1. Anti-Nutrients – Many vegetables contain compounds like oxalates, lectins, and phytates, which can inhibit mineral absorption and may contribute to inflammation or digestive distress.
2. Lack of Essential Nutrients – Unlike animal products, vegetables do not provide complete proteins, heme iron, or bioavailable essential vitamins like B12, making them unnecessary for survival.
3. Evolutionary Evidence – Humans evolved as apex predators, thriving on nutrient-dense animal foods. Many traditional societies, such as the Inuit and the Maasai, have thrived with little to no vegetable consumption.
If one can obtain all necessary nutrients from animal-based foods without the potential downsides of plant toxins, then vegetables become optional rather than essential.
The word resplendent comes from the Latin resplendēre, which means to shine brightly, to glitter, or to be radiant.
Etymological Breakdown:
• Re-: A prefix in Latin often meaning intensive or again.
• Splendēre: A Latin verb meaning to shine or to be bright.
This root is also found in words like splendid and splendor, which carry similar connotations of brilliance and magnificence.
The term entered English through Old French (resplendir) and Middle English (resplendent), maintaining its meaning of dazzling brightness and radiant beauty.
The word munificence comes from the Latin mūnificentia, which derives from mūnificus, meaning “bountiful” or “generous.” This, in turn, is formed from mūnus (“gift, duty, service”) and -ficus (a suffix meaning “making” or “doing,” related to facere, “to make or do”).
Thus, munificence originally carried the sense of “performing a duty of generosity”—giving as a noble or moral obligation rather than mere charity. The word entered English in the late 16th century, retaining this connotation of great generosity, particularly from a benefactor or patron.
There’s no shortcuts to improving your street photography, but there certainly are some simple heuristics to live by. Street photography is like basketball. The more you hit the court and practice your shot, the more shots you will make.
What’s poppin, people? It’s Dante. Today, we’re diving into my ideas about street photography with a documentary approach and why it’s been so important to my work over the years. You know, there are all these labels like street photography, documentary photography, and photojournalism, but to me, these labels are kind of weird. They don’t fully capture the fluidity of working on the streets.
That said, this topic is worth exploring because I believe in combining the best elements of street and documentary photography. Let’s break it down.
When I think about the difference between street photography and documentary photography, it comes down to time and connection:
Street Photography: You’re a fly on the wall. There’s minimal interaction—you snap pictures and move on. It’s spontaneous, candid, and quick. Anyone can grab a camera and walk the streets capturing fleeting moments.
Documentary Photography: This is about time. You spend extended periods in one location, building relationships and integrating into the community. Over time, you gain trust, which allows you to capture deeper, more intimate photographs.
“Access allows for storytelling without the need for posing, giving the work a natural authenticity.”
When I started taking street photography seriously, I learned quickly that I needed to adopt a documentary mindset, especially when working in unfamiliar or challenging environments.
Learning by Necessity
My first serious introduction to street photography came when I was a university student in West Baltimore. I was photographing one of the most dangerous neighborhoods in the country, and let me tell you—I couldn’t just walk around snapping photos like I was in downtown Manhattan. I had to learn how to engage with people, how to navigate the streets, and how to build trust.
For example, I remember approaching a group of people playing basketball during golden hour. Imagine walking into a scene like that as an outsider. Am I just going to start taking photos without introducing myself? No way. Instead, I said hello, explained I was a student, and asked if I could photograph. Because I engaged with them, I had time to work the scene and came home with what I consider my first “keeper” photograph.
“You don’t just walk into a new community snapping photos like some tourist on a safari. You need street smarts, body language, communication skills, and charisma to make compelling photographs.”
Access Is Key
One of the most practical ways I’ve found to gain access to communities is by carrying an Instax camera. This tool is simple yet powerful: you take someone’s portrait, give them the print, and immediately break the ice. Here’s why it works:
It puts people at ease.
It builds trust.
It opens doors—both literally and metaphorically.
“The Instax camera is a passport. It unlocks infinite possibilities for creating meaningful photographs.”
With this trust, you can:
Make more work in the same place.
Return regularly to continue photographing.
Capture candid moments without needing to ask for permission.
Building Relationships: The Key to Strong Photos
Photography, for me, is about relationships. Strong relationships lead to strong photographs.
