to respect the impulse, go with the flow, and improvise.

“I am always strolling, scanning, interacting, getting lost, running, hunting, and getting frustrated by a missed chance or an idea that sometimes comes too late. I think you have to accept your lot of randomness with humor—and balance it with solid research of the place, a sense of optimism, and occasional sore legs.”

Finally, when he’s home, he goes through all those photos and edits them down to the very best of the bunch.

Spotlight on: Alessio Laratta

Alessio Laratta , a street and portrait photographer from Italy, traveled to Lisbon, Portugal, in early 2023. While there, he captured ephemeral moments and people lost in contemplation while on their way from one place to the next.

It’s true what they say about Lisbon: the light really is golden. “I noticed that Lisbon for some reason had very warm, orange light even at night,” the artist remembers. It was so warm, in fact, that his usual approach to color correction had to be adjusted slightly to get the look he wanted.

“The only other challenge I faced was the steepness of Lisbon’s streets,” Alessio admits. “I had to prioritize a very comfortable outfit and a good pair of shoes to make the most of each day. At the same time, the warmth of the locals is something that I have rarely found in other places. I felt at home after a few days. It’s really a special city, where the old and the new blend together in a very special way.”

Pro tip: Make the best of what you have

While in Lisbon, Alessio initially hoped for clear, sunny days. But when he got there, he found rainy, overcast weather. Instead of throwing in the towel, he embraced what the city offered him, creating moody and wistful images of people as they made their way through the clouded streets. And with some contrast tweaks in post-production, everything worked out beautifully.

“Remember to let your inner artist find your own personal way of conveying what you see through the lens,” he advises. “A great essay is made from your personal point of view on the world.” Give yourself the freedom to experiment and try new things, while staying true to your voice as an artist.”

Spotlight on: Nika Pailodze

Finally, we return to Nika Pailodze , who’s been documenting life in the mountainous regions of Georgia for more than a decade now. Two years ago, he made his first trip to Adjara. “Initially, my journey began with a deep appreciation for nature, but as I roamed and observed the traditional Adjarian houses, the allure of the landscape slowly faded into the background,” he remembers.

“Some of these wooden huts had stood the test of time, their age rivaled only by the ancient trees around them. They had become an integral part of the Adjarian ecosystem, and there was nothing more disheartening than witnessing their demise.

“One particular hut left a profound impact on me: a shroud of mist enveloped the scene, and it seemed as though nature itself cradled what remained of the hut. It felt like the entire essence of this small cottage and its residents resonated in a brief moment, even more transient than the fog in the Adjara highlands.”

Set on preserving the stories that lingered within those houses, he approached the local people, who travel uphill with their cows in the summer so the animals can graze on fresh grass. “As I traversed pasture to pasture, I was welcomed with a steaming cup of coffee and an assortment of delectable sweets,” he remembers. Along the way, he was treated to homemade, local feasts.

“While capturing these photographs, I forged numerous friendships, some of which endure to this day with friends who regularly check in on me,” the photographer tells me. He longs to return again to the rolling hills, lush fields, and foggy mornings.

Pro tip: Let go of preconceived notions

Nika initially traveled to Adjara in search of natural wonders, but somewhere along the way, his focus turned to the people themselves. His advice is to stay open to change and evolution. “When you embark on such a project, you must accept from the beginning that everything may develop differently from what you had planned,” he explains.

“The main thing is to go with the flow and always remain connected to the people and the environment. I didn’t pre-select a topic, nor did I set out to work on any specific subject. Instead, I observed and documented people’s real lives.”

If you can, make multiple trips and spend as much time in the location as possible. “At times, circumstances unfold quite differently from our initial expectations,” Nika says. “In such moments, the virtue of patience becomes absolutely indispensable.”

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Storytelling in Street Photography: Creating Meaningful Images

Master the art of storytelling in street photography to create captivating, meaningful images, with these tips.

Learn | Street Photography | By Polly Rusyn

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Ever wonder what separates a good street photo from a truly great one?

One word: storytelling.

That’s right – the secret sauce to creating meaningful images that make people stop and stare is all about telling a compelling story through your lens.

Street photography isn’t just about snapping a cool pic; it’s about capturing the raw essence of life, the human experience, and the world around us.

In this article, we’ll dive into the importance of storytelling in street photography and explore how you can elevate your images by weaving together captivating narratives.

Let’s embark on this photography storytelling journey together!

1. The Power of Storytelling in Street Photography

© Polly Rusyn

Connecting with the viewer

So, what’s the big deal about storytelling in street photography, you ask?

Well, for starters, it’s all about connecting with the viewer.

When you tell a story through your images, you’re inviting people into the world you’ve captured, allowing them to experience the emotions, atmosphere, and characters in your frame.

It’s like giving them a front-row seat to the theater of life, and who wouldn’t want that?

Eliciting emotion and empathy

But it doesn’t stop there – great storytelling goes beyond just connecting with the viewer.

It’s also about eliciting emotion and empathy.

When you tell a story that resonates with people, you’re tapping into their emotions and creating a shared experience.

Suddenly, your image becomes more than just a pretty picture – it’s a conduit for human connection and understanding.

Communicating a message or theme

Lastly, storytelling allows you to communicate a message or theme through your photography.

This could be anything from a social commentary to a simple observation about the human condition.

