There are many approaches that photographers use when editing their own work and choosing what they believe is the “best” shot of a sequence.

And indeed, the challenges are sometimes far more grievous than, say, the possibility of overexposing Tri-X. Consider Gilles Peress’ account of photographing the events of Bloody Sunday in Northern Ireland, January 1972: I like the idea of setting reasonable expectations of yourself (such as getting 1 good shot a month and 1 great shot a year). Of course what constitutes “good” and “great” is subjective by different photographers – but by setting these standards it will keep you motivated to work hard, and realize how difficult creating a good image is. a magnificent compendium of raw images from the photography cooperative." The New York Times Book Review For example in one of Elliott Erwitt’s most famous shots of the “Bulldogs” in 2000, he was walking around the streets of NYC with a fellow Magnum photographer Hiroji Kubota he saw a great photographic opportunity. After borrowing Kubota’s camera, he shot a full roll of film on the scene, trying to get the perspective just perfect to create an illusion of the man looking like a bulldog. Erwitt describes the story: I started photography on digital, and am really glad that I did. It saved me a lot of time, headache, and money to learn the technical ins-and-outs about photography and more about how I liked to work.a magnificent compendium of raw images from the photography cooperative." New York Times Book Review

Gives unprecedented access into the creative process of some of the world’s greatest photographers. — Complex's Art + Design Somehow I've always been fascinated by enclaves and people living in isolated communities. While "Satellites" looked at separatist republics in the former USSR, in 2005 I started another project about a different type of enclave - the urban slum. "The Places We Live" became a three-year journey through four slum communities around the world, and in 2008 it became a book and exhibition featuring projections and voice recordings in a three-dimensional installation.

10. Revisit your work

I’ve mentioned before how, for me, the photographers’ reflections add immeasurably to the value of book. Riboud’s text tells us he was walking the streets of Paris on his first visit to the capital, with just his Leica, a 50mm lens and a single roll of film. He notices the painters high above, climbs up the tower, and makes several pictures, among which is that unforgettable image of Zazou. “I think photographers should behave like him,” says Riboud, “he was free and carried little equipment” (p74). a magnificent compendium of raw images from the photography cooperative. — The New York Times Book Review I was out walking with my friend Hiroji Kubota around the corner from my studio on the upper west side of Manhattan, and i didn’t have my camera. I saw the situation and i said, “Could I borrow your camera?” And I borrowed his Leica. He was very generous and let me use it and I shot the whole roll of film on it.” [..] “ Its a lot of pictures getting to the good one.”

Whether you shoot film or digital, use the insights from the book and the stories from the Magnum photographers to improve your personal vision and way of working in photography. Strive to create strong and meaningful work, but don’t be discouraged. After all, if the book proves anything is that even the world’s best photographers are doubtful of their photographic ability at times and do get frustrated too.I still think not knowing what you ‘have’ at the end of the day with film gives strength of the intensity when you work. It is a mystery and surprise. Now everyone spends more time looking at their screens, first on the camera and then the computer.” e. Lost is the time to mentally recap on your day Rinzi Ruiz, also a good friend and fellow street photographer from Downtown LA shares that he judges the formal elements of his images by making the images on his screen full-screen, and stepping away half-way across the room to look at his images and squint. Rinzi was classically schooled in design for his undergraduate and also used similar techniques when it came to his other artistic work. Richard Kalvar, a Magnum photographer who is also very famous for his street photography shares the story behind of his most memorable images in the Piazza Della Rotonda in Rome, 1980- in which he also “worked the scene”: After I finished my internship there, I left for Russia to try to become a photographer myself. I fell madly in love with the former USSR and ended up spending several years there. The time I spent there resulted in my first book, "Satellites - Photographs from the Fringes of the former Soviet Union", which came out in 2006. I've now had a chance to flip through the content so I thought I'd update the review. The quality of this book is astounding. Despite the fact it's full of beautiful big photos on quality paper (150gsm matt art) many of which you will have seen before if you're serious about photography, I am a little disappointed with the selection of some of them. Given that each photo is accompanied by a narrative about how it came about, in some cases I would have preferred to see other, and in my opinion better, photos by the same photographers. Although that's not to cast the selection with any negativity. They are all superb in their own way and there is a vast array of subjects throughout making it an incredibly interesting read.

Street photography is very hard. It is rare that you can take an image that has a perfect harmony between content and form.Jewish Historical Museum, Amsterdam; PM Gallery, London; Visa pour l’image, Perpignan; Fotoencuentros, Murcia, Spain; Photographic Center Northwest, Seattle, USA.