Dec 10, 2016
Dec 7, 2016
Dec 6, 2016
Dec 3, 2016
Dec 2, 2016
Nov 30, 2016
Nov 24, 2016
Nov 23, 2016
Nov 22, 2016
Nov 21, 2016
Nov 20, 2016
Nov 18, 2016
Nov 5, 2016
Canon EOS 5D Mark IV – my in-depth review of Canon’s latest full-framer!
Canon EOS 5D Mark IV – my in-depth review of Canon’s latest full-framer!
Canon’s EOS 5D Mark IV is the long-awaited successor to the 5D Mark III, boosting the resolution to 30.4 Megapixels with a new full-frame sensor that supports Dual Pixel CMOS AF. It accelerates continuous shooting to 7fps, inherits the 3.2in touchscreen and 61-point AF system of the EOS 1Dx Mark II and can film 4k movies (in the DCI Cinema format) up to 30p. The body features improved weather-proofing along with a built-in GPS receiver and Wifi with NFC. In one of my biggest reviews to date, I’ve delved into the new features and made a wealth of comparisons with rival cameras – find out if it’s the body you’ve been waiting for in my Canon EOS 5D Mark IV review!
| Building on this legendary legacy, the EOS 5D Mark IV propels the series forward with a fusion of features and enhancements targeted to please even the most discerning creative eyes. The camera’s, 30.4 megapixel 35mm Full Frame Canon CMOS sensor offers stunning image quality while the DIGIC 6+ Image Processor delivers 4K 30P video and up to and seven frames per second (fps) continuous shooting. To make video shooting even easier, the camera also features Canon’s propriety Dual Pixel CMOS AF, even when shooting 4K to help ensure sharp focus and subject tracking. Read more here. |
Camera Labs and DSLR Tips latest news and reviews
Check out the Resources of Digital Photography School for more books or courses on Photography.
Visit here for more on Photography Tips.
Read more on SLR Camera Guide.
Nikon D3400 – entry-level DSLR reviewed!
Nikon D3400 – entry-level DSLR reviewed
The Nikon D3400 is the company’s latest entry-level DSLR, aimed at beginners or those looking for a step-up in quality and control over a point-and-shoot camera without breaking the bank.The D3400 shares a great deal with the earlier D3300, including the 24 Megapixel APSC sensor, 11-point AF system, 5fps shooting and 1080 video up to 60p, but the big new feature is SnapBridge, Nikon’s wireless technology which exploits Bluetooth to maintain a low-power wireless link with smartphones for easy unattended image transfer.
|
Before the D3400,
you chose your smartphone camera for convenience. Zooming was clumsy.
Shooting in low light was nearly impossible. Capturing fast action was a
game of luck. But after the D3400, you’ll see that you were
compromising image quality. That some of the greatest photos happen when
the light is low. That fast action can be frozen in perfect clarity.
And that a camera and a smartphone can work together in harmony to make
the photos you share absolutely amazing.
Buy D3400 Here. |
Camera Labs and DSLR Tips latest news and reviews
Check out the Resources of Digital Photography School for more books or courses on Photography.
Visit here for more on Digital Photography.
Read more on SLR Camera Guide.
How to make a bokeh effect in Photoshop
How to make a bokeh effect in Photoshop
We show you how to spice up your portraits by adding out-of-focus effects. You’ll learn how to make bokeh in Photoshop by creating your own custom brush tip then using filters and blending modes to make bokeh.
The term ‘bokeh’ refers to the circular spots that appear in out-of-focus areas of an image. Usually creating bokeh in-camera means investing in a fast lens, shooting at a wide aperture and catching out-of-focus highlights in the background. But with a few simple skills we can replicate the effect in Photoshop.
The key to success here is the amazing Photoshop brush engine. Not only can you create your own brush tips from any shape you like, you can also change the way the brush applies colour by randomising it.
If this all sounds a little complicated, then don’t worry, it’s simply a case of opening the Brush panel and experimenting with the settings.
The key sliders for our bokeh effect here are Scattering and Jitters. Combine them with the right Spacing setting, and you can create beautiful random patterns with just a couple of brush strokes.
We’ll show you how to define a bubble-like brush tip here for our bokeh effect, with a transparent centre and opaque edge.
Once done, we’ll apply a few simple settings to create our randomized bokeh brush. All we have to do then is paint with the brush on a few separate layers and apply different strengths of blur to each layer to add depth to the effect, then drop in our cut-out portrait. It’s great fun, and easier than you might think…
We’ve provided a cut-out portrait for you to use here, but if you want to cut out your own, begin by painting over the figure with the Quick Selection brush to select it (hold Alt and paint to subtract if it goes wrong).
When you’re happy with the initial selection, go to Select>Refine Edge and increase the radius to improve it (while in the Refine Edge command, paint over tricky edges, like hair, for a better result). Set Output to Layer Mask and hit OK. You should now have a precise cut-out, to use either for this effect or for any other montage idea.
Click here to download our portrait
01 Make a brush
Go to File>New, choose A4, set Background Contents: Transparent, hit OK. Grab the Elliptical Marquee tool. Shift-draw a small circle, go to Edit>Fill and use black. In the Layers panel, set Fill 50%, then go to Layer>Layer Style>Stroke. Set Size 8px, colour black. Hit OK.
02 Define a brush
Go to Edit>Define Brush Preset. Name it and hit OK. Create a new layer, hit Alt+Delete to fill it, go to Layer> Layer Style>Gradient Overlay. Click the preview bar, double-click the little squares under the gradient to choose two colours (blue and purple here). Hit OK.
03 Customize the brush
Grab the Brush tool. Toggle the Brush panel in the Options bar. Use Brush Tip Shape, set Spacing 100%. Use Shape Dynamics, set Size Jitter 100, Minimum Diameter 50. Use Scattering, set Scatter 1000, Count 3. Go Transfer, set Opacity and Flow Jitters to 50%.
SEE MORE: Photoshop Adjustment Brush – how to make quick, localised tweaks
04 Paint and blur
Make a new layer, click the Blending Mode drop-down in the Layers panel, choose Color Dodge. Pick a light grey and paint scattered bubbles. Pick Filter>Blur>Gaussian Blur. Blur the bubbles (Radius 40px), hit OK. Repeat on another layer, with a lower amount of blur.
05 Build it up
Continue painting and blurring on more layers (set to Color Dodge), varying the brush size and blur amount. Go to File>Place Embedded and choose bokeh_cutout.png to drop in the subject. Add more bokeh layers on top. Hit Ctrl+Shift+Alt+E to merge a layer.
Select Filter>Blur Gallery>Iris Blur and blur the edges of the frame. Go to Filter>Camera Raw Filter. Grab the Radial Filter, set Exposure -3 and drag to darken the corners. Create an adjustment layer, choose Colour Lookup and select a tonal preset, like ‘2 Strip’ here.
Final Tip
To add atmospheric sparks to the effect, paint random white dots then use Filter> Blur Gallery>Path Blur to create streaks of light
READ MORE
5 signs that mark you out as a Lightroom rookie Recreate the look of a medium format portrait Abuse your raw files for a striking high-key portrait
Dramatic Lighting: how to create stylish portraits using simple Photoshop effects
Fine-tune image colour: how to remove casts, boost colours and apply instant effects
Check out the Resources of Digital Photography School for more books and courses on Photography.
The post How to make a bokeh effect in Photoshop (download our cut-out portrait and follow along!) appeared first on Digital Camera World.
Source: Digital Camera World
We show you how to spice up your portraits by adding out-of-focus effects. You’ll learn how to make bokeh in Photoshop by creating your own custom brush tip then using filters and blending modes to make bokeh.
The term ‘bokeh’ refers to the circular spots that appear in out-of-focus areas of an image. Usually creating bokeh in-camera means investing in a fast lens, shooting at a wide aperture and catching out-of-focus highlights in the background. But with a few simple skills we can replicate the effect in Photoshop.