By weaving a narrative into your images , you’re not only capturing a moment in time but also sharing your unique perspective on the world.

And that, my friends, is what makes street photography so darn powerful!

In a nutshell, storytelling in street photography is all about connecting with the viewer, eliciting emotion, and communicating a message or theme.

When you master the art of storytelling, you’ll be able to create images that are not only visually stunning but also deeply meaningful and impactful.

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So, are you ready to unlock the power of storytelling in your street photography?

Let’s dive in!

• Pictures that tell a story

2. Building a Narrative in Your Images

Capturing decisive moments

To weave a narrative into your street photography, you’ve gotta start by capturing those decisive moments – you know, the ones that make your heart skip a beat and your finger instinctively press the shutter.

These moments can be anything from a fleeting expression to a perfectly timed interaction.

The key is to be patient, observant, and ready to pounce when the moment presents itself.

• Perfectly timed photos you won’t believe

Utilizing visual elements to guide the viewer

Next up, let’s talk about using visual elements to guide your viewer through the story.

Things like leading lines, contrasting colors, and interesting shapes can all help direct the viewer’s eye and create a sense of flow in your image.

By thoughtfully composing your shots, you’ll be able to craft a visual narrative that keeps your audience engaged and intrigued.

• Related: Composition in Street Photography: How to Make Your Images Pop

Creating a sense of place and context

Lastly, it’s essential to create a sense of place and context in your street photography.

After all, a story isn’t complete without a setting, right?

To do this, try incorporating elements that convey the atmosphere, culture, or environment of the location you’re shooting in.

This could be anything from a local landmark to a street sign or even a splash of regional color.

By grounding your images in a specific place and time, you’ll give your story a solid foundation and make it even more compelling.

In short, building a narrative in your street photography involves capturing decisive moments, utilizing visual elements to guide the viewer, and creating a sense of place and context.

By honing these skills, you’ll be well on your way to crafting captivating stories that resonate with your audience.

3. The Role of Composition in Storytelling

Framing your subject

Alright, let’s chat about the role composition plays in storytelling.

First up, framing your subject.

By thoughtfully framing your subject , you can draw attention to the most important parts of your story and create a sense of focus.

This could mean using natural frames like doorways or windows or even playing with negative space to create a striking visual contrast.

Remember, the way you frame your subject can make or break your story, so choose wisely!

Using leading lines and the rule of thirds

Next on the composition menu: leading lines and the rule of thirds.

These tried-and-tested techniques can help you create a sense of balance, movement, and depth in your images, all of which contribute to a more dynamic and engaging story.

So, whether you’re using a sidewalk to lead your viewer’s eye or placing your subject on a power point according to the rule of thirds, be mindful of how these compositional tools can enhance your storytelling.

• Related: 22 Essential Photography Composition Techniques

The impact of color and light

Last but certainly not least, let’s talk about the impact of color and light on your storytelling.

By harnessing the power of color and light, you can create mood, atmosphere, and even a sense of time in your images.

Think about how warm, golden light can evoke a feeling of nostalgia, or how bold, contrasting colors can add drama to your scene.

Mastering the art of using color and light in your compositions will take your storytelling to new heights.

To sum up, composition plays a crucial role in storytelling by helping you frame your subject, create balance and movement, and convey mood and atmosphere through color and light.

By paying close attention to these elements, you’ll be able to craft images that tell a powerful and compelling story.

4. Telling Stories Through a Series of Images

The power of photo essays

Now, we’ve talked a lot about telling stories through individual images, but what about weaving a narrative through a series of photos?

Enter the magical world of photo essays!

By combining multiple images that relate to a central theme or story, you can create a more comprehensive and immersive narrative that delves deeper into the lives, emotions, and experiences of your subjects.

• Related: How to Create an Engaging Photo Essay

Selecting images that complement each other

When putting together a photo essay or series, it’s important to select images that complement each other and contribute to the overall narrative.

This could mean choosing photos with similar color schemes, compositional elements, or subject matter.

The goal is to create a visual flow that guides your viewer through the story and keeps them engaged from start to finish.

Creating a sense of progression and development

Lastly, think about how you can create a sense of progression and development within your series.

This might involve arranging your images in a particular order, using visual elements to create a sense of continuity, or even incorporating text or captions to provide context and narrative structure.

By giving your series a sense of progression, you’ll be able to take your viewer on a journey and create a more immersive and satisfying storytelling experience.

So, there you have it!

Telling stories through a series of images involves harnessing the power of photo essays, selecting complementary images, and creating a sense of progression and development.

By mastering these techniques, you’ll be able to create captivating narratives that transport your viewers into the world you’ve captured.

5. Learning from the Masters of Street Photography Storytelling

Alex webb: exploring the emotional landscape.

Let’s kick off our masterclass with the legendary Alex Webb, known for his vibrant, layered, and emotionally charged images.

Webb’s keen eye for color and his ability to capture complex, multi-dimensional scenes have made him a storytelling icon in the street photography world.

Studying his work can help you develop a more nuanced understanding of how to evoke emotions and tell rich, in-depth stories through your images.

Susan Meiselas: The art of documentary storytelling

Next up, we’ve got Susan Meiselas, a powerhouse in the world of documentary photography.

