Selected promotional postcards for photo exhibitions in Tokyo, mid July 2014. 

Modern street photographers are fluttering, intrusive, yet vaguely stealthy creatures who live on edge in quizzical search of imagery they cannot foresee. They have reason to be nervous, for they work in a chaotic zone of ephemeral “targets” that may be reluctant to appear in an unannounced view, or else are endowed with a speedy, unsettling talent for vanishing from it. But this visual quarry teases not simply because it is disobedient and elusive. The conditions of the field are more bothersome than that, for the motifs presented by the photographer cannot be said to have existed before, and they do not endure after they have been wrought from light in the precise configurations we later come to know. (…)

Underlying street photography is a naturalist argument that goes something like this: The value of the picture resides in its truthful observation. This value is jeopardized to the extent the photographer intervenes in the social circumstances, causing a rupture from what would naturally have happened. The natural is defined as a mélange of urban events contingent upon each other, and therefore inherently effervescent and unpredictable. There can be no record of such action unless the photographer is committed to techniques of furtive and opportune surveillance whose goals cannot easily be rationalized. No wonder street photographers are often solitary, and always professional strangers with little to say about their indefinite motives. Still, their overall approach is conceptually articulate, because in practice it integrates the moral goal of credibility, the philosophical notion of contingency and the professional requirement of freedom and spontaneity, each impossible to realize without engaging with the others.

—  Max Kozloff “A Way of Seeing and the Act of Touching: Helen Levitt’s Photographs of The Forties” in Observations: Essays on Documentary Photography (1984)

Rainy dailies, from the LONGEST RAINY SEASON OF ALL TIME.