The key to success here is the amazing Photoshop brush engine. Not only can you create your own brush tips from any shape you like, you can also change the way the brush applies colour by randomising it.
If this all sounds a little complicated, then don’t worry, it’s simply a case of opening the Brush panel and experimenting with the settings.
The key sliders for our bokeh effect here are Scattering and Jitters. Combine them with the right Spacing setting, and you can create beautiful random patterns with just a couple of brush strokes.
We’ll show you how to define a bubble-like brush tip here for our bokeh effect, with a transparent centre and opaque edge.
Once done, we’ll apply a few simple settings to create our randomized bokeh brush. All we have to do then is paint with the brush on a few separate layers and apply different strengths of blur to each layer to add depth to the effect, then drop in our cut-out portrait. It’s great fun, and easier than you might think…
Check out the Resources of Digital Photography School for more books and courses on Photography.
Step by step how to make bokeh in Photoshop
Cut out a portraitWe’ve provided a cut-out portrait for you to use here, but if you want to cut out your own, begin by painting over the figure with the Quick Selection brush to select it (hold Alt and paint to subtract if it goes wrong).
When you’re happy with the initial selection, go to Select>Refine Edge and increase the radius to improve it (while in the Refine Edge command, paint over tricky edges, like hair, for a better result). Set Output to Layer Mask and hit OK. You should now have a precise cut-out, to use either for this effect or for any other montage idea.
Click here to download our portrait
01 Make a brush
Go to File>New, choose A4, set Background Contents: Transparent, hit OK. Grab the Elliptical Marquee tool. Shift-draw a small circle, go to Edit>Fill and use black. In the Layers panel, set Fill 50%, then go to Layer>Layer Style>Stroke. Set Size 8px, colour black. Hit OK.
02 Define a brush
Go to Edit>Define Brush Preset. Name it and hit OK. Create a new layer, hit Alt+Delete to fill it, go to Layer> Layer Style>Gradient Overlay. Click the preview bar, double-click the little squares under the gradient to choose two colours (blue and purple here). Hit OK.
03 Customize the brush
Grab the Brush tool. Toggle the Brush panel in the Options bar. Use Brush Tip Shape, set Spacing 100%. Use Shape Dynamics, set Size Jitter 100, Minimum Diameter 50. Use Scattering, set Scatter 1000, Count 3. Go Transfer, set Opacity and Flow Jitters to 50%.
SEE MORE: Photoshop Adjustment Brush – how to make quick, localised tweaks
04 Paint and blur
Make a new layer, click the Blending Mode drop-down in the Layers panel, choose Color Dodge. Pick a light grey and paint scattered bubbles. Pick Filter>Blur>Gaussian Blur. Blur the bubbles (Radius 40px), hit OK. Repeat on another layer, with a lower amount of blur.
05 Build it up
Continue painting and blurring on more layers (set to Color Dodge), varying the brush size and blur amount. Go to File>Place Embedded and choose bokeh_cutout.png to drop in the subject. Add more bokeh layers on top. Hit Ctrl+Shift+Alt+E to merge a layer.
Check out the Resources of Digital Photography School for more books and courses on Photography.
06 Add tonal effectsSelect Filter>Blur Gallery>Iris Blur and blur the edges of the frame. Go to Filter>Camera Raw Filter. Grab the Radial Filter, set Exposure -3 and drag to darken the corners. Create an adjustment layer, choose Colour Lookup and select a tonal preset, like ‘2 Strip’ here.
Final Tip
To add atmospheric sparks to the effect, paint random white dots then use Filter> Blur Gallery>Path Blur to create streaks of light
READ MORE
5 signs that mark you out as a Lightroom rookie Recreate the look of a medium format portrait Abuse your raw files for a striking high-key portrait
Dramatic Lighting: how to create stylish portraits using simple Photoshop effects
Fine-tune image colour: how to remove casts, boost colours and apply instant effects
Check out the Resources of Digital Photography School for more books and courses on Photography.
The post How to make a bokeh effect in Photoshop (download our cut-out portrait and follow along!) appeared first on Digital Camera World.
Source: Digital Camera World
Amazing Trick Photography Tutorials Offer Ending Soon
The recent second edition includes 100 new e-book pages (300 pages
total) and 9 full hours of video tutorials. The eBook is in PDF format
so it is perfect for tablet devices or can be read on any computer. It
is one of the most popular tutorial eBooks available for photographers.
We were able to negotiate a temporary 60% discount for our readers this week, don’t miss it!
Ending soon here: Trick Photography eBook at 60% Off
Deal found here: Trick Photography & Special Effects at 60% Off
Check out for more books and courses on Photography.
What are your thoughts on this article? Join the discussion on Facebook
Article from: PictureCorrect
If you are interested in Digital Photography, check it out here for more details.
Special Effects photography Made Easy:
We were able to negotiate a temporary 60% discount for our readers this week, don’t miss it!
Ending soon here: Trick Photography eBook at 60% Off
How to do Levitation Photography
Extensive Chapters on How to do Non-Traditional Panoramic Photography
Check out for more books and courses on Photography.
Extensive tutorials on how to do Light Painting
HDR Photography Techniques and Style Strategies
High Speed Photography Tutorials
Many Chapters on Composite Photography and Combining Photo Elements
Various Techniques for Capturing Smooth Water Motion
Find more on Special Effects photography Made Easy
Photography Tricks for Dynamic Floating Subjects Such as Fruit
Tutorials on Creative Night Photography Methods
Check out for more books and courses on Photography.
Tutorials and Chapters on Infrared Digital Photography
Articles on How to Capture Portraits at Long Exposures
Steel Wool Light Painting Photography and more with Long Exposures
Check out for more books and courses on Photography.
How to Get a Discounted Copy This Week:
If you have been wanting to learn any of these techniques, this week is a good time to look into it during the markdown. It also carries a 60 day no-questions-asked guarantee so there is no risk in trying it.Deal found here: Trick Photography & Special Effects at 60% Off
Check out for more books and courses on Photography.
What are your thoughts on this article? Join the discussion on Facebook
Article from: PictureCorrect
If you are interested in Digital Photography, check it out here for more details.
Special Effects photography Made Easy:
Nov 3, 2016
How to Go Beyond the Hero Image and Get Real Storytelling Photos
Good photography is really about telling stories, and that’s where
all the lessons of composition, juxtaposition, lines, and focus fall
short. Compelling images tell compelling stories, but the hard part is
recognizing that story. I’ll tell you a story of how I missed the
opportunity to do that, and look at some ways you can add more
storytelling into your photography.
Standing on the low bench, I knew that I could not let this mischievous youngster enter our camp. I stepped forward as he approached, right to the edge of the cut bank, and started speaking to the bear in a low steady voice. “I can’t let you up here, you have to back off. Back off. Now.” The bear paused in its approach, then stepped forward again. I raised a can of strong pepper spray, and held it up, ready to fire. The bear took another step forward, and then another until he was just eight feet away.
If I had a camera in that moment with the bear, even if I’d been on the sidelines, I know I would have blown it and gone for the wildlife portraits, missing the much more interesting interaction that was taking place.
Another example: I was photographing the start of the Yukon Quest sled dog Race in Fairbanks, Alaska, where I live, a few years ago. I’d been concentrating on the passing dogs, the smiling mushers, and been studiously avoiding the crowds of people that surrounded me. At one point a spectator raised a point and shoot in front of my shot, I was irritated, but in that moment I was forced to pause. It clicked, and I realized that the real story was the crowd of mushing fans, out on a cold morning to watch the race. I changed my composition and made an image of the spectator’s camera. That shot is much more telling of the experience than any of my previous photos.
Sometimes it’s a sudden realization like mine at the mushing race,
but often, you have to put some effort into the real story. You need
to break away from the scene you think you should be photographing,
pause, and look around. Consider not just the scene, but the experience.
What are you, or those around you, feeling, seeing, and doing?
Telling the real story is important not just for the quality of our images, but also for the quality of our experience. These storytelling images may not have the flash and glamor of a bear portrait or a sprinting sled dog, but it will help your viewers know the story, and that really is where the real excitement lies.