Meiselas’ work often deals with social and political issues, and her empathetic approach to storytelling allows her to create deeply moving and thought-provoking narratives.

By examining her work, you can learn how to tackle challenging subjects and use your photography as a means of shedding light on important stories that might otherwise go untold.

Diane Arbus: Capturing the essence of humanity

Last but definitely not least, let’s talk about Diane Arbus, a true trailblazer in the world of street photography.

Arbus had an uncanny ability to connect with her subjects and capture the essence of their humanity, resulting in images that are both intimate and revealing.

Studying her work can teach you how to build a rapport with your subjects and create images that delve beneath the surface to reveal the true heart of your story.

By learning from masters like Alex Webb, Susan Meiselas, and Diane Arbus, you’ll gain invaluable insights into the art of storytelling in street photography, helping you to create images that resonate with viewers and leave a lasting impact.

• Related: 16 Famous Street Photographers to Follow

6. Tips for Developing Your Storytelling Skills in Street Photography

Be curious and observant

First things first, to be a great storyteller, you need to be curious and observant.

Keep your eyes peeled for interesting moments, interactions, and details that can help you tell a compelling story.

The more you hone your observation skills, the better you’ll become at spotting those special, story-rich moments that make street photography so fascinating.

Be patient and persistent

Let’s face it, capturing a powerful story in a single frame takes time and patience.

So, embrace the process, and be persistent in your pursuit of the perfect shot.

Remember, some of the most captivating stories emerge when you least expect them, so keep your camera ready and be prepared to seize the moment.

Practice empathy and connection

In street photography, it’s important to approach your subjects with empathy and strive to make a genuine connection.

By putting yourself in your subjects’ shoes and considering their perspectives, you can create images that convey a sense of authenticity and emotional depth.

• Related: The Ethics of Street Photography: Balancing Art & Privacy

Experiment with different styles and techniques

Finally, don’t be afraid to experiment with different styles and techniques to find your own unique storytelling voice.

This might mean dabbling in black and white photography , playing with different focal lengths, or trying out various compositional approaches.

The more you experiment, the more you’ll grow as a storyteller and develop your own distinctive style.

By being curious, patient, empathetic, and open to experimentation, you’ll be well on your way to honing your storytelling skills and creating meaningful, captivating images that resonate with your viewers. Keep practicing, and let your storytelling journey unfold!

Well, we’ve reached the end of our storytelling adventure, but remember, this is just the beginning of your own journey in the world of street photography.

Armed with the knowledge and inspiration we’ve explored together, you’re now ready to dive into the streets and start weaving your own visual narratives.

Embrace the art of storytelling, and you’ll not only create images that captivate your viewers but also reveal the extraordinary in the ordinary moments of everyday life.

So, go on and hit the pavement, let your curiosity lead the way, and most importantly, have fun capturing the stories that unfold around you.

Happy shooting, street storytellers!

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Polly Rusyn is a British street photographer, author, and photography coach. When she’s not taking photos, writing, or coaching, she’s probably eating cheese and watching Netflix.

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Photo Essay: The Imaginative Street Photography of Siegfried Becker

For many years I used a studio for the majority of my photography. The attraction of this kind of photography lay in creating artificial imagery, but today I find my subjects in the streets.

Life writes the best stories and practically no other area of photography proves this better than Street Photography. When you look more closely, the everyday reveals unique moments which are often comical, sometimes surreal and not seldom sorrowful and yet always show the variety of human behaviour.

But for me, it’s never about making a fool of people, it’s always about intensity and originality. It’s these moments, which last only a fraction of a second that I try to make capture with my camera.

I live in the southwest of Germany, near the border of France and nearby Luxemburg. So I have the opportunity to take pictures in three different cultures, just around the corner. My photos are published in magazines and I have also worked as a lecturer at various educational institutions for some years.

I give workshops, from studio photography to classic black-and-white darkroom technique and I have teaching assignments at the University of my hometown.

See more of Siegfried’s images on his website here , and watch a YouTube slideshow of his finest images below as well.

Which one of Siegfried’s images are your favorite? Leave a comment below!

If you’re also interested in submitting a street photography essay, please shoot me an email a t [email protected]

• Photojournalism Links

The 10 Best Photo Essays of the Month

This month’s Photojournalism Links collection highlights 10 excellent photo essays from across the world, including Tomas Munita ‘s photographs from Gaza and Israel, made on assignment for the New York Times . The work, coinciding with the first anniversary of last year’s 50 day war between Israel and Palestinian militant groups, consists of eight innovative stop-motion-sequences which take us to the streets, hospitals, and homes on both sides of the conflict, and provide an immersive glimpse of how the two groups of communities are coping, one year after.

Tomas Munita: Walking in War’s Path (The New York Times )

Brent Stirton: Tracking Ivory: Terror in Africa | Ivory’s Human Toll (National Geographic) Two strong sets of images for National Geographic magazine’s latest cover story.

Lynsey Addario: Inside the Democratic Republic of Congo’s Diamond Mines (TIME LightBox) Terrific set of images looking at Congo’s diamond mining communities.

Andres Kudacki: Spain’s Housing Crisis (TIME LightBox) Powerful three-year project on the country’s home evictions, now on show at Visa pour l’Image photojournalism festival.

Mary Ellen Mark: New Orleans (CNN Money) The legendary photographer’s final assignment, done ahead of Hurricane Katrina’s 10th anniversary.

