Art in Street Photography: Laying the platform on which the artist can create

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ART IN

STREET PHOTOGRAPHY YAN MOH

INTRODUCTION i

Street photography has grown into one of the most popular forms of photographic expression. Since the days of Henri Cartier-Bresson, street photography and photojournalism have slowly split into two very different genres. It is only recently where a definite distinction has been made. Many coming into street photography tend to get confused as to whether an image is street, candid or some sort of documentary image, such as photojournalism, and although they are all related, street is a specific type of image with a tight set of requirements. If you like, street is a very small part of the others, but has enough interest and diversity to make it enough to stand alone. In other ways it can encapsulate all others. So why is street so popular?. Definitely the influences of ‘Magnum’ has encouraged much of this. Magnum is a photo agency that are very restrictive as to who can and cannot join. Some say they are arrogant and elitist, and i thought this too. Actually, digging deeper and seeing where photography is today then my attitude changed. Magnum are protecting the photographer and photography from the ‘bluffer’ culture that has infected the art form. So Magnum stands as a beacon to which a photographer aspires to be a part of. Since Magnum has a primarily fine-art and photojournalist bias it is only natural people look up to it. Anyone who is anyone in the photojournalist genre is a member of Magnum. Street then is a byproduct of the influence many Magnum photographers have had on popular culture. The other great influence is social media. We see many incredible photographers on ‘YouTube’ doing their work and getting a lot of attention from it. In many cases, rightly so. The big difference is that what they are doing is accessible to everyone. We do not need a lot of equipment, special lighting or even expensive cameras. Street

can be done anywhere, by anyone and with any recording tool. In fact, the less equipment and less intrusive recording tools the better opportunities present themselves. For a budding photographer this is a fantastic genre to put time into rather than money. As with all photography there is always a yang to the yin. Because of its popularity and history, the street photograph has to be way beyond good. It has to be very special to stand up. Even the most successful street photographers only have a tiny hit rate. So this is definitely a genre where self-criticism is a must. Street offers more than just a photograph though. It offers interaction, social gathering and conversation, exercise for both body and mind, as well as self-exploration and education. If street photography was a sport it would probably be golf. The street photographer is in the middle of things. This is where street photography breaks into its own genre. Street is about being among people when they are most vulnerable. Their minds are in their world as they are going about their part of life. It is people going from one place to another. Most photography is based on these places, not the travelling between those places. They are about the person on a specific level. Street ignores all this and attempts to capture people as they appear and as they do. It is all about who they are on the outside as they interact with others who are doing the same. Of course, elements of who they are have to be there. This is what makes each person different, but in street it is not about the story of that person it is about the environment in which that person is influencing. For me, i look at street as two images combined. The outdoor environmental image and the candid image. It is how these are combined that determines the success of the street photograph. This combination is so strong that when captured ii

correctly it stands alone in its own right as a street photograph and not a fusion. What makes a good street photographer is a big question. They have to be ready to interact with strangers, have a fun attitude, take chances, have a creative mind honed to rapid change and much much more. However, the first and foremost thing a street photographer needs is passion for the work. Yes it is very accessible, but without that passion and connection then it is no more than a way to pass time. The street photographer is always on the hunt for that amazing moment. Street is all about that moment. This is not a snap-shot moment, it is an artistically seen moment that takes a lot of practice and experience to master. So street is a very special genre and for many reasons. In this book we will look at some of the styles of street photography and how we can achieve certain combinations of environment and candid. We will also look at where the line is drawn between street and other borderline genres. Street is to enjoy, so always have fun.

Definition of ‘Street’ There are many definitions of a street photographer and what qualifies as a street photograph. Some would say that it has to be shot on a street, but this is just not true. The term ‘street’ simply

means an outdoor place or space where people frequent in a common manner. A place where people are going about their normal lives. Some will argue with this, but for me, ‘Street’ is a candid image taken in everyday outdoor surroundings. This could be a market, underground, train station, bus station, airport, beach, park or anywhere else normal life is being lived in the outdoors. There are grey areas like interiors, such as cafes and restaurants, but this is fine. Some will argue that anything that is not shot on an actual street is not a street image, and instead a candid, but i think they miss the point of interpretation on the word ‘Street’. Street photography is candid with extra criteria. Candids can be taken anywhere, whereas the ‘Street’ in street photography limits the candid genre. Just ignore the limiters, these tend to be people who have limited themselves as they try to limit the genre to suit.

Concise Definition Street photography, is a close relative to candid photography and is conducted for art or historical relevance that features unpredicted encounters and random incidents within the public arena. Street photography does not require a street or even an urban environment. People usually feature, but can be absent. A human environment or entity is just as valid.

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Street opportunities are everywhere, so always be prepared by taking a camera everywhere you go.

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THE WALK BY SHOOTING

Background First The walk by shoot happens when the photographer has seen a great environment or background that they would like to capture the candid moment of the passer by in, either as the main subject or an element. This can sound easy and it is the one type of street photograph that is becoming the go to, and in turn, the most overused. Like anything that is overused you have to go that extra mile and require that higher expectation to standout. Backgrounds such as

A great environment or background is only part of the puzzle. The hardest part is getting the right person to pass or interact with it. Being prepared is the difference between victory and failure.

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billboards, shops, doors or even other people can be used very effectively if the right subject passes through. Waiting for the right subject takes patience and perseverance. Many people may pass but getting that right person is a whole different thing. In the chapter image i already knew what i wanted as the background. I was fortunate that the right person came along very quickly in the chapter image. I had seen this gentleman in the distance so i knew he was coming. I always saw New York as America’s Hong Kong, so i wanted to try and push this feeling into the image. I liked this guy because he had a look of “yeh its New York, get over it” in his