The post How to Go Beyond the Hero Image and Get Real Storytelling
Photos by David Shaw appeared first on Digital Photography School.
Digital Photography School
A bear story with a moral
I was camped on a low tundra bench above a swift blue river in Alaska’s western Arctic. Our green canoes lay upside down next to the kitchen tent, and the willows along the river were flecked with the first autumn yellow. It was early when I crawled from my tent, stood and stretched. While still reaching skyward I saw another form rise from the tundra a stone’s throw away, a young grizzly giving me a curious look. I dropped my arms and turned just in time to see its sibling offering me a similar stare from a bit farther back. These bears were three-year-olds, spending their first summer away from their mother, ursine-teenagers, and just as troublesome. Unlike the many adult bears we’d encountered on our journey down the river, these two didn’t yet know to give humans a wide berth.
In Katmai National Park at the famous Brooks Falls tourists are inescapable. In this image, I embraced that part of the story.
Safety first
They backed off, after I shooed them with a wave of the arms, though not far enough. I woke my co-guide, and together we herded them away from camp and down onto the gravel bar below. One of the two young bears, rather than wandering off, decided to push my buttons and walked straight over. When off hiking or away from camp, you always give bears the right of way, but in camp, you can’t do that. Bears cannot learn that camps are places to explore.Standing on the low bench, I knew that I could not let this mischievous youngster enter our camp. I stepped forward as he approached, right to the edge of the cut bank, and started speaking to the bear in a low steady voice. “I can’t let you up here, you have to back off. Back off. Now.” The bear paused in its approach, then stepped forward again. I raised a can of strong pepper spray, and held it up, ready to fire. The bear took another step forward, and then another until he was just eight feet away.
Hard lesson learned
And that’s when I felt a sudden moment of regret. Not for my behavior around this young, dumb bear, (in that, I knew I was doing the right thing) but for the fact that my camera lay in my tent. This beautiful (if troublesome) beast was so close I could count his whiskers. What a photo-op I was missing! But I pushed that aside, and spoke again, “One more step and you are getting it in the face. Don’t do it”, I said. “I’ll give you a count of three, then you are getting sprayed. One. Two…” before I could say three the young bear thought better of his situation, turned and ambled back to the river, swam across with his sibling, and disappeared.
Similar to the story I related above, this
bear approached a group of photographers I was a part of on Admiralty
Island, Alaska. He came very close, and I regret not taking a moment to
show a wider shot with the group of us in the frame.
Think outside the frame – the moral
In retrospect, as I thought about the images I missed, I realized that it wasn’t the frame-filling portraits of the bear that would have been so spectacular about that moment. It was the story that went with it. Facing the bear down with a can of pepper spray, the bear testing us, and his eventual retreat. That’s where the compelling images were, not in the missed photos of the bear, but in the missed story that went with it.If I had a camera in that moment with the bear, even if I’d been on the sidelines, I know I would have blown it and gone for the wildlife portraits, missing the much more interesting interaction that was taking place.
Here a herd of caribou is seen migrating
across the coastal plain of the Arctic National Wildlife Refuge in
Alaska. This image tells a more important story of movement, landscape,
and perspective than a more typical portrait of just an animal would.
Learn from the best
Take a look at any issue of National Geographic. Many, even most, of images that are selected are storytelling images, not illustrations. The compositions are atypical, often showing the interaction of people or animals within the scene. Those photographers stepped back from a typical composition and explored their surroundings in a way that most of us, myself included, usually forget to do.
This image of an Adelie Penguin on an
iceberg, I made in Antarctica. Getting close to wildlife is easy there,
and the following image provides information to see just how easy.
A zodiac pulled right up to an iceberg with Adelie Penguins.
Look around
This is an easy lesson to say, a much harder one to perform in the field because the real story is often easy to miss.Another example: I was photographing the start of the Yukon Quest sled dog Race in Fairbanks, Alaska, where I live, a few years ago. I’d been concentrating on the passing dogs, the smiling mushers, and been studiously avoiding the crowds of people that surrounded me. At one point a spectator raised a point and shoot in front of my shot, I was irritated, but in that moment I was forced to pause. It clicked, and I realized that the real story was the crowd of mushing fans, out on a cold morning to watch the race. I changed my composition and made an image of the spectator’s camera. That shot is much more telling of the experience than any of my previous photos.
Here, the scene of the dog teams seen through
a spectator’s camera is more telling of the experience of the start of
the Yukon Quest.
This broad perspective is also an effective
way to tell the story, showing the rows of spectators and the buildings
of Fairbanks in the background.
Stay open to your surroundings
While being focused on your subject is vital to creating good images, it’s important not to close yourself off too much. Take the time to look around. Literally step away from your tripod, and turn 360 degrees while paying attention. What else is out there? Have you been missing anything as you’ve been staring through your viewfinder? What happens if you back up and show the surroundings?
While an image of a single bird, in this case, a Least Sandpiper is a nice portrait, it is more of an illustration than a story.
A large flock of shorebirds, when compared to
the single-bird portrait, is more telling of the lives of the birds,
and their epic migrations.
Think in terms of stories
That real story can be told within a single image, but there are also other strategies. Though an entire article is required to discuss the photo essay (5 Tips for Creating a Photo Essay with a Purpose), I do want to note that you can always think through your story using a series of images. This is also a good way to make the classic images you strive for while simultaneously capturing the storytelling ones as well.Telling the real story is important not just for the quality of our images, but also for the quality of our experience. These storytelling images may not have the flash and glamor of a bear portrait or a sprinting sled dog, but it will help your viewers know the story, and that really is where the real excitement lies.
Digital Photography School
Check out the Resources of Digital Photography School for more books or courses on Photography.
Interview with Makoto Oishi on the new Fuji GFX 50S
Interview with Makoto Oishi on the new Fuji GFX 50S
At Photo Plus NY, we also had a brief conversation with Mr Makoto Oishi of Fujifilm Corporation, who has been involved in the design and planning of the new Fuji GFX 50S medium format mirrorless camera. As you may already know, Fuji was the second to introduce the medium format mirrorless camera, after Hasselblad made the headlines a few months ago by introducing the Hasselblad X1D-50c. Both feature similar 50 MP medium format CMOS sensors and compete directly with each other in this new market segment. Previously, Pentax was the only company to offer a medium format camera in a similar price range of under $ 10K (see our Pentax 645Z review), but it cannot be really considered a competitor, since it is a medium format DSLR, which differs vastly in terms of size, weight and ergonomics.The new Hasselblad and Fuji mirrorless cameras are certainly game-changers in that regard, being so compact and lightweight. While full-frame mirrorless cameras can be comparable in size and weight to smaller full-frame DSLRs, the same cannot be said about what Hasselblad and Fuji have done with their mirrorless offerings – the difference between them and something like the Pentax 645Z is just too drastic.
So when John and I were cruising through the isles on the expo floor, we saw quite a bit of interest from public in both the Hasselblad X1D-50c and the Fuji GFX 50S.
Since Fuji has not yet finalized the camera system and its pricing, the company mostly hid their medium format pre-production models under thick glass, so in order for us to get a closer look at the system, we had to request an interview with the Fujifilm management. It was a bit hard to secure a spot in between the many meetings Fuji was hosting with the media, but we were able to get into a remote area of the expo to have a more intimate conversation with Mr Makoto Oishi, who was kind enough to talk about the GFX 50S and the new Fuji medium format lenses:
It is exciting to see that the system will sell for less than $ 10K for both a camera body and a lens. If Fuji manages to keep the price of the GFX 50S lower than $ 8K, it would be impressive and if the company pushes it even lower towards $ 6K, I can see many photographers investing in such a system – I would probably be one of them. I love the Fuji X system and own the Fuji X-T1, so if the GFX 50S turns out to be an amazing camera for my landscape photography needs, my Nikon D810 might go on vacation for a while!
