I did a lot of research and note-taking for the book, and if you are curious to see all of the notes and screenshots see them here. 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”:

A unique approach in shooting film and editing digitally is from Mikhael Subotzky. He shares his approach and the reasoning behind it: Larry Towell also echoes Eli Reed’s sentiments on editing by remembering the feeling that he had when taking a photograph: With Economopoulos he discusses first choosing the subject matter (who or what to take photographs of), and then trying to select an image that have compositional elements, context, and scale which suits the photograph the best. 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 daya magnificent compendium of raw images from the photography cooperative." New York Times Book Review The Places We Live , solo shows Nobel Peace Center, Oslo; CO Berlin; National Building Museum, USA; CECZ, One of the first issues is the pressure that working digitally can put on us, and the difficulty of re-visiting work. Pellegrin explains:

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. I have taken photographs for around 6 years, and although I love the convenience and accessibility of digital photography – I wonder how scholars studying photography will have access to digital archives. Is Lightroom still going to be used in the future? How are we going to deal with issues of compatibility with RAW files in the future? When I was 19, I got a one-year internship at Magnum Photos' London office. I made coffee and tea, ran to the post office, answered the phones and returned prints and slides to their right places in the archive. A year spent working in the presence of that iconic archive was the best education I could have asked for.Jewish Historical Museum, Amsterdam; PM Gallery, London; Visa pour l’image, Perpignan; Fotoencuentros, Murcia, Spain; Photographic Center Northwest, Seattle, USA. Of course the things that I mentioned above about shooting in film can be re-created when shooting digitally. However personally I have found that although you can mimic certain aspects of shooting film (limiting yourself to a roll of film by using a 32mb card, not by chimping, and waiting on your images before reviewing them), there is still a constant urge to do so. Shooting film has helped me resist those temptations and focus more on my photography, editing, and reflecting on my days taking photographs. This was one of the first narratives I read, and for me it was like an epiphany! I would have selected the first one myself, but the photographer is right, I'd never considered that the moment of something about to happen is more powerful than the event taking place. If I get nothing else from this book I have at least learnt that one thing. I haven't had a chance to properly look at the book content yet, but first impressions are that it's a marvellous, beautiful book that I'm sure I'll keep returning to. It will take pride of place in my bookcase, although perhaps on a lower shelf as it's HUGE!

I've always been fascinated by faith and religion, and its place in society. In September 2017 my most recent book, The Last Testament, about people who claim to be the Second Coming of Christ was published. After being saved, Anderson realized that when he was taking photos on the sinking ship, there was the possibility that nobody would ever see the images. He then had the realization that the reason why he took photographs. He took photographs to explain the world around himself rather than explaining it to others.” Gives unprecedented access into the creative process of some of the world’s greatest photographers." Complex's Art + Design However it seems that the sense of disappointment that I feel isn’t just exclusive to myself – but also to accomplished photographers. Elliott Erwitt and David Alan Harvey from Magnum share their sense of disappointments: 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.There are many approaches that photographers use when editing their own work and choosing what they believe is the “best” shot of a sequence. The first frame is the one that grabs you immediately, as it's quite decisive [The teddy boy is actually combing his hair], but I preferred the later one because it's of that moment when something is about to happen, yet is suspended, unresolved in time and that injects a little tension into the image" The exhibition shows photographs from over seventy years of visual history, including the D-Day landing by Robert Capa, the Paris riots of 1968 by Bruno Barbey, Robert Kennedy’s funeral by Paul Fusco, the Vietnam War by Philip Jones Griffiths, and 9/11 by Thomas Hoepker. The exhibition features iconic portraits of political figures, actors, artists, and musicians, from Che Guevara and Malcolm X to Miles Davies and the Beatles. 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: