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Eleven Essays on Photography

By Clement Cheroux Translated by Shane B. Lillis

Part of ric books (ryerson image centre books), category: photography.

Nov 09, 2021 | ISBN 9780262045773 | 7 x 9 --> | ISBN 9780262045773 --> Buy

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About Since 1839

Essays on a range of photographic topics by the recently appointed Joel and Anne Ehrenkranz Chief Curator of Photography at MoMA Since 1839… offers a selection of essays by the renowned photography historian Clément Chéroux. Appointed Joel and Anne Ehrenkranz Chief Curator of Photography at the Museum of Modern Art (MoMA) in New York in 2020, Chéroux takes on a variety of topics, from the history of vernacular photography to the influence of documentary photography on Surrealism. These texts, newly translated into English and published together in one volume for the first time, reflect the breadth of Chéroux’s thinking, the rigor of his approach, and his endless curiosity about photographs. In this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopian ideals of early photography; and analyzes the duality of amateur photography. Among other things, he describes the appeal of photographs snapped from a speeding train and explains historical value of first-generation prints of photographs. Through an analysis of key photographs taken on 9/11, Chéroux shows that the same six images were seen again and again in the press. Widely ranging, erudite, and engaging, these essays present Chéroux’s innovative investigations of the histories of photography.

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Since 1839... Eleven Essays on Photography

Since 1839... Eleven Essays on Photography

By: Clément Chéroux Translated by: Shane B. Lillis

Essays on a range of photographic topics by the recently appointed chief curator of photography at MoMA. This volume offers a selection of essays by the renowned photography historian Clément Chéroux. Chéroux, appointed chief curator of photography at the Museum of Modern Art (MoMA) in New York in 2020, takes on a variety of topics, from the history of vernacular photography to the influence of documentary photography on Surrealism. The texts, published together in one volume for the first time and newly translated into English, reflect the breadth of Chéroux's thinking, the rigor of his approach, and his endless curiosity about photographs. In this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopian ideals of early photography; and analyzes the duality of amateur photography. Among other things, he describes the appeal of photographs snapped from a speeding train and explains historical value of first-generation prints of photographs. Through an analysis of key photographs taken on 9/11, Chéroux shows that the same six images were seen again and again in the press. Widely ranging, erudite, and engaging, these essays present Chéroux's innovative investigations of the histories of photography. Co-published with MIT Press

288 pages, 100 figures Hardcover 7 in x 9 in

since 1839... eleven essays on photography

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In this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopian ideals of early photography; and analyzes the duality of amateur photography. Among other things, he describes the appeal of photographs snapped from a speeding train and explains historical value of first-generation prints of photographs. Through an analysis of key photographs taken on 9/11, Chéroux shows that the same six images were seen again and again in the press. Widely ranging, erudite, and engaging, these essays present Chéroux's innovative investigations of the histories of photography.

  • ISBN-10 026204577X
  • ISBN-13 978-0262045773
  • Publisher MIT Press
  • Publication date 9 Nov. 2021
  • Language English
  • Dimensions 18.42 x 1.91 x 23.83 cm
  • Print length 288 pages
  • See all details

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  • Publisher ‏ : ‎ MIT Press (9 Nov. 2021)
  • Language ‏ : ‎ English
  • Hardcover ‏ : ‎ 288 pages
  • ISBN-10 ‏ : ‎ 026204577X
  • ISBN-13 ‏ : ‎ 978-0262045773
  • Dimensions ‏ : ‎ 18.42 x 1.91 x 23.83 cm
  • 202 in Individual Photographer Essays
  • 360 in Photography Criticism & Essays
  • 1,250 in History of Photography

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  • Print length 288 pages
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  • ISBN-10 026204577X
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  • Publisher ‏ : ‎ The MIT Press (Nov. 9 2021)
  • Language ‏ : ‎ English
  • Hardcover ‏ : ‎ 288 pages
  • ISBN-10 ‏ : ‎ 026204577X
  • ISBN-13 ‏ : ‎ 978-0262045773
  • Item weight ‏ : ‎ 1.05 kg
  • Dimensions ‏ : ‎ 18.42 x 1.91 x 23.83 cm
  • #105 in Photography Essays
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Since 1839: Eleven Essays on Photography (RIC BOOKS (Ryerson Image Centre Books)) (Hardcover)

Since 1839: Eleven Essays on Photography (RIC BOOKS (Ryerson Image Centre Books)) By Clement Cheroux, Shane B. Lillis (Translated by) Cover Image

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  • Photography / Criticism
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Picture-perfect addition to Ryerson Image Centre Book series

In black and white, a man sits in a vintage car with lightning above.

A photograph featured in the latest publication from the RIC Books series. Anonymous photographer, Lightning-Resistance Test of a Car, 1960. Gelatin silver print, 19.2 x 24 cm. Private collection, Paris.

It’s a badge of honour to have renowned photography historian Clément Chéroux commend your book series – and an even greater honour when he suggests adding his own book. That’s precisely what happened in 2020, when Chéroux contacted Thierry Gervais, head of research at the Ryerson Image Centre  (external link)  (RIC), with his idea for Since 1839… Eleven Essays on Photography , which will launch at the RIC on May 31 at 7 p.m. ET.*

“Clément had volumes of our series and loved them,” recalled Gervais, who is the RIC Books series editor. “When he suggested this new book, I said yes, I think it’s a great idea.”

An event to remember

This fifth volume in the scholarly RIC Books series  (external link)  , published in partnership with the MIT Press, features a selection of essays by Chéroux, the Joel and Anne Ehenkranz Chief Curator of Photography at the Museum of Modern Art (MoMA) in New York. Chéroux will speak at the book launch, in conversation with Gervais, and the two will discuss the unique case studies and previously untold stories of photography included in the book. A Q&A session will follow their discussion, and Chéroux and Gervais will answer questions from the in-person and online audience  (external link)  .

“This event will sum up everything – Clément’s vision, the book, the series, and we’ll also talk about the research department at the RIC, which is very important because there are not many museums with a department that is solely dedicated to the history and study of photography,” said Gervais. “It’s a great book, he’s a great academic and inspirational person, so it’s an opportunity not to miss. It’s going to be a great time.”

Clément Chéroux; book cover of Since 1839 … Eleven Essays on Photography

Clément Chéroux (left), The Joel and Anne Ehrenkranz Chief Curator of Photography, will speak about his new book (right). Photo: The Museum of Modern Art.

