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He started off as an economist, and then turned to photography when he realized that photography had more power than papers to inform people about the world, its issues, and to inspire people to make a difference. To continue this point, Sebastião Salgado shares the importance of how photography isn’t just about making images– but for him, it is a way of life: Here are some articles on traveling and street photography you might enjoy: I feel if you want to become truly fulfilled as a photographer, it is important to work on some sort of “project” in your photography. For Sebastião Salgado, photography is a two-way street, in which there is an intimate and almost spiritual connection between the photographer and subject.

17 Lessons Walker Evans Has Taught Me About Street Photography I want to write about a photographer that most art and photography students know, but not that many street photographers know (or appreciate) online. Rather, I think it is a better strategy to hold a day job and work on your personal photography projects completely on your own terms (to prevent having professional photography gigs corrupt your personal photography work). I think I was photographing against the style of the time, against salon photography, against beauty photography, against art photography. For example, one could say that they have been “photographing for 50 years” but if they only took out their camera once a month to take some photos of rainbows and flowers it probably doesn’t compare to a photography student who photographs (or studies photography) 80 hours a week, and working intensely for 4 years.

Next to all the technical aspects that come along with photography, creativity is the force that makes you use the tools at hand to make a photograph your photograph and display your view at the world, to share with others how you experience life. It’s good to be reminded that creativity is not a constant stream, but more like a river: sometimes it’s overflowing and at other moments it’s hardly there. Don’t let your doubt be the decisive factor on the quality of your work, instead use your doubt as a starting point to ask yourself questions: questions about your work, not questions about yourself. He loves printed photography and one of the ways he shares his work is through his self-published quarterly photography magazine March & Rock.

If you want to learn more about Koudelka, I recommend you to read my article on him: 10 Lessons Josef Koudelka Has Taught Me About Street Photography. You probably won’t have a stable income, you won’t have enough money to buy a BMW or expensive cameras, you will have the stress of figuring out how to make ends meet, you won’t have a stable family life, and probably will be seen as a strange outsider by others. Koudelka doesn’t give a super-compelling reason why he chooses to shoot what he shoots, or why he decided to follow the Roma people and create his “Gypsies” book. It is to make a photograph that burns itself in your mind, and in your heart: Koudelka: The other sign of good photography for me is to ask, “