streetphotography

For many years, the only lens focal length I felt comfortable with when doing street photography was a 50mm.

At first glance, all we see is a dinky point-n-shoot camera; not much to it. It slips inside my front pocket, I mean, how powerful can it be? Well, photographers shouldn’t be fooled by its size and minimalism; like many of our subjects in the street. The Ricoh GR III is called a “wolf in sheep’s clothing” for a reason.

YouTuber Guy Jones created this 20-minute video that offers a brief history of street photography. It's a slideshow of 182 photos -- one photo for every year between 1838 and 2019.

Bruce Gilden is one of the top street photographers of our generation. He’s controversial, talented and he has his own style… so there’s no question as to why some might want to emulate him.

After moving to New York City from London in September 2017, British photographer and actress Marielle Clare began wandering the streets of her new city with her camera. Over the following year, she captured NYC from the street and from the air, shooting photos from all angles and across all seasons.

As with any genre of photography, there is no "one size fits all" solution for exposure in any given situation. There are as many different means of achieving a "look" as there are photographers practicing those methods, and any can be adapted to fit into the kind of photography you want to be doing.

A very common piece of advice for photographers looking to take their work to the “next level” is that they must invest time in themselves in the process of developing a “style.” A photographic style can mean many things; a theme within the subject matter, a specific color palette, a certain compositional approach, and anything else that leaves the artist's work with a distinct "fingerprint."

Autos is a project by street photographer Nick Turpin, who photographed the lines of cars under the glow of big city billboards.

Street photography is one of the best ways to exercise and train your eye for application to photojournalism projects. I've written before about the way I apply the techniques and style from my street photography to my set stills and BTS as well as my long term fashion BTS project and I think that practicing some form of street photography every single day is an incredible way to keep your eye active and your mind constantly searching for new possibilities.

A very slight and easy change one could implement to an otherwise straightforward approach in street photography (as well as other genres) is to play with shooting from angles other than eye-level. It may an unconscious choice by some people that their perspective doesn't shift much from their own, so I think it's important to discuss how even a minor alteration in angle can improve, or at least change, the image.

There is an observation about stand up comedians that once they reach a certain level of fame their material becomes less about "grounded" observations and criticisms and instead becoming more about airplane food and hotel rooms.

Great photography tells a compelling story. Weaving narrative into photos and photo series is a challenging task -- the storyteller cannot simply make the world conform to their imagination as the author or painter can. Photographers only have one frame to convey meaning -- motion and action have to be paraphrased and the moment of transformation captured.

Well-known London street photographer Nick Turpin has started a new point-of-view video series to allow people to "come along for the ride" as he creates his work. The 17.5-minute video above is a look into how he works and things on the streets of the UK's capital.

"Streets in Mind" is a new short film by SmugMug Films that looks at the life and work of London-based street photographer Alan Schaller. Walking the streets of NYC, Schaller offers thoughts and insights on shooting street photos in major cities.

My first time in a Sub-Saharan African country was in Ethiopia, and to be honest I wasn’t sure what to expect. Well, yes I know, I was expecting to get ‘in the zone’ at all times and take hundreds of great pictures like I expect from all my photography trips. Not too much to ask, is it?

I recently shot this image while teaching a street photography workshop in London. I had been talking to my students about noticing things that were “odd” or out of place which normally makes for an engaging subject.

I started photography on perhaps the most popular focal length, 35mm, in the form of my RX1R, which I shot through my time at university. From there I moved to 50mm, which was a revolution to me in the way I saw and thought about my images. I now shoot the majority of my favorite images on a 90mm, which although not entirely unconventional is still far from the “standard.”

I’ve been feeling for a while now that something has been lacking from my street photography. I seem to have settled into a “style” or “way of seeing” that features themes of solitude and isolation, monotone color palettes, and generally bland scenes – in line with my descriptions of “New-Wave Street Photography”.

Like its predecessors, the Fuji X100 and Fuji XT, the Fuji GFX 50R is a marvel of engineering, ergonomics, size, image quality, and price.

I see a lot of articles across the Internet claiming to know the "rules to follow" or the "things to avoid" in street photography, easily one of the most hotly debated genres. What they tend to misunderstand is just how little the genre cares for photographic rules, and what the defining elements of street photography really are that go beyond any of the purely photographic elements.

Photographs are as much about what is not included as the subjects in the frame. Being aware of the things I avoid is as helpful to me as the things I gravitate towards when it comes to composing an image.

I’m not sure on what day I realized that my street photography work had become overly homogeneous, and sometimes asinine. “Oh look, a red car and a red shirt. click.” I’d been in love with the look of Fujifilm’s Classic Chrome (based off of Kodak Kodachrome) and had begun to shoot a lot of color for color’s sake.

Sometimes one of the best things I can do for my photography, specifically for improving my compositions, is to put my camera down and walk around without taking photographs.

One of my images has been subjected to criticism and scrutiny in a way that none of my other work ever has. The photograph in question is of a scene in London, Chinatown; a man reaches into a sewer while shouting about how someone threw his needles down there.

One of the questions I am asked most frequently is “how do you make money from street photography?” So far, aside from print sales and teaching courses, the answer has been that I approach street photography as a form of “practice” -- a space in which I can experiment with new techniques, work on my style, and rehearse different fast-paced scenarios.

I've been using some version of "street" photography as practice and exercise for all areas of my photography since I started taking it seriously in 2015, but I've never been as focused and regimented about honing my approach to street photography every day as I have been since the start of 2018, when I decided to give myself an entire year to "make it" as a photographer.

Here's a thought-provoking 9-minute video by UK photographer Jamie Windsor regarding the ethics of street photography.

I went on a photo walk the other day with a friend who mostly shoots events and does client-focused work. The majority of the time we just talked about freelance work, but every now and then we’d see an interesting scene and capture it. We both shot on zoom lenses, but when she would show me her captures, I couldn’t help but notice how zoomed in she was.

I was interviewed by street photographer Eric Kim back in 2016, and it was a huge deal for me! I remember when I first started shooting street, his blog was one of the first that I came by.