The golden age of street photography, as practiced by such masters as William Klein and Garry Winogrand, is commonly agreed to have ended by the 1970s. However, in recent years, the hectic arena of the city street has begun to be revisited by a new generation of photographers. Informed by the formal poise and cool detachment which has characterised so much photography in the intervening years, these artists engage with the street in less direct ways than their predecessors: where Winogrand and Klein plunged in, they prefer to maintain their distance.