The “Since 1839” title refers to the date photography was invented in France. “It’s the date we usually use for a starting point in the history of photography,” explained Gervais. “It’s when Louis Daguerre first sold his process, the daguerreotype, to the French government, and they made it available to everyone.”

“It’s a vision about photography”

For this strikingly designed and illustrated volume, Chéroux’s writings have been newly translated into English and published together in one volume for the first time. He discusses ways of sharing images, from the 19th century to the digital age, considers the ideals of early photography, and analyzes the duality of amateur photography. 

Chéroux also describes the appeal of photographs snapped from a speeding train and explains the historical value of first-generation prints of photographs, among other topics. Through an analysis of key photographs taken on 9/11, Chéroux shows that the same six images were seen again and again in the press. 

“In this book, Clément is willing to share a more holistic approach to photography, and his very important vision. It’s really at the junction of the museum world and the academic world, which is what makes the book very interesting,” said Gervais. 

“He talks about different aspects of photography – from vernacular photography to surrealism, about photographs taken in concentration camps during the Second World War, and the use of photographs in art. It’s a book about photography, not its subjects – it’s a vision about photography.”

Since 1839... Eleven Essays on Photography  can be purchased in person at the Ryerson Image Centre and at the centre’s online store  (external link)  . All five publications in the RIC Books series can now be purchased as a set for the first time.

* Due to limited space and COVID-19 safety protocols, the in-person event is invitation only, but will also be available online via Zoom – register here  (external link)  .

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  • Print length 288 pages
  • Language English
  • Publisher MIT Press
  • Publication date 9 November 2021
  • Dimensions 18.42 x 1.91 x 23.83 cm
  • ISBN-10 026204577X
  • ISBN-13 978-0262045773
  • See all details

Frequently bought together

Since 1839: Eleven Essays on Photography (RIC BOOKS (Ryerson Image Centre Books))

Customers who bought this item also bought

The Mindful Photographer

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  • Publisher ‏ : ‎ MIT Press (9 November 2021)
  • Language ‏ : ‎ English
  • Hardcover ‏ : ‎ 288 pages
  • ISBN-10 ‏ : ‎ 026204577X
  • ISBN-13 ‏ : ‎ 978-0262045773
  • Item Weight ‏ : ‎ 1 kg 50 g
  • Dimensions ‏ : ‎ 18.42 x 1.91 x 23.83 cm
  • Country of Origin ‏ : ‎ USA
  • #480 in Photography Textbooks
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Since 1839: Eleven Essays on Photography

SINCE 1839: ELEVEN ESSAYS ON PHOTOGRAPHY

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The Weird, Wonderful History of Fairground Photography

since 1839... eleven essays on photography

In the hierarchy of fairgrounds, photography was a minor attraction. Unlike the animal tamer, the freak show, and the fortune teller, the photographer was rarely an object of journalistic reports; his presence was merely mentioned, as would be the sellers of balloons and snacks. 1 Disdained by professional portraitists — to whom he represented a form of competition that lowered prices, undermined their work, and discredited the entire industry — the fairground operator never attracted the interest of the photographic press. 2 As a result, there is a great lack of documentation on the subject.

since 1839... eleven essays on photography

Archival sources are also rare. Since they were itinerant by nature, constantly moving from one place to another and limited by space and weight restrictions, fairground workers left few written testimonies or material traces of their activity. The few documents available in municipal archives are requests for sites, letters of complaint, and various rules or orders regulating activities. 3 The photographic resources are also sparse. Once the portrait was handed over to the client, its negative (if there ever was one) was generally destroyed. Unlike in other fields where the medium was used, such as medicine and architecture, no collections of fairground photographs were made that might allow for precise analysis of this practice. There remain only the portraits themselves, crude images given to the clients that a few private collectors in recent years have brought together in more or less coherent collections.

The history of fairground photography in its early years was mixed with that of itinerant photography. In the first press articles after 1839 that mention an itinerant photographer, it is difficult to determine whether he was an independent operator — one who occasionally worked with fairs or festivals in order to profit from the fairgoers — or if he was part of the fair itself. After 1850 the distinction becomes clearer. On the one hand were the itinerant photographers who traveled through the towns, countryside, and holiday destinations, where they exercised their trade “out in the open.” 4 On the other hand were “showmen photographers,” 5 as Ernest Lacan called them, from the world of the fairground and who operated solely in that context. From the descriptions, their booths looked like any other fairground booth.

Unlike the animal tamer, the freak show, and the fortune teller, the photographer was rarely an object of journalistic reports.

In an article that appeared in 1858, La Gavinie described the Montmartre fair as follows: “The boulevards, the squares, filled up with onlookers who surrounded the merry-go-rounds, the skill and strength games, the swings, the four parts of the world, the wooden horses, and the acrobats and jugglers, the musicians from Alsace, the musclemen, the performing monkeys, M. Albus, M. Laroche, the sellers of waffles and of candy cane, the archery stand, and so on. Photography also had its booths amidst the two-headed serpents, the Bouthor circus, and the giant woman.” 6 The business of portraits became a fairground activity among many others. In 1876 at the fairground of Neuilly-sur-Seine, a certain Delavacquerie proposed both a shooting stand and a portrait studio. Nine years later, the same person asked again for a space for his photography booth, but this time alongside a flea circus. In 1883 Weker created photographic portraits while at the same time holding a stand for shooting galleries. Five years later, Murat had a somnambulist’s wagon and a posing booth, and so on. 7 Photography thus became an integral part of the fairground.

In the very first years, photography benefited from the curiosity and enjoyment of the fairgoers. It became a genuine attraction among others, in the purest tradition of those fairground demonstrations in which talented hucksters presented the latest scientific novelties, by adapting them to the conditions of the spectacle and to the onlookers’ taste for the marvelous. Very quickly, however, the public’s appreciation for fairground photography declined. There are several explanations for this quick reversal in opinion. First of all, it is probable that the increase in portrait studios during the 1860s contributed to channeling the novelty that fairground photography had enjoyed until then. The showmen also had difficulty competing in terms of quality with those of their studio counterparts, limited to what Alphonse Allais calls “a pure masterpiece of resemblance on metal.” 8 “It was dark, it was blurred, it was awful,” wrote Ernest Lacan more bluntly. 9