Daniel Etter: Hands Across Water (Al Jazeera America) Moving series on a small Sea-Watch ship, with a rotating crew of just eight volunteers, trying to save refugees and migrants in the Mediterranean.

Sergey Ponomarev: On Island of Lesbos, a Microcosm of Greece’s Other Crisis: Migrants (The New York Times ) Dramatic photographs of refugees and migrants arriving to the Greek island.

Allison Joyce: Child Marriage Bangladesh (International Business Times) Heartbreaking pictures of a 15-year-old Bangladeshi girl’s wedding | See also Joyce’s other Bangladeshi child marriage series at Mashable .

Andrea Bruce: Romania’s Disappearing Girls (Al Jazeera America) The Noor photographer’s work shows how poverty and desperation drive Romanian girls into the arms of sex traffickers.

Matt Black: Geography of Poverty: Chapter 2 | Chapter 3 (MSNBC) Second and third chapters of the Magnum photographer’s ambitious project mapping poverty around the U.S.

Mikko Takkunen is an Associate Photo Editor at TIME. Follow him on Twitter @photojournalism .

More Must-Reads from TIME

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23 Photo Essay Ideas and Examples (to Get Your Creative Juices Flowing!)

A Post By: Kevin Landwer-Johan

Looking for inspiration? Our 23 photo essay ideas will take your photography skills to new heights!

A single, strong photograph can convey a lot of information about its subject – but sometimes we have topics that require more than one image to do the job. That’s when it’s time to make a photo essay: a collection of pictures that together tell the bigger story around a chosen theme.

In the following sections, we’ll explore various photo essay ideas and examples that cover a wide range of subjects and purposes. From capturing the growth of your children to documenting local festivals, each idea offers an exciting opportunity to tell a story through your lens, whether you’re a hobbyist or a veteran professional.

So grab your camera, unleash your creativity, and let’s delve into the wonderful world of photo essay examples!

What is a photo essay?

Simply put, a photo essay is a series of carefully selected images woven together to tell a story or convey a message. Think of it as a visual narrative that designed to capture attention and spark emotions.

Now, these images can revolve around a broad theme or focus on a specific storyline. For instance, you might create a photo essay celebrating the joy of companionship by capturing 10 heartwarming pictures of people sharing genuine laughter. On the other hand, you could have a photo essay delving into the everyday lives of fishermen in Wales by following a single fisherman’s journey for a day or even a week.

It’s important to note that photo essays don’t necessarily have to stick to absolute truth. While some documentary photographers prefer to keep it authentic, others may employ techniques like manipulation or staging to create a more artistic impact. So there is room for creativity and interpretation.

Why you should create a photo essay

Photo essays have a way of expressing ideas and stories that words sometimes struggle to capture. They offer a visual narrative that can be incredibly powerful and impactful.

Firstly, photo essays are perfect when you have an idea or a point you want to convey, but you find yourself at a loss for words. Sometimes, emotions and concepts are better conveyed through images rather than paragraphs. So if you’re struggling to articulate a message, you can let your photos do the talking for you.

Second, if you’re interested in subjects that are highly visual, like the mesmerizing forms of architecture within a single city, photo essays are the way to go. Trying to describe the intricate details of a building or the play of light and shadows with words alone can be challenging. But through a series of captivating images, you can immerse your audience in the architecture.

And finally, if you’re aiming to evoke emotions or make a powerful statement, photo essays are outstanding. Images have an incredible ability to shock, inspire, and move people in ways that words often struggle to achieve. So if you want to raise awareness about an environmental issue or ignite a sense of empathy, a compelling series of photographs can have a profound impact.

Photo essay examples and ideas

Looking to create a photo essay but don’t know where to start? Here are some handy essay ideas and examples for inspiration!

1. A day in the life

Your first photo essay idea is simple: Track a life over the course of one day. You might make an essay about someone else’s life. Or the life of a location, such as the sidewalk outside your house. 

The subject matter you choose is up to you. But start in the morning and create a series of images showing your subject over the course of a typical day.

(Alternatively, you can document your subject on a special day, like a birthday, a wedding, or some other celebration.)

2. Capture hands

Portraits focus on a subject’s face – but why not mix it up and make a photo essay that focuses on your subject’s hands?

(You can also focus on a collection of different people’s hands.)

Hands can tell you a lot about a person. And showing them in context is a great way to narrate a story.

3. Follow a sports team for a full season

Sports are all about emotions – both from the passionate players and the dedicated fans. While capturing the intensity of a single game can be exhilarating, imagine the power of telling the complete story of a team throughout an entire season.

For the best results, you’ll need to invest substantial time in sports photography. Choose a team that resonates with you and ensure their games are within a drivable distance. By photographing their highs and lows, celebrations and challenges, you’ll create a compelling photo essay that traces their journey from the first game to the last.

4. A child and their parent

Photographs that catch the interaction between parents and children are special. A parent-child connection is strong and unique, so making powerful images isn’t challenging. You just need to be ready to capture the special moments as they happen. 

You might concentrate on a parent teaching their child. Or the pair playing sports. Or working on a special project.

Use your imagination, and you’ll have a great time with this theme.

