100SP-24_rl.indd 2 24.02.17 16:36 100 GREAT STREET PHOTOGRAPHS David Gibson PRESTEL Munich • London • New York 100SP-24_rl.indd 3 24.02.17 16:36 © 2017 Prestel Verlag, Munich · Editorial direction: Lincoln Dexter London · New York, a member of Copy-editing: Malcolm Imrie Verlagsgruppe Random House Design and layout: Hoop Design GmbH, Neumarkter Straße 28, Production management: Friederike 81673 Munich Schirge Separations: Reproline Mediateam, © for the texts, David Gibson, 2017 Munich © for the works reproduced is held Printing and binding: DZS Grafik, by the individual photographers, their d.o.o., Ljubljana heirs or assigns, with the exception Paper: Profisilk of the following images: p. 31, © Alex Webb/Magnum Photos; p. 35, © Martin Parr/Magnum Photos; p. 61, © Harry Gruyaert/ Magnum Photos; p.91, © Nikos Verlagsgruppe Random House FSC® Economopoulos/Magnum Photos; N001967 and p. 137, © Trent Parke/Magnum Photos ISBN 978-3-7913-8313-2 In respect to links in the book the www.prestel.com Publisher expressly notes that no illegal content was discernible on the linked sites at the time the links were created. The Publisher has no influence at all over the current and future design, content or authorship of the linked sites. For this reason the Publisher expressly disassociates itself from all content on linked sites that has been altered since the link was created and assumes no liability for such content. Front cover: detail of photograph by Marcin Ryczek, see pp. 161 Frontispiece: detail of photograph by Dan Szpara, Shinjuku, Tokyo, July 2016, see p. 181 Back cover: detail of photograph by Shin Noguchi, see pp. 170–71 Prestel Publishing Ltd. 14–17 Wells Street London W1T 3PD Prestel Publishing 900 Broadway, Suite 603 New York, NY 10003 Library of Congress Control Number is available; British Library Cataloguing-in-Publication Data: a catalogue record for this book is available from the British Library 100SP-24_rl.indd 4 24.02.17 16:36 6|7 58|59 110|111 162|163 INTRODUCTION Gustavo MINAS Richard SANDLER Richard BRAM 8|9 60|61 112|113 164|165 Jacek SZUST Harry GRUYAERT Roberto DERI Ryosuke TAKAMURA 10|11 62|63 114|115 166|167 Ilya SHTUTSA Igor MUKHIN Ronen BERKA Richard HERNANDEZ 12|13 64|65 116|117 168|169 Paul RUSSELL Jack SIMON Sam FERRIS Rammy NARULA 14|15 66|67 118|119 170|171 Alain LABOILE Jad JADSADA Siegfried HANSEN Shin NOGUCHI 16|17 68|69 120|121 172|173 Florence OLIVER Jan DITCH Stefano MIRABELLA Zoltán VANCSÓ 18|19 70|71 122|123 174|175 Sarolta GYOKER Jason ESKENAZI Stylianos PAPARDELAS Roj BAG-AO 20|21 72|73 124|125 176|177 Aaron ALEXANDER Jo WALLACE Swapnil JEDHE Cesar DE MELO 22|23 74 |75 126|127 178|179 Taras BYCHKO Joe AGUIRRE Tao L I U Michael PENN 24|25 76|77 128|129 180|181 Graciela MAGNONI Justin VOGEL Tatsuo SUZUKI Dan SZPARA 26|27 78|79 130|131 182|183 Txema RODRIGUEZ Ksenia TSYKUNOVA Tavepong PRATOOMWONG Aaron OFFORD 28|29 80|81 132|133 184|185 Aaron BERGER Julie HRUDOVA Tiago SANTANA Eric Leo KOGAN 30|31 82|83 134|135 186|187 Alex WEBB Lesley Ann ERCOLANO Todd GROSS Danielle HOUGHTON 32|33 84|85 136|137 188|189 Al DURER Maciej DAKOWICZ Trent PARKE Lukas VASILIKOS 34|35 86|87 138|139 190|191 Martin PARR Miikka PIRINEN Violet KASHI Hamid GHAZI 36|37 88|89 140|141 192|193 Charalampos KYDONAKIS Nakarin TEERAPENUN Yota YO S H I DA Mark Alor POWELL 38|39 90|91 142|143 194|195 Ilan Ben YEHUDA Nikos ECONOMOPOULOS Chema HERNÁNDEZ Gwen COYNE 40|41 92|93 144|145 196|197 Maria PLOTNIKOVA Nils JORGENSEN David SOLOMONS Peter DE KROM 42|43 94|95 146|147 198|199 Jesse MARLOW Oscar LEVCOVICH Dzesika DEVIC Michelle Rice CHAN 44|45 96|97 148|149 200|201 Chu VIÊT HÀ Pau BUSCATÓ Eric MENCHER Stephen McLAREN 46|47 98|99 150|151 202|203 Dimitris MAKRYGIANNAKIS Paweł PIOTROWSKI Gabi Ben AVRAHAM Joseph Michael LOPEZ 48|49 100|101 152|153 204|205 Claudio EDINGER Peter GERRITSEN George KELLY Peter TURNLEY 50|51 102|103 154|155 206|207 Dougie WALLACE Peter KOOL Giorgos KASAPIDIS Christophe AGOU 52|53 104|105 156|157 Eamonn DOYLE Reuven HALEVI Gueorgui PINKHASSOV 54|55 106|107 158|159 Elena MAYOROVA Ricardo LEUNG Lee ATWELL 56|57 108|109 160|161 Emil GATAULLIN Justin SAINSBURY Marcin RYCZEK 100SP-24_rl.indd 5 24.02.17 16:36 INTRODUCTION agenda and fill up a book with smart- applies to the difficulty of defining unless you ask them bluntly, leaving phone pictures, but would we look street photography itself, because it most people to assume the image is The premise of this book is a at the results any differently? overlaps with documentary and fine- completely natural. celebration of the very best street I would argue that whatever camera art photography, its closest cousins. photographs emerging from the so- is used, whether digital, film or People sometimes get heated about Whenever I meet photographers, called Internet generation. camera phone, has very little definitions. But at the outset, let me without knowing what their relevance when considering the offer my own well-worn description photographs are like, I always drop I chose every one of the photographs 100 photographs here. that I still believe is about right: into the conversation something because in some way they inspired like, ‘So who are your heroes in me but also because they stimulated Photography has always been The term ‘street photography’ can photography?’ thoughts that I wanted to set down. about sharing but that has now be applied to any photographs taken Some of the choices were already been accelerated by technology in a public space, with or without Therefore I asked each contributor planted in my mind but I went and, specifically, social media. With the inclusion of people, which are this question: ‘Please name three determinedly looking for more. street photography a great deal of entirely natural, and not set up. photographers, past or present, who Consequently the vast majority of mediocrity is shared online, but so have inspired you. Absolutely anyone the photographs are from the last too is the genre’s rich history which It might be wise to leave it at that, you like.’ five years. includes its very best photographs. although you could build a longer Essentially this is shared education interpretation around the word One photographer declined to Yet, during this fascinating process, and the growing consequence – ‘street’ itself. Street suggests answer, and another found it I felt the need to deviate slightly hopefully – is that more and more ‘street-wise’, to which you could add impossible to do so, but the rest from the work of the Internet people are visually literate with a list of adjectives, such as edgy, listed three and a few gave four. generation, as, quite simply, the street photography. surreal, poignant, etc. Basically, The top five ‘inspirations’ were as street photography community street photography is real, it is follows: encompasses more than one Ultimately, I fervently believe that the ordinary life made extraordinary by generation. I wanted to offer some words of Henri Cartier-Bresson still a great variety of photographers. 1. Henri Cartier-Bresson balance, some context of what came ring true: 2. Garry Winogrand before – as a result, among the many If you try to add more, it gets 3. Alex Webb images taken in the last five years, ‘Photography has not changed since complicated and probably 4. Robert Frank there are a few older photographs its origin except in its technical pretentious. But there is one issue 5. Martin Parr including a handful taken in the aspects, which for me are not I should tentatively mention here – 1990s, and one from as far back important.’ interference, that is to say, over- Other names that came up several as 1981. manipulation of a photograph and times were: William Eggleston, My subtle agenda then, even with sometimes outright cheating. Trent Parke, Daido - Moriyama, Josef I have been taking street photographs the changes that have taken place Koudelka and Sebastião Salgado. for about thirty years, so my time thanks to new technologies, is that it To use the word ‘cheating’ can sound straddles both the analogue and is still the best in street photography harsh, but I dislike photographers I think the results of this ‘survey’ are digital worlds of photography. In that matters. who take short cuts. I view it quite revealing, and the choices the theory I should have my finger on the as joyless because it shows a photographers made were honest pulse of street photography but I am But I think (or at least I hope) that I’ve fundamental lack of respect for the ones because there was no hidden very wary of trying to sum up or offer picked up on a building momentum spirit of street photography, and agenda of people trying to promote any kind of prediction for its future. in the street photography world. It is it also reveals a lack of genuine themselves or their friends, which All that has ever mattered to me is: quite possible that there is a marked talent. Another point is that those is a common distortion with online Does a photograph pull me in, does acceleration; more people identify who ‘cheat’ usually get found out. polls. it inspire me? with street photography, and there Yes, I might be naive on that count are more online groups, collectives, but there are many experienced The age of the photographer was What is certain is that the digital festivals and competitions.