Street Photography Thank you Garth.

Introduction

Maneesh asked me a while back to do a little piece on street photography for the group. I don't really know if I'm the best one to do this here on "The Pinnacle" - but as I was asked it's my pleasure to do so. Since most of you probably don't know me and my Flickr profile isn't of much help, those interested can find out a little about me from my Flickr "16 things about you" thing that some friends threw a double Heimlich maneuver on me to do. I finally relented after a "Vulcan Mind Meld" became part of the conversation.

This session's focus is on shooting "street." What it is and how to basically go about it. Since this is a very experienced and sophisticated photography crowd I'm bypassing much of the technical details about camera settings and lighting. You guys already know that, just apply them to this genre. Instead I will focus on what to look for, how to shoot on the street and how to make sense of it all.

Here's the basic outline:

1. What is street photography and Why I like it
2. The Fear and Loathing of "Getting Caught"
3. The Anatomy and Evolution of a Street Shot
4. The "Decisive Moment"
5. The Street - Dealing with the Chaos
6. General Techniques & Equipment
7. Rolling with the Pros
8. Parting Thoughts
9. Note on legal and ethical issues

Hope you enjoy it,
.: garth :.

What is street photography, actually?

It turns out there is a lot of confusion as to what Street Photography (SP) is and what it is not. And often, this depends on who you ask. At its simplest SP attempts to portray honest, candid, slices of life shot in public spaces. However, the definition often gets clouded by issues of technique (telephoto vs. wide-angle, B&W vs. color, decisive moment vs. frozen moments, etc.), schools (classic vs. contemporary) as well as what is not SP vs. what is merely poorly done SP.

"Purists" like Bruce Gilden a New York street photographer, whom we'll meet later is fond of saying, "If you can smell the street by looking at the photo, it's a street photograph." There is truth here I think. It speaks to the visceral, emotional and cerebral pull of good street photography to captivate and engage the viewer to react in some, often strong way.

However, street photography is not photojournalism at least not in it's intent. SP is not mere reportage. That is, the primary goal of this style of photography is not the same as that of photography taken to support the written description of a news worthy event. Nor is it just a picture of XYZ with the background involving the street, at least not good SP.

Street photography is life. In a pure and raw form.

Why I like street photography

Someone once asked me, "Why do you like to take pictures of people you don't know?" I was surprised when I found, I couldn't really answer her, at least not in a way that was easily explainable. Photographing people when they’re having those deeply private moments in public, when the "act" is not on and the "facade" is not up - that just fascinates me.

I find capturing ordinary people, doing ordinary things, who for the briefest moment of a shutter click seem to transcend their ordinariness -- compelling. And the juxtaposition of street elements as an unexpected backdrop to human activity -- intriguing.

Control? What control?! Not being able to control things is the very thing I find exciting about street. You walk out the door, and it just unfolds, you don't know what's going to happen, what you're going to find. It's free, spontaneous and always different.

I've also come to appreciate that you're traveling light. Real light - don't even think about a tripod. A car, a pole, a wall becomes your best friend. So out the door you go with just your camera, an apple, some water and maybe an extra lens. Liberating really.

The Fear and Loathing of "Getting Caught"

"Oooh, Ahhh, that's how it always starts. Then later there's running and screaming!" ~ Jeff Goldblum, Lost World: Jurassic Park

I'm often asked how I get the nerve to photograph strangers on the streets. Like most things becoming comfortable took time. At first I was always too far from the action. With time, practice and experience, I got closer and became more comfortable being close to the subjects. I've weathered folks "going off" and while unpleasant wasn't so horrible that it deterred me.

Stealth is really important so as not to disturb the scene you are trying to capture and there is nothing like the intimacy and immediacy of a shot when you're up close and in the thick of it. Getting close to your subject has a lot to do with your attitude, catching folks when they are distracted and blending in with the scenery. However, getting caught is going to happen. Here's an example of just that.

Anatomy and Evolution of a Street Shot

Here's a sequence of captures that demonstrates the evolution of a street shot complete with getting caught. I'm walking down the street and see these street kids interacting. I've got no cover whatsoever - so the technique I use is to stop-focus-shoot, walk-closer-stop-focus-shoot, walk-closer... to get as close as possible. I assume I'll get caught as some point. For this one I'm hoping the kid in the background (in sequence 4-7) stays as he is looking off camera with that great Charles Bronson 'Youth Attack' DS 13 Heist Punk T-shirt exposed. I know the kid in front will eventually see me and then it will be over.

