“If there’s more confusion than enlightment after looking at a shot of mine, that makes me happy.”

Anna Lisa Lohmann is a self-taught amateur street photographer who has gained international recognition for her work and has been published in various publications. She has a strong passion for storytelling and vivid colours in her photography. She engages in High Alert Meditation while roaming the streets, seeking to capture the extraordinary in the ordinary. Originally from Germany, Anna studied media & communications and politics, where she has excelled as a professional TV-journalist at the German public broadcast, working as a live reporter, author, and acclaimed filmmaker.

JLH: Hi Anna! It is lovely to see you again! I am very excited to get to know you a bit more and learn about your journey in Street Photography. So, tell me about you, where you are from, why did you move to London and how did you get into street photography?

ALL: Hi Jovis! Thanks for having me! I’m a journalist from Hamburg, Germany. In 2020 I moved to London. What a great decision as I happened to discover here my second deep passion (besides journalism): Street photography! It was a complete coincidence. Typical London weather with drizzle and chilly winds urged me to seek shelter in a bookstore. As I always had a loose interest in photography, I started browsing the shelves and randomly picked two books: ‘Street Photography Now’ by Sophie Howarth and Stephen McLaren and ‘100 Great Street Photographs’ by David Gibson, both compilations with street shots. When I saw these pure, candid, fleeting moments, it hit me like a train: That’s it!! That’s what I wanted to do! I fell in love immediately.

JLH: How has your photography evolved over time?

ALL: I used to be a typical ‘travel and family’ shooter. You know, the one that seems not to have attended any occasion - because I was the one behind the camera. I would take a camera only now and then. When I discovered street photography that was a real turning point. The past three years I went on quite a journey. I attended workshops, learned about street and documentary photography, visual storytelling, sequencing, using Lightroom, processing bnw (although I’m a colour shooter). I absorbed loads of photo books and went to exhibitions. And I simply shot whenever I could. I would experiment with shutter speed and macro mode, try the panning technique etc. All this enabled me to create a various panel of photographs to gain the prestigious Licentiate distinction from the Royal Photographic Society. When these photography experts interviewed me afterwards and featured my work as well in their magazine as in form of an exhibited print in their headquarters in Bristol (I believe it can still be seen there; the photo is titled, ‘CUte’. I dared start to believe that my images might be not that bad. But for me the most important still is the joy it brings me personally taking them! If others also enjoy my work even better.

JLH: How has street photography changed since you started shooting?

ALL: I started with juxtapositions and focused on the subjects. Meanwhile I’m paying more attention to storytelling, light and colour. And I agree with Matt Stuart, who taught me a lot during a 6 weeks class, about how he sees street photography: not as a genre, but as an attitude, as a way of living. I surely wouldn’t want to be without my regularly dose of -as I call it - High Alert Meditation. Being completely by myself and absorbing all things and scenes around me with all my senses at the same time. Couldn’t think of anything better!

JLH: What do you hope for people feel or think when they look at your street photography?

ALL: Aw, I like that question. It depends on the photograph of course. Often I like to generate questions. If there’s more confusion than enlightment after looking at a shot of mine, that makes me happy. For example the shot ‘The Gran’. You won’t believe how often people ask me what happened there! Haha. It’s a nice counterpart to my journalistic work where I’m supposed to explain and deliver facts and clarification for the viewer.

Sometimes I also fall for a simply eye pleasing, nice composition with bold colours or even a silhouette. But if you’d ask me to choose between aesthetics and storytelling, I would go for the story, for a picture that tells a story and at best evokes an emotion in the viewer. I very much like shooting humorous scenes which can be challenging. I also try not to repeat myself but tell new stories and use different approaches so the viewer might see something new/different.

JLH: What's your favourite place or city to shoot street photography?

ALL: I’m very happy to live in London as it’s such a great place for shooting streets. For any taste something can be found: From elegant to shabby, from crowded to lonely, from bright colours to dull corners. Also the street photography scene is quite active here, so it’s easy to connect with other street photographers and meet in real life.

I can image that shooting in India and Australia would be great fun for me because of the light and colours there. I neither would say no to shooting the bustling streets of New York City. I also heard Lisbon/Portugal was a great city to shoot in. I genuinely think you could take great street shots everywhere - but to be fair: in some places it’s easier

JLH: What inspires you when you're out shooting on the streets?

ALL: Literally anything could catch my eye! Mostly I’m looking for interesting scenes where people interact which each other or have something else to show than only an interesting outfit. If additionally the light is nice, I’m more than happy.

JLH: What is your approach to capturing candid moments on the street?

ALL: I always try to be as less intrusive as possible. Best is if the subject doesn’t even notice me at all. In general I’m more of a hunter and would shoot whilst on the go. Often close to the subject. My camera always clearly visible. I’m open about what I do and don’t like creepy, sneaky shots. Sometimes I would stand on one place with my camera using the fishing technique. It’s great if you have an intriguing backdrop or light pockets you can play with. Also often used when waiting for others. Haha, that’s so great about street photography: It barely bothers me anymore if I have to wait for someone as there is always something to see - and maybe even to capture.

