After World War II

By the close of the war and throughout the late 1940s and ’50s, William Klein, Lisette Model, Helen Levitt, Roy DeCarava, and Robert Frank were making careers of documenting American culture. The photographs they took were provocative and often contained vulgar or unaesthetic subject matter. Levitt, a student of Evans, was drawn to the poor neighbourhoods of New York City, where she often photographed children playing in the streets. DeCarava chronicled African American life in Harlem and the great jazz musicians of the postwar period, becoming the first African American photographer whose work embodied the spirit of true street photography. His shadowy pictures of everyday life in Harlem were a revelation from an insider’s point of view. Klein and Model used an aggressive style on the street, confronting subjects head-on with their cameras. The street photographers of that period, to a lesser or greater degree, all challenged the prevailing “straight photography” aesthetic, which, since the turn of the century, had urged the use of basic camera capabilities and photographic processes in the darkroom. They instead photographed from unconventional perspectives and produced grainy prints that contained blurry forms in motion.

Frank introduced a new kind of photographic documentation, one that placed greater value on images that evoked emotion and subjectivity. Departing from the most basic of traditional photographic methods, he often took photos without even looking through the viewfinder. He preferred leaving it to chance instead, welcoming imperfections and ambiguity. For that reason, it was hard to create a single perfect masterpiece, which had been the aim of many of his peers and predecessors, especially Cartier-Bresson. Frank wanted to express his perspective through a sequence of photographs, almost like the stream-of-consciousness technique of prose writers. The desire to offer more of a visual narrative experience worked best in book form, and it can be seen to great advantage in his groundbreaking and highly influential book The Americans (1959; first published in Paris in 1958), controversial for its dark perspective and critical view of humanity. The Americans and Frank paved the way for new forms of expression, new formats of display, and an artistic freedom among photographers that endured into the 21st century.

Outside of the United States, Robert Doisneau was documenting life on the streets of Paris during the postwar period. Compared with his American counterparts, Doisneau had a light touch, teasing out more casual everyday moments rather than bizarre and disturbing ones. The style was popular elsewhere as well. Notable among the street photographers in other parts of the world at that time and through the end of the 20th century were Manuel Álvarez Bravo and his student Graciela Iturbide in Mexico, Bill Brandt in London, and Josef Koudelka in Czechoslovakia.

Into the 21st century

The street photographers of the 1960s and ’70s continued to work with Leicas, many of them still shooting in black and white and some shifting to colour film. Joel Meyerowitz, Garry Winogrand, Lee Friedlander, and Diane Arbus were notable American street photographers of that period. Though they looked to Frank for inspiration, they each shaped a personal and distinctive style that favoured realism over beauty. The influence of Atget is apparent in Friedlander’s photographs of urban life across the United States, though his images of reflections in storefront windows have a decidedly more-depressed tone than those of Atget. Winogrand’s crowded and theatrical scenes on New York City streets captured the crazy chaos of the world with immediacy and energy unlike any other street photographer. Arbus unflinchingly examined the marginalized figures of society. Her dramatic straightforward images awkwardly bring to the fore figures who were often shunted to the background, avoided, or ignored in daily life.

In 1967 photography scholar and curator John Szarkowski organized the now-celebrated exhibition “New Documents” at the Museum of Modern Art in New York City, featuring the work of Arbus, Friedlander, and Winogrand and identifying them as the new generation of photographers following in the footsteps of Frank and inspired by the “snapshot” look. Szarkowski’s exhibition revealed as much about the fascinations of the people behind the camera as those in front of it, and some critics found the work to be voyeuristic and exploitative. Whatever its merits and flaws, “New Documents” defined a new form of documentary photography, which marked a shift in the notion of documentation as strictly objective and also in the perception of the art of photography itself: for the first time in the history of photography, the photographer was clearly revealed as an artist with a point of view and not a mere recorder of facts.

The generations of photographers that followed were greatly influenced by the personal approach. Photographers of the late 20th and early 21st centuries who took the street as a central focus include Raghubir Singh, Bruce Gilden, Martin Parr, Mary Ellen Mark, Jeff Mermelstein, Sylvia Plachy, Mitch Epstein, Alex Webb, Melanie Einzig, and Philip-Lorca diCorcia.