expression. In this case the background and subject are almost disconnected. It appears more like a billboard background than a real life background. The difference in light and perspective has influenced this. It was unintentional but i was happy when i saw it because New York is one big billboard. In this image we see the candid of the man being the subject, but if we look at the second image we can see where this balance swings the opposite way. In this black and white my focus was on the pattern of the ground and the discolouration that had been caused by years of use. I liked the shapes that interconnected and really liked the whole pattern within patterns of the scene. The problem was it needed that extra element. The cyclist was one of three that passed, but this particular one passed inline with part of the pattern so i snapped it at that point. Street photography has to have balance for the scene to come together. I had to wait two hours for this cyclist to pass. What made this more frustrating was i only had my phone camera with me so i wondered whether it was even worth waiting. But, i was there and my phone camera gets little use so i stuck with it. These images are a good example of how the subject focus can shift from person to environment and how priorities can change from image to image. If you see something that catches your eye then it is worth investigating it more. You need to see that extra element before you just shoot and hope. It is never a problem finding a subject to pass by, but the skill and dedication comes when you are waiting for that right person to become your subject or element to enhance the scene. Remember, if something has caught your attention for no reason other than it just being there then recognise this as your eye seeing something. It is interested and as such so should you. If you find

yourself pausing, find out why you have paused and then allow the image to create inside your mind. Your artistic eye may work far quicker than you because it has a single purpose whilst your mind has many things to deal with. Never underestimate or dismiss your eye. It is looking for inspiration, but it is also watching your back. On The Hunt Now we know we have a background or environment that we want to make our bases. We should have already got an idea of how we want the human element to fit in with the scene. This can be as the main subject, an element or interacting with the background itself. Waiting is not my strong point but this is a good thing. If you find that you can wait then the image is probably worthwhile and if not then your time is better spent finding one that is. There are no half-measures in street photography. If you are sure then the next step is to be ready at the angle you want to shoot. Anticipation is important, so make sure you are in, or can get in, position quickly. One moment of slack concentration can cause you a lot of waisted time. This part of street photography reminds of an animal hunting. The hunter can wait for a day, even weeks before their prey finally gives them a chance. A slight lack of concentration and the prey will have gone. The other similarity is that both have to be inconspicuous, but also have a line of sight. The photographer must be there but not there in many cases. Even if your image requires the human element to be looking into the camera it is usually best that they do this at the last moment rather than having time to be aware. This is where equipment can help. Having a camera that is not drawing attention will certainly be better 7

than carrying a larger camera with you like a large DSLR with a big lens or medium format camera. However, this is personal choice and both can be fine, but the larger the camera the smarter you have to be.

People can be a main subject or an element. Do not get this mixed up with focal point. The focal point is the first thing the viewer sees, but not necessarily the most interesting part of

If you feel that it will be, or may be, unavoidable then it is probably best to keep the camera completely out of site and accept that you are only going to get a couple of shots at best to get the photograph after you have pulled it out. This is where experience and technical skills come in. Being able to pre-set the exposure and focussing will increase your hit rate considerably. It will take a few seconds for the human interest to notice you and react so the less you have to do and allow happen in this time the more natural the shots you will get. We will look at this further in a later chapter. Another alternative is to use a friend as a decoy. Humans tend to look at what is unusual within a scene so having a friend create a subtle distraction will take the attention from you and give you a much better opportunity to grab your shot. We will see an example of this in the next chapter.

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INCONSPICUOUS

Blending in is usually not a problem. Add a camera and suddenly you are the black spot on a white board.

Being a Ninja Ok, maybe a ninja is a little too far, but the concept is the same. Shooting images without the subject knowing is one of the key techniques for the street photographer. There is a tendency to take this and look at telephoto lenses as a solution, but for street, the longest lens you should use is around the 90mm mark. Anything longer and the image will compresses too much and it begins to look more like a spy-shot rather than a street shot. Focal length seems to be a big topic when shooting street, but just choose the one that you feel comfortable with. Many suggest the 35mm or 50mm range. I have used these and they offer a great perspective, but i also use ultra-wide sometimes and 85mm on other occasions. It really is all down to you and the shot. Being a camera ninja does not mean you need camouflage and plants on your head, it is just being inconspicuous. You don’t want the subject to know you are photographing them at all otherwise the mood will change so will the story. There are many ways to do this. You can blend in to the crowd and when the moment presents itself, pop out and shoot. You can also just act normal. Normal means you don’t get noticed and once you are in the right position, take your photo and move on. In most cases the subject will not even notice you. Other techniques have now become possible with digital cameras. We now have WiFi, so we don’t even have to look at our cameras anymore. We can just walk around with the camera on our chest and use the phone to shoot the shots without anyone even suspecting. In the chapter image i walked with my camera to my side and swinging it with my arm as if just carrying it. I was in front of them and then just guessed the framing as i walked. The children had no idea i was photographing them. This was shot on a 40mm lens, which provided enough angle to help me get them in the frame. Smartphones have also opened up new ways to be inconspicuous. Pretending to chat on the phone can open up many opportunities for the rear camera to capture whatever you want. 10

Having dual cameras, one on front and one on back, also allows you to pretend to be shooting a selfie, when actually you are shooting through the opposite camera. The trick is to outsmart the subject. Decide the image you want to capture then devise a way to capture it. In itself, is a lot of fun. Try to blend in rather than be noticeable whilst stood around scouting the scene. Walk with the flow of people and look without causing attention. It sounds odd, but actually this will help you get the images you are wanting. In the case of street, being unnoticed for a few moments will help you get your results noticed in the longer term.

Devising ways to be inconspicuous only adds to the challenge and fun of being a street photographer.

Your shooting angle can help too. I usually have the camera resting on my chest and shoot from there. I like the angle and because i am not holding the camera people tend not to be intimidated by it. You have to think through their eyes and mind. Some photographers actually go the other way and make themselves conspicuous so they are not conspicuous. They pretend to be filming video and as they pan around they shoot the images they want. People seems to get used to video much quicker because it is not isolating them in particular. One other way to be inconspicuous is to find a place where peoples attention is being caught. This works great in concerts or shopping malls. These sort of places attract attention and it is enough to take away attention from other things, like you. This is the same method as using a decoy. The decoy can be a friend who captures the momentary attention of the subject. They could drop something in the subjects eye line or make a noise to catch their attention. There are many ways for a decoy to get what you need and they don’t really have to do much. Walking down a street usually entails going into auto mode for most people. the only time they disengage this is if something changes that is out of the ordinary. A small change will catch their attention but not so much as to hold their attention, whilst a larger change will break them out of auto and put them back into manual. As a street photographer the latter is usually preferred. The decoy can also work great as a way to hide you from site. If this type of street photography is your taste then it can be a really fun way to capture your art. 11

The ‘Decoy’ technique, being used to hide the photographer from view.