Jericho: A Case Study
When I was photographing in Jericho, I spent months living with a local family. Every morning, I’d knock on Mohammed’s door, share breakfast, and then he’d guide me around town. Mohammed introduced me to Hassan, an elderly man with a small garden. We’d water his crops, sit on his porch, and talk about life. These moments led to photographs that captured the soul of the place.
“When you get closer to a community through a documentary approach, the photographs you create become much more compelling and interesting than simple candid street snaps.”
Make a Friend
Having a local friend is crucial, especially in unfamiliar or potentially dangerous areas. Once, in Jericho, a young man broke my camera strap during a confrontation. Mohammed stepped in, explained to the community that I was no threat, and even fixed my camera strap with tape. This kind of trust is invaluable.
“Building a relationship in a new community can be simpler than it seems.”
Combining the Best of Both Worlds
The beauty of blending street and documentary photography is that you don’t have to choose between the two. It’s less about the genre and more about the stories you’re able to tell. Here’s how I think about it:
Documentary Approach: Spend time in the community. Build trust and relationships.
Street Aesthetics: Capture candid, spontaneous moments without posing your subjects.
By combining these elements, you can create work that’s both visually compelling and deeply authentic.
“Photography has nothing to do with photography. It’s everything to do with how you interact with humanity.”
Practical Tips for Street and Documentary Photography
If you’re looking to approach photography like this, here are some tips:
Carry an Instax camera. It’s an icebreaker and builds instant trust.
Be fluid and open. Don’t box yourself into rigid rules or preconceived notions.
Revisit locations. Familiarity builds trust and gives you more opportunities to capture compelling images.
Engage with people. Say hello, explain your purpose, and integrate yourself into the scene.
Be patient. Strong photographs come from time spent.
Final Thoughts: Make Your Own Game
At the end of the day, photography isn’t about gear, rules, or labels. It’s about how you engage with the world. Your photos will reflect your lust for life, your charisma, and your ability to connect with people.
“Go out there without any preconceived notions. Set your body in motion, stay open, and let life surprise you. That’s how you come home with something meaningful.”
So, get out there. Build relationships. Play your own game. And remember: photography is a reflection of who you are as a human being.
What’s poppin, people? It’s Dante. Today, I want to break down three photographs and discuss composition in street photography. When it comes to composition, it sometimes comes secondarily because we’re interested in the content, the moment, the subject, and the emotion. But to create a strong photograph, we have to synthesize both content and form.
In this scene, a boy comes through on a bike doing a wheelie, his leg in the air. It was a crazy, quick moment that disappeared in a split second. But by being observant and quick to respond, I was able to create this composition.
I had two chances to make this photograph. The first attempt failed because I shot at eye level, causing the wheelie to blend with the background. The second time, I dropped low, separating the foreground from the background and highlighting the moment against the blue sky.
“When you’re making a composition, ultimately it derives from your intuition, from your gut.”
You’re not out there looking for leading lines or shapes consciously; it’s about responding quickly and instinctively. When I’m on the streets, I’m looking with my eyes, not through the camera, and responding with my gut.
Key takeaways:
Drop low to separate the subject from the background.
Trust your intuition and respond quickly.
Positioning your body is everything.
The Second Photograph: Observation and Patience
This frame came through patience and being hyper-aware of my background. I was at a bus stop, which I always find to be a great place to practice layering compositions. There’s a lot happening—people passing by, people waiting, and movement inside the shelter.
The first thing that drew me in was the light. Sometimes, that’s all it takes. I positioned myself at a choke point and waited for the stars to align.
“By recognizing elements in the background and moving your body accordingly, you can create a more structured frame.”
In this frame, I used the bus stop sign to break up the composition, aligning it against the sky. When the man walked into the light, his downward gaze added a sense of mystery and emotion.
Elements of the composition:
The light drawing attention to the subject.
The layering of foreground, middle ground, and background.
The positioning of the sign against the sky to add balance.
The Third Photograph: Hunting with Speed
This scene happened at Penn’s Landing, and it was all about being quick on my toes. I didn’t have time to fish for a moment; instead, I reacted instantly.
I was drawn to the light and shadow interplay and got intimate and close. The subject in the foreground—this woman sucking on a ring pop—added tension and drama. Her gaze led the eye through the frame.
“When you approach a scene, recognize how you can use the background to your advantage.”
The Ferris wheel in the background lined up perfectly with another subject’s head, creating a cool bullseye effect—all through intuition.
