The challenges of Street photography
Photographing strangers is one of the most challenging aspects of street photography.
Most frequently street photographers aim for candid shots; pictures taken without the subject's knowledge, and quite often they are presented with a difficult decision whether to ask for permission, to secretly photograph people or maybe find some compromise between the two.
Most photographers will develop some method or another to deal with this challenge in a way that works best for them. 1) Some photographers choose to secretly photograph people; Walker Evans employed this method while photographing people in New York City in the 1930's and 40's hiding his camera under his coat and capturing his subjects through a buttonhole. After talking to many street photographers through emails and blogs, I find that many of them often choose to photograph people using this approach and though I'm not a fan of this method, I recognize why many photographers will choose to be unseen as it gives them a truly candid and authentic looking photos.
They will typically take pictures using automatic compact cameras or even telephoto lenses so they can photograph their subjects from a "safe distance". If you really think about it you will recognize this method of capturing street photos makes a lot of sense because it demands that you adjust to the energy of the streets; quickly recognize your potential scene and grab it.
With some practice you'll be able to make your picture just as you imagined it and before the scene changes forever.
Photographing on the move
is easier if you don't have any bulky equimpment.
Street photos are often formed on the move. Consequently, there will be no time to address the usual photography routines and very often even focusing can become an extravagance.
Street life has its own pace. Therefore it will make a lot of sense to record the street life by using what's out there rather than sitting around patiently and waiting for the right light or even worse, the right occurrence.
Adjusting to the energy of the streets requires fast thinking and quick reaction. Fiddling with the camera or any extra equipment you might carry around will result in the disappearance of that Kodak moment.
As it is, the best results in street photography are often achieved owing to the photographer’s exploring eye and eagerness but seldom to the
highly sophisticated equipment.
The mystery
One of the best things about street photography is that it is like going on an unknown voyage.
You just never know what you are going to find, or what shots you are going to make. Maybe a real nightmare for the average coordinator but such a treat for those who dislike any form of planning. And mind you, most other forms of photography demand heaps of preparation in advance.
So there!
The people
2) Other street photographers believe that sneaking on people is morally wrong and therefore should be avoided. They rather ask for permission before taking pictures of strangers, arguing that even if not candid, engaging with the subject will always yield better results. And sure enough this method works just fine sometimes and I agree it can actually be rather fun, not to say interesting, to meet and learn something about the people you are photographing. However this technique is certainly not always practical and speaking for myself, I'm not always in such a frame of mind to stop and chat with everybody I photograph.
3) Finally there are those street photographers who simply opt for the "fast shooter" method which consists of making quick snaps without attempting to hide or be unseen. This method can produce candid photos however eliminate the creepy factor. I know it because this is how I shoot for many years now. People simply don't get offended or annoyed just because you picked up your camera and took a picture.
You are in public and taking pictures in public is legitimate and most people get it. But people get awfully suspicious and even angry if they notice you sneaking up on them like you're doing something wrong.
As a "rule" I avoid photographing people who don't want to be photographed. It's their right and I respect it. Now, if I was secretly photographing them I would have taken that right away from them. Though I have to mention that at times I take pictures of someone, who, for various reasons, just doesn't notice me, but as I don't take compromising, offensive or questionable pictures to begin with, the risk of ever upsetting anybody is quite minimal.
You'd be surprised how positive people's reaction can be in the face of your confidence and candor.
And it won't hurt employing your cute smile as well :)
(do you need to care about)
Constructing a street photograph
As the street photographer is dedicated to a fast and easy motion, he will benefit by eliminating any extra equipment.
And so in order to overcome, for example, the absence of the extra lenses, the gadget-free street photographer will gracefully move around to find the desired distance from the subject. And no doubt she will never be afraid of tilting the camera, climbing up or even getting closer to the ground.
You can care about the photograph's construction or not.
Many people believe it is necessary to study arts and design in order to come up with a satisfactorily constructed picture.
But since [street] photography is a tool for both documenting and self expression, the design and layout of a photograph is inferior in importance.
It means the composition of a photograph should be spontaneous to the scene and employed by the photographer's visualization and not by an intended use of a set of rules for correct design
Not that a basic understanding of composition and design could hurt anyone, but don't let that bother you too much and definitely don't let it be the main motivation when making your choices.
And just in case you still believe learning design and composition is important, here is something for you to think about:
The sad truth is that when I capture a photo I am completely ignorant of its aesthetic characteristics and in actuality I cannot recognize any of the artistic qualities unless someone points them out for me.
So you might think this fact is a supporter of the argument some people are simply born with what people often call "a good eye" and in essence they are talented from birth.
But maybe people are not really born Gifted, but instead they are just good at unconsciously absorbing the aesthetics of design throughout their lives (by a daily exposure to communication, media and arts).
In any case, may the fact be people are born talented or not, I do believe one can learn how to see, though, unlike most people, I don't think the answer will be found in books nor in a classroom.
Indeed the solution is simpler than it seems:
Being out there and taking lots of pictures.
The recipe for greatness in every area of our life is 'doing again' and photography is no different.
So now my dear reader, go out there and take some great pictures.
