Why does Roma street photography attract me irretrievably? Because she is dynamic, alive, unpredictable, she tests the photographer's skills in a beautiful challenge, in the game of photography. Street photography is among the few genres that manage with equal precision the simultaneous revelation of two worlds - the one inside the photographer, in his meeting with the one outside, on the street.
The "show" takes place on both sides of the camera. The photography workshop will propose the concomitant meeting with Space, Time, Emotion, Light, on the streets of the City.
The ingredients of the everyday frame unfold in layers, the photographer's gaze trying to find islands of perfect harmony in a seemingly chaotic world. Here is revealed his ability to become an attentive Observer, to become invisible, ubiquitous, to attenuate rational thoughts in order to let the subconscious become an unexpectedly sure guide.
Welcoming the moment of grace becomes the goal of search and permanent transformation, he looking for what he does not know what it looks like, where it can be found or what it brings with it.
The friendship with the unpredictable, with the synchronicities of the planes of reality, through spontaneous reaction, transforms the apparent event into something expected, not at all surprising.
If I want to street photography Rome, as a street photographer must see, feel, experience these "decisive moments", even when does not have a camera with me. When it comes to street photography, many photographers choose to work in a traditional way, in black and white (see BW vs. color), directing the viewer's attention to the subject by eliminating the color that can be distracting.
Photographers who prefer to approach the subject and encourage the interaction between the photographer and the subject choose wide-angle lenses, and others prefer distance, choosing long focal length lenses (telephoto).
Street photography requires a good knowledge of the camera technique and the camera you own. You can miss many unique opportunities because you did not know how to set the correct exposure time, for example. It is easier to shoot using an automatic mode because those few seconds in whom you set your camera can be very important. Don't try to imitate someone else.
You can educate your photographic gaze by taking as an example famous street photographers such as Henri Cartier-Bresson (1908-2004), Eugène Atget (1857-1927), Martin Parr (1952), Garry Winogrand (1928-1984), Bruce Gilden (1946). You can learn from them, but don't imitate them! Leave your personal mark, the unique way of seeing the city and the people on the street. Henri Cartier-Bresson, considered the father of modern photojournalism and master of snapshots, developed a style of street photography that influenced the generations of photographers followed. Henri Cartier-Bresson says in an interview that he took the photo below, slipping the lens between some planks, without looking in the viewfinder and without seeing the man in the picture jumping.
Often airtight, the city is not revealed to anyone.
Moreover, the people around them often remain mere silhouettes of anonymous strangers. The role of the photographer is to open invisible doors, both to himself and to the outside world. In an exercise of oscillation between itself and the city, an "archeology of the subconscious" becomes the instrument that changes the shadow into light and provides names and answers to questions and strangers that define the routine of the daily framework, through the prism of one's presence in the city.
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