Things that made this shot work:
Strong foreground elements.
Light and shadow interplay.
Using the background as a compositional anchor.
Final Thoughts
Ultimately, composition in street photography comes down to intuition and practice. When you’re out there, hone in on one camera and one lens.
Why?
It builds muscle memory.
You become faster and more instinctive.
You start to understand how to relate content and form intuitively.
Through breaking down these pictures, hopefully, we can learn, grow, and improve our composition. Thanks for reading, and stay tuned for more street photography insights.
The William Penn statue atop Philadelphia City Hall holds the title as the tallest sculpture on top of any building in the world. It stands at 37 feet (11.3 meters) tall and is perched atop the 548-foot (167-meter) tower of City Hall, making the entire structure an iconic centerpiece of Philadelphia’s skyline.
Sculpted by Alexander Milne Calder, the statue represents the founder of Pennsylvania and has become a significant symbol of the city.
Yes, people in Philadelphia did used to meet at iconic landmarks like the eagle statue in the Wanamaker Building or the boot of the William Penn statue on top of City Hall. Both locations were well-known meeting points and part of the city’s rich history.
Meeting at the Boot of William Penn
Visitors could go to the top of City Hall and even step into the base of the William Penn statue, where his boot was located. The observation deck beneath the statue offered panoramic views of Philadelphia, making it a popular destination. The idea of meeting “at the boot†became a playful shorthand for a rendezvous at the top of the city.
However, this practice ended due to safety and maintenance concerns, as well as the logistics of managing public access. While the observation deck is still accessible today, people are no longer allowed to climb into the statue itself.
Meeting at the Eagle in the Wanamaker Building
The eagle statue in the Grand Court of the Wanamaker Building (now Macy’s) was another famous meeting spot. The large bronze eagle, originally part of the St. Louis World’s Fair in 1904, became a beloved landmark for Philadelphians. People would often arrange to meet “under the eagle,†as it was centrally located and easy to recognize. This tradition continues even today for some.
Why Access to the Boot Stopped
Public access to the William Penn statue’s boot ended largely due to modernization and liability concerns. City Hall itself underwent significant renovations over the years, and ensuring safe public access to the statue’s interior became impractical. Today, the observation deck remains a popular spot, but stepping into the statue itself is a relic of the past.
These landmarks, especially the eagle, remain iconic symbols of Philadelphia’s history and culture, even as traditions around them have evolved.
In Philadelphia’s history, the “Duck Lady†was a well-known figure, particularly in the 1970s and 1980s. She was an elderly woman who frequented areas around Market Street and other parts of the city. Notably, she had a distinctive voice reminiscent of Donald Duck, which led to her nickname. She was often seen wearing a black dress and veil, and she had a habit of attending various funeral homes along South Broad Street, paying respects even to individuals she didn’t personally know. This routine made her a memorable character among locals.Â
Additionally, the “Duck Lady†was known for her presence in the city’s subway stations, where she would often be heard making quacking sounds, a manifestation of what many believed to be Tourette’s Syndrome. Despite facing personal challenges, she left a lasting impression on the community. Efforts by individuals like Sister Mary Scullion aimed to assist her and others facing homelessness during that era.Â
It’s worth noting that the “Duck Lady†is distinct from “Duck Girl,†a bronze sculpture by Paul Manship located in Rittenhouse Square. The sculpture, created in 1911, depicts a young girl holding a duck and has been part of Philadelphia’s public art collection since its installation.Â
The “Duck Lady†remains a part of Philadelphia’s rich tapestry of local characters, remembered by many for her unique presence in the city’s history.
She was a guest at the Wanamaker building?
Yes, the “Duck Lady†was known to frequent the Wanamaker Building in Philadelphia. As part of her regular routine in the city, she was a well-recognized character in the department store, which at the time housed John Wanamaker’s famous department store and the grand Wanamaker Organ. She would often be seen wandering through the building, much like she visited other iconic spots in the city.
Her presence at the Wanamaker Building added to her local legend, as it was one of the key public spaces in Philadelphia where her eccentricities—such as her distinctive quacking sounds and unique attire—made her a memorable figure for those who encountered her. This location, combined with her visits to funeral homes and subway stations, helped cement her as a quintessential and beloved urban character of Philadelphia during the mid-to-late 20th century.