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THE SOCIAL PHOTOGRAPHER

Having the personality and confidence to approach and to be approached is just as much a skill for the street photographer as the photography itself.

Hi, my name is…. Being shy is not a great thing to be when shooting on the street. There will always be times when you need to interact with strangers and the better ‘people person’ you are the easier it will be. Getting over shyness can be difficult. Having someone for moral support can certainly help until you have gained enough confidence to go out by yourself. Approaching a stranger can be awkward at the best of times, so approaching them when you are wanting their participation is even more daunting. However, you will be surprised at the reactions. Many don’t mind at all and some find it fun. You will get some rude people, but that is all part of the game. It really is no different from being a sales person. You approach strangers with an intent to know them better and to sell them your product, in your case a free photograph. Free?, yes free. who doesn’t want something for free. As with sales, you have to believe that you are doing something good for them, and in a way, you are. The trick really is to know their name and them yours. Once you are introduced then suddenly the barriers begin to fall and the door is open for conversation. It is this conversation that will determine a photograph or not. If they trust you then you are in business, if not then you move on. Always be polite and understanding. It certainly helps if you have a body of work you can show them or even a book of street photography that you can tell them you are studying and this is a practical part of it. Although this seems menial, it does actually work because you are justifying your need to them with a good intention. Parents of children can take a little more persuading so be ready. In many cases they will turn you down, especially if it is only the child in the image. Do not take this personal and expect it. Put yourself in their shoes and it is easily understandable. If they do agree then be professional. Trust is a very large part of street photography because it is an immediate and unexpected meeting. Approach them slowly and with a smile. I always hold my hand out so the first interaction is actually a handshake, even before i speak. This again goes a long way to gaining a trust. Note how i say ‘a trust’ and not ‘your trust’. Such meetings are not a full trust,

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just a temporary trust. Trust takes time so don’t expect too much, just work with what there is in a professional and approachable manner. On the left we can see two street images, both taken without permission. The first one was taken on a beach and the second in a park. These images were shot by ‘Ely Tan’, a female photographer who is an amazing street shooter. This is where gender can actually give you an advantage. Being female tends to allow leeway that men do not get. We live in a world of suspicion and assumption. Children bring out these more than any other subject. Both these shots were taken in areas where there were passers by yet no one challenged Ely when taking them. If this had been me then i would definitely have been challenged and maybe even arrested. The fact that the percentages vastly favour the innocent, it is the assumption of guilt that will take precedence. These figures really do not matter if you are male or female, but the assumption is that men are the main culprits so therefore all men have to be challenged in such circumstances. It is the culture of today, so except it and work 15

A simple rule is, if you are male then ask first, if female then consider asking first.

around it, because you will not change it. And, maybe rightly so. Even these shots, knowing that they were taken by a woman suddenly makes them ok, despite them shot without permission. The moment i told you who had shot them your minds changed and the shots were valid. Empathy is a great asset to have when being a photographer. Just because you want a picture, it does not give you the right to excuse yourself from others feelings.

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DYNAMICS

Capture or Show Movement Street can be an observation of a moment and many street photographs work amazingly well with static subjects. However, for the main part of street photography movement plays a key role. When we are in an environment where people are getting on with their daily life then usually this has an atmosphere and dynamism to it that the street photographer can use in their photographs to capture that feeling. The clothes that people wear can bring a feeling of the season and the body language can bring the emotion of their thoughts whilst motion brings time. Some places like high streets in busy cities are fast and full of motion and hustle whilst other places like parks and sea water views are slow and peaceful. The morning is fast and furious, lunch is more mellow and the evening can bring both or either. Light and shadow can also be used to distinguish one from the other if there is no particular distinction in time. Movement is the beat of the street image and it is that beat that sets the mood for the rest of the band to play. Knowing light and how your tools capture light will help your pre-visualisation construct the image you want. The more you know the better it can interpret the creative mind in a timely fashion. Understanding shutter speed, apertures and film speed are essential to all photography, but where street differs is the amount of time you have to set these options. It is wise then to know how to use your tools and to practice as much as possible so they become second nature. In the chapter image this shot would not have worked for me if i had set the camera to a slower or higher shutter speed. It had to be

right. Slower would have made the movement in the children and bicycle just a blur, whilst faster would not have caught the speed of the action as i wanted. This was not a spontaneous shot however. The lady was standing in the foreground for a short while and the children were playing in front of her making a circular pattern. I knew this would not last long but it did give me time to be more precise with my settings. In this case i chose an high ISO of 1600 and an aperture of F5.6 on a 35mm lens. The shutter speed was 1/40th of a second. Of course, this was a guesstimate based on the speed of the bike as it turned. Street photography, especially in low light and with little time is very much a guesstimate. It comes down to experience as to whether that guesstimate is accurate or not. In this case i was lucky because i got it correct. This guesstimate was based on a few factors however. The first was knowing the speed and direction of the bike through observation and the other factor was that i had shot a few other images before this one, so i knew how the light was effecting the movement. From this my guesstimate was far more accurate, but nonetheless a guesstimate all the same. Street is not ‘Point & Shoot’, this would be a snap-shot and not a street photograph. A street photograph involves a lot of experience and technical ability to be able to allow your creative mind and pre-visualisation to have an influence. Without these a photograph is just a snap. Developing the creative mind and pre-visualisation is imperative for the photographer because without them you are not creating, you are just copying what is there. When to use a stop action and when to choose a movement blur is a call decision. Everyone will see the image before them differently, and that is a wonderful thing. For me, i use stop action when there are more details in the image than just the subject. This stops the action whilst still giving us a feeling for it. This can be seen in the 18

image of the two girls playing with bubbles. If this had movement blur then the context of the image would be lost. Despite this being a stop action we still see their body language which tells us they are moving so the element is still there and effective in telling the story. Motion blur can also be used to isolate a subject within an environment. In the colour image of the man with glasses we can see this in effect. This shows the environment being fast moving and that this person is still within a rapidly changing moment. In this case i was waiting for the image to be burnt on to the sensor. In the image of the little girl waring a hat, we have a similar effect but a different feel. This is because i used motion blur whilst i panned (followed) the little girl as she ran around me. This is a technique often used for sport, but in this case i did not want to freeze the action i only wanted the girl to be frozen whilst the background spins. So, in the colour image of the man we see the environment passing him by, whilst the little girl is passing the environment by. Two effects and stories from the same technique. Still images can be made dynamic by adding dynamism to them. Your techniques can open so many doors to allow you to express yourself and show the story you want to tell.

