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Street photography is photography that features the chance encounters and random accidents within public places. Street photography does not necessitate the presence of a street or even the urban environment. Though people usually feature directly, street photography might be absent of people and can be of an object or environment where the image projects a decidedly human character in facsimile or aesthetic.〔Colin Westerbeck. Bystander: A History of Street Photography. 1st ed. Little, Brown and Company, 1994.〕〔http://archive.lfph.org/what-is-street-photography.html〕 Framing and timing can be key aspects of the craft with the aim of some street photography being to create images at a decisive or poignant moment. Street photography can focus on emotions displayed, thereby also recording people's history from an emotional point of view. Similarly, Social documentary photographers document people and their behavior in public places for the purpose of recording people's history and other purposes; photojournalists work in public places, capturing newsworthy events, which may include people and property visible from public places; services like Google Street View also record the public place at a massive scale. Much of what is regarded, stylistically and subjectively, as definitive street photography was made in the era spanning the end of the 19th century through to the late 1970s; a period which saw the emergence of portable cameras that enabled candid photography in public places. ==History== Charles Nègre was the first photographer to achieve the technical sophistication required to register people's movements on the street in Paris in 1851. Eugene Atget is regarded as the father of the genre, not because he was the first of his kind, but as a result of his popularity as a Parisian photographer. As the city developed, Atget helped to promote the city streets as a worthy subject for photography. He worked in the city of Paris from the 1890s to the 1920s. His subject matter consisted mainly of architecture, stairs, gardens, and windows. He did photograph some workers but people were not his main focus. John Thomson, a Scotsman, photographed the street prior to Atget and had more of a social subject style than Atget. Thomson was vital in the transition from portrait and pictorial photography to capturing everyday life on the streets all over the world.〔 Paul Martin is considered a pioneer,〔 making candid unposed photographs of people in London and at the seaside in the late 19th and early 20th century in order to record life as it was.〔 Martin is the first recorded photographer to do so in London with a disguised camera.〔 Henri Cartier-Bresson, was a 20th-century photographer whose poetic style focused on the actions of people in time and place. He was responsible in the 1950s for the idea of taking a picture at what he termed the "decisive moment", "when form and content, vision and composition merged into a transcendent whole". The idea of the decisive moment inspired successive generations of photographers to make candid photographs in public places before becoming outmoded photographically. The beginnings of street photography in the United States can be linked to those of jazz, both emerging as outspoken depictions of everyday life. This connection is visible in the work of the New York school of photography (not to be confused with the New York School). The New York School of photography was not a formal institution, but rather comprised groups of photographers in the mid-20th century based in New York City. Robert Frank's 1958 book, ''The Americans'', was significant. Raw and often out of focus, Frank's images questioned mainstream photography of the time, such as Ansel Adams's landscapes, "challenged all the formal rules laid down by Henri Cartier-Bresson and Walker Evans" and "flew in the face of the wholesome pictorialism and heartfelt photojournalism of American magazines like Life and Time."〔 The mainstream photography community in America fiercely rejected Frank’s work, but the book later "changed the nature of photography, what it could say and how it could say it".〔 It was a stepping stone for fresh photographers looking to break away from the restrictions of the old style〔 and "remains perhaps the most influential photography book of the 20th century."〔 Inspired by Frank, in the 1960s Garry Winogrand, Lee Friedlander and Joel Meyerowitz began photographing on the streets of New York.〔 Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand"; critic Sean O'Hagan, writing in ''The Guardian'' in 2014, said "In the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「street photography」の詳細全文を読む スポンサード リンク
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