5. Tell a local artist’s story 

I’ve always enjoyed photographing artists as they work; studios have a creative vibe, so the energy is already there. Bring your camera into this environment and try to tell the artist’s story!

An artist’s studio offers plenty of opportunities for wonderful photo essays. Think about the most fascinating aspects of the artist’s process. What do they do that makes their art special? Aim to show this in your photos.

Many people appreciate fine art, but they’re often not aware of what happens behind the scenes. So documenting an artist can produce fascinating visual stories.

6. Show a tradesperson’s process

Do you have a plumber coming over to fix your kitchen sink? Is a builder making you a new deck?

Take photos while they work! Tell them what you want to do before you start, and don’t forget to share your photos with them.

They’ll probably appreciate seeing what they do from another perspective. They may even want to use your photos on their company website.

7. Photograph your kids as they grow

There’s something incredibly special about documenting the growth of our little ones. Kids grow up so quickly – before you know it, they’re moving out. Why not capture the beautiful moments along the way by creating a heartwarming photo essay that showcases their growth?

There are various approaches you can take, but one idea is to capture regular photos of your kids standing in front of a distinct point of reference, such as the refrigerator. Over a year or several years, you can gather these images and place them side by side to witness your childrens’ incredible transformations.

8. Cover a local community event

A school fundraiser, a tree-planting day at a park, or a parade; these are are all community events that make for good photo essay ideas.

Think like a photojournalist . What type of images would your editor want? Make sure to capture some wide-angle compositions , some medium shots, and some close-ups.

(Getting in close to show the details can often tell as much of a story as the wider pictures.)

9. Show fresh market life

Markets are great for photography because there’s always plenty of activity and lots of characters. Think of how you can best illustrate the flow of life at the market. What are the vendors doing that’s most interesting? What are the habits of the shoppers?

Look to capture the essence of the place. Try to portray the people who work and shop there.

10. Shoot the same location over time

What location do you visit regularly? Is there a way you can make an interesting photo essay about it?

Consider what you find most attractive and ugly about the place. Look for aspects that change over time. 

Any outdoor location will look different throughout the day. Also think about the changes that occur from season to season. Create an essay that tells the story of the place.

11. Document a local festival

Festivals infuse cities and towns with vibrant energy and unique cultural experiences. Even if your own town doesn’t have notable festivals, chances are a neighboring town does. Explore the magic of these celebrations by documenting a local festival through your lens.

Immerse yourself in the festivities, arriving early and staying late. Capture the colorful displays and the people who make the festival come alive. If the festival spans multiple days, consider focusing on different areas each time you visit to create a diverse and comprehensive photo essay that truly reflects the essence of the event.

12. Photograph a garden through the seasons

It might be your own garden . It could be the neighbor’s. It could even be the garden at your local park.

Think about how the plants change during the course of a year. Capture photos of the most significant visual differences, then present them as a photo essay.

13. Show your local town or city

After spending several years in a particular area, you likely possess an intimate knowledge of your local town or city. Why not utilize that familiarity to create a captivating photo essay that showcases the essence of your community?

Delve into what makes your town special, whether it’s the charming streets, unique landmarks, or the people who shape its character. Dedicate time to capturing the diverse aspects that define your locale. If you’re up for a more extensive project, consider photographing the town over the course of an entire year, capturing the changing seasons and the dynamic spirit of your community.

14. Pick a local cause to highlight

Photo essays can go beyond passive documentation; they can become a part of your activism, too!

So find a cause that matters to you. Tell the story of some aspect of community life that needs improvement. Is there an ongoing issue with litter in your area? How about traffic; is there a problematic intersection?

Document these issues, then make sure to show the photos to people responsible for taking action.

15. Making a meal

Photo essay ideas can be about simple, everyday things – like making a meal or a coffee.

How can you creatively illustrate something that seems so mundane? My guess is that, when you put your mind to it, you can come up with many unique perspectives, all of which will make great stories.

16. Capture the life of a flower

In our fast-paced lives, it’s easy to overlook the beauty that surrounds us. Flowers, with their mesmerizing colors and rapid life cycles, offer a captivating subject for a photo essay. Try to slow down and appreciate the intricate details of a flower’s existence.

With a macro lens in hand, document a single flower or a patch of flowers from their initial shoots to their inevitable wilting and decomposition. Experiment with different angles and perspectives to bring viewers into the enchanting world of the flower. By freezing these fleeting moments, you’ll create a visual narrative that celebrates the cycle of life and the exquisite beauty found in nature’s delicate creations.

17. Religious traditions

Religion is often rich with visual expression in one form or another. So capture it!

Of course, you may need to narrow down your ideas and choose a specific aspect of worship to photograph. Aim to show what people do when they visit a holy place, or how they pray on their own. Illustrate what makes their faith real and what’s special about it.

18. Historic sites

Historic sites are often iconic, and plenty of photographers take a snapshot or two.

But with a photo essay, you can illustrate the site’s history in greater depth.

Look for details of the location that many visitors miss. And use these to build an interesting story.

19. Show the construction of a building

Ever been away from a familiar place for a while only to return and find that things have changed? It happens all the time, especially in areas undergoing constant development. So why not grab your camera and document this transformation?

Here’s the idea: Find a building that’s currently under construction in your area. It could be a towering skyscraper, a modern office complex, or even a small-scale residential project. Whatever catches your eye! Then let the magic of photography unfold.

