The Ultimate Guide to Street Photography

By: James Maher 

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.

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:

Henri Cartier-Bresson Garry Winogrand Robert Frank Helen Levitt Lee Friedlander William Eggleston Walker Evans Daid? Moriyama Martin Parr

Elliot Erwitt Joel Meyerowitz Mary Ellen Mark Bruce Davidson Saul Leiter Trent Parke Alex Webb Vivian Maier Bruce Gilden

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.

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Everything a Beginner Should Know to Improve Their Street Photography

By: James Maher 

Street photography may seem simple on the surface, just a lot of waiting around looking for an interesting moment to happen. However, the reality is that it is one of the most difficult forms of photography. Particularly at the beginning, it can be very hard to improve in street photography.
The best moments don’t occur very often, and when they do, you have to be aware enough to see it quickly. You have to be brave enough to capture it, and your camera has to be set right.
A lot has to go right, but when it does, that’s when the magic happens. There is a specific set of tips that are important to learn early on that will make all of this much easier and, eventually, second nature.

Fear and timidness

1/150th at F8, ISO 1600

Fear and timidness are two of the toughest obstacles to overcome for new street photographers. If you don’t feel this way, then skip to the next tip! But most people have a lot of difficulty with this aspect at first. It takes time to overcome, but the less timid you can become, the faster you will be at capturing the best moments.
No matter how tasteful your photography is, street photography is a little creepy! We’re kind of stalking people on the street a bit. But it’s important to know that we’re doing this for a reason. We like people and we want to create interesting photos of our society.
The fear aspect will get better with time – the more you shoot, the easier it will get. But it can help early on to capture some street portraits to get you comfortable. You will quickly realize how many people will be flattered by what you are doing.
Another important thing to know is how to deal with a situation if you are caught.
I just like to smile and be honest. I tell the person that I was photographing the area and the people and culture, and I thought they looked great! Flattery can get you a long way.
If the person seems uncomfortable after you speak to them, offer to delete the shot. You don’t have to, of course, but it’s the right thing to do.
And always be careful about who you photograph. Sometimes, a photograph is just not worth the chance of getting yourself in trouble.

General camera settings

1/350th at F5.6, ISO 1600

I typically prefer to shoot on Aperture or Shutter Priority settings. Since you are usually going back and forth between different levels of light, this allows you to focus on the scene itself instead of going back and forth on your camera settings. In steady lighting conditions, Manual Mode works very well, though.
Raise your ISO up! I typically use ISO 400 if I am in pure sunlight, ISO 800 in light shade, ISO 1600 in dark shade, and ISO 3200-6400 for dusk into night.
Raising the ISO allows you to have a faster shutter speed to freeze motion. It also gives you more depth of field to make sure you capture the focus correctly, or if you have multiple subjects at different depths.
On Aperture Priority, f/8 is usually my ideal setting whenever possible. It allows enough depth of field but also enough light to enter the camera. And as it gets darker, I will go down with the aperture.
Finally, I always try to keep my shutter speed above 1/250th of a second to freeze motion in people. The key on Aperture Priority is to pay attention to your shutter speed as the lighting gets darker, to make sure that it does not dip too far below 1/250th.

Prime lenses

Prime lenses are made for street photography. They are smaller, lighter, and less noticeable. Also, the act of using a single focal length will make you much faster and more intuitive with the camera. Using one is a key way to improve your street photography.
Zooming constantly will just slow you down and keep you off balance when a moment occurs. With a prime, you are ready when something happens.
I prefer a 35mm and 50mm focal length depending on what I am shooting. Both are wide enough to capture complicated shots that mix foreground and background, and they allow you to get close and intimate with your subjects.

Acting

When some people think of street photographers, they think of the photographers that jump out in people’s faces to take a photograph. It just does not have to be done in that way to get great, candid, close shots. I find the opposite approach to work much better.
I prefer to act like I am just looking around at something above or behind the subject I want to capture, and I carefully get myself in position. They just think I’m probably a tourist looking around, and while they notice me, they continue in their own world without realizing I’m photographing them.
I also take very quick shots where nobody notices. That way, you don’t have to do any acting in these situations. But, acting comes in handy very often.
Finally, you don’t always have to walk around while photographing. Pick an area with foot traffic and wait around. Doing this allows your subjects to enter your personal space instead of entering their space. It also allows you to get very close and nuanced photographs with much less chance of people noticing what you are doing.