Good times! Now give it a few years and these cameras will probably drop below the $ 5K range, which is really exciting…
The post Interview with Makoto Oishi on the new Fuji GFX 50S appeared first on Photography Life.
Photography Life
Check out the Resources of Digital Photography School for more books or courses on Photography.
Read more on Photography Tips.
Oct 30, 2016
Nikon KeyMission action cameras now shipping in US
The Nikon KeyMission action cameras
are now shipping from retailers in the US. As previously stated, the
Nikon KeyMission 80 is priced at $ 270, the KeyMission 170 at $ 399, and
the KeyMission 360 at $ 499. However, all three models are being
offered on Amazon, B&H Photo, and Adorama at slight discounts.The Nikon KeyMission 360 was first introduced at CES 2016, and followed later by the KeyMission 80 and KeyMission 170, with the numbers referring to each model's field-of-view. The KeyMission 80 features a 12.5 megapixel front camera and 4.9 megapixel rear camera with support for 1080p recording, while the KeyMission 170 and 360 both support 4K recording. All three cameras are rugged to various degrees, including being waterproof and shockproof.
Via: NikonRumors
Articles: Digital Photography Review (dpreview.com)
Check out the Resources of Digital Photography School for more books or courses on Photography.
Read more on SLR Camera Guide.
The Ultimate Guide to Street Photography
In this extensive article, I will help you understand more about
street photography, how to do it, and all the things you need to think
about including equipment, ethics, and even legalities. This is the
ultimate guide to street photography to help get you started in this
genre of photography.
The first image that typically comes to mind for the term street photography, is an image of a stranger just walking down the street in a city like New York, London, or Tokyo. This is a huge part of street photography of course, but it is only one part, and it can cause confusion over the true meaning of what street photography really is all about, and how it can be done.
Street photography is candid photography of life and human nature. It is a way for us to show our surroundings, and how we as photographers relate to them. We are filtering what we see, to find the moments that intrigue us, and to then share them with others. It’s like daydreaming with a camera.
People do not need to be present for an image to be considered a street photograph. The photograph does not need to be taken in a city, or in a busy market. It can be taken anywhere and can portray nearly anything, as long as it isn’t posed or manipulated. It can be shot at a family barbecue, or in the middle of 5th Avenue in New York City.
While many may consider the term clunky, there is an elegant side to it as well; that I think is often missed. The street is the most public and accessible of places. Street photography is the most public and accessible form of photography. Anyone can do it. You do not need an expensive camera. You do not need a big studio, professional lighting, or beautiful models. We all have the same content out there, and it’s up to us to figure out how to capture that and bring it home.
In addition, while technical quality is always important to every form of photography, it is not celebrated in street photography in quite the same way. A nature or landscape image needs to be sharp. It usually needs to be able to be printed at large sizes with great technical quality. In these genres, you can pick the perfect location, frame it the perfect way, choose the perfect equipment and settings, and continue to come back until you get the perfect lighting.
With street photography, on the other hand, the best image of your life can pop right in front of you on the way to get your morning coffee. This spontaneity is what’s celebrated. That is why grainy images, slightly off-kilter framing a-la Garry Winogrand, or imperfect focus will not always ruin a street photograph. Sometimes they will, and we must aim for technical mastery, but other times they can add to the realness of the moment. Sometimes these deficiencies may actually improve the image.
But these are decisions that can’t be taught. Many of them are spontaneous and instinctive. That is why you can’t buy or read your way into mastery of street photography. You are on the same plane as every other photographer. The only thing standing between you and them is the time spent out there paying your dues, waiting for those intriguing moments to occur, and improving your ability to notice and bring them back with you.
This is something that you will have to come to terms with to do street photography. For every image you capture, no matter how beautiful or interesting, there is the chance that the subject may not like seeing it. Some will, but there are some that will not.
This is the moral cost of doing this type of photography. Most of us do this because we like people, and we like exploring, and capturing culture. The camera is just a way to bring back moments that we see and enjoy. These images have value – both current, and historical value. When you look at images from the 1920s, 1950s, 1970s, or even from fifteen years ago, what are the most interesting images? Usually, it’s the ones that people and culture. These are the photographs that so many find fascinating because there is a lot of cultural value to them.
Fear is one of the toughest obstacles to overcome for beginners, and these moral quandaries can make it even tougher. The main idea to keep in mind is that getting caught does not have to be that bad.
Think about the first time that a comedian bombs on stage, and how important it is to get that out of the way for the first time so that they no longer have to worry about it. Similarly, it’s an important moment when you speak to someone, after having taken his or her candid photograph for the first time.
Keep in mind that when done right, this will usually happen infrequently. But, you want to be confident, and comfortable in what you will say if someone asks you what you are doing. I will say that I am a photographer who is doing a project capturing the culture and people of New York, and I thought they looked fabulous (flattery is key). If they ask further, I will explain more and tell them that I did not mean to make them uncomfortable and that I’m happy to delete the image if they prefer. Only twice, have I ever had to delete a photograph when the person asked me nicely. Those are pretty good odds.
You do not need to delete the photograph of course; that’s a decision you need to make for yourself. I do this type of photography because I like people, and if they seem truly uncomfortable in the moment, then I have decided to delete the images for their benefit and my conscience.
If someone catches you, own up to it. Do not be combative. Even if it is in your legal right, you do not need to use that as your argument. You don’t need to argue at all. Make sure to keep a smile on your face no matter what.
Stealth is obviously good for street photography, since if every single person noticed you taking their photo, it would just make things immensely time-consuming and difficult. However, keep in mind that the stealthier you try to act, the weirder you can actually look. Sometimes, being obvious and taking photos in a direct way can be the least confrontational strategy. The more obvious you look, the less people will think that you could possibly be doing anything wrong. If so, why be so obvious?
Finally, consider starting somewhere busy, such as at a fair or a market. If you are just learning, go where there are a lot of people, so that you will be less noticeable. This is a great way to get over the initial hump, and as you improve, you can then maneuver to completely different places.
Disclaimer: Regarding the law and street photography, do your own research into your local laws, as I am not an expert in this matter. Do not hold me (or dPS) accountable for what is said here, but these are just my own beliefs, based on my research. Do your own due diligence, and get familiar with the laws in your area, or places where you travel.
All countries have different laws, and street photography without permission is illegal in some places. Some make it impossible to do street photography at all, while in other areas photographers may decide to ignore the laws. In some countries, street photographers will continue to take candid images, but only images where the person’s face is unrecognizable.
In the U.S. and U.K., there is no right to privacy in public. This means that you can legally take photographs of anyone in a public place. On private property, that right goes away, but many street photographers choose to ignore that and do not differentiate.
Note: the very definition of that term, public place, may vary from one country to the next – but generally includes things such as’ parks, sidewalks, roads, outdoor common areas of office buildings, and other similar places. Most indoor locations would be considered private spaces such as; shops, churches, schools, and office buildings.
You can use photographs taken in public places for artistic purposes, without the need for a model release. This means you can sell them as fine art prints, or as illustrations for books or cards. However, you cannot use these images for commercial or advertising purposes without a model release of any person in the image. You cannot use the image to promote a product, and you cannot use it in any way that may insinuate something against the person that is untrue.
Legal rights aside, it can also be smart to research an area that you are traveling to so that you can find out what practicing street photography is like there. In some places, it is much easier to do this type of photography, while in others people may be much more confrontational. One of the reasons that New York is a great mecca for street photography is because the people are very used to seeing cameras.
You also want to assess people before you decide to take a photograph of them. It’s usually not worth it to photograph anyone who looks very angry, or who might have some mental disability. Use your judgment, and if your gut says no, then wait for the next one. There are a lot of opportunities out there.
The best tip I can possibly give you is to find a good spot and just wait there. If you only shoot while you are walking, you will come across many wonderful locations, but will only give yourself a brief moment to capture the right image there. Instead, find the right location, and then just wait for the right moment to happen. By hanging out in one area, you will be able to funnel more of your attention towards observing, and your coordination with your camera will be faster. Finally, people will be entering your personal space instead of you entering their space. It makes a big difference to capturing good shots, in a way that is comfortable for both parties.
