Through the Lens of the Streets: Capturing Life’s Unscripted Stories

A photograph is a timeless manuscript which captures a fleeting moment and immortalize them them to transcend time, emotions, cultures and places. Every year on August 19th the world comes together to commemorate this unique craft, its science and history by uniting photographers across the globe to celebrate World Photography Day.

Photography is a mosaic of abundant genres. One silhouette of this mosaic is the art of street photography. This year lets admire the vibrant expressions of street photography through the wandering lens of an exceptional street photographer, Ushan Gunasekera.

For Ushan every street tells a story. With a portfolio ranging from fashion shoots, weddings, and wildlife, he’s always retreated to street photography, where life unfolds unscripted. Through observation and empathy he is able to view the streets through a reinvented perspective and his delicate lens he perfectly captures the subtle and often-overlooked moments unravelling the rhythm of the heart and city.

Here is a glimpse of Ushan’s Street Photography through his eyes and words.

How would you define street photography in your own words?

Street photography to me is not bound to a physical street, but rather to the unplanned theatre of life. It is about stepping into spaces where life unfolds naturally from markets, alleys, buses, temples, or even empty corners, and finding moments that reflect something greater than what’s seen. At its core, it’s the art of transforming ordinary life into extraordinary visual poetry. The beauty lies in its unpredictability: nothing is staged, nothing is forced, and yet when you look back at the image, it tells you something real about society, culture, or human emotion.

What drew you to street photography?

I realized early that the streets held an endless supply of stories. I wanted to pursue it was when I began seeing how my candid frames resonated with people. They saw emotions and narratives in those images that I hadn’t put into words, and I understood that photography could speak louder than me. That’s when it became more than just a hobby; it became a voice.

How do you know that a moment is worth preserving?

I don’t always go out with a shot in mind, but I keep myself open to the world around me. There’s a kind of electricity when something is about to happen, and with time you learn to anticipate it, to know when to raise your camera and when to simply watch.

Post processing and equipment

Shifting a bit towards the editing side of things, does an edit change the narrative of the photographs core essence?

Capturing essence comes from being present, patient, and open to empathy. If you see a person not as a subject but as a human being with a story, your frame naturally carries more honesty. Editing and lighting play supporting roles; they help refine the emotion without rewriting it. Over editing, for me, risks stripping away authenticity, so I keep my adjustments true to what I felt in the moment. A photograph must feel alive, not polished into sterility.

Does the gear you use make a difference in street photography?

In street photography, gear is helpful but not everything. A small, fast camera with a reliable lens can make life easier, especially in unpredictable environments, but even a phone can tell a powerful story if the eye behind it is sharp. Gear should never be a barrier to creating. What matters more is how quickly you can react, how invisible you can be, and how you connect with the world unfolding in front of you.

Decoding Street photography

Is a street photographer an observer, storyteller or a witness?

I think a street photographer is all three. We observe life’s subtleties, we tell stories through framing and timing, and at the same time, we bear witness to society’s truths both beautiful and uncomfortable. Some days, I feel like a silent spectator, other days, my camera becomes the voice of what I’m seeing.

Is street photography the canvas which draws the bare face of society?

Street photography is society’s mirror. It records the overlooked, the mundane, and the extraordinary, creating an unfiltered memory bank of who we are. In times when media and history books may choose what to preserve, street photography ensures that even the quiet, everyday lives are remembered. It is both art and archive, and that dual role makes it invaluable.

You said that street photography is the society’s mirror. Can you elaborate on it?

Yes, absolutely. Street photography is one of the purest mirrors we have of society because it captures people as they are, not as they want to be seen. It reveals contradictions like wealth beside poverty, joy beside sorrow, tradition beside change. Over time, these images become evidence of our collective reality, and they show us not only who we were, but also how far we’ve come or how far we’ve fallen.

We often hear many say that every photograph shares an untold story. What is your take on this statement?

Not always. But a good photograph is just the surface, a frozen second in time. Behind it lies a longer story of who that person is, where they came from, and what led them to that moment. That mystery is what makes street photography compelling: you never know the full story, but you sense it.

In what ways do you think street photography contributes to society?

The role of a street photographer is to archive humanity. We are preservationists by nature who turn fragments of daily life into memory and meaning. By doing so, we remind society of its essence, its beauty, flaws, struggles, and resilience. In many ways, we act as unofficial historians, creating a record of people’s lives that often escapes the history books.

Tapestries of Street Photography

Can street photography be dissected into further genres?

Yes, definitely. Some focus on candid portraiture, others on urban landscapes, abstract details, or socially charged documentary-style frames. Personally, I move between genres depending on what the moment gives me. Sometimes it’s a fleeting human expression, other times it’s the atmosphere of a street itself. These sub-genres keep the practice fresh and diverse.

There is another genre of photography known as photojournalism. How similar or different are the two?

Street photography often edges into photojournalism when public events unfold. The difference lies in purpose. Street photography thrives on ambiguity. It doesn’t need to explain itself or provide context, it invites interpretation and imagination. Photojournalism, however, carries a duty: to inform, to give context, to show events with accuracy and accountability. Both share an obsession with truth, but one embraces openness while the other embraces clarity.