Make it a habit to take a photo every day or two. Watch as the building gradually takes shape and evolves. Capture the construction workers in action, the cranes reaching for the sky, and the scaffolding supporting the structure.

Once the building is complete, you’ll have a treasure trove of images that chronicle its construction from start to finish!

20. Document the changing skyline of the city

This photo essay example is like the previous one, except it works on a much larger scale. Instead of photographing a single building as it’s built, find a nice vantage point outside your nearest city, then photograph the changing skyline.

To create a remarkable photo essay showcasing the changing skyline, you’ll need to scout out the perfect vantage point. Seek high ground that offers a commanding view of the city, allowing you to frame the skyline against the horizon. Look for spots that give you an unobstructed perspective, whether a rooftop terrace, a hillside park, or even a nearby bridge.

As you set out on your photography expedition, be patient and observant. Cities don’t transform overnight; they change gradually over time. Embrace the passage of days, weeks, and months as you witness the slow evolution unfold.

Pro tip: To capture the essence of this transformation, experiment with various photographic techniques. Play with different angles, framing, and compositions to convey the grandeur and dynamism of the changing skyline. Plus, try shooting during the golden hours of sunrise and sunset , when the soft light bathes the city in a warm glow and accentuates the architectural details.

21. Photograph your pet

If you’re a pet owner, you already have the perfect subject for a photo essay!

All pets , with the possible exception of pet rocks, will provide you with a collection of interesting moments to photograph.

So collect these moments with your camera – then display them as a photo essay showing the nature and character of your pet.

22. Tell the story of a local nature preserve

Ah, the wonders of a local nature preserve! While it may not boast the grandeur of Yosemite National Park, these hidden gems hold their own beauty, just waiting to be discovered and captured through the lens of your camera.

To embark on this type of photo essay adventure, start by exploring all the nooks and crannies of your chosen nature preserve. Wander along its winding trails, keeping an eye out for unique and captivating subjects that convey the essence of the preserve.

As you go along, try to photograph the intricate details of delicate wildflowers, the interplay of light filtering through a dense forest canopy, and the lively activities of birds and other wildlife.

23. Show the same subject from multiple perspectives

It’s possible to create an entire photo essay in a single afternoon – or even in a handful of minutes. If you don’t love the idea of dedicating yourself to days of photographing for a single essay, this is a great option.

Simply find a subject you like, then endeavor to capture 10 unique images that include it. I’d recommend photographing from different angles: up above, down low, from the right and left. You can also try getting experimental with creative techniques, such as intentional camera movement and freelensing. If all goes well, you’ll have a very cool set of images featuring one of your favorite subjects!

By showcasing the same subject from multiple perspectives, you invite viewers on a visual journey. They get to see different facets, textures, and details that they might have overlooked in a single photograph. It adds depth and richness to your photo essay, making it both immersive and dynamic.

Photo essay ideas: final words

Remember: Photo essays are all about communicating a concept or a story through images rather than words. So embrace the process and use images to express yourself!

Whether you choose to follow a sports team through a thrilling season, document the growth of your little ones, or explore the hidden treasures of your local town, each photo essay has its own magic waiting to be unlocked. It’s a chance to explore your creativity and create images in your own style.

So look at the world around you. Grab your gear and venture out into the wild. Embrace the beauty of nature, the energy of a bustling city, or the quiet moments that make life special. Consider what you see every day. What aspects interest you the most? Photograph those things.

You’re bound to end up with some amazing photo essays!

Now over to you:

Do you have any photo essay examples you’re proud of? Do you have any more photo essay ideas? Share your thoughts and images in the comments below!

Read more from our Tips & Tutorials category

Kevin Landwer-Johan is a photographer, photography teacher, and author with over 30 years of experience that he loves to share with others.

Check out his website and his Buy Me a Coffee page .

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W. Eugene Smith: Master of the Photo Essay

100 years since the birth of W. Eugene Smith, we take a look at the work of a remarkable talent who described his approach to photography as working “like a playwright”

W. Eugene Smith

W. Eugene Smith’s membership with Magnum may have been brief, spanning the years 1955-58, but his work left left a deep impression on many of Magnum’s photographers, as it has upon the practice of photojournalism generally. Smith is regarded by many as a genius of twentieth-century photojournalism, who perfected the art of the photo essay. The following extract from Magnum Stories ( Phaidon ), serves as a pit-stop tour through his most enduring and affecting works.

With “Spanish Village” (1951), “Nurse Midwife” (1951), and his essay on Albert Schweitzer (1954), “Country Doctor” is first of a series of postwar photo essays, produced by Smith as an employee of Life magazine, that are widely regarded as archetypes of the genre. The idea to examine the life of a typical country doctor, at the time of a national shortage of GPs, was the magazine’s, not Smith’s. Though it was preconceived and pre-scripted, with a suitable doctor cast for the role before Smith got involved, he was immediately attracted to the idea of its heroic central character. He left to shoot the story the day he first heard about it – and before it was formally assigned, lest his editors decide to allocate the job to a different photographer.

Country Doctor

He described elements of his approach in an interview for Editor and Publisher later the same year:

“I made very few pictures at first. I mainly tried to learn what made the doctor tick, what his personality was, how he worked and what the surroundings were… On any long story, you have to be compatible with your subject, as I was with him.