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COMPOSITION

Quick-Draw Composition In most genres of photography composition is constructed carefully and with a great emphasis on how the story will be told. Street does not have this time so what can we do to improve composition in our street images. Just because we have little time does not mean we dismiss composition and replace it with hope. Composition still has to be considered, the difference is that our considerations are a little different. Rather than having a specific composition the aim for the street photographer is to get it as close as possible. The required composition should have already been decided, not necessarily refined, but considered as a basis to the image and story. In the example on the chapter page the photographer, Ely Tan, has captured a basic composition. This is a ‘Rule of Thirds’ composition that best suited this image. This was a very quick shot and from the point of the eye feeding the creative vision to the shutter release being pressed it was less than a second. This shot was taken on the streets of Prague and tells the story of how it is changing from the old traditional generation who grow up through communist rule to the younger generation who are embracing western culture and

wanting to leave the old ways behind. The amazing thing about this shot is the man who is between the older representation and the new. He looks unsure as to where he should be stood so stands alone. This is very much where the people of the Czech Republic and many eastern countries are right now. It is a super shot. Yet this could not have worked if the creative mind did not have a goto composition to base its creation upon. Without this the image could have been unbalanced and the story lost. Basic compositional rules are a bases on to which you can create your own compositions. They are the flow of the story or part of the flow in more complicated compositions. You can combine and manipulate to your hearts content. These base compositions are superb tools to use when you need to create and shoot quickly. The other great thing about these compositions are that they form the base of most others, so even if the photograph is not perfect the chances of altering the composition in post is far greater. There are many rules of composition that can be called upon, but for beginner street there are three that stand out. Lets have a look at these base compositional rules that can help most when shooting street photography.

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The Rule of Thirds The rule of thirds is a wonderful technique that allows a street photographer to compose very quickly. As you can see from the image, the rule of thirds is made up of four intersecting lines equally spaced, two vertical and two horizontal. What this creates is a ‘go to’ composition that can be quickly applied to most subjects. To use the rule of thirds you have to place your subject on or near the intersecting lines. As you can see in this image the girls face, which is the focal point, is near the top left intersecting point. Another great way of using this rule is to keep the body of a person inline with one of these lines. Here you can see the photographer has used the left

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hand vertical to do this. The other thing to notice is how easily it is to fine-tune that sweet-spot if your shot is a little out. Leading lines Also in this image the photographer has placed herself in a position so the sidewalk can be used as a leading line. This is a line that takes us into the image and through it and sometimes even out of it. This could be a road or a line of cars, it really does not matter. The leading line provides the perspective that would otherwise be flat. Here it has created depth and helps the viewer move into the distance on a flat image. Leading lines are a great rule and a very quick compositional tool for street photographers.

Triangles Triangular composition is another basic rule. This is more a composition that attempts to group points of interest. In this photograph we can see three points of interest. The main point is the girl, the second is the man and the third is the group of people. In this photograph the perspective created by the leading line has pulled these three together so they flow from one to the other so the viewer is guided though the story. However, could we have created the same guidance if the sidewalk was not there?. This image is very strong because it has two compositional guides taking us through the image. In the second image we can see that the basic triangular composition could have been used without the sidewalk. In this case we have what is known as an

‘Implied Triangle’ which means there is no visible triangle but instead a group of points that can create a triangle. This image was only possible because Ely had limited her compositional choice to a few rather than the many that there are. Lots of choice lots of time, less choice less time. So street generally requires rapid processing and using all your knowledge may not be the best solution. Limiting equipment, compositions, lighting, angles and perspectives to suit the type of street image you want will in turn give you the best chance of a successful photograph. Speed = compromise, and the trick is what selection you make when compromising. We will look at a few more compositional tools in later chapters, but i would urge you to lean and experiment with these basic rules. These will help considerably.

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PREPARATION

Its All in The Prep

Cameras:

Street photography requires just as much preparation as any other type of photography. Choosing the right tools will determine the type of shots you will be shooting and how. It will also determine how quickly you shoot and discreetly. Before you do anything else, sort out your equipment and your settings and decide how you will primarily use them.

This one is simple, the larger the camera, the more conspicuous you are. So if you want to be inconspicuous then a smaller, more compact cameras can help. I do know street photographers who use large cameras and do really well, but for me they are cumbersome. Know your camera and yourself and any camera should be fine.

Lenses:

Pre-focussing:

Todays market has plenty of good lenses to choose from. For street it is wise to go for a focal length of 50mm or wider. Up to 90mm is usable but the variation of shot will be limited. Street tends to be a more intimate shot, so wider angles are very common because these give a closer perspective that captures the atmosphere far more intimately. Telephoto lenses give an isolation that is more about an individual and not the environment that street photography is known for. The choice is really up to you.

Pre-focussing is a way to bypass manual or automatic focussing systems. Pre-setting your focus for a particular distance and depth-of-field will make your cameras process much quicker. It removes a procedure that you have to consider and this split moment it takes can make all the difference.

The only other consideration is whether to use fixed focal length or zooms. For me, zooms add another process and as speed is the key then i, and many other street photographers, tend to go for fixed. Fixed also gives you a faster maximum aperture which can be great for stopping action and for low light, as well as providing snappier focussing. However, zooms can overcome much of this with good technique. Weight and conspicuousness can also be an issue with zooms. Prime lenses (fixed focal lengths) are generally much smaller in size. However, this is all personal choice. If used correctly either choice will work fine.