Emotion and gesture

One of the keys to creating interesting street photography is showing emotion and feeling in your images. One of the best ways to do that is to capture those emotions and feelings in your subjects.
Pay attention to the looks in peoples’ eyes or the gestures in their bodies. Try to see who is walking around wearing their emotions on their sleeves, so to speak.
I would rather photograph a non-descript person with incredible emotion over the flashiest person just walking down the street emotionless.

Getting closer

This is a general tip for improving most photography, but it is especially difficult for street photography. The closer you get, the more intimate your moments will feel.
But you don’t have to put so much pressure on yourself at first. Start from further back and over time, work to get closer and closer. This is a process that can take a little time to get comfortable with.

Spontaneity and intuition

1/250th at F9, ISO 3200

At some point, you need to become fast with your camera to capture some of those split-second moments. Embrace your intuition and work to become spontaneous and fast with the camera.
You will miss a lot of photographs this way and come back with a lot of bad ones (why editing is so important), but the special photographs will be special.
If you feel that there is the potential for a great photograph in your gut, just stop thinking and go for it. The worst that can happen is you will delete the photograph later on.

Imperfection

Unlike some other forms of photography, perfection is not celebrated as much in street photography. We’re looking for real and unplanned moments, and these moments are not perfect.
Sometimes the best way to improve your street photography is to just loosen up.
What matters is that the photograph is interesting and it looks good. Everything else is gravy. If the photograph has those qualities, who cares if it’s skewed, a little blurry, highlights are blown out, or if there’s an element in the way. That’s the real world.
Sometimes these aspects will ruin your photograph, of course, but just as often they’ll ground the moment in reality.

Photograph in busy and quiet places

As you are learning and getting comfortable, it’s very important to practice in busy places with a lot of foot traffic. This gives you many chances for great photographs and it’s easier to work in a candid way as well. This is how to work out the kinks and develop your technical skills and overall awareness.
But it is equally important to photograph in slower and quieter areas too.
These areas can be just as interesting and even more so than the busiest areas. It can take some time to get used to photographing here and figuring out what makes a good photograph, but you will be much better off for trying.

Take photos for yourself

Street photography is about taking something that is internal, capturing it in the real world, and then showing those ideas in your work.
It’s not worth taking photographs that you think other people will find interesting. Ultimately, your work can only become so good that way.
Shoot what you think is the most interesting and forget about everyone else. Over time this is how you will develop a strong and distinct voice.
And most importantly, get out there and shoot as often as you can. That is the real way to improve your street photography.
Do you have any other tips to improve street photography that you’d like to share? Please do so in the comments, along with any street photos you’d like to share.

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103 Things I’ve Learned About Street Photography

By: Eric Kim 

1. A good photo asks more questions than provides answers
2. 35mm as a focal length is generally ideal for most street photographers. 28mm is too wide (most people don’t get close enough) and 50mm is too tight.
3. My keeper ratio : one decent shot a month, one shot I am proud of in a year.
4. “When in doubt, click.” – Charlie Kirk
5. When in doubt, take a step closer.
6. You will become a better photographer by asking people what they don’t like about your shots (rather than what they like).
7. A harsh and constructive critique is better than a pat on the back.
8. A good photo critique needs (at least) 4 sentences online. Preferably 8 sentences or more.
9. It isn’t the quantity of social media followers you have that matters, rather then quality of followed you have that matters.

10. Be consistent : stick with one camera, lens, film, or post processing approach to develop your style.
11. Great photography projects generally take at least 5-10 years.
12. Buy books, not gear.
13. The only way money will make you happier in photography if you invest it into experiences (travel, workshops, teachers) rather than material things (cameras, lenses, gear).
14. The best camera bag in street photography is no camera bag.
15. “The decisive moment” is a myth. Even Henri Cartier-Bresson took at least 5 photos of scenes he found interesting and worked the scene to get the one memorable shot.
16. Most famous photographers are only known for their 1-3 most popular images after they die. If you accomplish the same, you have done your job as a photographer.
17. When shooting film, it is better to over expose than underexpose (film has more details in the highlights).
18. When shooting digital, it is better to unexpose than overexpose (digital has more details in the shadows).
19. Street photos of people just walking by billboards is boring.
20. To become a great street photographer you must first understand what a great street photograph is. Study the masters.