You document some delicate moments during historic events. Some of them during the 2022 protests. According to you was that street photography, photojournalism or something different?

During the 2022 protests in Sri Lanka, my photography naturally became documentary in nature. What I captured on the streets wasn’t just candid life anymore; it was evidence of a society’s struggle for change. That moment showed me that the boundary between art and journalism can disappear when the streets demand to be remembered truthfully.

Is there any place in the spectrum of street photography which overlaps with the spectrum of photojournalism?

Yes, they overlap more often than we realize. Street photography captures the candid pulse of everyday life, but when that everyday life turns into a historic or socially charged moment, a protest, a cultural ritual, or even a sudden tragedy. Those frames begin to function as journalism. The difference is intent: I may not have set out to report news, but in capturing the raw truth of what unfolded, the photographs take on that journalistic responsibility. They become documents that tell future generations not only what happened, but also what it felt like to be there.

Consent and Candid moments

Street photography captures many sensitive moments and it is important to respect their right to privacy. Do you come across moments where a subject’s right to privacy conflicts with your artistic vision?

Yes, this is something every street photographer encounters. There are times when I feel a moment unfolding is visually powerful, but the subject might not be comfortable being photographed. In such cases, my compass is always empathy. I sense intrusion, I step back or lower my camera. No photograph is worth dehumanizing or disrespecting someone, and I’ve learned that patience often rewards you with another moment that’s just as strong, but without the ethical conflict.

As a street photographer what are some of the challenges you have encountered?

The biggest challenges are privacy, suspicion, and sometimes hostility. Not everyone is comfortable being photographed candidly, and you need to be sensitive to that. On a practical level, light and timing are also challenges. The street doesn’t wait for you, and a great moment can disappear in an instant. The unpredictability makes it difficult, but also deeply rewarding.

Have you encountered any hostility or pushbacks when capturing moments in streets?

Yes, especially in sensitive environments or when emotions are high. Some people are naturally defensive when a lens is pointed at them, and in Sri Lanka, photography in public still sometimes carries suspicion. In those cases, I try to diffuse the situation by explaining, other times by simply putting the camera away. It taught me that street photography isn’t just about pressing the shutter, it’s also about reading the room and knowing when not to shoot.

A certain percentage of society believes that street photography intrudes people’s lives. What are your thoughts on it?

It can, if done without awareness. That’s why I approach it with as much invisibility and respect as possible. I don’t force moments, I don’t stage or disrupt, and I try to photograph from a place of genuine curiosity rather than judgment. If the subject feels intruded upon, the image loses its authenticity.

With what you told us earlier it is vital to be ethical as a photographer. Is there any code of ethics you follow as a street photographer?

My code is built on three principles: respect, empathy, and honesty. Respect ensures I don’t take away someone’s dignity. Empathy ensures I understand that every person has a story deeper than the one frame I capture. And honesty ensures I don’t manipulate reality into something it isn’t. This code keeps me grounded, even when the streets are unpredictable.

Your work comes with a handful of sensitive and vulnerable moments. How do you approach them?

Yes, moments of grief, tension, and raw human vulnerability. In such cases, I reflect deeply before deciding whether to share the image. If the photograph dignifies the subject and helps tell a larger truth, I might release it. If it risks exploitation or harm, I keep it private. Some images are meant only for the photographer’s memory, not the public’s gaze.

Viewer’s perception of Street photography

How do views respond to your photographs? Do they view them with the same artistic vision as you or do they give the photographs new interpretations?

Often, audiences interpret my work differently from how I intended, and that’s the magic of photography. For instance, a candid frame I took of children playing was read by others as resilience against hardship, though for me it was simply a fleeting moment of joy. I’ve realized that once a photo leaves my hands, it belongs to the audience’s imagination as much as mine. The layers of meaning they bring can make a photograph larger than I ever imagined.

Birth of Street Photography in Sri Lanka

What are your thoughts on the street photography culture in Sri Lanka?

It’s still emerging, but it’s slowly gaining recognition. A decade ago, street photography wasn’t widely considered a genre here. Weddings and commercial work dominated. But today, younger photographers are experimenting with documenting streets, culture, and social change, often sharing online. Societies like Streets of Colombo and the Photographic Society of Sri Lanka further help promote this genre. What I notice is that Sri Lanka is still learning to be comfortable with candid documentation, but the curiosity is growing, and that excites me for the future.

As a street photographer mostly based in Sri Lanka how important do you think street photography is to the country?

For Sri Lanka, it’s essential. We’re a country where culture, politics, and daily life are changing at a rapid pace. Street photography ensures that future generations see not only the polished narratives, but also the raw, unfiltered truth of how people lived, struggled, and celebrated in this era. It becomes our collective memory, especially in a place where oral traditions are strong but visual archives are limited.

The future of Street Photography and the intervention of technology

How to do you imagine the next phase of street photography?

The future of street photography is timeless because life never stops unfolding. Even if the tools change, the human impulse to capture fleeting truth will always exist. What will evolve is how we share it, perhaps through digital platforms, immersive mediums, or even AI-assisted processes. But the core of street photography will always remain about presence, patience, and the decisive moment.