Pre-set exposure: Exposure systems are there to help you get a good exposure for your image. They are not to get ‘the’ exposure for your image. They are influenced by the lighting that they see and determine the exposure from that. In street photography the camera is moving a lot so the exposure can be tricked easily. Lets say we have a person heading toward your position and he is doing an odd dance. The sun is behind him and you shoot with your cameras metering. The subject will most likely be silhouetted against the sun, which is great if that is what you want, but if not then the shot has gone. Having the exposure preset is quite easy. Take a reading of the reflective light from a neutral colour like green (grass is great) and dial this reading in on manual exposure. Then when you shoot the exposure is

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Preparation is based on whether you have pre-planned a street shoot or you are preparing for an unplanned opportunity. For the latter, just having a camera with you is all the preparation you will need.

already set. Alternatively you can use a handheld meter to take an ambient reading (light falling onto, rather than reflecting off) from the area and use this as you pre-set exposure. Ambient readings are not influenced by colour or surface because it is recording the light level before it hits the object, not from the object. Either way, this will speed up your process because you no longer have to worry about adversely influenced exposures. Imagined Composition: This is a really good way to grab quick shots. Learning to hand hold and shoot, rather than using the viewfinder are LCD, opens up your street photography options a whole lot. This takes practice but is worth while. By choosing a particular focal length you can then visualise what the camera is seeing as you point it toward a subject. For quick responses and to help you blend in, taking away the action of the camera going to your eye will allow you to shoot rapidly and discreetly. Knowing your equipment well is a key element in shooting street images. With these basic considerations your chances of getting the images you want will increase. All of this is your preparation, so at least consider them and how they will be used before going

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ISOLATION

Less is More Street is not only a great way to capture groups of people running around it is also a wonderful way to capture those solitary moments too. Finding subjects in isolation gives life a whole different perspective. We see the world how we usually experience it and for cities and towns this can be congestion and busy. I love the hustle and bustle of street life but i also like to experience the spacial moments too. Street is not just about the subject it is about the environment. Isolation allows the photographer to look at the scene in a different way. The dead space becomes the environment and the subject becomes a lonely figure within it. This type of image is important to encapsulate todays lifestyle which is generally an ‘all or nothing’ society. Isolation is the flip side to the ant like humanity we live day to day life. We work, eat and play within the congested confines that we are magnetised to by commerce and industry. The chapter image caught my attention whilst at an airport. The airport was extremely busy so i went for a walk with my camera and saw this person stood in an unused parking area. I watched the lady for a short while and i could see how uncomfortable she was being alone. I shot the image because to me it looked like she was packed

and ready to go as quickly as possible from the congestion of open space. She would look around and get a boost of energy when she saw another person in the distance. Then i thought of myself and how i feel when i am in a place where i am isolated from others. I realised that i too felt the same way as she did and also reacted to other people the same way. The reality of wanting to be alone, but not be alone hit home. I had always thought that i really like to be out in the country or alone on a walk, but the truth is that although i do

like these things i am always looking out for the reassurance provided by others. Our environment shapes our needs and this woman was demonstrating hers. People watching is part of street photography and when we study others we sometimes find more about ourselves than them. Isolation causes the viewer of our work to concentrate on the subject and allows the space to be a sanctuary for their eyes and minds to rely on when they find something they did not know about themselves. We look at others to see them, so finding ourselves may require a moment.

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Using isolation to emphases an intimacy with someone or something can work very well if the right situation comes along. In this image we see the relationship between the mother and child. It is a simple shot, but the space and silhouette have combined to create a photograph that implies more because of the detail it is missing. This is all about the shape and serenity of space. There is a lot going on in the space, but the figure of the mother and child are dominant. We can see the shapes of yachts and a distance has been created by fading tones. There is even a parachute in the top right. Yet despite all of these the woman and child pop. This is an image that reverses standard rules, because it has been constructed to allow black to dominate attention from the lighter whites. When dealing with space then we have to consider tones and colour and how they interact. In this image the composition is actually all technically wrong, yet it works. The composition in this shot by Ely Tan is all created with tone. The black is the dominant tone, then the mid-grey and then the fading greys blend into the

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white. There are actually only six tones used here, yet this is all it needs. Only use what you need. Isolation allows the photographer to explore new compositions. This same shot would not have been as effective if taken on a street bustling with people. Here the photographer has had to create a composition and depth using the space and in a very short time. This shot shows a fun and loving relationship between the mother and child. There is no detail but we know it is a happy and intimate moment. So isolation is a great way to shoot street, but the image has to be right. It still has to tell a story. This is where isolation and minimalism differ. Minimalism is all about the space and how the objects or subjects effect that space. In street the isolated image is minimalist but we still have to have a story to bond it together. If you can achieve this then you will find this type of street shot very fulfilling and you will create images that have a great combination of subtlety, impact and storyline.

COLOUR

Influential Colour Colour can be used for impact or it can be used to subtly influence the viewer to go to a particular part of the frame. In street photography it is usually used for the latter as part of the composition. To use it for impact could cause the image to be too much in the favour of the main subject and cause the environment to be irrelevant. Colour in street photography is important to get right because you are usually telling a story with the whole image so it all has to blend. This is the difference between a story and an advertisement. We don’t want too much impact in one particular area so as to make the rest redundant. Advertising photography uses colour more in that way rather than street. In the chapter image we can see two different contrast ranges. On the left of the image are more darks and on the right more lights. Normally this type of contrast would not work well together because each is fighting for attention. The difference here is the girl. She is holding them together with a single point of focus that dominates both. How is she doing this?. There are a few reasons. First of all, she is the only one paying attention to the viewer. By pointing her phone toward us she is interacting with the viewer directly. It is human nature to focus on people who are acting differently within the scene before us. No one but her is paying any attention to us. In fact, she was actually taking a photograph of me photographing her, which turned out quite funny when we compared results. The second influence is the colour red. The stop sign leads us to the bollards which in turn lead us to her top. So the right side of the image has a composition that is guiding us by using the colour red. To the left side of the image we can see that there are many people interacting with each other but this side of the image is darker. Our

eye is drawn to the brighter side at which point its attention goes to the girl who intersects the line between light and dark. All these factors encourage our attention to stop at the girl. This is great, but we don’t want it to stop there for good. This is where colour intensity and and brightness plays its role. If this was a fashion shot then having our eyes stay at the main subject is key, but here we need to tell a story of the environment that this girl is in. Because of this we need to allow the viewers attention to easily discover more. Her red top, stop sign and bollards were all adjusted in post to bring down the intensity of the reds. These reds would always be dominant in this image, but they needed to blend better with the surroundings. Reducing the reds means that once the girl is discovered the eye can move away and look at other areas. In this case the second most dominant area is the lady and gentleman beside the young girl. From there we go further across to the girl with sunglasses to the far left of the image. From here we glance at the shirt arm framing that border. We then quickly cross completely over to discover the right side and the people sitting. This is not so interesting so again the stop sign and bollards take us back to the girl. This journey could not be possible if the reds remained too dominant. Every time we went somewhere else the brightness of the red would be pulling us back. So colour is a wonderful way to guide your viewers and tell the story of the image.