Beyond the poor quality of their products, operators of photography booths suffered from the bad reputation of the whole fairground enterprise, and were regularly likened to itinerant photographers, who were known for their dishonesty. In her well-documented article on itinerant photography in Great Britain, Audrey E. Linkman cites several verified cases of fraud by unscrupulous portrait photographers. According to Photographic News in 1879, some operators, after quickly pretending to take a photo, offered their customers a portrait in a little case, advising them to keep it closed for three or four hours until the chemical process was complete. If the image received any light at all before then, they said, it could disappear. Impatient customers who opened the case too early found no image at all, of course. And to customers who returned demanding another portrait, the photographer merely replied that they had been warned, then proposed that they have another photograph taken for a supplementary fee. Others waited patiently for the chemical process to finish, only to discover too late that they had been tricked, giving the photographer time to leave quickly. 10

The unpopularity of fairground photographers was due less to such swindles (of which most operators could not be accused) than to their soliciting or touting. A letter from a fairground show-woman in 1907 describes the ungracious practices of the photographer Minette at the Neuilly fair: “There are three touts who block the way for passersby, choose the most gullible, force them or coax them into their shop. Then they begin to aim and adjust their cameras and come together to intimidate the person. And there is a tall woman who stands in front of the door to see if anyone is coming who might intervene. And when the touts have skinned their victims, the woman tells them to leave. Victims leave the booth sometimes in tears.” 11 While this attitude was damaging to all fairground showmen, encouraging some of them to refuse to have a stand near a photographer, it was particularly unpleasant for the public. “The photographer is a parasite of the fairground and the torturer of the passersby,” 12 wrote Jean Copain in 1897. To the credit of photographers, the profession became more and more difficult because of the growing number of operators. In 1873 there was only one photographer in the Neuilly fairground, while in 1886 there were 24. 13 Touting was the consequence of this competition.

The fairground unions and public authorities, becoming increasingly aware of visitors’ irritation, acted quickly. In 1887 the Neuilly fairground commission reduced the number of photography booths to 12, then down to 10, and finally to four in 1914. In 1890 an administrative letter from the head of the Paris Police to the superintendent of the Roquette area, which hosted an annual gingerbread fair, stipulated that “photographers must be requested not to harass the public and warned that in case of complaints their permit would be withdrawn.” 14 A later ruling stated that “photographers had to show their fees, on the outside and near the entrance to the establishments, followed by the words ‘no extra fees,’ all in clearly visible letters.” 15 Another insisted that photographers be monitored “in a very special manner.” 16 While they helped to reduce touting and to make photographers less offensive, the measures did not solve the profession’s structural difficulties.

Some customers waited patiently for the chemical process to finish, only to discover too late that they had been tricked, giving the photographer time to leave quickly.

At the end of the 19th century, competition among fairground showmen had been joined by a new form of competition: amateur photographers. This problem went far beyond the case of fairground workers to concern all portrait photographers. Since the 1880s, with the advent of gelatin silver bromide and the development of amateur photography, a few professionals had begun to worry about potential loss of part of their clientele. In their minds, this facilitated access to photography was encouraging not only a large number of amateurs to become portrait photographers, thereby increasing the ranks of competitors, but also, and above all, it encouraged an increasing number of clients to be content with portraits created by beginners, and thus to abandon patented photographers.

In his work on the history of photography studios, French historian Jean Sagne remarks that “exotic junk would soon become a commercial argument for portrait studios that wanted to keep a clientele that was demobilized by the practices of amateur photographers. New accessories, velocipedes, cars, planes, invade the studios.” 17 At the very end of the 19th century, different kinds of portraits were being proposed by photographers. Studios now offered portraits with “artistic effects” or against backdrops chosen according to the customer’s fancy.

Since the early 1890s, several books had compiled for the interest of amateur photographers lists of different tricks for creating fanciful portraits more easily. These works on “amusement photography” explain, for example, how to create a shadow-puppet theatre or “living pictures.” They also suggested photographing oneself in distorting mirrors or drawing backgrounds showing quirky scenes where one had only to stick one’s head through a hole. They explained various ways for enabling people to photograph themselves or to transform their subject into a living statue, to deform it, or to multiply it. These recreational manuals, whose goal was to encourage amateurs to think outside the box, 18 also offered to some studio photographers an opportunity to refresh their portrait collection.

The entire repertory of photographic amusements was not the object of this appropriation. Only certain recreations were adopted by professionals, namely those that remained within the limits of decency, without altering the resemblance very much, but offered something curious or amusing. It is possible, therefore, to find at the turn of the century studios that offered to photograph their customers between two mirrors against an openwork background, disguised, doubled, or multiplied. Facing the same competition, fairground photographers reacted as did the studio photographers. After a slight delay, but far more unanimously, in the 1910s (and even more so in the following decade) they adopted some of the models provided by recreational photographs. Limited by being itinerant photographers, and thus less well set up and equipped than studio photographers, fairground photographers utilized only the simplest recreations and those that used devices well-known to the profession.

The authors of recreational manuals proposed that amateurs stick their head through a hole in an openwork backdrop purchased in a store or made themselves. The sets used by the fairground photographers were more elaborate. Painted by them or by specialized companies, there were two different kinds. First there were scenes comprising one canvas panel pierced with one or several holes for customers to put their heads through. These panels to “poke your head through” 19 ( passe-têtes ) generally created an amusing scene: a drunkard between two policemen, an act of adultery, a joyful dance, and so on. Photographers who possessed larger booths offered more complex scenes made up of two panels, a background and a foreground. These were more specifically devoted to means of transport such as airplanes, boats, or cars. Some fairground photographers offered both types of settings. A photo taken by Robert Doisneau at the Foire du Trône shows that the owner of “Photographie comique” possessed both an airplane scene and a genre scene. “For 60 centimes, MODERN PHOTO will photograph you, as an aviator, as Jesus, with the crown of thorns, AT NO EXTRA COST,” wrote Paul Morand in 1924. 20

“For 60 centimes, MODERN PHOTO will photograph you, as an aviator, as Jesus, with the crown of thorns, AT NO EXTRA COST,” wrote Paul Morand in 1924.

