MAUDE BARDET

“I chose this image firstly because it was taken in Cairo, which has been my favorite place to shoot in recent years. It is an incredible metropolis made of layers and layers of history – I remain as seduced by it as ever, even after many trips. And secondly, this is an image which depicts an improbable connection: awkward with the animal inside the building and the human outside, but also warm and seemingly full of understanding. Street photography is all about capturing moments and this affectionate glance to me summarized the city.

When I first discovered street photography, one of the aspects that attracted me most was the lack of necessity for explanation – no imperative to seek meaning, mystery is in fact desired. This makes it possible to go and shoot anywhere, without being bound by the framework of a project or the necessity to find special subjects. What keeps me going to the street, I guess, is FOMO: reality keeps producing decisive moments and if I’m not out there with a camera, I will never catch them.”

MAXIMILIAN GOTTWALD

“In my long-term project Asian Dusk – the Empire of Light I document cityscapes and impressions of Asian metropolises. the fast economic, political and demographic growth in Asia is rapidly changing these urban landscapes – condensation transforms them into dystopias, and the excessive use of artificial light sometimes makes the night look like day. The interaction of natural light and artificial light at twilight and at night fascinates me very much. The human element is often implied in my pictures, but the human being is often not visible, and this underlines the anonymity that prevails in large cities. Visiting an Asian city is an overwhelming experience that engages all of the senses. I let myself be driven by the smells and noises of the urban jungle, with the intention of transforming the chaos into an aesthetic calm and balance.

I chose the picture Hanshin Expressway no.1 because it is a wonderful example of how i find inspiration and thus unique and fascinating motifs during my walks through urban landscapes and streets at night. The darkness paired with the artificial light can create a very special atmosphere and offer new perspectives that don’t seem so surreal during the day. I love the dynamism of the power lines and the city highway and at the same time the tranquillity that the old building under the highway radiates. It’s exactly these contrasts that I look for on my forays.

My type of street photography is not necessarily about the people themselves, but about the built environment that surrounds them and their interaction with it. I love to immerse myself in urban life and discover a city away from the tourist hotspots. I document social landscapes authentically. The stories are told where real life takes place. The seemingly trivial is given its very own meaning through my extraction, my framing.

I try to capture the atmosphere of a place and allow the viewer to immerse themselves in this world. For me, street photography means telling stories without words: the story of people in a particular place and time, the story of architecture in the context of its surroundings, or simply the story of beauty in the everyday. With my work, I want to encourage people to take a closer look – because even the most mundane detail can conceal a fascinating story.”

EMMANUELLE BECKER

“Darkness swallows light,
Neon flickers, dreams shatter,
Urban blooms at night.

This image is from two larger portfolios, Gotham Visions and Second City. I enjoy exploring cities and urban landscapes and am always seeking to capture the soul of society through the lens of its streets. From shedding light on pertinent social issues to crafting narratives about the intricate interplay between humanity and their urban surroundings—my focus remains on encapsulating these narratives without ever including individuals in my shots. Street photography provides a means for me to contemplate the societal evolution, architectural nuances, and the dynamic organization of urban life.

Naturally, like most photographers, I love the interplay of light, shadows, lines, and perspectives, and I strive to construct visually captivating compositions that leverage the multifaceted urban environment. Lastly, I’m particularly drawn to the enigmatic allure of black-and-white imagery; this visual treatment infuses my street photography with a mysterious and dramatic quality, adding depth and resonance to the visual storytelling in my work.”

SERGE BÉGUET

“This photo was taken in Rome on the banks of the Tiber. I was intrigued by this kind of barge whose system of attachment to the quay made it possible to follow the movements of the water and I took a few photos, without human presence. Then this jogger came along and I knew he was the missing piece. I framed instinctively, integrating the yellow reflections of the trees on the turquoise river and I waited for the decisive moment, for it to be placed in the center of the two pillars… click!

It is mainly during trips abroad that I practice street photography. Countries like India, Nepal or Yemen are particularly stimulating and nourish the desire to photograph. Sometimes it is the place which imposes the framework and all that remains is to wait for a human presence. Other times, it is the human who creates the trigger. I like the images to be narrative, almost cinematic, that they tell more than what they show.

ROKAS JANKUS

“In the past 4 months I had the opportunity to live as an artist in residence in Belgrade, Serbia. During this time i worked on a Photography project in and about Belgrade, which i call ‘stills of the white city’. For this period of time I decided to limit myself to work completely in monochrome, to concentrate on my subjects and to avoid any distraction by colors. All pictures are candid street photographs.

This image doesn’t need much explanation. It is obvious what’s happening here. In reality this soldier is not going to a war, since he’s in the Serbian army. But the message behind this is really actual today, since the beginning of the War in Ukraine and in Palestine. A lot of soldiers are leaving their beloved ones to go into uncertainty. Some do by choice, some do not have any choice.

The magic in street photography to me is the ever present surprise. Your methods, your route, your mood, the light, all these things can be the same at different times… but you never know which story you come across. That to me is the closest explanation of what ‘life’ is. So the hunt for the unexpected and my curiosity motivate me (today more than ever) to go out and shoot. “