I bear in mind that I have to have an opener and closer. Then I make a mental picture of how to fill in between these two. Sometimes, at the end of the day, I’ll lie in bed and do a sketch of the pictures I already have. Then I’ll decide what pictures I need. In this way, I can see how the job is shaping up in the layout form.

When a good picture comes along, I shoot it. Later I may find a better variation of the same shot, so I shoot all over again.”

"When a good picture comes along, I shoot it. Later I may find a better variation of the same shot, so I shoot all over again."

- w. eugene smith.

Central to his method was his seeking to fade “into the wallpaper”. De Ceriani, the subject of the story and the one constant witness to his working approach, recalled in an interview with Jim Hughes, Smith’s biographer, that after a week Smith “became this community figure. He may not have known everybody, but everybody knew who he was. And you fell into this pattern: he was going to be around, and you just didn’t let it bother you. He would always be present. He would always be in the shadows. I would make the introduction and then go about my business as if he were just a doorknob.”

Smith set about what might have been a straightforward assignment with a demanding intensity. “I never made a move where Gene wasn’t sitting there,” Ceriani explained; “I’d go to the john and he’d be waiting outside the door, so it would seem. He insisted that I call when anything happened, regardless of whether it was day or night… I would look around and Gene would be lying on the floor; shooting up, or draped over a chair. You never knew where he was going to be. And you never knew quite how or when he got there. He would produce a ladder in the most unusual places.”

For a four-week shoot, Smith selected 200 photographs for consideration by Life , and while he clearly had some influence over the layout, he did not control it. It did not live up to his expectations; in the interview with Editor and Publisher, Smith stated that he was “depressed” thinking about just how far short it fell. It’s not clear how different it might have been had he done the layout himself. We know that the prints he made were rejected by Life ’s art director, on the grounds that they were too dark and would not reproduce well on the magazine’s pages. Smith’s vision was darker in other regards too. Photographs not featured in Life’ s layout, but reproduced or exhibited later, include a powerful series of 82-year-old Joe Jesmer being treated following a heart attack – an old man whose face terrifyingly reveals the apparent consciousness of his imminent death. Smith also chose, for his own exhibitions, troubling photographs of Thomas Mitchell prior to his leg amputation, as well as other images more baroque than those selected by Life . But the two brilliant images between which the layout hangs – his opener of the stoical doctor on his way to the surgery under a brooding sky and his closer, showing Ceriani slumped in weary reflection with coffee and cigarette – clearly reflect Smith’s won intentions for how the story should appear.

It is in the sophistication of its narrative structure that Smith’s innovation lies. In recorded conversations between Smith and photographer Bob Combs in the late 1960s, he elaborated on the ingredients of his approach (referring here to another story, “Nurse Midwife”):

“In the building of a story, I being with my own prejudices, mark them as prejudices, and start finding new thinking, the contradictions to my prejudices, What I am saying is that you cannot be objective until you try to be fair. You try to be honest and you try to be fair and maybe truth will come out.

Each night, I would mark the pictures that I took, or record my thoughts, on thousands of white cards I had. I would start roughing in a layout of what pictures I had, and note how they build and what was missing in relationships.

"In the building of a story, I being with my own prejudices, mark them as prejudices, and start finding new thinking, the contradictions to my prejudices, What I am saying is that you cannot be objective until you try to be fair."

I would list the picture to take, and other things to do. It began with a beginning, but it was a much tighter and more difficult problem at the end. I’d say, ‘Well, she has this relationship to that person. I haven’t shown it. How can I take a photograph that will show that? What is this situation to other situations?’

Here it becomes really like a playwright who must know what went on before the curtain went up, and have some idea of what will happen when the curtain goes down. And along the way, as he blocks in his characters, he must find and examine those missing relationships that five the validity of interpretation to the play.

I have personally always fought very hard against ever packaging a story so that all things seem to come to an end at the end of a story. I always want to leave it so that there is a tomorrow. I suggest what might happen tomorrow – at least to say all things are not resolved, that this is life, and it is continuing.”

Smith refers to working “like a playwright”. Elsewhere he compared his work to composing music, but perhaps it is the literary reference that is most relevant to “Country Doctor”. His doctor is the emblematic hero of a drama that unfolds through several episodes – literally, acts. His opening and closing tableaux have all the content of soliloquies: single moments loaded with psychological detail and environmental description that frame the play. Unlike the experience of a play in the theatre where we watch it once, from beginning to end – we read the magazine essay back and first, at the very least reviewing the images again once we have read through it. The details of the doctor’s actions lend weight to the opening and closing portraits, and vice versa, so that the depth of its characterization reveals itself across the images as a group. It would not work if it were not wholly believable as a record of a real man, and real events. As such, its strength and its place in the history of the genre lies in the manner in which it combines a record of reality within an effective dramatic structure; in short, as a human drama.

Smith’s essay-making technique was not something he developed independently of the media that published his pictures. It began with essays produced in the early 1940s for Parade , where photographers were encouraged to experiment with story structure (without the tight scripting Smith later encountered at Life magazine) and where stories often focused on an attractive central character achieving worthwhile goals against formidable odds. Although Smith is on record as being in constant struggle with Life over its scripts – as well as its layouts, the selection of photographs, and the darkness of his prints – it seems appropriate to view his achievement as the product of a dialogue with the needs and practices of the magazine. The battles were over the details of particular decisions rather than over the mission or purpose. In fact, Smith wholly identified with the Life formula, taking and refining it to a new level of sophistication.