The next very simple tip refers to the camera snap, which is something that most photographers do instinctually. Try it, and take a photo. The second you take a photograph; you will likely immediately move the camera away from your eye slightly. This is what tips off people, to the fact that you have taken their photo. Instead, after you capture an image, hold the camera there until the subject leaves your scene. It will lead the person to think that you were just photographing the background and that they were in the way, or will confuse them enough to leave you alone.
Next, consider photographing within your everyday life, near where you live. It’s a common misconception to think that you can only do street photography well in the most interesting of areas, or that you will get better photographs if you travel to New York. That is not true. The best photographers can take good images anywhere, and it doesn’t have to be a highly populated area for you to be able to take interesting images. In fact, it may give you an advantage, because you do not have as much competition.
I want to take this point further and have you try an exercise. Think about the least interesting areas, near where you live to photograph. Go there and force yourself to figure out how to take good photographs.
You can do street photography well, with really any type of camera. You can do it with an SLR and a long zoom lens, and you can do it well with a camera phone.
However, different equipment will have different advantages. A zoom lens will give you more obvious opportunities at different distances but will be heavier, more noticeable, and more cumbersome. A prime lens will constrict you to images at a specific distance from the camera, but will also be light, freeing, and fun to use.
Traveling light will give you a lot more flexibility. Mirrorless, micro four thirds cameras, or even a camera phone, will allow you to take images more easily, in places where a large camera would stand out too much. They are lighter and thus more fun to shoot with, which will allow you to enjoy photography in situations where you normally wouldn’t take your SLR.
Prime lenses, while constricting you to a specific focal length, will actually give you a big advantage. You will begin to see the world more intuitively with that focal length, and while the limitation will stop you from being able to capture certain shots, you will become even better at capturing images within the constraints of that focal length. Because of this, you will become quicker, and more spontaneous with your camera.
Many photographers shoot in completely different ways for street photography. There is no correct way, but there are some factors to consider. Also, if you have photographed in the same manner for a long time, I would consider being open to trying other ways of shooting to get out of your comfort zone. It can be good to switch things up every once in awhile.
Some photographers choose to have a lot of bokeh in all of their images. This is a fine way to shoot, but you also have to consider that in the fast moving genre of candid photography, if you are photographing at f/2.8 and you miss the focus slightly, you will probably ruin the shot. It will be tougher to capture images with multiple subjects at different depths shooting wide opened. By choosing to blur the surroundings; you will also remove some of the context and background from the image, which can take away some of the meaning or storytelling.
For these reasons, I usually try to shoot with as much depth of field as possible. I find that with the variety of situations that you can come across suddenly in street photography, this strategy allows you to succeed more often than not.
It is important to pay strict attention to your shutter speed, much more than you would for genres of photography where your subject is not moving. You need a fast shutter speed to freeze the motion of people. I prefer to use 1/250th in the shade and 1/400 or 1/500th in direct sunlight. In darker situations, I will go to 1/160th and sometimes 1/125th.
Now imagine that you are trying to squeeze as much depth of field as possible out of your camera. What is the ideal way to set up your camera to achieve this? The first thing to do is to set your ISO. You should not be afraid to raise your ISO up to high numbers. Grain (or noise if you prefer) is good here. Test your camera out to see how it looks at high ISOs, not just on the monitor, but in different sized prints. With newer cameras, you can easily go to ISO 1600, 3200, and for some even 6400.
With a digital camera on the more advanced of the spectrum (e.g. the Fuji X100 line), I will typically set my camera at ISO 400 in sunlight, 800 in light shade, 1600 in dark shade, 3200 at dusk, and 6400 at night. With entry-level digital cameras, I would probably cut a stop out of that, so 3200 at night, 1600 at dusk, and so on.
The reason for a higher ISO is that it will allow you to have both a fast shutter speed to freeze motion and a smaller (higher numbered like f/8 or f/11) aperture, so that there is as much depth of field as possible in the image.
Finally, I will set my camera to shutter priority mode. You can shoot manual, but I prefer shutter priority because you will often be shooting into the sun one moment, and away from it the next, so the necessary settings will be completely different. I prefer not to have to change my settings every time I turn my body. In consistent lighting situations, indoors, or at night, I will go to manual mode, and for the photos where I want a very shallow depth of field, I will shoot on aperture priority at a low number (like f/2.8), and choose a much lower ISO.
Composition for street photography works the same way that it does for every other genre, but there are a few things that I want you to consider. Compose your street photographs the same way that you would compose your landscape images. Assess the scene and arrange all of the elements together. Instead of a tree here and a mountain there, you might place a fire hydrant here and a ladder there. Every element counts just as much as they do in a traditional landscape, no matter what it is, and the best street photographers have a way of bringing everything together in just the right way.
Sometimes, the subject alone is all that counts, and you will want to frame it, or blur the background away, forgetting about everything else. But that’s only sometimes. A lot of photographers will shoot this way 100% of the time, especially when first starting out, but that’s a mistake. Try to see beyond the main subject, and see if you can combine it with other elements to create a more complex scene. Can you create relationships between subjects to add new meaning to an image? Whether or not you decide to make the surroundings prominent, you always need to be aware of them. I would prefer that you intentionally decide to not include elements of the background, rather than to not notice them at all.
You always want to keep an eye out for your main light sources. How does the light hit your subject, and where is it located in relationship to that subject? How is it hitting the background? What color is the light, and are there multiple light sources? These are ideas that you will usually pay attention to for every type of photography, but it is important to understand for street photography that there is no best time or lighting. The harsh midday light will be just as beautiful and interesting as the warm, even dawn or dusk light. Since you are at the whim of your environment, it is very important to be able to see and maneuver yourself to get the most out of the light in any location. The beauty of street photography, though, is that it will teach you how to work with light very quickly.
Some photographers will use a portable flash to illuminate their subjects and separate them from the background. This can create a great look, but also keep in mind that flashing a stranger in the face can be very confrontational. Also, when the flash is too strong, it can take away from the feeling of reality in the photograph, which is a look that some photographers desire, so it is a decision you will have to make. A surreal look might be something that you are going for, and in that case, a flash could be a big asset.
As humans, we feel what another person is feeling, through their facial expressions. When you’re out shooting, one of the first things you should be doing is paying attention to people’s eyes and the expressions they show. Similarly, you can see subtle cues from a person’s body, so keep an eye out for how a person may be expressing themselves through their body, hands, legs, and feet.
Imperfection
The beauty of street photography is often in its imperfections. You do not need to try and make a photograph perfect in every way. Strong grain (or digital noise), an image that is slightly askew, an element that is slightly in the way, or imperfect lighting, are all examples of what can make an image feel real. While any of these things have the ability to ruin a photo, sometimes they can get in the way just enough to make it feel like a natural moment. So while you should always aim for technical mastery, realize that imperfections can be beneficial, and even necessary.
The goal is to pre-focus your camera to a certain distance. I typically choose between eight and 10 feet away, which is the most common distance where I like to capture my subjects. Then, when subjects enter the range that you are pre-focused for, you can click the shutter without having to waste any time focusing. The fraction of a second that it will save, and the added freedom this allows, will take you a long way.
I usually only zone focus at 35mm and wider, although sometimes I will do it up to 50mm on bright days. The reason for this is because the further you zoom in, the more accurate you have to be with your focus to get your subject sharp. It becomes very difficult to zone focus over 50mm.
Zone focusing is very easy to screw up at first. If you do not gauge the distance correctly, you can easily miss the focus entirely. It is much easier to start off in bright sunlight, because with a 35mm or wider focal length, and an aperture of f/11 to f/16, there will be a huge depth of field. So if you miss the focus by a bit, your important subjects will still be sharp.
