7 extremely talented STREET PHOTOGRAPHERS from around the globe share their insightful tips on shooting the streets!
(Buenos Aires, Argentina)
Authenticity is important to me in all aspects of life, thats what I love about streetphotography - real unplanned authentic moments.
Persons and situations in the street have a story to tell. Sometimes I make up stories in my mind about how people live their lives, where they're going, who they're meeting. For me it transforms the scene into a movie and it feels like I get to know them.
Streetphotography is also very intuitive to me. At times I just raise my camera and shoot, and then I tell myself what made me pick up the camera. If there is time, I ask my self "what more"? and maybe I take another photo.
My favourite photos remind me to follow my intuition, to act on a scene that gives me a special feeling, and not think to much.
In a way it's simple - the camera is just recording what talks to me and the things that I see. I try not to complicate things, I shoot scenes that bring me a certain feeling.
One thing I learned that really helped me in my attempts to get photos I like is to pay attention to the quality of light. It's an aspect that changed the way I walk and shoot in the streets.
twitter/instagram - @rinzizen
- Read people's motion and behavior -
The decisive moment in everyday never be created by oneself.
However, I think that whether the moment is faced is greatly concerned with a photographer's senses.
The important point which I consider is reading people's motion and behavior beforehand.
They will be affected from various factors, such as surrounding environment, the time, the weather, etc.
In addition, it is imaging ideal shot and preparing settings for it.
Therefore it will be possible to get the best shot only by releasing the shutter when the moment comes to you.
Flickr : http://www.flickr.com/photos/junigo/
Linda Wisdom (London, United Kingdom)
Going back to basics, my best foundation tip before the artsy fartsy of street photography is to invest in the right tool for YOU.
People too often get caught up on which is the best brand to get, or which is the latest new on the market camera to get or even which looks the best, almost as a designer accessory. Are you focusing too much on how cool it looks rather then if the camera does everything you want it to do spec wise? Or is showing off the camera to other people more important then getting the shots you want to get?
It is common that no real thought goes into what camera spec you actually NEED, so instead of browsing and looking at photos of cameras and rush buying on an impulse, first make a basic list of what you want the camera to do for you first...for example;
1. Do you want a light and compact cam or prefer a big pro DSLR? Something somewhere in the middle?
2. Do you need an electronic viewfinder or are you cool with using a LCD screen/do I need a flip screen?
3. Do you need to shoot RAW files or are Jpegs ok?
4. Fixed lens or interchangeable lens? What focal length am I comfortable with?
5. Will I go out street shooting at night/low light conditions
6. What is the image quality like at high ISO? What is the highest ISO?
7. What is the focusing speed like? Is it fast enough to get that quick shot? 8. Battery life good or bad?
9. Does it have manual control capabilities?
10. Do I need digital at all, would a film camera suffice?
You can get more geeky on tech specs as much as you need...
Watch/read respected online camera reviews. Now make a list of some cameras that come close to matching your requirements. Then compare those cameras on your list against each other. Which one comes out on top once you weigh up your budget?
Go down to your local shop and 'man-handle' the cameras you have on your list and ask the shop assistant 101 questions. Which camera feels the most comfortable in your hands, ease of use for speed if you need to change settings in a moment, etc.
You often get much better online deals then in retail in shop prices if you research. When you are ready, make your purchase and get some killer shots!
Fernando Pires Coelho
I only know how to approach a place by walking. In fact we, street photographers, need to walk…walk a lot. Walk and watch and wait and then watch and wait again, being patient and trying to remain confident and open to the unexpected. We should be always looking for our “best shoot” that may be waiting us just around the corner.
Profit of the benefits of a small camera like those which made Leica photographers famous (but not necessarily a Leica)
The first and utmost rule is still: "The best camera is the one you have with you." - Chase Jarvis
I am personally convinced that the importance of the camera is often overestimated. Nevertheless I made the experience that the use of a relatively small and unimpressive-looking camera combined with light efficient lenses is very supportive in taking spontaneous photos of decisive moments - almost unnoticed and in nearly every situation. A small and handy camera brings you closer to actual events and supports you in telling stories in a more dynamic and truthful manner.
Having this said enjoy just an example taken with a Sony Nex 7 and a (relatively large) 50 mm lens f/1.8, standing relatively close to the old lady.
my website - www.querformat-fotografie.de
Michael Ares (Los Angeles)
In street photography, I tend to view the world as my “scene”, with myself, the photographer, as the “director”, and the people walking around in front of me as my “actors”.
This method of thinking applies to all aspects of street photography, wedding photography, concerts etc., but the main topic that I want to address is the topic of “walls”.
To me, a wall is not just a wall, it’s the backdrop of your scene that adds more emphasize on the story that you want to tell (just like how a background scene sets the mood in a play).
I get frustrated sometimes when I see a beautiful wall that somebody photographs, but they lack the “right character”, or when they have the right character they don’t compose the image in a way that is pleasing to the eye. Walls that are painted or designed in a cool way require extra attention and extra patience to find the right actor and the right moment. When I want to incorporate a person with my wall, I want to make sure that the viewer is not only looking at the wall, but sees the connection between the wall and the individual in the picture. Sometimes I’ll stand in front of a wall from 10 minutes to an hour until I get that “connection” that I’m trying to achieve, and the end result is always satisfying.