After Smith left life in 1954 – after several prior resignations, his final departure was over the editorial slant given to his essay on Albert Schweitzer – he embarked on his ambitious Pittsburgh essay. Working for the first time outside the framework of a magazine, with only a small advance from a book publisher, and encouraged by Magnum’s reassurance that he would find a worthwhile return from serial sales of independently executed essays, he believed that he was positioned to produce his best work yet. He wrote to his brother that he Pittsburgh essay would “influence journalism from now on”, and described in an application for a Guggenheim Fellowship that he “would recreate as does the playwright, as does the good historian – I would evoke in the beholder an experience that is Pittsburgh.”

It did not really work. Becoming a landmark in the ambition of the photo essay, and including some of his strongest photographs, the Pittsburgh essay nevertheless failed to be the symphony in photographs for which Smith strove, After four years of work, it was finally published in the small-format Popular Photography Annual of 1959 , run as a sequence of “spread tapestries” – as he described his intended layout to the editor of Life . He titled the essay Labyrinthian Walk, indicating the story was less about the city than a portrait of himself locked in a life-or-death struggle with a mythical demon. Although he himself was responsible for the layout, he judged it a failure. The dream – or necessity – of Magnum failed also. He did only two minor assignments in the time he was a member, and he left completely broke, his family in poverty, with Magnum itself smarting from the investment it too had ploughed into the Pittsburgh project.

After the “Country Doctor” story was published, Smith declared that he was “still searching for the truth, for the answer to how to do a picture story”. Later, in 1951, he stated in a letter to Life editor Ed Thompson, “Journalism, idealism and photography are three elements that must be integrated into a whole before my work can be of complete satisfaction to me.” In 1974, 20 years after embarking on the Pittsburgh essay, Smith was vindicated with the triumphant artistic and journalistic success of “Minamata”, his story about the deformed victims of the pollution by the Chisso chemical plant in Japan. The story became a new paradigm for the possibilities of photojournalism, in part because of its unambiguous moral purpose.

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Edge of Humanity Magazine

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Philippines Street Photography – Photo Essay

Metro Manila, Philippines.

This street photography essay was submitted to Edge of Humanity Magazine by Mataro a  photographer and blogger at Mataro Photographs

Click on the images to see Mataro’s COMPLETE COLLECTION OF PHOTOS from the Philippines. 

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Beautiful Snapshots: Toronto Street Photography Essay

"the arrival".

Click individual photos to enlarge and enter the Lightbox Gallery.

We are introducing a brand new series of Photo Essays! Have a look at amazing Photo Sets all shot by talented photographers. Explore the vibe of the city, its hidden treasures, meet the Torontonians! This time, let's have a look at Toronto through the lens of Jonathan Castellino!

"Leisure Time"

The origins of street photography.

Street Photography is a specific genre within the field of photography that tries to capture candid situations in public places such as streets , parks, beaches, malls, political meetings, and other everyday venues. As one of the greatest photographers of all time, Henri Cartier-Bresson, once put it:

There [in photography] is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. The Moment! Once you miss it, it is gone forever.

Street photography presents these moments as they truly happened — they should not be staged or manipulated like much of commercial photography is. Authors rather have the ambition to "hold up a mirror" to society, to show reality as it is. This practice dates back to the beginning of the 20th century, when smaller portable cameras such as Leica were introduced together with the 35-millimetre film that made it possible for photographers to travel lightly (as opposed to dragging the heavy, large cameras of earlier times) and unnoticed within the hub of the city. Even then, it took some courage to take out a camera and take candid shots of people from a very short distance! Bresson talks about the " Decisive Moment ," a moment so powerful and yet so difficult to catch because it comes unexpectedly . The photographer must always be ready and not hesitate.

What was the birthplace of street photography? Europe, specifically Paris, was where the first street photographers like Eugene Atget and Bresson emerged. Their style became big in North America during the 1940s through the 1960s, with members of the New York School such as Weegee, Robert Frank, Diane Arbus, and Helen Levitt leaving behind a thorough profile of American society at that time. If you want to see some of these memorable projects, just look up their names and you'll be blown away by the beauty of their (often controversial) works focusing on African American and counter cultures.

Maybe you will also get inspired and take to the streets of Toronto with a camera at hand, looking at your city from a completely different point of view. Just for your interest, not everything in photography is digital today! More and more people get back to its "roots" and shoot on film again. Jonathan's shots that we featured were taken with an analogue camera on 35 mm black & white films. Compare today's streets by Jonathan Castellino with some beautiful snapshots from the last century in our other photo essay, Top 20 Photos from Toronto's History!

"Caught"

"business as usual", "nautical dream", "liminal", "urban gothic", "rebuked", "the lady in black", "sharikov takes offence".

Meet the Photographer

Jonathan Castellino

Jonathan Castellino is a hobby urban archaeologist and photographer based in the city of Toronto. His photographs document the intersection of built environment and cultural landscape as it speaks to the social imagination. While focusing primarily on contemporary urban ruins, his work also tends to take a broader perspective, examining the place and meaning of these spaces in urban life.

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