You can, and should learn to zone focus in darker situations, and at apertures up to f/2. It’s much more difficult, though, so take your time getting there, but it’s very possible and it just takes practice. When zone focusing at shallower apertures, you can even learn to move the focus ring without looking, so if you are focused at 10 feet and a subject appears five feet away, you can move the focus instinctively to that distance without even looking (this is how sports shooters did it before autofocus existed). This is the pinnacle of skill with zone focusing and takes a lot of practice, but it is very possible to learn to do well.
The toughest step in all of this is to figure out what it is that you actually want to capture and create. What do you want your photographs to be of, and what do you want them to look like?
If you look at the works of any great street photographer who has done it for long enough, there will be many consistencies in their work. Maybe these consistencies last throughout their entire lifetime, or maybe it changes in different bodies of work, but they are there and should be studied to help you find your own.
The longer you shoot, the more you will begin to understand what you are drawn to. You will begin to see types of photographs that you are attracted to, and you will begin to seek them out when you are photographing. Think about what you are trying to portray with your photography. Occasionally, you will have big ideas right away, but often it will take a lot of time for these ideas to grow and develop naturally.
Sequencing is also important to many photographers. While it is not a necessary aspect of street photography, it is a way to place unrelated images together, to create a larger narrative. This is why the book has become, in my opinion, the best way to show street photography. Each image takes on even more importance and meaning when surrounding by other photos. There is a lot of power in how you decide to display your work.
Editing is half of the battle for becoming a good street photographer. When you are out photographing, it is best to be spontaneous and to get lost in the moment, but editing is when you begin to really think about your work in a larger setting. It is where you can explore themes and ideas as they start to pop up in your photography. It is when you can combine similar images to create a larger story. It is where you can develop a style in both look and content. Because of all of this, the time that you put in editing will then help you when you are out shooting. You will notice more because you will have a better idea of what you are looking for, and this will make you a much better photographer.
Consider using Lightroom’s star rating and collection system to organize your best work, and to put photographs with similar themes together. Find consistencies in your work, and images that play well off each other, and create collections for them. Constantly tinker, add, remove photos, and change the order in these collections.
Technically, when editing your work it is important to consider how vital realism is to the genre. Yes, many photographers celebrate the surreal and the extraordinary moment, but they do this only if those moments actually happened. Street photography obsesses over realism, and a made up moment is not a true street photograph. Similarly, an image that is over-edited, so as to make it look fake, will kill the spirit of street photography. The image does not have to be perfect. You do not have to have every detail in the shadows and highlights. While you should do enough post-production to make it look right, always take a step back and consider whether or not you’ve overcooked it.
The final step is to research the work of other street photographers. This is something that you should start from the very beginning to gain inspiration and to understand more about what you are capable of achieving in this genre. Consider the work of photographers who shoot in a variety of locations, including big city, rural, and suburban. Purchase books on a consistent basis, as learning from the book format is still very important. There are many affordable street photography books, to go alongside the expensive ones.
Take special notice to the street photographers whose work you do not like at first. Many people will immediately disregard a photographer at first glance, without delving deeper. The issue with street photographs is that they are often different and weird, and it can be impossible to truly get a sense of what a photographer is trying to portray by seeing just a few photographs. Read about the history and location of the photographer, look through as much of their portfolio as you can, and then try to figure out what they were trying to say. Sometimes you will find yourself with a completely new appreciation for the photographer, and see things in their work that went right over your head with your first look.
Here is a list of photographers to start off with for your research. It is not an exhaustive list, but it will help get you going:
I hope this ultimate guide to street photography has answered some of your questions about this genre of the craft. If you have any others that haven’t been answered or have some comments to add, please do so below.
Now go out and photograph as frequently as possible, and have fun with it.
The post The Ultimate Guide to Street Photography by James Maher appeared first on Digital Photography School.
Digital Photography School
Photography Business Bundle - For Professional Photographers.
Check out the Resources of Digital Photography School for more books or courses on Photography.
Visit here for more on Books and Courses on
Photography.
Read more on Photography
Tips.
OUTLINE
- What is street photography?
- Ethics and overcoming your fear.
- The law and street photography.
- A few of the most important tips to get you started.
- Equipment.
- Camera settings.
- Composition and light.
- Advanced tips.
- Content and concepts of street photography.
- Editing.
- Master street photographer research.
1. WHAT IS STREET PHOTOGRAPHY?
Street photography is an inherently clunky term, and because of this, there are many street photographers that dislike it. They consider themselves photographers, plain and simple.The first image that typically comes to mind for the term street photography, is an image of a stranger just walking down the street in a city like New York, London, or Tokyo. This is a huge part of street photography of course, but it is only one part, and it can cause confusion over the true meaning of what street photography really is all about, and how it can be done.
Street photography is candid photography of life and human nature. It is a way for us to show our surroundings, and how we as photographers relate to them. We are filtering what we see, to find the moments that intrigue us, and to then share them with others. It’s like daydreaming with a camera.
People do not need to be present for an image to be considered a street photograph. The photograph does not need to be taken in a city, or in a busy market. It can be taken anywhere and can portray nearly anything, as long as it isn’t posed or manipulated. It can be shot at a family barbecue, or in the middle of 5th Avenue in New York City.
While many may consider the term clunky, there is an elegant side to it as well; that I think is often missed. The street is the most public and accessible of places. Street photography is the most public and accessible form of photography. Anyone can do it. You do not need an expensive camera. You do not need a big studio, professional lighting, or beautiful models. We all have the same content out there, and it’s up to us to figure out how to capture that and bring it home.
In addition, while technical quality is always important to every form of photography, it is not celebrated in street photography in quite the same way. A nature or landscape image needs to be sharp. It usually needs to be able to be printed at large sizes with great technical quality. In these genres, you can pick the perfect location, frame it the perfect way, choose the perfect equipment and settings, and continue to come back until you get the perfect lighting.
With street photography, on the other hand, the best image of your life can pop right in front of you on the way to get your morning coffee. This spontaneity is what’s celebrated. That is why grainy images, slightly off-kilter framing a-la Garry Winogrand, or imperfect focus will not always ruin a street photograph. Sometimes they will, and we must aim for technical mastery, but other times they can add to the realness of the moment. Sometimes these deficiencies may actually improve the image.
But these are decisions that can’t be taught. Many of them are spontaneous and instinctive. That is why you can’t buy or read your way into mastery of street photography. You are on the same plane as every other photographer. The only thing standing between you and them is the time spent out there paying your dues, waiting for those intriguing moments to occur, and improving your ability to notice and bring them back with you.
2. ETHICS AND OVERCOMING YOUR FEAR
Let’s not sugarcoat this – street photography is an intrusive form of photography, and sometimes it can be creepy to the subjects. Photographing people candidly usually means that you do not have their permission beforehand.This is something that you will have to come to terms with to do street photography. For every image you capture, no matter how beautiful or interesting, there is the chance that the subject may not like seeing it. Some will, but there are some that will not.
This is the moral cost of doing this type of photography. Most of us do this because we like people, and we like exploring, and capturing culture. The camera is just a way to bring back moments that we see and enjoy. These images have value – both current, and historical value. When you look at images from the 1920s, 1950s, 1970s, or even from fifteen years ago, what are the most interesting images? Usually, it’s the ones that people and culture. These are the photographs that so many find fascinating because there is a lot of cultural value to them.
Fear is one of the toughest obstacles to overcome for beginners, and these moral quandaries can make it even tougher. The main idea to keep in mind is that getting caught does not have to be that bad.
Think about the first time that a comedian bombs on stage, and how important it is to get that out of the way for the first time so that they no longer have to worry about it. Similarly, it’s an important moment when you speak to someone, after having taken his or her candid photograph for the first time.
Keep in mind that when done right, this will usually happen infrequently. But, you want to be confident, and comfortable in what you will say if someone asks you what you are doing. I will say that I am a photographer who is doing a project capturing the culture and people of New York, and I thought they looked fabulous (flattery is key). If they ask further, I will explain more and tell them that I did not mean to make them uncomfortable and that I’m happy to delete the image if they prefer. Only twice, have I ever had to delete a photograph when the person asked me nicely. Those are pretty good odds.