© Anna Lisa Lohmann | Maskless Crowd during The Pandemic

JLH: Can you describe your favourite street photography moment?

ALL: Usually I get best "into the zone" for practicing my High Alert Meditation when I’m out alone. But sometimes it can be nice to have a partner in crime on your side, because it can make you braver. I call this the ‚Wing(wo)man Theory‘. Often I dare to be bolder when there is a friend with me. I feel encouraged to get closer to subjects without fearing to upset them. Because: When you have a wing(wo)man you can just snap away and then talk to your friend completely normally so as if that shot wouldn’t have happened or meant anything. Then even if a subject wants to start wondering they just forget about it and everybody moves on happily.

So, one day I was out with a friend shooting at Borough Market in London. I saw lovely light pockets. Who knows me knows I hardly can resist them. I saw a woman with sunglasses sitting there talking to a man. It looked like a date. It was a narrow passage and I didn’t want to bother them by noticing me taking shots. So I did it whilst walking by. I rarely check shots on the lcd screen. But this time I was so excited about that light that I dared a look. And was so disappointed. The focus was completely off and the contrast didn’t work. Damn! My settings were sh*t. My friend looked at me and said: „Why don’t you adjust your settings and just go back to have another go?“. First I hesitated, because I really didn’t want to disturb them by getting noticed. „I know you, Anna! You will be mad at yourself for ages! Please! Just go back and shoot again.“ She was right. My wing woman encouraged me to try again - and I came up with a lovely shot. As a bonus, the woman in the foreground lifted her hand and added a nice layer! Out alone, I wouldn’t have gotten this shot.

JLH: What role do you think street photography plays in today's society?

ALL: Beside it being a wonderful way of documenting life, I think it’s biggest plus is the fact it’s so democratic. Everyone can do it! Where we live most people have a phone with camera. There is no need to know anything about gear or techniques. It’s something in what everyone can participate - how inclusive is that? I also often hear people saying that it helps them with their mental health being out and about shooting the streets. For me this was certainly true during the pandemic.

JLH: How has your experience as a female street photographer influenced your work?

ALL: I honestly couldn't say that being a woman has consciously influenced how or what I shoot. But maybe subconsciously? A good friend of mine recently stated that I shot mainly female subjects. And that is true. Often I find them more interesting. Also it's said that in a photograph you always see a bit of the photographers themselves.

I always felt respected and equal amongst male photographers. But at the same time I've noticed there are so little women when there are meetups, for example by the UPC or Street_Badass. I know some women feel better, safer, more confident when surrounded by other women or let's say: in the absence of men. I do like the spirit of women empowering other women. Social Media hubs like Women in Street or Unexposed collective, e.g., are a great place for non-male photographers to be creative with the assurance to see and be inspired by the work of lots of other women. Sometimes you just need a role model. I remember perfectly fine that I wondered in the very beginning, when I had those two street compilations in my hands, that there were nearly no women in it. But if we see street photography as a documentation of the everyday life there is no reason why we should only see the male perspective like in so many other fields like history and science (why is for example medication only based on male bodies??)

JLH: Who are some of your favourite street photographers?

ALL: Beside the ‘classics’ like Elliott Erwitt, Richard Kalvar (both for their humour), Joel Meyerowitz (so much humanity and positivity), Alex Webb (light and colours), Vivian Maier (clever observations) and Harry Gruyaert (his name sounds like cheese and his use of colour is inspiring) I enjoy a lot the works by contemporary photographers like Andrea Torrei (light, colour, storytelling), Matt Stuart (humour) and Melissa O’Shaughnessy (observing people) to name just a few.

JLH: Do you have a favourite street photograph that you've taken? Can you describe it?

ALL: Tough one! Of course there is not THE favourite one. Or does anyone have a favourite child? Well, one shot I very like is my ‘Confetti Rain’. Not only because it got recognised a few times at competitions as a winner or finalist. I took ‘Confetti Rain’ through the window of a bus stop. Also a good example for the fishing technique as well as for my theory that waiting time is never lost time when thinking street. The image shows a chilly and windy autumn evening. People are rushing by holding jackets and umbrellas tightly. The rain makes everyone equal: The old man with the crooked back and the middle-aged women, both are just trying to protect themselves from the rain. I love how the rain drops at the window break the lights of the shop in the background and reflect their wonderful colours. I like the contradiction of joyful confetti and absolutely not enjoyable weather. Your eye can wonder through different layers and through different colour temperatures too. Also I never feel more comfortable as inside a warm place whilst from outside the rain is lashing at the window. For me this photograph conveys that feeling. I hope for others too!

JLH: How do you select which photos to publish?