The world is moving forward and AI is a huge part of it. Most of the time AI is used as a tool for assistance. Do you think is the same in the field of street photography or is it a threat which hinders a photographer capturing the essence of the moment?

AI is both. As a tool, it can help with editing, archiving, and even enhancing images for preservation. But as a threat, it raises questions of authenticity when an image can be generated rather than witnessed, we must be careful about what we call “truth.” Street photography’s strength lies in presence and timing, and no algorithm can stand on a street corner and feel humanity unfolding. That’s why I believe AI may reshape the conversation but not replace the craft.

Words of wisdom

As you said street photography is emerging in Sri Lanka. As a person with experience what will you say to a person who are just starting out street photography?

Carry your camera everywhere, even when you think there’s nothing worth capturing. Don’t chase perfection or wait for extraordinary events, the beauty of street photography is in the ordinary. Be patient, observe, and shoot daily, because practice builds instinct. And most importantly, treat your subjects with respect. A good street photograph is built as much on empathy as it is on timing.

Can you share some of essential skills a photographer should possess to be a good street photographer?

Patience, empathy, and sharp observation are essential. You must be quick enough to react, but calm enough to wait. A strong street photographer also needs resilience. The streets are unpredictable, and not every day gives you great images. Above all, you need respect for people and an honest curiosity about life.

Candid moments and personal experiences

You have the privilege of been a part of diverse experiences while capturing the streets. Is there any incident from those experiences that you dearly cherish and would like to share?

One of the most profound moments for me was being welcomed into the Red Mosque in Colombo during Ramadan. I had been documenting the streets outside, but instead of being asked to leave, I was invited to witness and photograph the breaking of fast, and even share the meal. It was more than access, it was trust, hospitality, and a reminder that sometimes photography opens doors not just to images, but to human connection.

Certainly you must be having many moments moment from the streets that you thoroughly enjoyed? Can you share one?

I once had tea with a bunch of nattamis, the porters who tow carts laden with goods from between shops and streets in Pettah while engaging in delightful conversation. It reveals human fellowship in its simplest forms, often hidden in plain sight.

Is there any significant incident which changed your journey or perspective as a street photographer?

Photographing the 2022 protests was one of the most significant chapters of my journey. I remember photographing protestors amidst tear gas canisters flying overhead. It reminded me why photography matters: because sometimes an image can capture the essence of an entire movement in a way words cannot.

Has street photography changed the way you view the world?

Completely. It has made me more observant, empathetic, and patient. Where others see routine, I see stories, gestures, contrasts, struggles, resilience. Society is no longer something abstract; through street photography, I see it in faces, details, and fleeting interactions. It has made me both more critical and more compassionate.

Street photography has come a long way since it began and has been in society for quite a number of generations and the photographs have gradually become the manuscript of its time. How do you think the generations ahead will view your work?

I see my photographs as time capsules. Decades from now, when streets have changed, buildings replaced, and traditions altered, my frames will show the texture of life in this era. They will remind future generations not only what things looked like, but what they felt like. That human element, preserved through imagery, is the greatest gift photography can give to the future.

Celebrating the art of photography

August 19th is a special day for you and all photographers across the globe. As a closing note is there any message you want to share in honor of World Photography Day?On World Photography Day, I want to remind photographers that what we do matters. Every frame you capture is a fragment of history, empathy, and truth. Don’t chase perfection, chase honesty. One day, your photographs will mean more than you ever imagined, not just to you, but to the people who inherit them.

To anyone just starting out, to those who dream of becoming better photographers but feel held back by the lack of gear or money, please hear this: you can do it. Start small. Use what you have. Don’t wait for the perfect camera or the perfect moment. Begin. Every step forward, however shaky, is part of your story.

You can contact Ushan Gunasekera via Instagram through Ushan Gunasekera and Ushan Gunasekera Photography

A few personal words

Born in the early half of the nineteenth century archival records of street photography can be seen in the book “Bystander: A collection of street photography” with a collection of over 300 images compiled by photographer Joel Meyerowitz and writer Colin Westerbeck demonstrating the advancements of street photography beginning with the grainy pictures of Naples in 1840s to the vibrant images of present day New York.

Street photography is all about documenting everyday life. The core of this artistic genre is capturing is moments of everyday life in communal arenas and is an integral part of visual storytelling and documentary photography. In other words, street photography is the lens which tells us the unsaid stories of the street. According to Marianne Hirsch and Leo Spitzer’s Incongruous Images: ‘Before, During, and After’ the Holocaust, street photographs are “are telling objects, portraying how individuals perform their identities in public: how they inhabit public spaces and situate themselves in relation to class, cultural, and gender norms”

Street photography is a work in progress unfolding different stories one at a time. This genre of photography is all about capturing unhinged and unscripted moments. If you are an aspiring street photographer this is your sign to go to the streets with your camera and immortalize moments, you feel like is worthy capturing.

Here’s wishing all the photographers around the globe a Happy Photography Day.