In response to an injunction by the showman, the fairgoer entered the booth and then posed in the scene. The photographer had in front of him a tripod with a voluminous box on top that served as a camera for taking pictures, a darkroom for developing, and a reproduction stand. He operated in daylight or by using photo flash powder or electric light. Sensitive postcard paper was used as a negative. Once the photo had been taken, this paper negative was developed, then fixed, in a compartment behind the dark chamber that was made accessible by one or two handles. Using a small articulated arm that could be moved in front of the lens, the negative was re-photographed on another piece of postcard paper, which after treatment became the positive given to the customer. 21 Postcard paper, which had spaces for a message, the address, and a stamp on the back, offered a twofold advantage. For the fairground photographer, it was the least expensive photographic paper on the market. For the customer, it made possible sending one’s portrait by mail, along with a few words. “Dear Uncle and dear Aunt. I am sending you our photographs so that you can see my face how ugly I am on it,” one young girl wrote. 22

Appearing in the mid-1920s, shortly after the painted scenes, another attraction offered by the fairground operators was “photo shooting.” 23 This was basically a shooting game, except that when the bullet touched the center of the target, it triggered a photographic mechanism that captured the shooter instantly with a flash. Rather than some unspecified prize, the customer won his own image as a shooter. In other words, he shot his own portrait. This photographic attraction was based on the “surprise shooting gallery” of the previous century, a “theatre in which the viewer directs the action with his gun,” as Walter Benjamin wrote. 24 The historian Z é ev Gourarier explains that “at the end of the nineteenth century, these games, which were widespread at the time, used the pressure of the winning bullet on a piston placed at the centre of the target, in order to trigger animated scenes. . . . After the shot, a woman who had been facing the customer until then turns around, showing her back and her skirt lifted up; firefighters then activate a pump and the waiter swaps heads with the marbled beef he was carrying on a tray.” 25

since 1839... eleven essays on photography

Also in the 1920s, and based on the same principle as the photo-shooting stand, another attraction consisted of guiding a miniature automobile along a circuit full of obstacles, using a steering wheel on the counter of the fairground booth. Whoever succeeded in crossing the finish line similarly triggered a photographic mechanism and took away as a trophy their own image as a winner. Unlike painted panels, which adapted the principles of photographic recreations to the conditions and the spaces of the fair, these games of skill came from a strictly fairground tradition. It was not recreation that became the attraction, but rather the opposite. After a few adjustments, the traditional shooting stands and racing stands were thus transformed into “fairground photographic games,” as documented by the specialized press of the time. 26 Although ingenious and fascinating, these attractions were, however, much less widespread than painted backdrops.

It seems that the renewal of fairground photography was especially appreciated by the public, and it is easy to understand why. For those who indulged in it, generally with friends, fairground photography was above all an amusement, first during the taking of the picture and then, in the time of memory, while looking at the picture. But it would be wrong to think that was all. Those who introduced all or part of their body into the painted scene were, to a certain extent, stepping into someone else’s skin. The photography booth offered a chance to try out new experiences, to change clothes or physical appearance without changing one’s face. “Here is the temple of ‘imaginary lives,’” wrote Pierre Mac Orlan, referring to the compilation of fictional biographies that Marcel Schwob had published a few years earlier, where “everyone finds his secret desire, which the gracious photographer reveals to those who seek, within the images of thought, a situation that is more fitting to their hopes. The quiet couple above the overcrowded cities lives its dream of glory and of massacres. The good man with wavy hair confronts his apparent gentleness with the cries of the crowd and with the white light of the boxing ring, where the applause resonates like arteries or rattles like bones. We all go, with more or less taste, to the photographer of our choice. He dresses us in things that we would not even show to our own mirror.” 27 Jean Sagne notes also that “the painted background acts like a screen, a place of projection.” 28 While the scenery of the fairground photographer appears like a “place of projection,” it is also a space for social valorization, because, since it was printed on a postcard, the fairground photograph was made to be sent. It seems always to say “Have you seen me?” to its recipient.

A description of the photographer of the Foire du Trône, by the journalist Jean-Gérard Fleury in 1929, shows how much these portraits are always acts of showing: “In an airplane, in an ocean liner, on the Croisette in Cannes or the Promenade des Anglais in Nice, on the Esplanade des Invalides, at the top of the Eiffel Tower, let yourselves be photographed, sirs, let yourselves be photographed . . . with your ladies . . . Nice, Paris, Cannes . . . . You will never have travelled so much: for 6 francs it is the photography booth that will fly you over the Eiffel Tower, like Lindbergh the day after his transatlantic flight, or over the Côte d’Azur, like a wealthy islander.” 29 Thus the choice of scene was never inconsequential. Means of locomotion, which were particularly common, were like exterior signs of wealth or adventure. They did not offer the customer the illusion of travel, but rather the illusion of being a traveler.

As a space for amusement, for projection, and for valorization, fairground photography needed little more to succeed. Beginning in the 1920s, the reputation of fairground photographers indeed seemed to have improved. Even if the quality of the portraits remained unsatisfactory, criticisms of fairground photography in general were rare. During the 20th century in the field of professional photography, the recreational portrait gained importance in France as a hallmark of fairground operators. In their photography booths, capturing a family resemblance was no longer the most important issue. Instead, fantasy was predominant. Nineteenth-century shop signs that promised a “guaranteed resemblance” were replaced by the promise of a “caricature” or a “funny” or “comic” photograph. These fantasy portraits were much more in line with the spirit of the fairground, which was a space for farces and illusions or, as Roger Caillois puts it, “a breeding ground for games.” 30 The introduction of the recreational model into fairground photography allowed it, in short, to become better prepared for competition and, above all, gave it the opportunity to find its own playful identity.

Clément Chéroux is Joel and Anne Ehrenkranz Chief Curator of Photography at the Museum of Modern Art (MoMA) in New York. A photography historian, he has curated approximately 30 exhibitions and has published more than 40 books and catalogs. A longer version of this essay can be found in his book “ Since 1839… Eleven Essays on Photography ,” co-published with the Ryerson Image Centre , Toronto.

