Philip-Lorca Dicorcia. New York, 1996.
Dicorcia’s ability to capture action at the right moment is seen in this photo, making it a good example of street photography. However, his use of dramatic lighting and flash creates a “cinematographic artifice” that questions reality.
Andy Morley-Hall
http://lvps212-241-196-151.vps.webfusion.co.uk/AndyMorley-Hall/gallery/70
Not only has Morley-Hall found an interesting subject, but he has created dynamism with an active frame. Usually, its bad to cut of figures heads, but in this case it is effective.
Boogie. From the book Istanbul.
http://hypebeast.com/2008/11/boogie-istanbul-book/
A mixture of luck and a good eye makes this photo so energetic and even playful. Boogie frames the soccer ball close to the camera and near the figure in the street, distorting its size and creating a relationship with the pedestrian.
Shawn Rocco, from http://www.cellularobscura.blogspot.com/
Juxtaposition plays a huge role in street photography, as illustrated by this image by Shawn Rocco. By placing the two pictures together, we find ourselves searching for a connection or meaning from the placement.
Matt Stuart
http://www.in-public.com/MattStuart/image/1939
While many street and documentary photographers prefer to use black and white, this photograph derives much of its effectiveness from the repeating reds which helps lend energy and visual interest.
Nick Turpin. Speed.
http://www.thephotographicadventuresofnickturpin.com/En/Story/38
Rather than freezing motion, Turpin shows motion—high speed motion, in this case—by allowing the train to blur. This blur makes it clear to the viewer that the train is moving incredibly fast.
