about current work of our members at strkng.com
In constant visual provocation inside and outside myself.
A permanent condition of my being that leads me to constant communication between the internal and external world.
Doing street photography is part of me in every moment.
Far. Close. In a sort of justified distancing depending only on the photographic action required.
Expressions and gestures. The position of bodies in space.
The construction of the frame that passes through instants.
Sometimes the simplest of thematic ideas present themselves. We may enjoy many warm and sunny days throughout the year in Rome, Italy, but when it does rain here, it really pours; rarely does it merely drizzle. (Fun fact: annual rainfall in the eternal city actually exceeds that of London.) When the heavens opened recently on a mild autumn day, the city was instantly transformed: wet streets, gleaming San Pietrini cobblestones, umbrellas everywhere, and a sudden quickening of pace by Romans and tourists caught out by the storm. The Ricoh GR II doesn’t love wet weather, but armed with an umbrella and a lens hood, I managed just fine. Here are some of my favourite shots from that day.
This year I pushed my limits. Especially in the places where I go to photograph.
A different awareness of the city and how I live it contributes. My cameras are anonymous and not flashy. My approach is careful and respectful. I am not crazy and I know where I enter, in what context, what generates the sight of someone who sees himself as a foreigner even if set. My way of walking is that of a chilango, that is, of an inhabitant of Mexico City.
For twelve years here and doing my street photography every day. Although seeing the images someone doesn’t recognize certain environments as dangerous I can assure you that not everyone can afford to go where I go. So why I go in certain, tough places? It is because certain places are able to give me what I am looking for: a raw and real portrait of the Mexican culture.
I believe that Street Photography can’t be something made only where tourists go.
This is my profession and my mission.
StreetMax21 – A two page spread in this month’s Al-Tiba9 magazine.
Exploring inside a dream.
Visions of life.
StrretMax21 featured in the latest issue of FotoNostrum Magazine.
Thirteen image spread with 1400 word essay.
instagram.com/p/CVGVBPgoBs_/
That immediate recognition through a moment that shapes and reveals itself to me. The moment everything tells me it’s time to press the shutter button.
It is the light. It is the position of the subject. It is my position respect to the subject.
As a writer of photography I think a lot about the condition of the photographer, about his state of mind at the moment of shooting. The ontology of the photographer, that state of affairs, the staying in the right conjunction of everything that allows me to stay focused and in a moment capture that magical moment that reveals itself to me, to you, to all of us.
Street Photography it is a constant teaching, preparatory to all my observing the world.
I’m delighted to be declared the Curator’s Choice for the group exhibition "-scapes" to be held from November 18 till December 11 at PH21 Gallery, Budapest.
Two images selected.
https://www.ph21gallery.com/scapes-21
“WHEN A PHOTOGRAPHER IS ABLE TO FILTER HIS KNOWLEDGE AND HIS FEELINGS THROUGH THE ART OF WRITING WITH LIGHT, HE WILL BE ABLE TO BE ABSOLUTELY PERSONAL.”
My style is marked by raw street photography images with the obsession of the decisive moment, but always with a documentary eye. I am a photojournalist, but I’m not afraid to call myself a street photographer, because many of my photos are made in the street with an approach and the aesthetic characteristics of this genre. The fact to call myself a street photographer doesn’t affect my creativity.
When I talk about raw images is because I am not interested to present pretty pictures, and never been interested to propose something reassuring for the observer. This is because I am connected with the streets and the streets that I cross often are full of harsh things to see, and I am not going to hide them.
I always photograph with respect. Respect for people and even for the place I am is fundamental.
I think that a good picture should have a mixture of good composition, effective management of light and then a good exposure. But it is not a purely technical discourse. Content is the soul of a photograph.
Street photography for me is simply my way of living and seeing the world. It is about going out with my camera always, even if I go to the supermarket, and capture what attracts me. Some people think it is a photographic genre. For me it is an approach and a way of living photography that allows me to never get tired of having a camera with me.
After all these years as a professional photographer everyday is a new day, just like the first day into this great thing called phoptography.
Street Photography is my life.
This is the reason why I still enjoy and I go out on the street with the same enthusiasm and desire of discovering things.
The fact of being a street photographer influences also my work as a portrait and commercial photographer, and you can see it also in my journalistic coverage.
Street Photography, the good street photography is something that documents, that communicates something about a moment captured by the photographer, and by so much also reveals something about the author of the photo. A good street is a revealing moment, a sublime dichotomy of the ES and the world around us, or at least the perceived one. With this reason you have to be demanding, with the moment captured, if there are true contents or not, if there is a composition worthy of this definition, if the street is genuinely represented and without straining, and for so much communicating that energy that only the street is able to reveal. The photography of street is to represent reality, however we can play with that reality and make it our own, revealing other meaning, perhaps another perspective.
The photograph of the street is direct, you don’t stage anything and you have to worry about reacting very quickly, otherwise the moment goes forever. It may seem obvious, but Street Photography is a complex game. Only the photographer aware of this will achieve important results, through a lot of practice and dedication.
If you want to get good good what you want to know when you want to have a good technique and a good time for an excellent knowledge of the camera and the goal.
In addition to a true immersion in the reality that you are photographing, becoming sensitive, empathetic with the environment in which you are working. This is what makes you a different kind of photographer.
… and I can feel it. This year was a very good year to me. I back to a more classical street photography this year.
I am using a manual lens that allows me to achieve more than the usual lenses.
The lens is from 7Artisans, a 37.5 mm and is not that easy to start with. It is also focused on bokeh so not anything is perfect. When I am in fron of my computer by editing with Lightroom the images seems to be blurry, then the magic when the photo is exported: sharp where it needs to be.
I am pretty far from the idea of current photography. I love to work in this way.