Street Photography

[John 2]

Came across this on a Fuji site recently. Brian Lloyd Duckett seems to be a specialist in the genre that some of you might already know about but given there has been some discussion on the subject recently, I thought it might be worth posting a couple of links to his recent blog on a Fuji site I visit. Part 2 was of more interest than Part 1 for me but both seem form an excellent dissertation on the subject.

Part 1
https://fujifilm-blog.com/2018/07/30...graphy-part-1/

Part 2
https://fujifilm-blog.com/2018/08/14...graphy-part-2/

[Shadowman]

John,

Thanks for the link.

[Manfred M]

Two interesting posts that address one of the biggest hurdles that the budding street photographer has to overcome; fear.

The author makes a lot of sense, but in my experience he is dead wrong about people accepting the fact that there are cameras everywhere and are used to being photographed. With people I have spoken to, they see a significant difference between being picked up by an anonymous security camera and being deliberately photographed by an unknown person. Even if they are not, there are busy-bodies around that make it their business "protecting" people from photographers.

As much as people want you to believe that there are "rules" on street photography and that a wide angle lens on a tiny camera is a must; this is 100% rubbish. When I do street photography I use large and small camera bodies. I shoot wide angle and I shoot with a long lens. The result you are looking for dictates the equipment and approach. Hang around in an area for a while (1/2 hour to a couple of hours) and people will get used to you being there and no longer even notice you when taking pictures. Chatting with strangers and asking for permission to take a shot is an approach I sometimes use; often it works, sometimes people say no.

I personally come to street photography from a portraiture rather than photojournalism standpoint, so much of my work does have an "environmental portrait" look and feel. That works for me, but won't necessarily for someone else.

[Shadowman]

Manfred,

What did you mean by "busy bodies", are these people who point out what you are doing or who bring attention to you by looking for what you are shooting? I've run into both and on one occurrence had an overexuberant street photographer wannabe loudly state "ooh look dad he's doing street photography".

[Manfred M]

Manfred,

What did you mean by "busy bodies", are these people who point out what you are doing or who bring attention to you by looking for what you are shooting? I've run into both and on one occurrence had an overexuberant street photographer wannabe loudly state "ooh look dad he's doing street photography".

A bit of both, in my experience. Some of them seem to not understand the law and like telling photographers that what they are doing is illegal (and don't get it when one tries to explain the law to them) and others go out of their way to protect innocent people from those nasty street photographers.

[John 2]

I also found that part one could questioned in some areas but part 2 deals with the photographers psychology and that why I thought it the more useful. I do have built in barriers to effective street photography but there again I don't do enough.

[Manfred M]

I also found that part one could questioned in some areas but part 2 deals with the photographers psychology and that why I thought it the more useful. I do have built in barriers to effective street photography but there again I don't do enough.

Perhaps John, but I strongly disagree with a number of his comments and suggestions in part 2 as well.

For example, I find a prime lens quite limiting and virtually always shoot a zoom in street work. I have my camera turned off and as I raise it to my eye, I turn it on. I never use a wrist strap and I find that walking around with a camera on my wrist is too heavy and restrictive and moving my finger to the shutter release happens as I turn the camera on and move it to the shooting position.

[John 2]

Ah but we are all different Manfred. Perhaps his only sin was not to add that his was only to point out some of the possibilities and that they should be used only to discover what suits each of us best. For my part, I do use a wrist strap. I use one exclusively on my Fuji X100f, more as a safety measure because its size allows me to carry it at my side in the palm of my hand where it is ready for a hip shoot or can be brought up to eye level fairly readily. I couldn't do that with a neck strap. I also use one on my XT-2 but if I am abroad, I also fit a steel wire re enforced neck strap as a precaution against theft on the hoof. That way, anybody trying a slash and grab has two attachments to contend with.

[Manfred M]

Ah but we are all different Manfred. Perhaps his only sin was not to add that his was only to point out some of the possibilities and that they should be used only to discover what suits each of us best. For my part, I do use a wrist strap. I use one exclusively on my Fuji X100f, more as a safety measure because its size allows me to carry it at my side in the palm of my hand where it is ready for a hip shoot or can be brought up to eye level fairly readily. I couldn't do that with a neck strap. I also use one on my XT-2 but if I am abroad, I also fit a steel wire re enforced neck strap as a precaution against theft on the hoof. That way, anybody trying a slash and grab has two attachments to contend with.

I agree 100% John, and this is perhaps what bothers me about many authors that we find on the internet (and elsewhere), they describe how they use their cameras as being the "correct way" of doing something rather than suggesting it is currently their preferred way of working. I find this to be misleading and have spent some time with frustrated new and even intermediate level photographers have come to me when they struggle with something they've picked up on YouTube that is not particularly working well for them.

