Part #1

Recently, there have been some heated discussions, in forums, about Street Photography — actually, those types of debates started long before social media. The discussions range from various definitions of what ‘street’ is, what are the appropriate focal lengths for street, the ethics involved, and nearly everything in between.

First, if you don’t know, I live in the USA, so those are the customs and laws that I am most familiar with. However, I have shot ‘street’ on five continents, over more than 40 years, so I am far from a novice. In fact, I was shooting street before I knew there was such a thing called street.

Simply defined, street photography produces a document of life, human behavior, and truth. Because it deals with the personal lives of people, street photography can pose both legal and ethical challenges. It’s also important to consider the practical aspects of street photography before pounding the pavement, with camera and tripod in tow.

The Ethics – Surreptitious images are the definers of history. These Images provide pictorial records for eras of time, wars, revolutions, earthquakes, and other major events. Some of the most heart-wrenching photos of families in the United States were taken during the dust bowl of the Great Depression of the 1930s. Most of these photographs were taken without the family’s knowledge or permission. The photographers were creating a documentary of a horrific tragedy that descended on the nation. Today there is a large online collection of photographs taken during the Great Depression on the website of the Library of Congress. The pain of a country can be seen in the faces of its people. Personal ethics must be determined by the photographer, therefore it’s important to consider the importance of the proposed image and what value it contributes to society.

Street photography, at its best, tells the story of a time, place, or event. While it should not degrade, embarrass, or intimidate the subject of the photograph, it should seek to present the truth, as observed by the photographer.

Newspapers and television crews take still shots and video of people without asking for permission. Usually, the video or photograph is taken in conjunction with a newsworthy event. In most countries of the world, permission to take a photograph is not required when it is not used for commercial purposes. However, in most cases, it is inappropriate to photograph someone else’s child without permission. You can be sued, and in some places, you can be arrested. Ask permission, and if it is granted, have the parent sign a model release form. Without a release form you have no legal protection if the parent changes their mind at a later date. Often permission is happily granted in exchange for a copy of the photograph. Having said that, I will admit that I have, at times, photographed cute children, in public, without first asking permission. To do otherwise would have missed a candid moment. Usually, I will then approach the family, show them the image, and offer to email a copy to them. I will delete the image, if asked.

Is all street photography a record of newsworthy events? No. Not even close. Most images, being recorded on the street are of no special significance to anyone. They are being captured by both public and private security cameras, and are never looked at. Beyond photojournalists, there are thousands of private photographers taking photos, on the street, simply because they see something that interests then. Some are candid and some are with the knowledge of the subject.

Generally speaking, if someone realizes that I have photographed them, and asks me to delete it, I will accommodate them. Of course, if they start demanding, you are within your rights to follow the law. Use common sense and pick the battles that are worth fighting.

The Images – There are thousands of possible images that fall in the realm of street photography. Some photographers prefer to document a certain area of human behavior, such as graffiti artists, street performers, striking workers, the homeless, and similar subject matter. Daily life includes shopping, sitting on a park bench, worshipping, participating in cultural activities, and poverty. There are other images that stand the test of time in the genre of street photography. Structures, such as bridges, monuments, public buildings, cathedrals, and schools are kept alive long after their ruin, through the art of photography. As long as there are cities and people, you will never run out of image material. Go out of your home, start walking, and you will find yourself surrounded by life.

Black and White is Best – Some people find it unthinkable to shoot black and white images, but traditional street photography almost demands it. Black and white often maximizes the dramatic impact of the image, and it removes the distraction a variety of color produces. Contrast is the key to black and white photography. Shadows and soft pastel shades in a color imagine become clearly defined in black and white. Color, however, has its moments in street photography. A fruit and vegetable stand is a perfect example of when shooting in color is preferable. Additionally, parades, costumes, and flower shows are venues where color probably works better than B&W.

The End Result – Good street photography needs no explanation. When the images are viewed, they speak the story captured by the eye of the photographer. The images appeal to all people, language barriers are torn down, and emotion often interprets what the camera captured.

