streetphotography

As New York City -- the US epicenter of the pandemic -- continues to battle the coronavirus, mayor Bill de Blasio is now asking New Yorkers to report people and businesses who are breaking social distancing rules by photographing them.

One of the byproducts of the new-wave approach to street photography, which champions anonymity, mystery, and a cinematic aesthetic, is that there is an absolute abundance of images featuring silhouetted figures and shadow play. These are the kind of images I started off creating, and there are some fantastic artists who have utilized this style over the years, my favorite of these being Fan Ho, one of the classic progenitors of this style.

There is an excellent quote regarding practice attributed to legendary martial artist Bruce Lee that I think provides a great framework for many pursuits but also highlights one of my earliest struggles with ideas around “style” in photography: “I fear not the man who has practiced 10,000 kicks once, but I fear the man who has practiced one kick 10,000 times.”

Street photography has always been the cool kid of the photographic industry, and wedding photography has ever been the oldfangled unfashionable square. Even landscape photographers in their fishing vests and hiking boots seem to get more street cred than wedding snappers.

There seems to be a trend in current photography goals to achieve a “look” to one's work. I feel this is a short-sighted goal, and that a consistent aesthetic is more the result of careful curation of a large body of work, rather than something that ought to be deliberately achieved.

There are so many factors to potentially juggle for any given street/documentary situation that eye contact for me tends to fall a bit to chance -- if it happens it happens and if it doesn’t it doesn’t. It is rarely something I feel makes or breaks an image, but more frequently I’ve been thinking about what specific function working to achieve (or deliberately avoid) eye contact could offer to my photographs.

Photographer Evan Raft recently published a list of 7 helpful, back-to-basics tips for anybody who is interested in getting started with street photography. If you're a beginner, this video is a great place to start before going out and trying to capture your first few street shots.

Street photographers are not known for their reserve. We are happy to give advice on gear, framing and technique. But I believe the best photographers are those who also seek advice and look to learn from others. That said, not all advice is equal, and some ideas are outdated, narrow minded, or just plan wrong.

I think that one of the hardest elements to incorporate in a street photograph is humor. Unlike other themes in street photography, I think that naturally occurring “funny” scenes are harder to stumble across, as they often involve a lot of interpretation and may involve playing with elements in the composition rather than being able to rely on finding a scene that is funny “as it is.”

Whenever I travel for photography, there’s a real sense of anticipation for the scenarios I might face, the feeling that the next great moment is just around the corner. As a street and documentary photographer, my intention when traveling is not to see “the sights”, or to eat the foods, or to hear the music -- instead, it is specifically to meet the people and see what aspects of myself exist in foreign situations.

I've noticed that a commonly used compliment for street photographs is to describe them as "timeless." My interpretation of this is that it is used to mean that there are characteristics of the image which in some way transcend the boundaries of the context it was made in and can exist almost in its own context, its own space.

Fourteen years ago I took an interest in street photography. I went looking for resources and information on this amazing genre, unfortunately to no avail, until I came across a great free ebook in 2006 called “Street Photography for the purist” by Chris Weeks.

"Take another photo and I'm going to shove that camera up your a**." Beware of small guys with big mouths. That's the takeaway here.

Shooting street photography without a project in mind is like shopping for food when you’re hungry. You might get a few nice treats, but ultimately you get back and find there is nothing to sustain you.

On the surface, street photography may seem like a genre of disparate and random images based completely on chance. In reality, when done well, street photography can be turned into a cohesive art form that allows a photographer to show off a strong vision.

COOPH recently got together with London-based street photographer and co-founder of Street Photography Internationa Alan Schaller to talk about one of the most deceptively difficult forms of photography out there: black and white street photography.

I’m going to share with you 11 secrets that will help you up your night street photography game. These tips are based on what I teach paying customers on my London Soho Night Street Photography workshops, but don’t worry if you’re coming to one, I have many more secrets!

I think the question of whether something is or is not "art" is a bit disingenuous, often 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's a photograph, music, sculpture, or a blade of grass in a field.

Before my recent trip to India, I had a lot of conflicting thoughts regarding the gear I wanted to take. My entire purpose for traveling was to make photographs, so I wanted to shape my kit into the most efficient setup possible.

It goes without saying that if you want to get better at something you have to practice. Simple, right? The thing is, that unlike more structured pursuits such as sports or music, the idea of practicing street photography seems a bit hard to wrap one’s head around.

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.

I’ve been shooting with the Ricoh GR III for the past few months and I can tell you it definitley lives up to the hype. It’s small, stealthy and produces amazing images but is this the ultimate street photography camera? My Ricoh GR III street photography review has the answer.

Brooklyn-based photographer Josh Katz made this 11-minute video of a social experiment he did on the streets of New York City to "turn street photography on its head." Instead of shooting photos of strangers and walking away with the images, Katz shot Polaroids of people, handed them the picture to keep, and then tried to strike up conversations as the prints developed.

The historic Gion neighborhood in Kyoto has enacted a photography ban near one of the area's most photographed streets. The law comes in response to rude tourists and street photographers who have been flocking to the neighborhood to capture photos of its narrow alleyways, picturesque tea houses, and the geishas who call Gion home.

It can be very easy to arbitrarily limit oneself by genre; I think the effect this has on the mindset of a photographer can potentially really damage the quality of the work they look to produce.

I always wanted to shoot Japan during the winter when it was snowing, and earlier this year I got the chance when I headed to Sapporo—the biggest city in Hokkaido, Japan’s northernmost island. This city is seriously underrated for street photography.

First things first. For me, street photography is more than just taking candid photos. Street photography can also be asking strangers permission to photograph them or photographing empty streets. Whatever it is, the common nominator is that you go on the street and take photos of the “street life.” That’s how I see it.

Well-known portrait photographer and YouTuber Manny Ortiz recently gave himself a challenge. In an attempt to get out of a creative rut, he decided that he would try street photography for the first time. As those of you who regularly shoot in the street can probably predict, it didn't necessarily go so well.

One of the best parts of being an active member of the online photography community is the range of criticism I have access to when I share my work. Being open to constructive criticism is an essential part of growth as an artist -- not only can it highlight shortcomings, but it can also emphasize areas in which you may be strong without realizing it.

Whether it’s a wedding, a festival, or a protest, crowds present photographers with some unique challenges. I’ve spent some time working on figuring out the best ways to handle crowded environments in order to produce images that are consistent with my style, while conveying the energy of the crowd in that moment.