21. When shooting street photography with a DSLR, micro 4/3rds, or a compact and you don’t want to worry about technical considerations, just use “P” mode at ISO 1600.
22. Projects are more meaningful than single images.
23. Creating a photo book is the ultimate expression of a photographer.
24. Shoot as if each day were your last.
25. One camera, one lens is bliss.
26. Grain is beautiful, noise is ugly.
27. My favorite films are Kodak Tri-X (for black and white) and Kodak Portra 400 (for color).
28. Bokeh in street photography is overrated. Shoot at f8-16
29. With film, your first 10,000 photos are your worst. With digital, it is more like your first 1,000,000 are your worst.
30. The secret of a memorable street photograph : capturing emotion.
31. A street photograph without emotion is dead.
32. No amount of post processing will make a crappy photograph into a good photograph.
33. Wait at least 6 months to a year before uploading your images to the Internet, to truly understand if is a good photograph or not.
34. When it comes to editing, remember to “kill your babies.”
35. Cheesy titles in street photographs don’t make them any better.

36. Watermarks in street photographs ruin the viewing experience for your audience.
37. Buying a more expensive camera won’t make you a better street photographer.
38. Shooting film will teach you more discipline in street photography (and may lead you to become a better photographer).
39. Street photography is the most challenging genre of photography out there.
40. A great street photograph needs strong content (what’s inside the frame) and form (composition).
41. Shoot for yourself, not others.
42. Spend less time on gear review sites and more time on Magnumphotos.com
43. You can never spend too much money on photo books.
44. You are your worst critic. Always get critique from others, they will help spot the holes in your photography.
45. Sticking with one focal length for a long time will help you better pre visualize your shot and master framing.
46. You are only as good as your worst (public) street photograph.
47. Secret to good multi subject shots : don’t overlap your subjects and look for emotional gestures.
48. How to improve your framing : don’t crop for a year.
49. How to become a better editor : don’t upload photos to social media for a year.
50. Try to shoot at eye level (or extremely above or below) your subjects. So crouch when taking photos of people sitting down, shorter than you, or kids. Or shoot from a very high vantage point.

51. 99% of street photographs are ruined by messy backgrounds.
52. To get cleaner street photographs, first find a clean background and then wait for your subjects to enter the scene.
53. If your mom likes your street photographs, your photos are probably generic and boring.
54. Always carry a camera with you.
55. Street photographs don’t have to have people in them (but generally are more interesting with them in it).
56. You don’t need a Leica to shoot street photography. Be grateful for what you have and use what you got.
57. Spend 99% of your time editing your photos (choosing your best images) and only 1% of your time post processing them.
58. Style in street photography is a combination of having consistent equipment (camera and focal length) as well as “look” (film or post processing style) and content (the subjects you generally photograph).
59. It is better to over shoot a scene then under shoot a scene.
60. “Shoot from the gut, edit with the brain” – Anders Petersen
61. It is always nice to have a shooting partner when out on the streets.
62. “Shoot who you are.” – Bruce Gilden
63. Taking a photo of an interesting character isn’t enough. Try to capture them in an interesting context or with a good gesture.
64. Don’t take photos of homeless people and street performers. They rarely make good photos.
65. Don’t worry if your photos qualify as “street photography” or not. Just aim to make meaningful and memorable images.

66. Telling the truth isn’t the job of a street photographer (it is for the photo journalist).
67. Don’t be afraid to interact with your subjects when shooting on the streets. Not all of your photos have to be candid.
68. You can make interesting posed street photographs. But don’t pretend to your audience that they are candid.
69. There is no one “right” definition of street photography. Define it personally for yourself and just shoot.
70. You often can’t control the scene when you are shooting in the streets, but you can control whether you share the image or not. Case in point : don’t make excuses for the small failures in your photos, just edit out those shots.
71. Don’t respect the critique of other photographers unless you have seen their portfolio.
72. Zoom lenses will prevent you from becoming a great street photographer (you will never master one focal length). Stick to primes (preferably a 35mm full frame equivalent). 28mm and 50mm are okay too (if you can use it well).
73. A single photo can’t tell a story (it doesn’t have a beginning, middle, or an end). Only photo series or projects can do that.
74. The photos you take are more of a reflection of yourself (than of the people you photograph).
75. The importance of looking at great photos : you are what you eat. Fine french cuisine = great photos in books, galleries, or exhibitions. Junk food = most photos on Instagram, Flickr, Facebook (not always, but mostly).
76. 99% of people on the Internet don’t know what a great street photograph is. Don’t always trust the comments, likes, and favorites you get from the Internet on social media sites. Rather, stick around in street photography critique groups (or private ones).
77. You will find the best street photography opportunities in the least expected places.

