This week’s featured street photographer of the week is the well-traveled Pierre Arnoldi. He has a talent for capturing human emotion in a frame and takes some stunning portraits. Give Pierre’s Flickr account a follow and enjoy our mini interview with him as well as a small selection of his images.
What drew you to street photography initially?
When I was 18 years old, I saw “BLOW UP” by Antonioni. I was in shock. After that, my interest in photography never decreased. This was 50 years ago. I do not differentiate between kinds of photography. For me, any kind of subject is good to shoot.
It looks like you have traveled pretty extensively. Where was your favorite place to shoot streets and why?
In the last 20 years, I indeed traveled a lot. Especially in the last 10 years, after I retired. I have been to many countries. Asia, Vietnam, Cambodia, Thailand, India, Japan. Many times to France, Italy, Spain. I’ve been in Egypt, Greece,Jordan, India ,Turkey, Scandinavia…but my favorite country for taking pictures is India.
India is the country where it is the easiest to take pictures of people. Indian people are very friendly and sometimes, they put themselves in front of the camera.
How do you get your street portraits? Do you interact with your subjects?
The best way to get people to stand in front of your camera, is to make friendly contact with them by asking them if you can take a picture of them, verbally, or by showing them your camera. In India, 8 out of 10 people said yes.
Do you have any advice for new photographers who want to improve their street or travel photography?
Walk the street, have eyes around your head. Stay still at the same place for a few minutes, at a street corner for example, and wait for something to happen.
Do you think street photography will be relevant 50 years from now? Explain.
In fifty years, I will be dead. Fifty years ago most pictures published were by professionals. Today everybody can post pictures on internet and not that many are good. There are too many bad pictures circulating.