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In this next photograph of an old gentleman in a bar colour has been used less obviously. Rather than using colour as individual guides, this image uses the ambient colour to draw attention far more subtly. The entrance and the doors take us straight in but it is the green tint caused by the internal lighting that holds us in the area of the subject. Beyond that we have brown that is darker than the green and is therefore less influential. The old man is brighter than the green colour and his white shirt brings the attention to him. We then see his wine and his hat, before following the green to the pictures on the wall. The green fades which allows the eye to discover the rest of the scene, like the bird cage and floor tiles. So yet again it is the colour that is leading us on the journey. But colour has to be subtle in the way it leads from one element to another or the image breaks down as one colour will dominate the rest to a point where discovery of the story is not comfortable.

Colour will always try to force the viewers eye.

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BLACK AND WHITE

Organic Black and White Unlike colour, where the image is based on how the colour tones interact with the subject and elements that surround it, black and white requires far more construction.

How these are used is very important because a street scene can have many elements and the more of these elements that incorporate the cornerstones the more interesting the image will be.

It is not only composition that is important, but also the elements themselves and how these elements fit around the subject. In colour there are two levels, the base image and the colour on to which it sits. Black and white is organic, which is to say that there is only one level, the image. It is the intricacy of the elements that make up the image. These are then built up with the composition being the glue that bonds them together. In colour the main composition is influenced, whilst in black and white the main composition is pure.

This in itself is a learning curve and takes a good while before you can be comfortable with it. Generally, when shooting portraits or many other genres your priority is to concentrate on the focal point. With street the focal point is one of the elements that make up a whole scene. This means all the parts to the image that have to be considered.

This means that every part of the black and white image is important. Some are more important than others, but nonetheless important. Hence me using the term ‘organic’. In colour it tends to be specifics that are important so there are parts of the image that are just there to make up the space. This is not organic, but instead specifically structured. This would sound like it will make street photography a very difficult genre to use black and white, but this is certainly not the case. Black and white is used more than colour when shooting street photography and is, in my opinion, actually easier. The main reason for this is the cornerstones of black and white. They bring out the finer details found in street scenes. Shape, Texture, Tone, Contrast, Shadow. A selection or all of these cornerstones are usually available when shooting street scenes.

Black and white is a world that is naturally evolving in your creative mind which also lends itself to the term ‘organic’. In this photograph of an oriental lady (overleaf) shading herself from the sun there are many elements that make up the image. First, there is no part of the image that is not important. Every point has a detail of one kind or another, yet she still remains the focal point. She fits into the image rather than the image focussing all attention on her. There is shape, textures, various tones, hi-contrast and lots of shadow that all work together to make the street scene just that, a street scene. If this was colour then much of the detail of the scene would be unimportant around the main elements. Yet here everything flows organically. This is actually very similar to the difference between a compact disc (colour) and a vinyl record (black and white). Black and white is far more refined and detailed, not better, just more refined and detailed than colour. For a successful street image using black and white your technique has to be proficient enough to see the scene in black and white before actually shooting. In many ways, black and white scenes can 34

Black and White will always try to encourage the viewers eye.

be considered before the main subject has entered it. This is similar to the ‘walk by shooting’ technique. The photographer waits for the main subject to come into the image. As your experience grows your creative mind and pre-visualisation will become far sharper. This will allow you to shoot on the fly, rather than having to take time organising the scene beforehand.

Black and white takes patience, self-criticism, practice and study before you will be ready. And this is only the beginning. But, it is a journey well worth considering. Begin with still objects and then practice seeing in black and white. Before long you will ready for the street. Beware, black and white is not colour just converted to grey tones. It is a completely different art to colour. Do not fall into that trap. 35

ANGLES

Going All Austin Powers No matter what photography you do the angle at which you shoot is very important. Choosing the wrong angle can tell a very different story to the one you wish to tell. In street photography where the story is key, getting the correct angle is very important. In the chapter image we can see a lady stood smoking in a dominant stance. Shooting from a slightly low angle has allowed the story to show that she is strong, self-assured and confident. This particular lady had an attitude about her that needed to be shown. If the photographer had shot this level to her then the story would have missed her attitude and instead we would just have a person smoking. Above her the sense of strength would have diminished. So angles, and the degree of angle, play a big role in the storytelling of that scene.

Of course, movies tend to exaggerate the movement a little. There are discreet ways that will not draw attention to you as much. For instance, you don’t have to have the camera to your eye when you are doing this and nor do you have to move like you have been shot with a taser. Subtle or disguised movements will not draw so much attention. In the case of this shot, Ely was actually bobbing up and down with her eye in the viewfinder and the lady did not even notice her. Another option is to use your smartphone to find the angle. This means you don’t have to move your body as much and instead use the reach of your arm whilst monitoring the LCD screen. Do not except the first angle you see. Bob, twist and stretch as much as needed until the perfect angle presents itself.

Because of this low angle we are drawn to the lady immediately which for this shot, taken by Ely Tan, it was important for the composition. The hoops on her shirt blend in with the hooped buildings behind her and in turn those lines take us through the rest of the image. Finding the best angle can only be done one way, trial and error. I am sure we have seen the stereotypical photographer in scenes from movies where they are bobbing up and down and twisting this way and that. Well, this is actually true and necessary. It can be quite comical to some and just odd to others, but for a photographer this process is very normal. If we do not do this then our options become limited and the best angle can be easily missed. We may think we have the best angle, but without seeing the other possibilities we are simply guessing, not knowing.

Changing angles can give the viewer a whole different perspective on the subject and scene.