78. When you see an interesting person or a scene, don’t just take one photo and move on. Aim to take at least 5 photos (or more if possible).
79. Beware using telephoto lenses in street photography. Remember, “Creepiness is proportional to focal length.”
80. Incorporate your own reflections and shadows in street photography. They often make interesting images (look up Lee Friedlander).
81. Photos shot head on have more energy and drama than photos shot from the side.
82. A brief list of great street photographers : Garry Winogrand, Lee Friedlander, Henri Cartier-Bresson, William Klein, Daido Moriyama, Diane Arbus, Weegee, Bruce Gilden, Alex Webb, Joel Meyerowitz, Martin Parr, Josef Koudelka,
83. After taking a photo of a stranger, make it a rule to look at them, smile, and say thank you.
84. I never regret taking photos. I always regret not taking photos.
85. It is better to beg for forgiveness than ask for permission.
86. Be confident while you are shooting and rarely will you have any issues. Be nervous while shooting and you will ruin into many problems.
87. The only person you should try to impress with your photos is yourself.
88. The benefit of getting eye contact in your photos : eyes are the windows to the soul.

89. Don’t make photos. Make connections.
90. The best place to shoot street photography isn’t New York, Tokyo, or Paris. The best place to shoot is your backyard.
91. See your scenes with your eyes and shoot with your heart.
92. If you are working on a project and photographers discourage you by saying “it has been done before” ignore them. Nobody has done it like you before.
93. Street photography is applied sociology with a camera.
94. If you aim to get recognition for your photography you will never get it.
95. If someone gets upset when you take their photograph, offer to email them a copy. Carrying around business cards always come in handy.
96. Don’t just look at photos, read into them.
97. To double your success rate in street photography, double your failure rate.
98. The photos you decide not to show are more important than the photos you decide to show.
99. Rather than creating photos to please your audience, find an audience that will be pleased by your photos.

100. Street photography isn’t a contest about how many followers, viewers, followers, exhibitions, books, cameras, lenses, and fame you have. There are no winners and losers. Collaborate with one another instead of competing with one another.
101. Giving away my prints and cameras has brought me more joy than selling it for money.
102. The friendships I have made through street photography is mode valuable than any of the photos I have ever taken.
103. Luck is when preparation meets opportunity – Seneca. Make your own luck.

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5 Exercises to Improve Your Street Photography

By: Jaymes Dempsey  

Do you want to capture amazing street photography, but you just feel like you’re not good enough? Don’t worry, because this article is going to give you five fantastic street photography exercises that are guaranteed to improve your street photography. It’ll provide you with the tools you need to take amazing street photos.
Let’s get started.

1. Find a scene and stand in place for an hour

It might not seem like it…
…but a lot of street photography is about being patient.
In fact, plenty of the best street photos were taken after a significant amount of standing in place and waiting.
You see, great street photography often involves a powerful background with a focal point. And that focal point is often a person.
But to get the right person in the right place is one of the toughest parts of this genre of photography.
So this exercise is designed to make sure you recognize the rewards of being patient.

Here’s what you do:
Start by finding a scene that you like. A building, an alley, an interesting background of some sort. Make sure there’s a decent amount of foot traffic.
Then previsualize. Where would you like your main subject to walk into the frame? Imagine the precise place you’d like them to be when you take the photo.
Then wait.
Now, plenty of people will walk through your scene who don’t fit with your previsualized photo. Maybe they don’t stand in the perfect place. Maybe they don’t have the silhouette you’re looking for.
And that’s okay. After all, this is an exercise in patience!
However, I recommend you take photos of these people anyway. You might end up with something unexpectedly powerful.
Even if you do get the shot you like, keep standing in place. Stay there until an hour has passed.
Because it’s important you understand, not just the rewards of patience, but how to be patient. So even once you’ve achieved your goal, stand in place, and keep taking photos. See what you can get.
Make sense?

2. Shoot an entire outing from an unusual angle

When you’re just starting out in street photography, it’s very easy to take every shot at eye-level.
Putting your camera up to your face is natural. And it can sometimes help you get over the stress of taking photos in public; you can feel like you’re hiding.
But shooting at eye-level is a recipe for consistently boring photos.
Instead, you want to take photos from many different angles. Different angles are the key to creating a dynamic, powerful portfolio.
So the street photography exercise is simple:
Go out with your camera. And only take photos from an uncommon angle.

