Jeff Schewe’s The Art and Dilemma of Shooting Street Portraits: Truth in the Streets

As a street photographer, I’m drawn to the raw, unscripted energy of real people moving through real spaces. Street portraits are my way of documenting life as it unfolds, and over the years I’ve learned that shooting with or without permission brings its own rewards  and its own challenges.

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As a street photographer, I’m drawn to the raw, unscripted energy of real people moving through real spaces.

Street portraits are my way of documenting life as it unfolds, and over the years I’ve learned that shooting with or without permission brings its own rewards  and its own challenges.

When I ask for permission, the dynamic shifts. The subject becomes aware of the camera, often adjusting their posture, expression, or attitude. In these moments, the image becomes a collaboration. The portrait gains a sense of intimacy, and the subject may feel empowered by being part of the process. This cooperative effort often leads to portraits that are emotionally rich and consciously expressive, though sometimes at the cost of spontaneity.

On the other hand, shooting without permission preserves the authenticity of the scene. The person is simply being, unaware of the lens. This candid approach brings a documentary truth to the image: honest, unfiltered, and full of life. These moments are often the most powerful because they aren’t staged.

I constantly walk a line between respect and artistic impulse. In the end, street portraiture is a balancing act between connection and observation. Whether I engage with my subject or quietly capture the moment from a distance, my goal remains the same: to reflect the spirit of the street and the beauty of the everyday. Each portrait — asked for or taken in passing — is a testament to human presence, a frozen frame of a story that might otherwise be forgotten. [Official Website]

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Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted.
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Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
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