But Is It “Street”?

At this point in my photographic journey, I consider myself primarily a street photographer. Not exclusively street—but it’s where my heart lies, and it’s the style that brings me the most personal satisfaction.

That raises a question: What is street photography?  Simply put, I think it’s best described as the photography of candid moments—generally candid human moments—in public spaces. Unposed. Spontaneous. Unrehearsed.  These images often capture the beauty in the mundane. They elevate the everyday. They preserve fleeting moments that might otherwise be lost to time.

The Classics We All Know

There are many photographs we can all agree fit this definition.

Take Henri Cartier-Bresson’s Behind the Gare Saint-Lazare (1932)—a man caught mid-leap over a puddle, perfectly timed and mirrored in reflection. The very definition of the “decisive moment.”

Or Garry Winogrand’s untitled image from Women Are Beautiful (1960s)—a woman laughing mid-stride on a New York sidewalk, completely unaware she’s being photographed.

Or the often-overlooked but absolutely brilliant Fan Ho, whose As Evening Hurries By (1950s) shows a lone figure walking along a waterfront with a pushcart, cloaked in light and shadow. Cinematic. Haunting.

These are unquestionably “street.”

But What About the Gray Areas?

What if a candid moment happens in a semi-public space—a museum, a train station, a café?  Is that still street photography?  I would argue yes. And I think most photographers would agree.

For example, I captured the image below inside the Guggenheim Museum in New York City.  It was spontaneous and unposed.  It just happened to be indoors.  To me, that’s still street.  I think most would agree.

ABOVE AND BELOW

No People, No Street?

Then comes the trickier question: What if the moment is spontaneous, but there are no people in the frame? Many would say that disqualifies it as street photography. I understand that perspective. I respect it.

But I don’t accept it.

Take the next two photographs as examples.

MAILBOXES

RAINY DAY IN DENTON

The first shows a row of mailboxes along a rural road. No people. But those mailboxes are clear signs of human life—presence, routine, communication.

The second is a monochrome image of a rainy small-town street corner. No people. But cars are parked. Lights reflect in puddles. It’s quiet, yes—but the human presence is still felt.

Both were captured spontaneously. Both say something about the world we live in. To me, that’s enough to call them street photography.

Maybe It’s Time to Expand the Definition

Perhaps it’s time to broaden what we call “street.” Maybe street photography isn’t just about who is in the frame, but what the frame says about us.  Like a significant number of street photographers, I think we have to be not so stuck on the idea that street photography has to include people.  

To quote Fan Ho:  “Street photography is not just a picture. It is an expression of life.”  That expression doesn’t always require a face.  Sometimes, it’s a mailbox. A tire track. A storefront. A shadow left behind.

Let me know your thoughts.

And in the meantime, go out and capture the world as only you can!

Jonathan