00:50:28 - Street photographer Matt Stuart discusses his coverage of the 2017 Las Vegas mass shooting, the wake-up call that was a plastic bullet whizzing past…
Street photographer Matt Stuart discusses his coverage of the 2017 Las Vegas mass shooting, the wake-up call that was a plastic bullet whizzing past his head at a Hong Kong protest, how to balance creative work with work that puts food on the table, and much more.
During the four days the following membership motions were executed:
• Bieke Depoorter was made a Magnum Member
• Jérôme Sessini was made a Magnum Member
• Diana Markosian was made a Magnum Nominee
• Matt Stuart was made a Magnum Nominee
Matt Stuart is a photographer based in London. • How was LA for you, Matt? LA was great. I had a fantastic time. I ha...
I'm really only making the photos for me. It's a record of where I was and what I tried to do with the camera at that moment. I send the film off, wait to get it back, and see if I nailed it or not. If I didn't, I'm back out there again. If I did, I'm back out there again. I do this every day. It isn't for anyone else. Why would I spend that much time on my own walking the streets for anyone else?! Gotta be joking... It is for me. I would guess other photographers are the main audience for my work.
Nothing is ever the same on the street, the people and the places are constantly changing. Consequently there are millions of exciting permutations, whatever time of the day I decide to walk out with my camera
Street photography is the purest, most spontaneous way to create art with a camera. No studios, no props, no poses; all you need is the right equipment and a...
Now we're going all in with a look at manual focusing. Our guide is Matt Stuart, a London-based photographer who's made his name with funny and quirky shots of humanity going about its business; shots that often materialize and then disappear so quickly that even the fastest autofocus system would fail to keep up. Since Stuart's style often involves stepping right up to people, almost to the point of invading their personal space, we'll also try to figure out how he manages to avoid confrontation
Matt Stuart, 1974, UK, is a street photographer. He uses a Leica MP to shoot his images. Matt's work is humorous and spontaneous. He does no...
Today, my office at the Portland Tribune got a call from the Oregon State Police inquiring about the identity of a man I photographed at the Civil War game this past weekend. Fans rushed the field after the Ducks won, and a group set fire to an Oregon State Beavers shirt. I was moving through the crowd to get at the center of the pack and was surprised to see the small fire at the center. I started taking photos, as people cheered and lit cigarettes and cigars from the burning shirt. The unidentified man then picked up the shirt and flung it into the air as everyone else cheered.
London? Funny? If you are as practiced — and as patient — as Matt Stuart, the answer is yes. Christopher F. Schuetze explains.
It wasn’t until he was 22 years old, after a successful career as a street skateboarder in London, that Matt Stuart took up photography. He was inspired by the work of Robert Frank and Henri Cartier-Bresson.
And Buster Keaton.
There’s nothing more fascinating than looking at candid shots of the unassuming public. Those shots become even more interesting when a skilled street photographer finds the sweet spot timing of the perfect juxtaposition. Matt Stuart, is one of those photographers.
This is one of my favorite photos and one that I get most compliments on. I shot it in Trafalgar Square. Unusually I didn’t take this photo on a Leica. I was using a Canon film SLR. The Leica was in repair.
Street photographers fear for their art amid climate of suspicion – Times Online
Matt Stuart photographs the unscripted drama of the London streets. Entirely spontaneous, his pictures are made possible by a combination of instinct, cunning and happy coincidence, revealing the beauty and significance of the everyday – what the rest of us see but don’t notice, moments that vanish faster than the blink of an eye.
For his efforts, Stuart has picked up a little collection of pink stop-and-search slips, souvenirs of practising a century-old art form in a city increasingly paranoid and authoritarian. After 11 years, Stuart is something of an old hand. Using the street photographer’s traditional tool of choice – the discreet and near silent Leica camera – he knows how to make himself invisible, make an image and move on. He rarely runs into trouble; when he does, he knows his rights.