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A CAMERA DOES LIE

Beware The Split Moment Insinuation ‘The camera never lies’ is a dangerous assumption. As we move through moments our bodies flow from one position to another in infinite steps. Capturing the decisive moment is our goal as photographers, but missing this moment by a split second can create a whole different story. What can we determine from the chapter image?. We have two guys looking a little shady and one is looking back to a van with a young woman inside and a child beside it. The whole body language and expressions make the image look ominous. Yet, this shot was taken in a car park next to a farmers market and the two guys were just minding their own business. The woman in the van dropped something that made a noise and one of the guys very quickly glanced over is shoulder and then back again with very little interest. ‘The camera never lies’, well this is true, but it can imply when there was no implication there in reality. This is where the photographer has to be self-critical. I actually like the ominous nature of this image and it tells a story that is on the darker side of the viewers assumptions. It is asking a question that is relevant in todays society. The viewer can answer this in many ways, but i know that the majority would see what i see in it.

This was not the shot my creative mind intended and therefore i cannot claim it to be. Yet, i could accept that this was a luck shot and i made that luck. That is fine to a point. However, i also have to consider the two gentleman of whom i am encouraging bad assumptions to be made of. Is this justifiable?. To me, no it isn’t. We are not out to hurt or lie about people in our photographs. Lets say i went with the story and claimed i meant it because that is what i saw. What would happen if they or their friends and family read my book?. It would just be bad and completely unfair. (I wish i had meant it because it has a great ‘Sweeney’ look about it). As street photographers we take on a responsibility and that is to represent our art in an honourable and truthful manner. We don’t do it to make up the truth. We do it for the creativity, art and satisfaction it provides. If you get an embarrassing shot of someone by accident or one that could be easily misinterpreted then do not use it. Or, at least consider not using it by speaking with your conscience and self dignity. It really is as simple as that.

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PERSPECTIVE

Three Dimensions in a Two Dimensional World Perspective is another important factor when shooting street photography. The simple rule is, things that are closer appear larger and things that are further away appear smaller. This can effect how a scene is represented in your photograph, both negatively and positively. Negative perspective can be something as simple as a leg being further forward than the subjects body. Because of perspective the leg will look disproportionate. In many cases when things like this have been missed, a foot can be larger than the rest of the body and head together. This will intern cause the viewer to prioritise the oddness of the leg size and their attention will be drawn to an area of the image that is not as important. This applies to anything you are photographing, so making sure perspective is correct. This is an instinct you have to cultivate. In time, seeing in two dimensional perspective will become natural, but until then it has to be considered when organising your composition.

Making a two dimensional image appear to have a third dimension is all about the composition and perspective is a very influential factor. The great thing about this is that it can also be used as part of your creation, as seen in the chapter image. Here i used perspective to enhance the size difference between the two people on the left and the two on the right. There was already a difference, but i wanted to exaggerate it to give the image more impact and make it a little comical. The three main parts of any photograph is the foreground, mid-ground and background. If perspective is used incorrectly then these three areas can become confusing. A foreground may get confused with the perspective of the background or the mid-ground can get mingled with the background etc. Experiment with perspective so it is clear in your mind and always be aware when composing your images where a possible issue may arise. Stray limbs have been a constant destroyer of many images i have taken.

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In this image the painting was actually much larger than the foreground people, so having the painting further away and using a short telephoto lens to compress perspective the whole image comes together much better. Here the man was close to me, the lady a little in front of him and the painting about five meters further away. Using perspective the image now looks like all these elements are actually in close proximity to each other. This could not have been achieved if the painting had not been given space to appear smaller.

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REFLECTIONS

The Power of Reflection Another often used technique is using reflections to create a more candid or surreal image. Street photography is perfect for this because there are usually lots of windows and defective surfaces around to utilise. It is far easier to capture people without them realising if you are shooting in a completely different direction. In this mirror image by Ely Tan, she saw this shot from the street and simply stepped into the doorway of the cafe. She had plenty of time to compose and attain correct exposure because the subjects could not even see her from where they were sat. They are caught having a completely candid discussion.

Reflections are a great addition to your creative mind. If you are new and still a little shy then using reflections is a great way to get started. You can get used to the environment and hone your skills without having the awkwardness of inexperienced direct shooting. As your confidence grows then you can progress in your own time. Of course, reflections don’t have to be obvious. They can also be used as a way to capture a story without the viewer of the photograph knowing it is a reflection. This is a very interesting technique and great for beginners. It requires the correct angle and environment to work, but when found you can have a lot of fun and get a lot of on street experience without being too intimidated.

Ely used black and white to capture the textures and shapes on and around their table, but also so she could frame the mirror with a frame to be sure the story is being told through a mirror and not as a direct shot. Ely also decided to change her position and capture herself in the image, so it actually tells two stories. One story from the subjects perspective and one from the photographers. Its a simple shot that allowed a lot of freedom due to the amount of time she had at her expense. Seeing life through a mirror, through a lens is quite interesting to me, so i find this shot particularly cool. In the chapter image we can see how reflection can add a surrealism to your images. This one drew my attention because of the barbers chair, but the reflection in the background of the building behind me and the addition of Ely laughing in the corner gave it a surrealism i really like. Remember to look ‘and’ see when discovering the street. Some opportunities are easily missed.

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NO HUMAN INTEREST

No Human, No Interest? One of the beautiful things about street photography is that you can capture the life on the street, the street itself or even what life has created and left behind temporarily or permanently. Street does not require a human interest or a human at all to be interesting and to tell a story. In the chapter image we have a shop interior. My eye was drawn to this because of two reasons. The first was the painting on the easel which had a wonderful use of light. The second was the ambient sunlight that was illuminating the interior, which was perfectly showing the painting in all its glory. The story is simply about that painting and how its light makes it pop out from everything around it despite it actually being a night scene. It is a demonstration of how an artist understands and uses light. Sometimes the story is that simple. The second image is a night shot taken in a Spanish town. The Vespa and the artwork behind had been placed their by the artist to exhibit their work on the street. This was not an official exhibit, just a local artist expressing themselves and laying it before the people for them to experience it. The Vespa and painting were so out of character from the rest of the environment that i was drawn directly to it. So street does not mean people, it means everything within the real worlds everyday environment.