Street photography is both challenging and rewarding. Freezing critical moments in time, capturing the attitudes of society, and preserving history in all its facets is beneficial to future generations. Take a walk with your camera, and discover the secrets of the streets.

How to Do It — Your equipment choices will be determined by the style of street photography that you wish to do, as well as the subjects and locations. In this first example, I was shooting in Turkey, in the 1970s. Getting candid images of the people, as they went about their daily business proved to be a challenge. In some cases, Turkish men did not mind having their picture taken, but they all wanted to strike a stiff, formal pose. Many women, on the other hand, were very private and shy, and would cover their faces, or turn away, at the sight of a camera.

Trying to get a slice of daily life required that I hide the camera in plain sight: It was clearly visible, but I seemed to be paying no particular attention to it.



Part #2

There are as many definitions of ‘street photography’ as there are photographers doing it. For our purposes, street photography is nearly anything that takes place on the street, or that can be seen from the street. Many street photographers don’t include landscapes or buildings, in their photos. Some insist that street photos are only candid, unposed images of people. On some level, I do accept that definition. However, in practice, I do like to include images where the subject is aware, and posing (properly called ‘street portraits), as well as buildings and animals.

Street photography is a great subject for developing both your camera skills and creative eye. You often have to react quickly to capture the moment, and this means you need to be able to operate your camera without thinking. Capturing the essence of a place and the people who live there is a combination of portrait, landscape and still life photography, and it also incorporates some sports photography skills.

Traveling to foreign countries is an exciting challenge for the street photographer. As well as needing to work quickly and discreetly, you’ll experience new cultures and places to test your creative abilities. If you don’t have the time or money for foreign travel, there are plenty of opportunities to develop street photography skills in your local towns and cities. Here are some tips that will help you to produce great street photography shots.

1) Travel light.

For some photographers, the ideal equipment for street photography is a digital SLR or mirrorless camera with a telephoto zoom lens. This is especially true if you are interested in street portraits, or just too shy to get close to strangers. If you’re prepared to get close to your subjects, a camera with a wide-angle or standard lens will be all you need. Carrying camera bags/cases loaded with lenses and accessories will make you stand out in the crowd as a photographer. Having lots of equipment will slow you down and could mean you’ll miss shots.

For many years (about 25), I shot with a Pentax Spotmatic 35mm camera and a 35mm, medium wide-angle lens, but I’ve also shot with twin lens reflex cameras. Then I moved to Nikon film cameras and about 2001, I started using Nikon digital SLRs. A couple of years ago, I discovered micro four thirds cameras, and have been using an Olympus OMD-EM5 and OMD-EM10-ii. Depending on my needs, or just my “feeling”, I will go out with only a 9mm bodycap lens, or a 14mm or 17mm lens. Recently, I have been using a 12-40mm/f2.8 pro lens. I love the lens. It is very versatile, but just a little big for my style of street shooting. If I could only own one lens, for street shooting, I’d take something in the 12-17mm range, on a micro four thirds body.

2) Do some research.

If you aren’t familiar with the place you plan to shoot in, it’s worth carrying out some research. What times of day are the busiest? In a city, often there are more people around early in the morning as the working day begins. Is there a market day or festival which would be a great backdrop for street photography? It also helps to know the direction of the light at different times of the day and how the weather is likely to be on the days you plan to visit.

In large cities, like Los Angeles, New York, London, Tokyo, etc. the are lots of people on the streets all during the day and early evening. In large entertainment areas, like Times Square, subjects are available well into the late night.

3) Capture people in natural situations.

The essence of documentary and street photography is recording people going about their everyday lives. A commuter hailing a taxi or a market seller stacking goods for display are examples. A telephoto zoom is ideal for this type of shot. Using a wide aperture helps to isolate people from distracting backgrounds. If you prefer to get closer to your subjects or don’t have a telephoto zoom, practice shooting from the hip so you don’t draw attention to yourself. A camera with a tilting screen is ideal for this approach.