Here's the final shot:


"Fight Back" - Large On Black
Nikon D300 | ISO 200 | 200mm | 1/125 | f/7.1 | PM |



Large on Black

The 1st Shot in the sequence is the entry point. I'm quickly getting a feel for the scene with these street kids and sizing up potential shots. Some of the kids nearby have already spotted me.

The 2nd Shot in the sequence I'm walking forward, zoom out just a tad and take another shot still sizing up the situation. A wide-angle shot doesn't seem promising. Nothing yet.

The 3rd Shot in the sequence the target is acquired :) and now I'm committed to getting something. I know however, I'm going to have to maneuver in front of him, stop and shoot, as I walk by and it could be dicey.


Large On Black

The 4th Shot in the sequence ended up my best shot as seen above (large photo). He is looking off camera as is his friend behind him. I'm already pretty close inside of 15ft with a telephoto lens.

The 5th Shot in the sequence is what you often see. He just has a sense of me but it hasn't quite registered yet.

The 6th Shot in the sequence he is now looking straight at me.

The 7th Shot in the sequence he is winding up for his, "What the F#$&"! response to my incursion.

That millisecond when they look in your direction (#5) but it doesn't fully register you are taking a photo of them -- love that moment. It often makes an excellent capture. When he finally saw me, he was shall we say, unamused. I didn't get into it with him as I felt anything I did would escalate the situation so I walked away which is usually a good strategy.

About 2 week later I introduced myself (sans camera), apologized for the intrusion and presented him with the photo. Everything's good. He was even key in getting these other street kids to pose for me for this " Someone Once Told Me" project - A Pirates Life for Us! pic.

For more on the legal and ethical issues involved in Street Photography see note at the end of the session.

"Decisive Moments" - Street Photography's Coin of the Realm

Probably the most surprising discovery thus far is that visually the street is not as interesting as one might think and it is only the briefest and transient of moments that actually lend themselves to capturing an interesting photograph. The difficult part of street photography is capturing that quickly fleeting "decisive moment". That hard to define moment where something special happens; a look, an interaction or the juxtaposition of quirky or interesting images on the street. A second too early or too late and you're left with an often pleasant but quite ordinary photo. The challenge is anticipating those moments. Being in the right place, at the right time, and then having it all come together, the composition, exposure and capture of the passing show with enough stealth so as not to disturb the scene.

Decisive Moment: The Girl in Red and Iraqi War Casualty Boots


"Girl in Red and Iraqi War Casualty Boots" - Large On Black
Nikon D300 | ISO 320 | 200mm | 1/80 | f/9 | APM |

This photo was taken at the "Eyes Wide Open Exhibit: The Human and Economic Cost of War on the University of Oregon campus in Eugene, Oregon. This young lady is seen here among actual U.S. Iraqi war casualty boots. I happened to stroll by the exhibit on my way home thinking I was done shooting. I was way out of range with the camera set to a too slow shutter speed but had to take the shot. Even though it is a bit soft it's still one of my favorites.

Her red dress and flip-flops, her expression, the placement of that strand of hair, her position in relation to the boots and the way her feet and head are turned in different directions gives the sense that in the midst of this loss she doesn't know which way to turn physically or emotionally. It's a shot, I think, fairly close to that "decisive moment". A moment before captures just a somewhat interesting picture, a moment after.... and it's just gone. Street photography that captures a well composed decisive moment hints at a narrative that engages and hooks the viewer.

Decisive Moment: Free Hugs


"Free Hugs or... Else!" - Large On Black
Nikon D300 | ISO 250 | 55mm | 1/2500 | f/2.8 | APM |

On a more humorous note, here's an example of how people juxtaposed with a street element can change the context if caught at the right moment. The above was captured just at a moment that throws into question whether it's really a "Free Hug" or bait for a mugging. Or perhaps, the lads are just back from sensitivity training and haven't quite got the hang of things yet. Or maybe, it's a "switch-and-bait" where "Deluxe Hugs" will cost ya 10 bucks.

The point is, a "decisive moment" street shot engages the viewer and compels narrative creation on their part. This is what often differentiates the "decisive moment" of a good street shot from merely the capture of a "frozen moment" in time. And as one street photographer noted, capturing that great decisive moment shot is exceedingly rare.

Dealing with the Chaos of the Street - Planned Accidents & Managed Luck

Humans are superb at pattern recognition. If we put in the time (called experience) we start to see the patterns in the chaos and adjust, anticipate, and get better at anticipating "the moments". So it is with the "street". Spend enough time there and you start to get its rhythm and flow, you start to notice the little things like...

