Wildfires of the my West, my home, sitting into the night, looking out. We were safe, how many were not. ©CKS

Street Photography

A new challenge

In the setting of winter and lingering into the Spring, we have a new challenge for this time of in between. Shaking it up, we are looking for your best in Street Photography.

Above I have linked to the wiki on Street Photography. In general it captures a moment, a unique moment. It moves us; whether it calls attention to current issues of the times, or celebrates and captures an everyday beauty of this moment.

It is not always an Urban “street”. Could be rural. The focus is on the moment, versus a portrait, landscape, or architecture, even though they can all be structures within the image.

Feel into your senses; what moves you emotionally. How can you capture and document these moments.

So, bring it on. Think about composition, color, perspective, subject matter; these are carefully considered and not always easy.

  • between 1–10 images (convey a story rather than disparate images)
  • Images are the focus
    You may give a brief narration for each image or overall, but it should enhance rather than stand in for the image.
  • no recognizable faces (people are okay as long as they are not recognizable)
  • All normal SnapShots guidelines apply
  • Sub-title with — Street photography Challenge ( or something of like)
  • Tags — street photography, photography and if your images involve a social justice issue please also tag social justice, + 2 or 3 tags of your choosing
  • Images that are sexist, racist, homophobic, in nature. More broadly, any photos that demean what are immutable characteristics, will not be accepted. Interpretation of what constitutes these categories is at the sole discretion of the editorial team.

A few Examples to get you started:

Without People: Social Justice themes (single image and series)

Here, Erika Sauter places the ribbon in the foreground, and pushes it close to our visual plane. This creates a sense of intimacy. Also, the color of the ribbon is faded and the day itself is a flat light kind of day; together this enhances the quiet, somberness, and reflectiveness of this moment. I feel it. I feel Erika’s gratitude for surviving, and her wish and hope for this person she has never met.

Here Erik Smith has shared a series of interconnected images to speak of child labor and the cacao industry; an issue he is learning here and sharing with us. Thus, there is an immediacy within the context of these images. The layering of sacks of beans gives us heaviness and expanse of the problem. I feel it physically and emotionally. Then he moves to an intimate image of a gloved hand with beans. Usually a sweet image, the work glove and awkwardness is uncomfortable and anything but sweet. Lastly he shows us the stacks in relation to these spilled scattered beans on the ground. The smallness and concentrated numbers in relationship to the brutalist, raw sacks moves us without a word spoken.

Without people: on the street, composition enhances subject matter:

Lindsay Linegar. The composition of this image literally pauses us. “lockedart” we are literally locked, arrested, blocked into the pause, and into the message telling us “You’re a dope soul ❤” . Then color unifies us. The pink writing is echoed with the pink tinge of the surrounding landscape. The words speak to me as an individual and I am aware of self within the larger environment. This is more than an image of cool words. She has considered the image as a whole.

Lovely composition, here she places us parallel to the picture plane. We stand on the street looking at this lovely affirmation. Perspective; Eye level, as if we stopped while walking, turned and paused to admire the view. She makes certain to give credit to the artist of the piece, and her simple statement in title and then her single question, leaves us almost haunted. Even the boldness of the title font versus the smallness and brevity of the question underneath enhances this questioning and emotion we have been invited to experience with her.

Capturing People: without recognizable/identifiable faces

For this challenge look particularly at the first image. Elisabeth Kahn, captures a candid moment with people; their faces are not prominent enough to be recognized; the use of shadow in the daylight and distance, and perspective also helps obscure their identities. Next here words enhance the narrative but is not necessarily needed. Enjoying the weather is exemplified in subject such as the cotton candy man, the activity felt in the second image ( people in various moments spread from foreground to background), and the relaxed calm of the last image.

Again, Look at the first and second images in particular. Also, overall, both of these posts tell a story rather than disparate images. Below pay particular attention to Elisabeth’s use of movement and composition; movement from foreground to background. Notice the use of fire and how she frames it in the second image. and then moves to the faraway perspective in the last image. All images are connected not only in subject matter but the meandering and moving us from foreground to background and keeping is moving around each image.

Here we go! Take your time; there is no time limit on this challenge. Street Photography is not easy; but enjoy the challenge; as my mentor always reminded me to play. If you are not enjoying the process, then rethink what you are doing.


This challenge is open to anyone with an active Medium account. Not yet a writer for us? Here is a link to our SNAPSHOT information page. Take a look at it, review our submission guidelines, and if you think you’d like to participate then leave a response in the comment section below asking to be added as a writer. One of the editors will get back to you shortly letting you know you’ve been added.

Explore, Experiment, Engage.

Connie Karleta Sales
Crooked Little Flower

Thank you!
SnapShots Team

Rural Street Photography:
Wildfires of my West(cover image): Raging wildfires sweep through with such devastation. At the time this particular fire was one of the largest on record Oregon and Idaho. Nights were haunting reminders because you could see so clearly. We lived on 10 acres with cows, our garden. Flood irrigated, reliant on the snowfall and rain, and the run-off into the canals and reservoirs; and sometimes it runs out early; there is not enough, and we watch throughout a stormy night praying lightening does not strike. But we were not farmers or ranchers; not our livelihoods supporting our families. There I sat and snapped this image just as a car was moving through and the headlights sweeping across in an echo of the fire. This one cow shadow-lit, how fragile I saw her. How fragile I saw this place I loved. CKS

Not Rural Street Photography
This is an image I snapped one night of one of those storms I spoke of above in which we watched and prayed. This image is more about the landscape and the haunting beauty of the night. More of a sweeping panorama of the night. While I enjoy the photo, exam the difference between these two.