4) Shoot in auto mode.

Street photography is about telling stories and capturing moments. If you’re thinking about camera settings and the technical aspects of photography you may be distracted. Modern cameras can produce correctly exposed shots in most situations, so don’t be afraid to switch to auto mode. Use a camera you are familiar with for street photography projects so you don’t have to refer to an instruction manual or waste time experimenting with settings. To be clear, you should know and understand all your camera’s setting, but it is also important to know when to use each feature. Sometime people think the shooting in manual, all the time, is the mark of a pro. To me, it is the mark of someone who wasted a lot of money, paying for features that are never used. Understand the camera modes, and know when to use them. Personally, I am generally most interested in depth of field, when I am on the street, so I use aperture priority, with the f-stop at about f8-f11, unless I’m on a subway. In that case, I will open up and maybe tweak the ISO.

Another thing I do is wear the camera around my neck, and keep the thumb of my right hand resting on the shutter release button. That way, I can take a picture without making any movements and can often take a picture of someone, whom I am talking to, without them being aware that I did it. I love to then show them the image. The next image has a very soft focus, but the guy was literally kneecap to kneecap with me — oh, and he wasn’t angry. He was just asking about my bodycap lens.

5) Don’t be afraid to talk to people.

Shooting from a distance means you’ll capture natural expressions and behavior, but there are times when it’s better to talk to people and ask if you can take their picture. Approach potential subjects with a friendly smile, and respect their wishes if they don’t want to be photographed. You may be surprised at how often people are willing to pose for you, particularly in tourist areas. Take several shots as you talk to your subject, and frame pictures to include the surroundings and give context.

In April, 2015, I wrote an article about a trip to Los Angeles. In it, there are several photos that illustrate what I have been saying, but of particular importance to the idea of candid vs.posed, or asking permission, is the story of “Robert”. Please scroll down to the part about Robert. The article is here.

Street photography goes back to the earliest days of cameras and when people began to take an interest in documenting life in pictures. It’s a great way to develop skills for a career in photojournalism, but it’s also a great way just to improve all your photo skills. You can make a start in street photography with some basic equipment, and you can develop your own style and approach.

Part #3

Across from LA City Hall, is Grand Park. I was waiting for photographer, Rick Smith, when I noticed a gentleman sitting on a bench, so I took a photo of his reflection in a window. He caught my attention when he adjusted his hat, so I just reacted and took a shot.

In street photography, it’s important to always be ready, and to capture anything that you find interesting. Often, this isn’t the best angle, exposure, light, etc., so you keep looking. I thought there might be more to this guy’s story, so I moved around to talk with him. As I began to speak, I drew a blank look that quickly turned to a stare, so, since I didn’t seem to be making a friend, I switched to Spanish. Viola! He began to talk — in English. I sat beside him and found out than his name is Robert. Born in Burbank, California, he moved to Boyle Heights (East LA) at age 5. In his teenage years, he “got in with the wrong crowd, got in trouble, and did his joint time.” Joint time — like it was a right of passage that everyone went through. After prison, he got married, but she wanted more that he could give, so back to the wrong crowd, the joint, she left … He spent time on skid row, but now has his own room in a city managed program. He is clean and sober. There are three bathrooms, and a common kitchen on his floor.

The smile — well, it was really a hardy laugh. I asked him if there were ever any pretty girls in that kitchen. “Not that I’ve seen”, he said, while laughing out loud. We talked another few minutes, and then, out of the blue, “Not that I’ve seen”, again bursting into a loud laugh. 🙂 I enjoyed hearing about Robert’s life and the pride he seemed to feel in turning it around — even if there was still a long path, in front of him.

For those interested:

Earl’s Court photo made with Olympus OMD-EM10-ii & Lumix G 14mm/f2.5

Bloody Nose — Nikon D700

Turkey: Pentax Spotmatic 35mm SLR

All others: Olympus OMD-EM5

For more information, click below.

Why I Shoot on the Street

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