One of the best exercises for street photography I ever adopted was to focus my internal monologue into a process of constantly describing what I am seeing. I have always been introspective about the way I work, when it comes to what influences my overarching approach, what draws my eye moment to moment, and what I look for while curating.
I think the question of whether something is or is not art is a bit disingenuous, and can be used more as a tool for gatekeeping than true analysis or critique. There is no objective standard for what makes something enjoyable as a piece of art, whether that is a photograph, music, sculpture, or a blade of grass in a field. However when it comes to the deliberate creation of an artefact I think that the intention of the creator is very powerful, and can offer some strong insight into the way that work can be interpreted.
Africa has been on my radar for a while. Having shot around Europe, India and South America, I was up for a completely new challenge, and also for exploring a continent that in many ways was different to anywhere I’d experienced. I knew it wouldn’t be easy – I’ve heard stories from fellow photographers on how certain African countries weren’t the most camera-friendly of places, and Ethiopia was one of them. In spite of this, I still wasn’t fully prepared for the intensely challenging experience I was about to embark on.
When you think of street photography, a super-telephoto lens probably isn’t the first thing that comes to mind. But Evan Ranft thought: why not? He teamed up with Chris House to test out a Sony FE 200-600mm f/5.6-6.3 G OSS lens in the street. While it still wouldn’t be his first choice for street photography, it does have its perks, and Evan shares his impressions and some photos in this interesting video.
This is an interesting take on street photography. A social experiment of sorts. Normally, when we do street photography and people are included, or even the subject, of the images we shoot, those people almost never get to see the images we shoot or even know we shot them. Photographer and YouTuber, Josh Katz decided to try something a little different, as he wandered the streets of New York City recently.
Armed with only his Polaroid, Josh photographed people around NYC as normal, but instead of disappearing and moving onto the next subject, he handed over the picture for the subject to keep and started conversations with them as the prints developed.
Street photography is one of the more chaotic yet fun genres of photography that many people choose to pursue. Even if it’s not something that people do regularly, it’s something that many of us do anyway when we go on vacation as just a regular part of documenting our trip. But how do we optimise our camera for this sort of shooting if we’re used to doing something more controlled, like portraits or product photography?
In this video, street photographer Frederik Trovatten talks about how he sets up his camera for shooting street photography. While he’s using the Fuji X-T3, the principles he mentions are common to many DSLR and mirrorless cameras. He also touches on shooting street photography with negative film, too.
The release of the Fuji X-Pro3 this morning came as a bit of a surprise to me; not what was unveiled, but the general reception to it. So many comments (yes, I know you’re not supposed to read the comments) of ridicule and annoyance were not what I was expecting. And as I read them (which I promise not to do again) I noticed an underlying theme that was a bit worrying.
There are many types of cameras available to us as photographers. I am not speaking about specific brands like Nikon, Canon, or Sony, but rather the approach and intentions companies currently have in regards to design language and intended function. Cameras like the Nikon Df, Hasselblad X1D and the Fuji X-Pro3 offer photographers a different approach to creating images.
Ethics and law in street photography is something that can create a lot of confusion and debate in the community. No matter how well you know the law, you’ll often come upon situations that will be new to you. Also, not everything is black and white in street photography: sometimes even lawful things can still be unethical. To help you answer the most common questions on the law and ethics in street photography, Sean Tucker has filmed yet another fantastic video. He interviewed Nick Dunmur, a member of the legal team at the Association of Photographers (AOP), who will help you deal with anything that might be baffling you.
Last month, street photographer Math Roberts attended Notting Hill Carnival in order to take photos at one of the world’s largest street festivals. While he was shooting on the final day of the carnival, Math found himself in an unpleasant situation which quickly escalated. The man he was photographing assaulted him and smashed both the photographer and his camera.
Ah, the night. What a wonderful time to go out and do some street photography! As a photographer who got his start in the streets of Tokyo, it was inevitable that I would end up photographing mostly at night. To me, the city becomes its ‘true self’ when the sun sets, and the artificial lights come on and illuminate the metropolis. But let’s save my romanticism for another time.
I hope to share with you my methodology, some tips and tricks, for night street photography. First off, please don’t expect any magic tips or secrets. I keep my photographic approach pretty simple, but fundamentals used well lead to great photography!