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The work of Impressionists such as Claude Monet use of light and Gustave Caillebotte capture of everyday street scenes were early influences on how I approach street photography. I like capturing these moments in that it creates a layer of tension between the subject and the viewer of the image. Another thing I often try to capture is visual tension, some sort of cognitive dissonance if you will. One of the more gratifying comments that I get on my images are those that wonder what the subject is thinking, or what the subject must have gone through to come to that moment captured through my lens. Right now, I do my street shooting with a Nikon D and a 35mm prime lens. If you are the site owner, please open a ticket here asap for us to look at it for you: Where you do you find yourself? The second part of this question can be looked at in a couple of ways. If you listen carefully to the lyrics, you can understand how it completely nails the world of a street photographer. Once in the Civic Center area, a gentleman approached me and proceeded to tell me his life story. Now if you mean by social commentary conveying a visual message shedding more light on a particular social issue, I would say yes to that too. Since I do quite a bit of hip shooting, this allows me to ensure that the camera is reasonably level without looking through the viewfinder. Look for subjects that can suggest a story, then speak to the viewer through them. There are those that say shooting homeless people is not good street photography, and for the most part I agree with that convention. How long have you been involved in photography? The second part of this question can be looked at in a couple of ways. If too much is missing, the viewer of that image may quickly move on. Crime, unhealthy living conditions, the stress of everyday existence would be other social issues that street photography can accentuate in a single frame. This happens through a form of nonverbal, non-confrontational engagement, the dreaded eye contact. If you listen carefully to the lyrics, you can understand how it completely nails the world of a street photographer. Look for subjects that can suggest a story, then speak to the viewer through them. The work of Impressionists such as Claude Monet use of light and Gustave Caillebotte capture of everyday street scenes were early influences on how I approach street photography. I hope they would be all positive, but I can learn best from comments that can constructively point out why the image does or does not work. As much as the subject itself, the environment can be a critical part of the story. That means the viewer is engaged enough to examine my motivation for capturing that particular image. Now Jim enjoys his California life working primarily in street, editorial and fine art photography.