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STREET PERFORMERS

Pay The Piper Street performers seem to be everywhere. Not only do they add a little entertainment to the streets but they also supply a plentiful amount of street shot opportunities for the roving photographer. Street performers survive on their tips and as a photographer who is using their work to help you express and learn then it is only right to leave them a little something after taking their photograph. Street performers are great for people new to street photography because it allows them to shoot people who are used to being photographed and used to being looked at. This takes away that initial fear of interacting with strangers. You will be noticed, but this will be attention without the possibility of resistance. Many new street photographers fears come from being negatively reacted to by a subject. With street performers this is no longer an issue. However, not leaving a tip may cause a reaction in some. So, shooter beware.

If you are new and want to ease in so you can gradually gain confidence then street performers are a great way to progress. This ease can come at a cost. Even though these are street performers you have to tell a story, otherwise it is just a picture of a street performer. You can tell a story of the performer or you can wait for an onlooker to interact and see if that works. Maybe a spectacular performance is met by a passerby not even noticing. Whatever you choose to do you must have that story. Just because the subject is easy to capture does not mean your photograph should be any less a street photograph. If it is not working for you then move on to the next and wait for your creative mind to provide something for you. Forcing things will not help, unless you want a lot of meaningless images of street performers. I am concentrating on street performers but this applies to any subject that is easy to approach and shoot. The itchy trigger finger can get the best of you, but keep control and remember your art is far more important than the excitement of your shutter release blasting away whilst missing the barn doors.

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24 HOURS

Nothing to Photograph Inspiration can be anywhere so there should never be a time when you cannot find anything to photograph, especially when shooting street. Carry your camera where it is easily accessible and shoot off a few dead images just to get you in the mood and suddenly the floodgates will open. For this chapter i gave myself 24 hours to capture some street photographs. The pages of this chapter show some of the images i got within this 24 hours, which was really 16 hours because without sleep our creative mind becomes jellied. The point here is that i did not go anywhere specific. These were taken during my normal day. These are not going to win any awards but they are images i like and being active means capturing that award winning image is a much greater possibility. Not that this matters of course as all photography is about self expression and personal satisfaction. So, grab your camera and take it everywhere because there are great street images waiting anywhere you go. The more you are in the zone the quicker your mind will enter the ‘Neo’ state. This is a reference to the movie ‘The Matrix’ when the character Neo embraces his ability and he begins to see the world in a whole different way. He no longer has to look for the coded world, the world to his eyes becomes code. And this is exactly what you the photographer should be aiming for. You need to see in two dimensions and be able to see the world as a photograph. The more you practice the quicker you will enter this stage. 50

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PERFECTION

Imperfection is Perfection The one thing i try to stress to students is that there are two types of photograph. The textbook photograph that is used and analysed by magazines and reviewers and then there are real photographs. Digital brought with it a corporate machine around which many other industries were created. Reviews, laboratory testing and the fight for perfection in image quality. This has in turn began to filter its way through to the photographers own expectations. A photograph is a way to express a story that your creative mind has created in the form of an image. It really does not matter about the sharpness, dynamic range, pixel count or anything else as long as the story is told. This drive for perfection has begun to eat away at image character and atmosphere. Perfecting an image is like cleaning your home to the standard of a surgery. It is sterile and devoid of life. Do not worry if a part of the image is out of focus or if the overall ‘quality’ is not there. Quality is the story, not the lack of grain or a technically pin sharp image. The photographer has two priorities, the creation of their interpretation in their creative mind and the final image. From this

point the story is told and the viewer can interpret it the way they wish. As long as your image tells the story then that is all that matters. This has to work hand in hand with your own self criticism and honesty. If the image is wrong and not telling the story you meant then it is no good, full stop. Don’t add a story to fit the image, it is a downward spiral if you do. But if the story is told and the eye of one subject is out of focus then it really does not matter. You are creating art not manufacturing components. In the chapter image we can see the fun in the little girl. We know she is a jolly and fun character. We can also see how much her mother loves her simply by the way she is looking at her daughter. They have been picking flowers during a walk and now they are resting on a ledge that they don’t mind is not the most comfortable spot. However, this little girl has movement blur around her eye area. Does this spoil the photograph?. For me, it has no effect at all, other than adding a little to the story. Do not get caught up on clinically perfect images, they serve only one purpose and that is for commercial gain in one way or another. Art is art, silly rules and commercially influenced expectations are not welcome.

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THE STREET PHOTOGRAPHER

Seeing And Being The Truth Street photography is of both social and environmental importance. It captures what is and becomes what was. It is a type of documentary photography of the purest kind. It is capturing mankind as it is in the present. There is no other context other than normality. If you like, it is documentary, reportage and candid in the rawest possible way. We are capturing people in the real world being real people and in turn capturing people at there most susceptible. We live in a society that expects and with expectation comes the need to fit in. Humans in the real world spend most of their time acting and being the way society expects them to act and be. Street is looking for the moments within this expectation when people are themselves. Throughout the day the real person pops out from behind the masquerade and it is the street photographers task to capture this. There are many ways this can be done. You can be an aggressive photographer like Bruce Gilden, who attacks his art head on, or you can be a social photographer like Henri Cartier-Bresson, or a ninja like Janet Delaney. There are many methods and you have to find yours. Being the photographer who is peaking through another persons defence can be challenging. Not everyone will react in an understanding manner. For many you are invading their space, whilst others may welcome the attention. It is a crab shoot as to

which response you will get, so your skin has to be tough and personality agile. Experience will teach you ways to see opportunity and techniques to get yourself into and out of sticky situations. Street is a lonely genre. It is your empathy and connection to humanity that will determine what you see and how it should be recorded. In two shots you can go from hero to zero so you have to believe in what you are doing and be sure you are looking for art and not attention. Street is accessible to all, embraced by some and misused by many. If this is not your love then look for another way to express your photographic creativity. Street is not only about people, it is also about the environment. The buildings, tarmac, trees and vehicles. The greatest thing about street photography is that it captures the whole world of humanity without prejudice. People, their creativity, their crimes, their bureaucracy, greed, charity, love, hate and many other aspects of the human environment are caught by the street photographer. And, it does this with complete honesty. Photojournalism is a close relative to street photography, but it concentrates on a specific situation rather than the whole of mankind. Street is a very special genre. Street is the record of humanity from an unedited human viewpoint. It is real life with real people shot by dedicated and real artists. If you feel it, then do it for yourself and allow others to see the world through your eyes.

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