The photographer’s strategy and methods play a key role in creating photographs within urban spaces. These aspects determine not only the technical parameters of the shot but also its emotional and conceptual weight.
Using the camera—the primary tool—the photographer presents a unique reality exactly as they perceive it.
However, the selection of a specific genre—such as landscape, portrait, photojournalism, or still life—and the definition of a singular visual style that the artist will maintain throughout the entire project plays an equally crucial role.
This influences the entire shooting process, its mood, and the viewer’s ultimate perception of the image.
What skills should someone possess to engage in this type of photography?
In the modern world, human attention, focus, and observation are dispersed across an infinite stream of visual information, making it increasingly difficult to process it in fragments and maintain focus on specific details.
Therefore, one of the essential skills for street photographers is the ability to «notice.»
Notice the details of everything surrounding you.
Observational acuity—the human capacity to notice and focus on details, to discern critical elements amidst visual clutter—becomes the essential tool for the street photographer.
It is precisely through works that focus on subtle details that attention and observation develop not only in the artist but also in the viewer.
Street photography is a combination of knowing how to capture the right moment and the ability to react quickly. In the concept of street photographers' projects, not only technical skills matter, but also the ability to adhere to a well-thought-out idea.
By examining and comparing two works by street photographers—Hans Eichholtz’s «People of the 21st Century» and Trent Park’s «The Camera is God”—I will explore how a photographer’s strategy, concept, and methodology influence the resulting image of the same subject within an urban landscape.
Both artists captured passersby in random moments over a long period, yet their works differ radically due to their distinct intentions. In my research, I will closely examine the street photography projects, identify their similarities and differences, and analyze how the initial concept and the subsequent working process—the methodology—influenced their outcomes.
In addition, I will explore why, even when two photographers shoot the same subject, the resulting street photography will look vastly different in both instances. I will also analyze how camera choice can influence the character of a photograph.
«People of the 21st Century» Hans Eickelbaum
«I take between 1 and 80 photographs a day, almost every day, twelve months a year, ” the photographer said.
«People of the Twenty-First Century» is a large-scale documentary photography project by Dutch photographer Hans Eijkelboom, which he has worked on daily for over 20 years, starting in 1970 and continuing to this day.
Studying Hans Eickelbaum’s project, «People of the 21st Century,» one cannot help but notice a clear connection to the work of another photographer—August Sander’s «People of the 20th Century.» The goal of his work was to document and psychologically capture the most diverse social groups, presented in seven types: «Peasant,» «Artisan,» «Town,» «Profession,» «Woman,» «Classes and Professions,» and «Last People.» He sought to show people in their natural environment, complete with their strengths and flaws.
«People of the 20th Century» August Sander, 1927
«People of the 20th Century» by August Sander, 1927
«People of the 20th Century» by August Sander, 1927
The main goal of the project
The primary goal of the project is to illustrate how people in the modern world express their individuality through clothing, and how that «individuality» ultimately turns out to be extremely uniform.
Hans traveled around the world, photographing whatever caught his interest—namely, passersby. During walks in crowded places, the photographer began noticing similar people in different corners of the globe and decided to trace the trends in their appearances.
This resulted in photo series, each one a visual typology that gathered images of strangers dressed almost identically.
«People of the 21st Century» by Hans Eichelbaum, 12:00–16:00, November 22, 2004
The photographer captured images of men in red jackets, young people in tank tops on roller skates, and women wearing parkas with fur-lined hoods—all these individuals are grouped by the date, location, and a short timeframe when they were photographed.
«People of the 21st Century» Hans Eichelbaum, 10:50–11:20, 08/24/1997 «People of the 21st Century» Hans Eichelbaum, 1:00–2:00 PM, 12/31/2004
Strategy and Methodology
A crucial element of the photographer’s work was spending several hours each day in one spot, remaining stationary in a bustling area of the city—such as near shopping centers, on main streets, or at transportation hubs—where he would track down and capture the desired images.
However, the photographer’s camera choice played an equally crucial role in the final result. For the project, he used a small camera that he concealed in his bag, under his coat, and sometimes even secured it to his chest beneath his shirt.
Another method Khan used to hide the camera and avoid drawing excessive attention was to wear it around his neck and trigger the shutter using a thread that had been threaded into his pocket.
This allowed him to take photos discreetly, without disturbing the natural flow of passersby.