  • Significantly, the Tristan Rémy fonds at the Préfecture de police and those of the Actualités anciennes (series 89, 102, and 104) at the Bibliothèque historique (both in Paris), which contain different press cuttings on fairgrounds, do not include articles specifically devoted to photography at the fair. Surveys of a dozen fairground journals ( L’actualité foraine, L’activité foraine de Toulouse et du Sud-Ouest, Forain-foraine, Le forain unitaire, L’industriel forain, L’intermédiaire forain, L’intermédiaire des forains et des exploitants de cinématographes, Le journal des forains, Le marchand forain, Le monde forain, Paris-forain, Le syndicaliste forain, La voix foraine ) also did not reveal any articles on fairground photography.
  • A systematic search of almost 200 photography periodicals that appeared between 1870 and 1914 yielded only two articles on fairground photography: A. Mahlinger, “Le photographe ambulant,” Photo pêle-mêle 156 (June 23, 1906): 198–99; and William A. Everard, “La photographie foraine,” Photo-revue (July 19, 1908): 20–21. For the period between the wars, an exploration of Photo-revue enabled me to find three articles on the subject: J. R., “La photographie foraine,” Photo-revue 11 (June 1, 1919): 81–82; C. F., “Appareil pour la photographie foraine,” Photo-revue (suppl.) 18 (September 15, 1927): 3–4; Jérôme Taxard, “Le ‘photographe ambulant,’” Photo-revue 20 (October 15, 1937): 315–17. From 1919 to 1929 Le photographe, la revue technique des professionnels , published nothing on the subject.
  • The municipal archives of Neuilly-sur-Seine, a town northwest of Paris where the famous “Neu-neu” fair took place, are representative of this type of documentation.
  • La Gavinie, “Chronique,” La lumière 31 (August 1, 1857): 123.
  • Ernest Lacan, “Les saltimbanques de la photographie,” La lumière 20 (May 15, 1858): 77.
  • La Gavinie, “Chronique,” La lumière 28 (July 10, 1858): 111.
  • This information comes from the registers of the fair at Neuilly-sur-Seine, cited in Charpin, “Photographie et fête foraine,” vol. 2, 115–27.
  • Alphonse Allais, “Le mariage manqué,” À l’œil (Paris: Librio, 1994), 114.
  • Lacan, “Les saltimbanques,” 77.
  • “Looking back,” Photographic News 23, no. 108 (November 28, 1879): 568–69, cited in Audrey E. Linkman, “The Itinerant Photographer in Britain, 1850–1880,” History of Photography 14, no. 1 (January–March 1990): 60.
  • Letter from Mme Coquinet to the municipality of Neuilly-sur-Seine, cited [without reference] in Py and Ferenczi, “Marchands de portraits,” 255.]
  • Jean Copain, “La vie foraine,” Le Figaro illustré , November 1897, 98.
  • Charpin, “Photographie et fête foraine,” vol. 2, 115–24.
  • “Lettre-circulaire du préfet de police,” Paris, April 19, 1890, Archives of the Police, documents on circuses, fairs, and fairgrounds, collected by Tristan Rémy, DB 202.
  • “Ordonnance concernant les fêtes foraines,” Bulletin municipal officiel de la ville de Paris 184, August 9, 1929, 3833.
  • “Lettre-circulaire du préfet de police,” 5.
  • Jean Sagne, L’atelier du photographe, 1840–1940 (Paris: Presses de la Renaissance, 1984), 225.
  • Albert Bergeret and Félix Drouin, Les récréations photographiques , 2nd ed. (Paris: Charles Mendel, 1891), 1. On this subject, see also Clément Chéroux, Avant l’avant-garde: Du jeu en photographie (Paris: Textuel, 2015).
  • My thanks to François Cheval, former director of the Musée Nicéphore Niépce de Chalon-sur-Saone, for having brought my attention to this term. The equivalent English phrase, “poke your head,” was used by fairground photographers in Britain.
  • Paul Morand, “Foire à la Floride” (1924), in Poèmes (Paris: Gallimard, 1973), 36; Pierre Mac Orlan, “Le photographe,” in Boutiques de la foire (Paris: M. Seheur, 1926), n.p.; Jean Cocteau, Orphée (Paris: Stock, 1927), 17; Raymond Queneau, Pierrot mon ami (Paris: Gallimard, 1942), 25.
  • A very good description of this procedure appears in C. F., “Appareil pour la photographie foraine.” The Zilmo de Freitas collection at the Musée Nicéphore Niépce also offers several reports (photographic and audiovisual) on the manner of working by itinerant photographers who used the same technique.
  • Written on the back of a fairground portrait printed on a photographic postcard, from a private collection in Paris.
  • The oldest dated proof has “1926” written on the image. The first request for registration of a photo-shooting stand at the Neuilly-sur-Seine fairground dates from 1925.
  • Walter Benjamin, One-Way Street and Other Writings , trans. J. A. Underwood (London: Penguin, 2009), 92.
  • Zéev Gourarier, Il était une fois la fête foraine (Paris: Réunion des musées nationaux, 1995), 160.
  • Published in Paris-Forain in 1927 and 1928, an advertisement for Ateliers et Laboratoires Magnésium offers, for example, patents and licences for “fairground photographic games” and the study and execution “of all games concerning photos.”
  • Pierre Mac Orlan, “Le photographe,” in Boutiques de la foire (Paris: M. Seheur, 1926), n.p.; Marcel Schwob, Vies imaginaires (Paris: Charpentier, Fasquelle, 1896). The text by Mac Orlan was published again in 1990 with photographs by Marcel Bovis: Marcel Bovis and Pierre Mac Orlan, Fêtes foraines (Paris: Hoebecke, 1990).
  • Sagne, L’atelier du photographe , 226.
  • Jean-Gérard Fleury, “À la fête du Trône: Royaume des forains,” L’ami du peuple , April 3, 1929, evening ed., 4.
  • Roger Caillois, “The Fair,” in Man, Play, and Games , trans. Meyer Barash (Champaign: University of Illinois Press, 2001), 132–36; Roger Caillois, ed., “La fête foraine,” in Jeux et sports (Paris: Gallimard, 1967), 711–16.
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CLASSIC ESSAYS ON PHOTOGRAPHY

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Luke Brooker

since 1839... eleven essays on photography

Helmut Glavar

We live in a visual world. Image becomes an integral part of human life; it is a very significant tool of communication. The impact of images is incredibly out of the ordinary. The dissertation aims to answer the question of how does the meaning get into the still image in advertising. Undoubtedly, most of today’s advertising images’ meaning is affected by the merging of texts and images; which are working in a reciprocal relationship. Many semanticists, like Rolland Barthes attempted to answer such question by privileging one medium on another. However, the relation between the text and image is dynamic, and interactional. This view should be fairly considered in our endeavors to explain the advertising image, and the way viewers make sense of it. Also, the dissertation has taken on consideration the different orders of meaning that frame the viewer’s interpretations. The fact that there are different levels of perception leads us to question the need for a specific knowledge, and the capability of viewers to reach them. Both, students and illiterate people are actually illiterate when it comes to an academic interpretation of the image; therefore the need to incorporate a visual education in Morocco’s universities is inevitable. Image is innocent. The only meaning the image bears, is that we attached to it. The meaning is the result of the interaction between us (active viewers) and symbols, which are to some extent the reflection of who we are.

