Coronavirus has had a huge effect on, not to mention been frightening, everyone, from “common folks” to huge companies like Sony. The fear of infection has left some of China’s cities looking like ghost towns. It’s hard to imagine a city of 24-million people like Shanghai empty as if it were a setup for a movie or a video game. But it is happening, and photographer Nicoco has managed to capture it. In her latest series titled 一个人城市 One Person City, she shows the sad and eerie atmosphere in Shanghai’s streets during the coronavirus outbreak.
I’m going to share with you 11 Secrets to up your night street photography game that I teach paying customers on our London Soho Night Street Photography workshops. Don’t worry if you’re coming to one I have many more secrets!
I love the way cities come to life at night with neon lights, the sound of laughter, street lights, reflection, shop windows, it’s a different world which I’ll equip you to not only shoot but shoot well. Before you ask, all of the images here are shot handheld on various Fujifilm cameras, mainly the XT3 with 35mm f1.4 lens which is their 50mm equivalent.
One of the most powerful applications of photography has been as a tool to document some of the most important moments in recent history, whether that’s in terms of a shared history of the world in the form of photojournalism, or in the more personal history of family snapshots, personal photography, and street photography.
Photography for personal use is prevalent in everyday life perhaps more today than ever before; every dance-floor selfie on a night out is photographic storytelling, every published snapshot in some way contributing to the wider communal pool of stories being told. It is accessible to anyone with a smartphone, and the barrier to entry-level dedicated camera units is immensely low secondhand. Photography is essential in messaging apps, a part of daily communication like never before.
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.