It's all about what works for the individual photographer and in the end, what counts is getting the result we want.

[Shadowman]

I've only heard the "prime only" stated a few times by practitioners but others might imply the same by stating a specific focal length is necessary, usually the 35 to 50mm range. I'll use whatever camera/lens combo I have with me, usually a DSLR with the 70-300mm unless I'm looking for a specific look and then I might two or three lenses with me, either the 10-24mm or 24-70mm.

[FujiXuser]

I've only heard the "prime only" stated a few times by practitioners but others might imply the same by stating a specific focal length is necessary, usually the 35 to 50mm range. I'll use whatever camera/lens combo I have with me, usually a DSLR with the 70-300mm unless I'm looking for a specific look and then I might two or three lenses with me, either the 10-24mm or 24-70mm.

I didn’t take the “use prime” by Brian Lloyd Duckett to be a rule. It was in the context of shooting quickly—without the need to set the focal length. The other aspect here is that shooting with a prime frequently adds familiarity with managing the content of the photography. Again, in the context of shooting quickly. The context of his articles was overcoming one’s fear of street photography.

[William W]

I appreciated the content of both articles. I think that the author's intention was that the two papers be an introduction and in so doing there were quite a few generalizations meant as guidelines.

However, I am quite uncomfortable regarding the advice to "shoot covertly" - I think that the two TECHNIQUES that the author illustrates are worthwhile technique tips to practice - but IME, most readers will remember only "Shoot Covertly" and that is quite bad, in my opinion.

I guess this is more a comment on the author's writing, rather than his suggestions.

Additionally it is noted that with every example of street photography the author posted in the papers, there is not one where there is direct connectivity and rapport between the Subject and the Camera. That's certainly a subset of Street Photography style which lends itself to the general technique of "Shooting Covertly".

Only by way of credibility of experience behind the above comments: this was made with an EOS 5D Series DSLR (with battery grip mounted) and an EF 24 to 105/4L Lens. In my opinion, making this shot with the Subject's knowledge and direct interaction (as opposed to covertly recording the scene without his knowledge), makes the image more credible; more dramatic and tells "the story" with much more impact, significance and reality.



WW

[William W]

I agree 100% John, and this is perhaps what bothers me about many authors that we find on the internet (and elsewhere), they describe how they use their cameras as being the "correct way" of doing something rather than suggesting it is currently their preferred way of working.

Probably because they have not taken the NECESSARY time and effort to hone their writing skills.

And, in this age where we spend more time communicating via the WRITTEN word, everyone can always improve: in this regard I've learnt much from the feedback Trev (Tronhard) provided to me a few years ago and its appropriate to mention that I am indebted to him for that feedback.

WW

[Manfred M]

Agreed about the equipment and shooting with a full frame D800 camera with battery pack and a f/2.8 70-200mm lens while hiding in plain sight.





Stealth mode can be fine, but getting eye contact will often result in a stronger image and that is challenging to do when shooting covertly. Shallow depth of field makes this shot more of a portrait than a street shot, but based on the previous image, the subject certainly knew I was there taking his picture.

[Manfred M]

Probably because they have not taken the NECESSARY time and effort to hone their writing skills.

And, in this age where we spend more time communicating via the WRITTEN word, everyone can always improve: in this regard I've learnt much from the feedback Trev (Tronhard) provided to me a few years ago and its appropriate to mention that I am indebted to him for that feedback.

WW

I suspect that the issue is even more fundamental Bill.

One cannot write clearly without thinking clearly first. That is something that many writers do not seem to understand.

[William W]

I think that it has to be recognized that there are quite a few ways that we can divide Street Photography into subsets.

And one method of dividing Street work is:

A) Reporting a Subject from a passive ONLOOKER's Point of View
B) Reporting a Subject from an ENGAGED Point of View

The former is often likely to report the scene and the involvement of the Subject with some, but not much character and purpose.

The latter is often more likely to report the scene and the involvement of the Subject with more character and purpose.

However, when reporting Subjects (plural), it is likely that the essence of the image's story is embedded in the rapport and communication BETWEEN the Subjects and NOT between Subject and Camera - for example, here:


"After the Concert" - Vienna Subway
Fuji X100s

On the other hand, sometimes, even when there is strong interplay between Main Subjects, it is just fantastic when rapport is created and they interact with the Viewer:


"Little Girl and Her Dog" - Doorway in Venice
EOS 5D 24 to 105/4

WW