Some of my black and white Melbourne street photos from the late 1970s/early 1980s have appeared on a couple of previous blog posts–eg., here and here. The picture below is from the same period.
The conventional account holds that street photography positions itself as art whereas documentary photography is more concerned with injustice or narrative. The former tends to be spontaneous and it seeks to capture a moment that would have, without the photographer’s intervention, gone unnoticed. Documentary photography is more considered and ethical in its approach. Street photography is associated with the imagination (the free play of the faculties) and the poetic, whereas documentary photography is associated with truth, matter of fact and empirical knowledge.
Street photography is closely associated with a snapshot aesthetic or more broadly a snapshot culture that breaks down the borders between the private and public realms. A minimal description is a fragmentary photo in space and time with a loose and informal composition that is coupled to the semantic area of a photographer shooting or hunting with a portable, handheld 35mm camera searching for meaningful, memorable moments.
Conventional art history holds that the style of street photography became recognized as a genre in its own right during the early 1930s with figures such as Henri Cartier-Bresson, Brassaï and André Kertész, While there are precedents, and areas of overlap with documentary and architectural photography, street photography is associated with the photographer’s skill in capturing something of the mystery and aura of everyday city living. Some hold that the human figure becomes the street photograph’s defining feature. Robert Frank is seen as the central figure in this tradition.
The Bowden Archive and Other Marginalia 