This article is based on my research into the visual signature of street photographers. The study identified six stylistic characteristics that provide insight into how street photographers construct and shape their images. These characteristics can be found, to a greater or lesser degree, in the work of every major street photographer.

This article explores a fundamental question: ‘What makes a good street photograph?’ The analysis is based on Nan Goldin’s definition of photography and a quantitative study of visitor data from the Rijksmuseum. One of the key conclusions is that visual opposition or contrast is an essential ingredient of a strong street photograph.

In this article, I revisit the question: What makes a good street photograph? Based on a qualitative analysis, I argue that suggestion plays a crucial role. Images that leave room for interpretation are often more powerful than photographs that explain everything explicitly. For street photographers, this means that it is often better to avoid images that are overly clear, literal, or fully resolved.

Inspired by a visit to an exhibition of Max Liebermann’s work, this article investigate the remarkable similarities between the Impressionists and the first generation of colour street photographers, including William Eggleston, Helen Levitt, Fred Herzog, Saul Leiter, Luigi Ghirri, and Mitch Epstein. Rather than discussing historical influence, the article examines the visual characteristics these artists share—particularly their treatment of daylight, shadow, colour, and composition—and considers how these insights can help photographers better understand and improve their own work.