Generally, most Street Photography consists of Street Portraiture and very little else. That seems to be the way it’s been done, since forever. However, Street Portraiture is the low hanging fruit. Taking scenic Street Photography pictures that have true artistic merit, is a different ball-game altogether. It’s not easy and very few Street Photographers can actually achieve it. Probably because very few Street Photographers have ever bothered to study the art of composition, that involves reading a book or two and some practical experience to experiment, until you can get it right.
Black & White photography is the purist form of photography there is, bar none. Past masters of photography such as Henri Cartier-Bresson and Robert Capa, Robert Doisneau and Brassai refused to work with anything else and all achieved distinction with B&W. Even though colour film during the golden age of photography from the 1920’s right through to the late 1960’s, colour film and processing were freely available. There is a purity in B&W photography that is not found in colour photographs. For instance, for a B&W photograph to “work” it must stand on its own merit, without the benefit of colour helping it to work. It’s a lot harder for a photographer to get a B&W photograph to work, than it is for a colour photograph. The reason being, because colour photographs have colour to offer the eye alternative distractions, that are simply not available in B&W. Therefore, a B&W photograph has to rely on its own artistic merit to make it work. Purists and photography connoisseurs who are familiar with the concept of B&W photography and the art of composition insist on B&W for gallery display and will accept no-other as their medium of choice.