ALL: Jovis! I’m asking myself this question each and every time I’m participating in a photo competition. What I mainly do to be forced to look into my work and select shots! I find it easy to tell others which shots are ‘good’, but with my own ones? I’m always the one submitting close to the deadline. Argh, wait, have to select some shots for this interview. By tomorrow… For social media I sometimes try to think in three images that correspondent in some way, be it colour, style or subject.

JLH: How has social media and online platforms affected your work as a street photographer?

ALL: I use Instagram as a source of inspiration and to connect with other photographers. This gives me a lot of input and fresh perspectives. At the beginning of my street passion I caught myself posting a shot not because I particularly liked it, but because it would bring me likes. What? But that’s not the reason why I’m doing street photography! I deleted that post and turned off the likes-count. From then on I would post only what I wanted to share. The sheer number of likes didn’t give me anything but the need to check it constantly. For me a detailed feedback/comment by another photographer who’s work I admire means so much more than a hundred likes from people I don’t even know. Please, if you’re not a fancy street influencer: shoot and share firstly for yourself!!

JLH: Best and worst experience while taking photographs?

ALL: Light and shadow, the good and the bad - they often are close to each other. For me, my best and my worst experience on the streets so far are both part of the same story. Only minutes in between. One day I was out for a photo walk on the streets in Notting Hill with my friend Sonia Fitoussi, a great photographer and lovely human being! I spotted a colourful mural. In front of it was sitting a beautiful woman, dressed all over in green: green headscarf, green eye shadow, green glasses, green lipstick. She was having coffee with some friends in the sun. I approached and took a few frames when out of a sudden a friend of the green lady jumped up and yelled at me, I was rude by taking a shot of her without asking for permission.

She was furious, outraged. I was really worried she could come closer and punch me. This was the very first and only time so far I really feared getting attacked physically. Instinctively I knew it wouldn’t be a good idea to discuss with her my legal rights nor to tell her I wasn’t interested in her at all but in her friend. So, I took a deep breath and urged myself to stay calm. I apologized. She repeated that I had to ask for permission. So I asked her whether I could take a shot of her. Surprisingly she said NO… But: Her green friend smiled at me: ‚You can take a shot of me if you like.‘ With my pulse up super high I hastily took one shaky shot of her and moved on. Towards the second part of this story that should become a wonderful experience.

My face still felt red like a tomato and I didn’t want anything more than just disappearing. I felt ashamed and uncomfortable because the woman was going so mad at me. I tried to walk on slowly (to demonstrate I didn’t do anything wrong or even criminal). Just a few meters further I paused, stood still to calm myself down. Looking around I noticed a flea market stall in a beautifully lit corner. As a bonus there was a mirror hanging. I decided to settle, get my camera settings right and wait for an interesting motif. But guess what: No one came for ages. It was pandemic. Of course. But firstly I needed to calm down anyway and secondly my instinct told me it could be worth waiting. Eventually I was rewarded with a lady in a zebra-coat trying on a red necklace - corresponding to the red shirt of her companion. A perfect match. Also with my tomato-red face. But this time I had blushed for excitement about my catch.

JLH: Can you share any upcoming projects you have planned for the future?

ALL: Currently there are shots of mine exhibited in the Glasgow Gallery of Photography as well as I in London. The latter is an exhibition from London members of the Royal Photographic Society. Now I’m working on my part of a group exhibition by UPC members at the London Photo Show this year. I’m also organising with a befriended photographer a group exhibition by women street photographers in my hometown Hamburg.

JLH: What are your long term goals for your photography?

ALL: To share and spread the joy about street photography. I would also like to showcase my work one day in a solo exhibition. And which street photographer is not hoping to have one day a proper book with their work published? I’m no exception. Another goal of mine is supporting the Street Photo Scene in Germany so this amazing way of living gets more known and recognized there too! And if on the way I could encourage more women to take a camera and shoot: Even better!!

JLH: What has your experience with UPC been?

ALL: I joined really because of the Street Photography Assignments exhibition I went to organised by UPC. What impressed me most was the clever curation that brought together the work of photographers with very different skill levels. I liked to be amazed by great shots as well as seeing emerging talents given exposure. This inclusive and empowering approach made UPC very attractive to me as I genuinely think no matter how good you think you are, you can always widen your horizon and learn something new. And it’s great to encourage and support others who’ve just started out. Both life itself and street photography aren’t a cake to be eaten alone but to be shared and enjoyed together

JLH: Who in the UPC group stands out to you?

ALL: I really like the intelligent and witty observations by Phil Turnbull. I enjoy going on photo walks with Phil who is both a great person and a perfect wingman. Street shots of people mainly around Oxford Street by Adam Ramjean are great straight forward without trying to be arty. I like that a lot. Sorry, all men, haha. But I think quality and talent don’t have a gender.

Anna Lisa Lohmann | On Being A Street Photographer

Follow Anna on Instagram @streetannalyzer and see more of her work on her website

Urban Photographers Club

Anna Lisa Lohmann | On Being A Street Photographer

Follow Anna on Instagram @streetannalyzer and see more of her work on her website

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