Semiotic Review

Constantine V . Nakassis

One persistent ideological ambivalence in Western academic thought is the differentiation and slippage between language and image. As historians of philosophy have pointed out, Western philosophy has often construed language as a species of vision and imaging. In this line of thought, the meaning of linguistic discourse is (or is like) an image, imprinted in the mind. Just as frequently, however, it is asserted that there is a radical caesura between language and image (and between representation and our sensory modalities), the latter being a space of non-representability and thus before or beyond the enclosure of language. Here, images exceed language, which is unable to capture their affect, materiality, or sensoriality. This special issue confronts these two persistent problematics by critically asking, how can we productively (re)think the relationship between language and image, text and the sensorial, representation and presence through a holistic semiotic framework? And how can we do so without reducing one side of these seeming antinomies to the other or instating their radical difference? As with all issues of Semiotic Review, “Images” remains open to new submissions (essays, reviews, interviews, etc.).

Krešimir Purgar

This book uncovers an underlying dispute over the role images play in contemporary society and, consequently, over their values and purposes. Two decades after the concepts of the pictorial and the iconic turn changed our vernacular involvement with regard to images, it has become clear that it was not only a newly discovered social, political or sexual construction of the visual field that brought turbulence into disciplinary knowledge, but that images have their own “pictorial logic” with powers exceeding those that are purely iconic or visually discernible. Instead of underscoring previously defined concepts of the picture, the contributors to this book view visual studies and Bildwissenschaft “merely” as a place for the theory of images, making a case for the hotly-debated topic of their powers and weaknesses on the one hand, and of their respective theories on the other. Therefore, as the title indicates, this book theorizes images, but it does not present a theory of images, because visual studies cannot lead to a unified theory of images unless a unified ontology of images can be agreed upon first. Although that would be a different task altogether, all the contributions in this book (in different ways and at different paces), by theorizing images in their aesthetic, historical, media and technological guises, pave the way for the future of visual culture and for the image science that will make this future more comprehensible.

Gerald J Davey

Mind and Matter - Challenges and Opportunities in Cognitive Semiotics and Aesthetics [Working Title]

Sonia Campaner Miguel Ferrari

In this article I consider images from a philosophical point of view starting from its definition and its relation to thinking. Some analogies with imagetic signs and words are established. And in doing this, I try to value seeing, not to the expense of saying or thinking, but as a way of getting in touch with images that privilege a certain way of knowing.

Jezikoslovlje

Mirza Dzanic

J.A.H. Khatri

The present work is a review of the book "Image and Representation: Key Concepts in Media Studies" by Nick Lacey published in 1998 (Publisher: Palgrave (NY), Pgs. 256). It offers a detailed analysis of the book and also offers an example analyzed based on the concepts discussed in the book.

THE AMERICAN JOURNAL OF SEMIOTICS

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A book review essay explicating Alain Robbe-Grillet, SNAPSHOTS [1962]. Uses Ernst Cassirer's symbolic forms for explication.

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Miriam and ira d. wallach art gallery.

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Moscow: City, Spectacle, Capital of Photography

April 30–june 21, 2003.

Moscow: City, Spectacle, Capital of Photography , an exhibition of 20th-century photographs of Moscow, opens at Columbia University's Miriam and Ira D. Wallach Art Gallery on Wednesday, April 30, 2003 and remains on display through Saturday, June 21, 2003.

Moscow has been a powerful magnet for many Russian photographers of the 20th century. Moscow: City, Spectacle, Capital of Photography presents the work of 31 photographers, whose images have defined the visual experience of Moscow from the 1920s to the present. Diverse in form and strategy, the 90 photographs chosen for the exhibition trace the history of Russian documentary photography and offer insight into individual practices. From Aleksandr Rodchenko's constructivist visions and Evgenii Khaldei's humanist landscapes to Igor Moukhin's scenes of urban spectacle and alienation in the works of Russia's key 20th-century photographers, Moscow ventures beyond the expected image as a site of famous landmarks, architectural treasures and dramatic lifestyles.

Early 20th-century photographers Boris Ignatovich and Arkadii Shaikhet saw themselves in the vanguard of an emerging mass-media culture, defining with their cameras the visual experience of Soviet modernity. For nearly 70 years, Soviet photography was assigned the duty of maintaining the ideological rigidity of the Soviet State. Yet, as examples of the work of Iakov Khalip, Anatolii Egorov, Mikhail Savin, and Mark Markov-Grinberg show, Soviet photographic practices were much more complex than has been previously acknowledged. The works of these photographers remain intensely compelling to a modernist eye.

Contemporary Russian photographers, such as Lev Melikhov, Valerii Stigneev and Sergei Leontiev, engage with the legacy of the Soviet documentary photography. But for them the documentary is a complex and multivalent genre, which incorporates subjectivity, ambiguity and reflexivity and comments on social and cultural issues without losing sight of the position from which that commentary is made. In the recent photographs by Vladimir Kupriyanov, Igor Moukhin, Anna Gorunova and Pakito Infante, the "real" space of Moscow is replaced by an imaginary and optical spaces of virtuality.

The works in the exhibition are on loan from Moscow's Cultural Center Dom, and many are being shown outside Russia for the first time. In conjunction with the exhibition, the Wallach Art Gallery is publishing an illustrated catalogue with a scholarly essay by the exhibition curator, Nadia Michoustina, a Ph.D. candidate in Columbia University's Department of Slavic Languages. The essay presents a nuanced history of Russian photography of the 20th century, and contributes to an interpretation of extraordinary images.

Shooter Files by f.d. walker

Street Photography Tips, Interaction, Travel, Guides

Apr 24 2017

City Street Guides by f.d. walker: A Street Photography Guide to Moscow, Russia

moscow-guide-cover

*A series of guides on shooting Street Photography in cities around the world. Find the best spots to shoot, things to capture, street walks, street tips, safety concerns, and more for cities around the world. I have personally researched, explored and shot Street Photography in every city that I create a guide for. So you can be ready to capture the streets as soon as you step outside with your camera!

At over 12 million people, Moscow is the largest city in Russia and second largest in Europe by population ( Istanbul is #1). An urban, cosmopolitan metropolis with more than enough glitz and glam to cater to the elite, but without losing its fair share of Soviet era roughness around the edges. It can be fast paced, brash, busy, and trendy like other big cities, but it has its blend of West meets Russia atmosphere and beauty that provides plenty of unique interest. The Red Square is as famous as it gets, but there’s so much more to this city, including the most beautiful subway system you’ve ever seen. It would take years to capture all of Moscow, but that means you have an endless amount of areas to discover.

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So here’s a Street Photography guide so you can be ready to capture all that Moscow has to offer before you even arrive!

  • Patriarch’s Pond
  • Old Arbat Street
  • Maroseyka Street
  • Tverskoy Boulevard

Top 5 Street Spots:

1. red square.