You do not need to delete the photograph of course; that’s a decision you need to make for yourself. I do this type of photography because I like people, and if they seem truly uncomfortable in the moment, then I have decided to delete the images for their benefit and my conscience.
If someone catches you, own up to it. Do not be combative. Even if it is in your legal right, you do not need to use that as your argument. You don’t need to argue at all. Make sure to keep a smile on your face no matter what.
Stealth is obviously good for street photography, since if every single person noticed you taking their photo, it would just make things immensely time-consuming and difficult. However, keep in mind that the stealthier you try to act, the weirder you can actually look. Sometimes, being obvious and taking photos in a direct way can be the least confrontational strategy. The more obvious you look, the less people will think that you could possibly be doing anything wrong. If so, why be so obvious?
Finally, consider starting somewhere busy, such as at a fair or a market. If you are just learning, go where there are a lot of people, so that you will be less noticeable. This is a great way to get over the initial hump, and as you improve, you can then maneuver to completely different places.
3. THE LAW AND STREET PHOTOGRAPHY
Disclaimer: Regarding the law and street photography, do your own research into your local laws, as I am not an expert in this matter. Do not hold me (or dPS) accountable for what is said here, but these are just my own beliefs, based on my research. Do your own due diligence, and get familiar with the laws in your area, or places where you travel.
All countries have different laws, and street photography without permission is illegal in some places. Some make it impossible to do street photography at all, while in other areas photographers may decide to ignore the laws. In some countries, street photographers will continue to take candid images, but only images where the person’s face is unrecognizable.
In the U.S. and U.K., there is no right to privacy in public. This means that you can legally take photographs of anyone in a public place. On private property, that right goes away, but many street photographers choose to ignore that and do not differentiate.
Note: the very definition of that term, public place, may vary from one country to the next – but generally includes things such as’ parks, sidewalks, roads, outdoor common areas of office buildings, and other similar places. Most indoor locations would be considered private spaces such as; shops, churches, schools, and office buildings.
You can use photographs taken in public places for artistic purposes, without the need for a model release. This means you can sell them as fine art prints, or as illustrations for books or cards. However, you cannot use these images for commercial or advertising purposes without a model release of any person in the image. You cannot use the image to promote a product, and you cannot use it in any way that may insinuate something against the person that is untrue.
Legal rights aside, it can also be smart to research an area that you are traveling to so that you can find out what practicing street photography is like there. In some places, it is much easier to do this type of photography, while in others people may be much more confrontational. One of the reasons that New York is a great mecca for street photography is because the people are very used to seeing cameras.
You also want to assess people before you decide to take a photograph of them. It’s usually not worth it to photograph anyone who looks very angry, or who might have some mental disability. Use your judgment, and if your gut says no, then wait for the next one. There are a lot of opportunities out there.
4. A FEW OF THE MOST IMPORTANT TIPS TO GET YOU STARTED
We will cover more technical concepts regarding street photography later on, but I want to start you off with a few of the most important tips to consider when you walk out the door. These are the ones that I think can help you out the most.The best tip I can possibly give you is to find a good spot and just wait there. If you only shoot while you are walking, you will come across many wonderful locations, but will only give yourself a brief moment to capture the right image there. Instead, find the right location, and then just wait for the right moment to happen. By hanging out in one area, you will be able to funnel more of your attention towards observing, and your coordination with your camera will be faster. Finally, people will be entering your personal space instead of you entering their space. It makes a big difference to capturing good shots, in a way that is comfortable for both parties.
The next very simple tip refers to the camera snap, which is something that most photographers do instinctually. Try it, and take a photo. The second you take a photograph; you will likely immediately move the camera away from your eye slightly. This is what tips off people, to the fact that you have taken their photo. Instead, after you capture an image, hold the camera there until the subject leaves your scene. It will lead the person to think that you were just photographing the background and that they were in the way, or will confuse them enough to leave you alone.
Next, consider photographing within your everyday life, near where you live. It’s a common misconception to think that you can only do street photography well in the most interesting of areas, or that you will get better photographs if you travel to New York. That is not true. The best photographers can take good images anywhere, and it doesn’t have to be a highly populated area for you to be able to take interesting images. In fact, it may give you an advantage, because you do not have as much competition.
I want to take this point further and have you try an exercise. Think about the least interesting areas, near where you live to photograph. Go there and force yourself to figure out how to take good photographs.
5. EQUIPMENT
You can do street photography well, with really any type of camera. You can do it with an SLR and a long zoom lens, and you can do it well with a camera phone.
However, different equipment will have different advantages. A zoom lens will give you more obvious opportunities at different distances but will be heavier, more noticeable, and more cumbersome. A prime lens will constrict you to images at a specific distance from the camera, but will also be light, freeing, and fun to use.
Traveling light will give you a lot more flexibility. Mirrorless, micro four thirds cameras, or even a camera phone, will allow you to take images more easily, in places where a large camera would stand out too much. They are lighter and thus more fun to shoot with, which will allow you to enjoy photography in situations where you normally wouldn’t take your SLR.
Prime lenses, while constricting you to a specific focal length, will actually give you a big advantage. You will begin to see the world more intuitively with that focal length, and while the limitation will stop you from being able to capture certain shots, you will become even better at capturing images within the constraints of that focal length. Because of this, you will become quicker, and more spontaneous with your camera.
6. CAMERA SETTINGS
Many photographers shoot in completely different ways for street photography. There is no correct way, but there are some factors to consider. Also, if you have photographed in the same manner for a long time, I would consider being open to trying other ways of shooting to get out of your comfort zone. It can be good to switch things up every once in awhile.
Some photographers choose to have a lot of bokeh in all of their images. This is a fine way to shoot, but you also have to consider that in the fast moving genre of candid photography, if you are photographing at f/2.8 and you miss the focus slightly, you will probably ruin the shot. It will be tougher to capture images with multiple subjects at different depths shooting wide opened. By choosing to blur the surroundings; you will also remove some of the context and background from the image, which can take away some of the meaning or storytelling.
For these reasons, I usually try to shoot with as much depth of field as possible. I find that with the variety of situations that you can come across suddenly in street photography, this strategy allows you to succeed more often than not.
It is important to pay strict attention to your shutter speed, much more than you would for genres of photography where your subject is not moving. You need a fast shutter speed to freeze the motion of people. I prefer to use 1/250th in the shade and 1/400 or 1/500th in direct sunlight. In darker situations, I will go to 1/160th and sometimes 1/125th.
Now imagine that you are trying to squeeze as much depth of field as possible out of your camera. What is the ideal way to set up your camera to achieve this? The first thing to do is to set your ISO. You should not be afraid to raise your ISO up to high numbers. Grain (or noise if you prefer) is good here. Test your camera out to see how it looks at high ISOs, not just on the monitor, but in different sized prints. With newer cameras, you can easily go to ISO 1600, 3200, and for some even 6400.
With a digital camera on the more advanced of the spectrum (e.g. the Fuji X100 line), I will typically set my camera at ISO 400 in sunlight, 800 in light shade, 1600 in dark shade, 3200 at dusk, and 6400 at night. With entry-level digital cameras, I would probably cut a stop out of that, so 3200 at night, 1600 at dusk, and so on.
The reason for a higher ISO is that it will allow you to have both a fast shutter speed to freeze motion and a smaller (higher numbered like f/8 or f/11) aperture, so that there is as much depth of field as possible in the image.
Finally, I will set my camera to shutter priority mode. You can shoot manual, but I prefer shutter priority because you will often be shooting into the sun one moment, and away from it the next, so the necessary settings will be completely different. I prefer not to have to change my settings every time I turn my body. In consistent lighting situations, indoors, or at night, I will go to manual mode, and for the photos where I want a very shallow depth of field, I will shoot on aperture priority at a low number (like f/2.8), and choose a much lower ISO.