Which angles count as “uncommon”?
The low angle is a great start. The lower you take your photo, the more awe your photos will generate because it’ll feel like the viewer is looking up at the scene. For the photo above, I shot up toward the clock tower in an attempt to make the image more dramatic.
Plus, a low angle can often clear the background, making it less distracting. It causes people in the background to fall away, leaving only buildings and sky behind your main subject.
To shoot at a low angle, you have a few options. You can sit down or crouch low. Or you can hold your camera down at your hip.
Of course, you don’t have to shoot from a low angle! If you like, you can try finding a vantage point (such as a parking garage), and shoot from high above.
The choice is yours. Just make sure you get used to trying new angles.
It’ll seriously improve your street photos!

3. Ask five strangers if you can take their picture

One of the biggest barriers to great street photography is your own nervousness.
After all, it’s hard to capture photos of people from a distance, let alone up close. You probably worry about people getting angry or even threatening you.
First of all, you should know that, in most countries, it’s legal to photograph people in public places. So you’re not breaking laws.
But the anxiety doesn’t always go away once you know your rights.
This is where this street photography exercise comes in handy.

All you have to do is go out shooting. And ask at least five people if you can take their photo.
It’s okay if they refuse. It’s okay if they agree but the picture is bad.
The only thing that matters is that you’re pushing yourself out of your comfort zone. You’re forcing yourself to see that plenty of people don’t mind having their photo taken in public. And when people do mind, it’s not the end of the world.
This is an exercise that I recommend you try once a week (or until you no longer struggle to photograph people in public).
Because even if you prefer to photograph people without approaching them, knowing that everything will turn out okay will significantly improve your levels of comfort (and, consequently, your street photos!).

4. Only photograph strangely-lit people for a day

If you want to capture amazing street photos, you’ve got to start paying attention to the light.
This is easy to forget about because street photography involves so many variables: people moving fast, cars causing distracting backgrounds, etc.
But you can’t fail to consider the light. Otherwise, your photos will be very inconsistent.
Which brings me to the exercise:
Only photograph people who are strangely lit for the day.

By “strangely lit,” I’m referring to non-standard lighting. The people shouldn’t be lit with standard front-lighting, cloudy lighting, or standard overhead lighting.
Instead, there should be strong backlighting, side lighting, or shadows running through the scene.
By forcing yourself to pay attention to this, you’ll get a better eye for lighting. And it’s the first step toward taking more creative, unique street photos.
Personally, I’m a fan of backlit street photography. So I recommend going out when the sun is low in the sky to see if you can find some backlit subjects.
But you can also shoot people who are walking through shadow. This works especially well if the area around the person is bathed in sunlight, in order to create a high-contrast shot.
Just find some unique lighting, and you’ll do just fine.

5. Spend a week only taking photos of small details

Most street photographers only ever take photos of people.
But here’s the thing:
The streets have plenty of compelling details, too. And a street photographer who can find these details is a street photographer worth watching.
Tiny details lend character to your street photos, even if the main subject is a person. And tiny details can be the sole subject of a photo, as well. You just have to know how to capture them.
This is why your final street photography exercise is dedicated to photographing those beautiful small details.

All you have to do is deliberately photograph little details for a week. Forget about photographing people. Forget about photographing architecture.
Instead, focus on capturing the most compelling details possible.
This might involve creating some abstract photos. Photograph contrasting colors up close. Or photograph spray-painted graffiti.
You can also capture some wider photos: the signs of restaurants, or the front door of buildings. All of these are excellent potential subjects.
Just remember: When you photograph small details, don’t just try to faithfully render the details themselves. Instead, create a compelling composition out of the details. Try to include multiple interesting features.
You’ll take a few boring photos, sure. But you’ll develop an appreciation for the smaller aspects of the city.
And you’ll take some stunning photos in the process.

5 exercises to immediately improve your street photography: Conclusion

Capturing beautiful street photos can be difficult. And for beginning photographers, it can seem impossible.
But if you do these street photography exercises, you’ll notice your outlook starting to change. Street photography won’t seem so difficult.
And you’ll start capturing some amazing street photos.
So get out and start practicing these street photography exercises!

Do you have any other street photography exercises you’d like to share? Please do so in the comments!