The Red Square is the most famous square in not just Russia, but all of Eastern Europe. The name actually doesn’t come from the color of the bricks or communism, but from the name in Russian, Krásnaya, once meaning “beautiful” before its meaning changed to “red.” This large plaza is what you see on the cover of guide books and magazines for Moscow, with St. Basil’s Cathedral being the center piece next to Lenin’s Mausoleum surrounded by the Kremlin Wall. Of course, the Red Square attracts hordes of tourist due to the main attractions, but all that activity around an interesting atmosphere does provide street photo opportunities. It’s also the central square connecting to the city’s major streets, providing a good starting point to explore outward.

since 1839... eleven essays on photography

You’ll also find the popular pedestrian only Nikolskaya Street connecting the Red Square to Lubyanka Square. This line of expensive shops includes plenty of activity, while also leading you to another popular square. Filled with history rivaling any city, the Red Square and surrounding areas are the heart and soul of Russia.

since 1839... eleven essays on photography

2. Patriarch’s Ponds

Patriarch’s Ponds is one of the most exclusive neighborhoods in Moscow. Despite the name being plural, there’s only one large pond, but it’s worth a visit with your camera. It’s a popular spot for locals and expats to come relax or take a stroll around the pond. You get an interesting mix of young and old too, from young love to “babushkas” feeding pigeons. It’s a very peaceful park atmosphere in one of the nicer areas within the city center, while bringing enough activity for street photography. 

since 1839... eleven essays on photography

The pond is shallow and in the winter becomes a popular spot for ice-skating too. The area is also well-known for the location in the famous Russian novel, The Master and Margarita. 

3. Old Arbat (Stary Arbat)

Old Arbat is the most famous pedestrian street in Moscow, and dating back to the 15th century, also one of its oldest. Originally, it was an area of trade, but soon became the most prestigious residential area in Moscow. During the 18th century, Arbat started attracting the city’s scholars and artists, including Alexander Pushkin. Cafes lined the streets and impressive homes filled the neighborhood. Since then, New Arbat street was created as a highway in the area, while Old Arbat was paved for a 1km pedestrian only walkway.

since 1839... eleven essays on photography

Due to the historic buildings, famous artists that lived here, and the bohemian atmosphere, Old Arbat has become a big attraction for tourists today. Now, there’s a mix of cafes, restaurants, souvenir shops, street performers, street merchants and other attractions for visitors, and some locals, to come enjoy. It can get really busy here and there’s usually something interesting going on so it’s a good street to come walk with your camera for guaranteed life.

4. Gorky Park

One of the most famous places in Moscow is Gorky Park. The official name is Maxim Gorky’s Central Park of Culture & Leisure, which gives you an idea of what goes on here. When built, it was the first of its kind in the Soviet Union. Divided into two parts, it stretches along Moscow River. One end contains fair rides, foods stands, tennis courts, a sports club, a lake for boat rides, and more. This end brings more active life due to its number of attractions, while the other end is more relaxed, where you’ll find gardens, trees, older buildings, and an outdoor amphitheater.

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Gorky Park attracts mostly locals so it’s a good spot to capture the non-tourist side of Moscow life. Muscovites come here to escape the city and unwind in a picturesque setting. The park remains alive outside of the warmer months too, especially when the lake turns into the city’s largest outdoor skating rink. I’d recommend taking the metro out here to spend at least half a day exploring the massive park’s life with your camera.

5. Maroseyka Street

Maroseyka Street is a popular area not too far from the Red Square. The long, winding street turns into Pokrovka and is lined with restaurants, cafes, bars and places to stay. It’s actually where I like to stay when I’m in Moscow due to its location and solid street photography opportunities itself. You have Kitay-gorod station near and if you keep walking southwest, you’ll get to the Red Square. But if you walk northwest, as it changes to Pokrovka, you can find a long street of activity for photography with its own interesting atmosphere.

since 1839... eleven essays on photography

6. Tverskoy Boulevard

Tverskoy Boulevard is the oldest and longest boulevard in Moscow, beginning at the end of Nikitsky Boulevard, and finishing at Pushkin Square, a spot to come for activity itself. The boulevard is made up of two avenues, with pedestrian walkways in-between. You’ll find grass, shrubbery, trees, benches and more walking it’s almost kilometer length. Many people come here to enjoy some relaxation, walk their dog, or just to use it to walk wherever they’re going. Its center location also provides a nice place to walk with your camera near plenty of other spots you’ll want to check out anyway.

Sample Street Walk:

For a full day of Street Photography, covering some of the best spots, you can follow this sample street walk for Moscow:

  • Start your morning walking around the Red Square (1), while exploring the surrounding area, including Nikolskaya Street
  • Then walk northwest to Patriarch’s Ponds (2) and slowly walk the pond and surrounding area with your camera
  • Next, walk east to the Pushkin Monument and stroll down Tverskoy Boulevard (6)
  • Once Tverskoy Boulevard (6) ends, it will turn into Nikitsky Boulevard. Follow this down until you get to the start of Old Arbat Street (3), across from Arbatskaya station
  • After you’re done walking down Old Arbat Street (3) for more street photography, spend some time checking out Moscow’s beautiful metro stations
  • To finish off the day with more street photography, get off the metro near Red Square (1) again, Maroseyka Street (5) or wherever you’re staying for the night.

since 1839... eleven essays on photography

3 Things I’ll Remember about Shooting in Moscow:

1. museum metro.

The Moscow metro system was the first underground railway system in the Soviet Union and today includes 203 stations across 340km of routes. The elaborate system has some of the deepest stations in the world too, with escalators that seem to go on forever. None of this is what makes it so special, though. Many of its stations feel like stepping inside a museum, making it without a doubt the most interesting and beautiful metro system I’ve been in.

since 1839... eleven essays on photography

When built, Stalin wanted to make the metro stations “palaces for the people” with marble, chandeliers, and grand architecture. The best part is the variety of architecture and styles used, making many of the stations a completely different experience visually. You could easily spend a whole day traveling the stations and there are even tours available for people who wish to do just that. My advice, though, would be just to buy a ticket and hop on and off at different stations, while exploring different lines. The museum-like surrounding mixed with the crowds of characters can make for a great photography experience.

since 1839... eleven essays on photography

Since there are so many stations, here are some of my favorites to check out:

  • Novoslobodskaya
  • Mayakovskaya
  • Elektrozavodskaya
  • Komsomolskaya
  • Ploschad Revolyutsii
  • Dostoyevskaya
  • Prospekt Mira

since 1839... eleven essays on photography

2. Moscow is Big

It’s no secret that Moscow is a big city, but it can feel even bigger with how spread out much of it is. This is especially true if you compare it to cities outside of Asia. If I compared it to cities in Europe, I’d probably say only Istanbul would warrant more time to really discover the depths of this city. Most only explore around the Red Square and surrounding area, but that is such a small part of the city. Although, that central area does give you plenty to see on its own.

since 1839... eleven essays on photography

Fortunately, I had a good friend living in the city to show me around, but it opened up my eyes even more to how much there is to discover in Moscow. It’s a big city with a variety of atmosphere that can take you from “east” to “west” and trendy to rugged depending on where you go. I’d imagine you’d have to live here a while to really know the city.