7. COMPOSITION AND LIGHT
Composition for street photography works the same way that it does for every other genre, but there are a few things that I want you to consider. Compose your street photographs the same way that you would compose your landscape images. Assess the scene and arrange all of the elements together. Instead of a tree here and a mountain there, you might place a fire hydrant here and a ladder there. Every element counts just as much as they do in a traditional landscape, no matter what it is, and the best street photographers have a way of bringing everything together in just the right way.
Sometimes, the subject alone is all that counts, and you will want to frame it, or blur the background away, forgetting about everything else. But that’s only sometimes. A lot of photographers will shoot this way 100% of the time, especially when first starting out, but that’s a mistake. Try to see beyond the main subject, and see if you can combine it with other elements to create a more complex scene. Can you create relationships between subjects to add new meaning to an image? Whether or not you decide to make the surroundings prominent, you always need to be aware of them. I would prefer that you intentionally decide to not include elements of the background, rather than to not notice them at all.
You always want to keep an eye out for your main light sources. How does the light hit your subject, and where is it located in relationship to that subject? How is it hitting the background? What color is the light, and are there multiple light sources? These are ideas that you will usually pay attention to for every type of photography, but it is important to understand for street photography that there is no best time or lighting. The harsh midday light will be just as beautiful and interesting as the warm, even dawn or dusk light. Since you are at the whim of your environment, it is very important to be able to see and maneuver yourself to get the most out of the light in any location. The beauty of street photography, though, is that it will teach you how to work with light very quickly.
Some photographers will use a portable flash to illuminate their subjects and separate them from the background. This can create a great look, but also keep in mind that flashing a stranger in the face can be very confrontational. Also, when the flash is too strong, it can take away from the feeling of reality in the photograph, which is a look that some photographers desire, so it is a decision you will have to make. A surreal look might be something that you are going for, and in that case, a flash could be a big asset.
8. ADVANCED TIPS
Facial expressions and gestures
When capturing images of people, photographing them just walking down the street, or standing in place, is not enough. To take your image to the next level, that person needs to have a strong facial expression or gesture in their body.As humans, we feel what another person is feeling, through their facial expressions. When you’re out shooting, one of the first things you should be doing is paying attention to people’s eyes and the expressions they show. Similarly, you can see subtle cues from a person’s body, so keep an eye out for how a person may be expressing themselves through their body, hands, legs, and feet.
Imperfection
The beauty of street photography is often in its imperfections. You do not need to try and make a photograph perfect in every way. Strong grain (or digital noise), an image that is slightly askew, an element that is slightly in the way, or imperfect lighting, are all examples of what can make an image feel real. While any of these things have the ability to ruin a photo, sometimes they can get in the way just enough to make it feel like a natural moment. So while you should always aim for technical mastery, realize that imperfections can be beneficial, and even necessary.
Zone Focusing
Zone focusing is simple to learn, fairly difficult to master, and agonizing to explain in writing (it’s much easier to just show someone how to do it). Basically, zone focusing is the strategy of turning your autofocus off and using manual focus. When done well, it can allow you to capture consistently sharper images in a variety of situations.The goal is to pre-focus your camera to a certain distance. I typically choose between eight and 10 feet away, which is the most common distance where I like to capture my subjects. Then, when subjects enter the range that you are pre-focused for, you can click the shutter without having to waste any time focusing. The fraction of a second that it will save, and the added freedom this allows, will take you a long way.
I usually only zone focus at 35mm and wider, although sometimes I will do it up to 50mm on bright days. The reason for this is because the further you zoom in, the more accurate you have to be with your focus to get your subject sharp. It becomes very difficult to zone focus over 50mm.
Zone focusing is very easy to screw up at first. If you do not gauge the distance correctly, you can easily miss the focus entirely. It is much easier to start off in bright sunlight, because with a 35mm or wider focal length, and an aperture of f/11 to f/16, there will be a huge depth of field. So if you miss the focus by a bit, your important subjects will still be sharp.
You can, and should learn to zone focus in darker situations, and at apertures up to f/2. It’s much more difficult, though, so take your time getting there, but it’s very possible and it just takes practice. When zone focusing at shallower apertures, you can even learn to move the focus ring without looking, so if you are focused at 10 feet and a subject appears five feet away, you can move the focus instinctively to that distance without even looking (this is how sports shooters did it before autofocus existed). This is the pinnacle of skill with zone focusing and takes a lot of practice, but it is very possible to learn to do well.
9. CONTENT AND CONCEPTS OF STREET PHOTOGRAPHY
The toughest step in all of this is to figure out what it is that you actually want to capture and create. What do you want your photographs to be of, and what do you want them to look like?
If you look at the works of any great street photographer who has done it for long enough, there will be many consistencies in their work. Maybe these consistencies last throughout their entire lifetime, or maybe it changes in different bodies of work, but they are there and should be studied to help you find your own.
The longer you shoot, the more you will begin to understand what you are drawn to. You will begin to see types of photographs that you are attracted to, and you will begin to seek them out when you are photographing. Think about what you are trying to portray with your photography. Occasionally, you will have big ideas right away, but often it will take a lot of time for these ideas to grow and develop naturally.
Sequencing is also important to many photographers. While it is not a necessary aspect of street photography, it is a way to place unrelated images together, to create a larger narrative. This is why the book has become, in my opinion, the best way to show street photography. Each image takes on even more importance and meaning when surrounding by other photos. There is a lot of power in how you decide to display your work.
10. EDITING
Editing is half of the battle for becoming a good street photographer. When you are out photographing, it is best to be spontaneous and to get lost in the moment, but editing is when you begin to really think about your work in a larger setting. It is where you can explore themes and ideas as they start to pop up in your photography. It is when you can combine similar images to create a larger story. It is where you can develop a style in both look and content. Because of all of this, the time that you put in editing will then help you when you are out shooting. You will notice more because you will have a better idea of what you are looking for, and this will make you a much better photographer.
Consider using Lightroom’s star rating and collection system to organize your best work, and to put photographs with similar themes together. Find consistencies in your work, and images that play well off each other, and create collections for them. Constantly tinker, add, remove photos, and change the order in these collections.
Technically, when editing your work it is important to consider how vital realism is to the genre. Yes, many photographers celebrate the surreal and the extraordinary moment, but they do this only if those moments actually happened. Street photography obsesses over realism, and a made up moment is not a true street photograph. Similarly, an image that is over-edited, so as to make it look fake, will kill the spirit of street photography. The image does not have to be perfect. You do not have to have every detail in the shadows and highlights. While you should do enough post-production to make it look right, always take a step back and consider whether or not you’ve overcooked it.
11. MASTER STREET PHOTOGRAPHER RESEARCH
The final step is to research the work of other street photographers. This is something that you should start from the very beginning to gain inspiration and to understand more about what you are capable of achieving in this genre. Consider the work of photographers who shoot in a variety of locations, including big city, rural, and suburban. Purchase books on a consistent basis, as learning from the book format is still very important. There are many affordable street photography books, to go alongside the expensive ones.
Take special notice to the street photographers whose work you do not like at first. Many people will immediately disregard a photographer at first glance, without delving deeper. The issue with street photographs is that they are often different and weird, and it can be impossible to truly get a sense of what a photographer is trying to portray by seeing just a few photographs. Read about the history and location of the photographer, look through as much of their portfolio as you can, and then try to figure out what they were trying to say. Sometimes you will find yourself with a completely new appreciation for the photographer, and see things in their work that went right over your head with your first look.
Here is a list of photographers to start off with for your research. It is not an exhaustive list, but it will help get you going:
|
|
I hope this ultimate guide to street photography has answered some of your questions about this genre of the craft. If you have any others that haven’t been answered or have some comments to add, please do so below.
Now go out and photograph as frequently as possible, and have fun with it.
Digital Photography School
Photography Business Bundle - For Professional Photographers.
Check out the Resources of Digital Photography School for more books or courses on Photography.
Visit here for more on Books and Courses on
Photography.
Read more on Photography
Tips.
Subscribe to:
Posts (Atom)