All three of these photos feature one person as the subject, were taken in New York City, and use lighting in an interesting way. Yet, as you can see, they're vastly different.
The first photo capitalizes on the concept of movement with motion blur and uses dark vignette framing to draw the eye to the dancer. Additionally, the use of a wide-angle with a busy foreground and a more uniform background makes the subject appear sharper and more in focus.
The second photo also uses a dark vignette to frame the subject but to a much greater extent than the first. In making this choice, the photographer creates an intense, lonely mood that's further highlighted by the tight angle and skewed perspective of the painted word "only" on the street.
The third photo, and perhaps the most visually different of the three, features much less content insofar as the busyness of the background and foreground are concerned. Lighting and color are the two primary factors for this photo's style, as evidenced by the exaggerated color contrasts present on the model's face, as well as the contrast between shadows and highlights. Unlike the other examples, this photo uses a close-up angle to make the photo feel more intimate and draw the viewer's eye.
While the first two photos are considered examples of street photography, the third photo is an example of a portrait, despite the fact that the photographer took the photo on the street. This is because street photography deals more with how you take photos than where you actually take them.
When you take a portrait, there is often a lot of planning involved, as the goal is to capture a person's personality in a way that feels true and is genuine to them. Conversely, street photography aims to capture the subject, whatever it may be, exactly as it is without exerting any influence over the scene to make it more true or genuine (think: it is what it is, rather than it is what it should be).