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Editorial Restaurant Photography

By: Matt Dutile 

Chez Oskar in Fort Greene, Brooklyn, NY

The culture of food is a huge part of our lives in every corner of the globe. Photographing restaurants either in your home city or abroad during travel can be a great “sneak peak” into this cultural corner. Many of the same ideas and principles to travel photography also apply to restaurant photography. You really have to capture the essence of a place – the food, patrons, staff, setting and anything that makes the place unique. Whether it’s gritty down and dirty home food or luxury linens and pampered plating, think of it all as telling an editorial story. Here are a few things to look for if you’d like to bolster your restaurant photography.

The Staff

Who is making and bringing the food and drinks to your table are a big consideration. Look at any magazine featuring a restaurant and you’d be hard-pressed not to find an image of the chef or a server. Especially when either are decked out in some form of uniform or theme-wear. Simply, we want to know the people who are making and serving what we’re eating. If you’re there on assignment from a magazine, you probably have pretty good access to staff.

Waitress at Radegast Hall, Brooklyn, NY

If you’re there trying to build your personal portfolio you probably just can’t start snapping away. Find someone and ask for a manager and ask permission from each person to photograph them. Sometimes you’ll get turned down, other times you’ll find someone who finds it exciting and is more than happy to let you snap away – as long as you don’t get in the way of kitchen business or paying customers. Remember you’re dealing with people who aren’t in front of the camera too often, so try cracking a few jokes or giving them a compliment to try and set them at ease and crack a smile. No one wants to go to a restaurant with a grumpy chef! Bring out those beaming smiles.

The Food and Drinks

Food and drinks. It’s why we go to restaurants. Something different than what we can make at home on our own and often in the company of friends.

Mussels, fries and wine at Chez Oskar

There’s an immense science to food photography, and I’m not going to try and dive into all of it in this article. It just won’t fit. However, let’s go over some of the basic pointers of what to look for when you’re on location with minimal equipment.
If at all possible, I always try to find or ask for a table near a big open window. A nice big, soft natural light source is the best for photographing food and maintaining its coloring. Avoid as best as possible using flash on food. It tends to give it a very surreal, flat feeling while distorting the colors. Crank your ISO a bit if you need to and try to find something stable to brace on.
Shoot a lot of angles – overhead, flat on, tilted, straight, etc. The more the better because it mixes up the feel and you never know what might be just the right tilt for each dish.

Beer, brats and sauces at Radegast Hall

Get overhead and close down your aperture to get the maximum depth you can, or get down low on the same level as the food and shoot very shallow, highlighting one specific detail of the dish. Careful where your focus spot lands here though. I like to try and keep it to the front or first item in view and let the rest fade into blur in the background. Sometimes getting in the middle can work well if you frame it right, but shoot a few frames to check because your eye may feel cheated if that first item in view isn’t in focus.
Do your best to capture the appropriate presentation of the food or drink. Try to nudge an item or two here and there, ask for a little extra seasoning if it gives it a nice flair and ultimately try to order photographic and colorful dishes. Pair it with items that go together, like the photo here with mussels, fries and white wine – common sides to this dish. Or add items like the different arrangement of sauces at a beer and brat house.

Steaming up at Chez Oskar

Kitchen and Preparation

If you have access to the kitchen this can be a great place to get slightly blurry photos of food being flipped in a flaming pan or chefs, fry cooks, sauciers, etc. running around in the daily hustle that is working in a kitchen. Also look for prepped trays stacked next to buckets of ingredients and spices. Expect a bit more grain and much more wide open shooting here because lighting is usually very low and falls in and out of spots from overhead. If you can, try to brace yourself in the corner and shoot at a slower shutter, maybe somewhere between 1/10-1/30 of a second depending on how fast everything is moving. Be sure you’re staying out of the way. Neither you nor one of the chefs wants a face full of burning hot or oily food because you kept moving in a common walking lane.

The Location and Ambiance

A round at Radegast

Don’t forget to capture the overall feel of the restaurant and especially anything that sets it apart from the competition. This can include table settings, tiny decorations, the front of the restaurant, patrons, a sweeping spread of the dining hall, etc. If it’s a festive atmosphere like the photo on the left, find a way to show smiling faces and activity. If the restaurant has a more somber or romantic feel, look for ways to pull that out of the shots. Give the viewer a sense of place. What’s it going to be like when I go here?
If you can answer that question with three to four images than you’re on your way to capturing better editorial restaurant photography.

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