3. Cosmopolitan Mix of East meets West

Modern skyscrapers mixed with amazing architecture, a world-class metro system with museum-like beauty, trendy fashion and chic clubs, Moscow is a rich mix of Russian culture and history in a more western cosmopolitan package. There is a push to keep the Russian culture, while also pushing forward with a modern metropolis the whole world will envy. This comes with an impressive skyline, that continues to grow, and endless modernities, but with soviet nostalgia and atmosphere mixed in for good measure.

since 1839... eleven essays on photography

Mixed in with this grand western cosmopolitan atmosphere, is a strong national pride in Russia. This includes their famous leader, Vladimir Putin. Maybe no other place will you see a country’s leader more often. All over, from the pricey tourist shops to the underground walkway stalls, you’ll find goods with Putin’s likeness covering them. From t-shirts to magnets to Matryoshka dolls. There’s a strong national pride that can be seen around the city, which also extends to their leader. Moscow is many things. It’s East meets West, modernizations meets Soviet era, and a whole lot more.

What To Do For a Street Photography Break?:

Eat at a stolovaya.

Stolovayas are Russian cafeterias that became popular in the Soviet days. You grab a tray and walk down the line of freshly prepared local dishes, and select whatever you want from the chefs. They’re usually inexpensive and a much better value than restaurants, while giving you the opportunity to try from a wide selection of everyday Russian food. They’re also very tasty. I always include some borsch on my tray and go from there. The places themselves are all over Moscow and usually come with Soviet-era aesthetics to complete the experience.

since 1839... eleven essays on photography

Street Safety Score: 7

*As always, no place is completely safe! So when I talk about safety, I’m speaking in general comparison to other places. Always take precaution, be smart, observe your surroundings and trust your instincts anywhere you go!

Being the 2nd largest city in Europe with over 12 million people, you’re going to have your dangerous areas, but for the most part, it feels safe walking around. Russia is statistically higher in crime compared to most of Europe, but this generally doesn’t apply to tourists and visitors. Around the Red Square and surrounding city center, you should feel completely safe walking around. Pick pocketing can happen, but no more than other touristic places. I always explore Moscow freely without coming across too much to worry about. It’s a spread out city, though, so of course it matters where you are. Just use basic street smarts, know where you are and Moscow shouldn’t give you a problem. 

since 1839... eleven essays on photography

People’s Reaction Score: 7

Moscow is fast paced, big city life, which usually means people aren’t too concerned with you, or your camera. I don’t find people notice or pay much attention to me when I’m out taking photos in Moscow. For the most part, people just go about their day. You shouldn’t get too many looks or concern. But it can depend on the area you are in. The more you stick out, the more you might get noticed with suspicions. I’ve never had any problems in Moscow, or Russia, but just be careful who you’re taking a photo of if you get out of the city center. Other than that, it’s about average for reactions. 

since 1839... eleven essays on photography

Street Tips:

Learn the alphabet .

Much of Moscow, including the metro system, doesn’t use english. The Russian alphabet uses letters from the Cyrillic script, which if you aren’t familiar with it and don’t know the sounds, can be hard to decipher the words. This is most important for street names and metro stops when trying to get around. It can save confusion and make it easier getting around if you learn the basic alphabet. At the very least then, you can sound out the words to see which are similar in the english conversion, which can help matching them to maps. When out shooting street photography, getting around is as important as anything. So save yourself some time and frustration by learning the Russian Alphabet.

since 1839... eleven essays on photography

Use the metro

While Saint-Petersburg feels very walkable for a city its size, Moscow can feel very spread out, even for its bigger size. Outside of the Red Square area, you can have plenty of walking before getting anywhere very interesting, so you’ll need to take the metro a lot if you really want to explore the city. Maps are deceiving here too, it will always be further than it looks.

since 1839... eleven essays on photography

Another reason it’s less walkable than Saint-Petersburg is its completely different set-up. Moscow’s streets are mostly contstructed in rings with narrow, winding streets in-between. This is common with medieval city cities that used to be confined by walls, but you usually don’t have it in a city this massive. Saint-Petersburg has a more grid-like pattern that also uses the canals to help you know your way around. When it comes to navigating on foot in Moscow, it can be more difficult, so bring a map and take the metro when needed. It’s why Moscow’s metro carries more passengers per day than the London and Paris subways combined.

Explore other areas if you have time

Moscow is really big. While most people stay around the Red Square within the Boulevard Ring, there’s so much more to the city. I covered some other spots outside of this circle, but if you really want to see the city, you’ll need time. If you do have time, some other areas I’d check out first are Zamoskvarechye, along some of the south and western Moscow.

since 1839... eleven essays on photography

Inspiration:

For some more inspiration, you can look through the Street Photography of Moscow photographer Artem Zhitenev  and check out 33 of my photos taken in Moscow .

Conclusion:

Moscow’s name brings a certain mystique, but once you’re there it might bring a different atmosphere than you expect. It’s big and sprawling, but beautiful in many ways. It can feel like a European capital on a grand scale, but you can definitely find its Russian side in there.

since 1839... eleven essays on photography

The urban sprawl of Moscow can be intimidating, but give it enough time and you’ll be rewarded with plenty to discover. All with the world’s best metro system to take you around.

I hope this guide can help you start to experience some of what Moscow contains. So grab your camera and capture all that Moscow has to offer for Street Photography!

If you still have any questions about shooting in Moscow, feel free to comment below or email me!

(I want to make these guides as valuable as possible for all of you so add any ideas on improvements, including addition requests, in the comment section!)

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    During the 18th century, Arbat started attracting the city's scholars and artists, including Alexander Pushkin. Cafes lined the streets and impressive homes filled the neighborhood. Since then, New Arbat street was created as a highway in the area, while Old Arbat was paved for a 1km pedestrian only walkway. Old Arbat Street | Moscow, Russia