...that pool of light that just "shows up" over on 18th street about this time of day,

"off to join my murder of crows" - Large On Black
Nikon D300 | ISO 320 | 200mm | 1/400 | f/3.2 | SPM |

....open mic at the EMU amphitheater on Wednesdays at lunch time holds possibilities,

"Gone to the 10th Kingdom" - Large On Black
Nikon D300 | ISO 320 | 55mm | 1/320 | f/4.5 | SPM |

...Saturday afternoon, an African drumming session should be cookin' over at the park,

"Dread Locks Drummer Girl" - Large On Black
Nikon D300 | ISO 200 | 200mm | 1/40 | f/8 | MM |

...the predictable 4pm street kids vs security guard face-off at the bus station...

"Watching the Watcher" - Large On Black
Ricoh GR Digital II | ISO 80 | 21mm | 1/190 | f/8 | APM |

Controlling the chaos comes with experience, knowing your gear, seeking target rich environments and yes, planned accidents, managed luck and knowing the rhythm of your streets.

Techniques & Equipment

General Techniques: For some shots you actually chose the scene and wait for something interesting to happen into that space. For example, a favorite among street photographers are city street corners where folks wait for the traffic lights, or someone walking through an interesting pool of light or a backdrop sign that might add interest. For these shots I often pre-focus on that spot and wait for something interesting to move through the spot. By pre-focusing on some object near your "spot" you cut down on typical auto-focusing hunt time.

Pre-focusing: To use this technique, switch to manual focus mode and choose a place that your subject will pass through, then focus on an object near your spot.

For example, here I stopped to take advantage of this bit of negative space on the street. I pre-focused on a nearby pole when this beautiful, classy, older woman happened by. She was so tastefully dressed with makeup and hair done just so, with her jaw set and eyes determined. Altogether a proud visage while... ever so very slowly... pushing a walker before her.


"Of Times Remembered..." - Large On Black
Nikon D300 | ISO 500 | 105mm | 1/400 | f/2.8 | MM |

Other Related Pre-Focusing Techniques: often used in street photography and are somewhat camera/lens dependent are zone focusing and focus locking.

Zone Focusing allows you to use the DOF markings on the lens to maintain subject focus within a distance range. To use zone focusing your lens has to have an f/stop ring, a distance scale and focus DOF scale. This allows you to shoot without having your eye to the viewfinder. This is great for stealth and/or shooting from interesting angles e.g. shooting from the hip.

Focus Locking allows you to lock your pre-focus spot without the need to maintain your shutter release button half-way depressed for long periods of time and gives you the flexibility of shooting in other than manual mode.


Shooting Modes - What & Why: Of course depending on the light (and managing the ISO) I actually shoot all modes aperture, shutter and manual.

Shutter Priority Mode: When I'm walking around a lot I'll often shoot in shutter priority mode anywhere from 1/250 to 1/800 depending on the light. I'm trading off other issues so I can freeze the action as quickly and with as little blur as possible. I'm in situations that I don't have time to steady the camera solidly and my targets are also likely to be moving. Like this shot of a father and son rounding a corner, I was real close with only time to stop raise the camera and fire.


"Father and Son" - Large On Black
Nikon D300 | ISO 190 | 190mm | 1/800 | f/2.8 | SPM |

Aperture Priority Mode: I'll often use this for street candids and shoot wide open f/2.8 to isolate the subject and get a nice bokeh when possible. Of course, it also softens the inevitable background pole growing out of someones head. For these shots I like to be close, 20ft or less but also use a telephoto. Often I'll just sit somewhere where a crowd is likely to gather, or watch the passersby with the camera down. Then very selectively frame, focus and shoot. Here's an example using this mode.


"UofO Student - street candid" - Large On Black
Nikon D300 | ISO 200 | 190mm | 1/640 | f/3.2 | APM |

Manual Mode Useful for when you are perched pretty much in front of the action with fairly stationary targets. Obviously, within constraints of the lighting you can pretty much nail your DOF and shutter speed. Here's manual mode used to get both his hand and the chess game pieces pretty much how I wanted them DOF wise with the desired shutter speed.


"Next Moves" - Large On Black
Nikon D300 | ISO 200 | 200mm | 1/125 | f/5.6 | MM |

Manual mode can also be useful when you have an interesting background. Here consider a wider angle lens say, 24mm-50mm (classic street photography lens range) and a more closed down aperture f/8-f/22 to get your target subject in focus situated in the background street context. Like these two street shots.


"She's Havin' None of It!" - Large On Black
Nikon D300 | ISO 200 | 55mm | 1/125 | f/13 | MM |

and,


"Different Worlds" - Large On Black
Nikon D300 | ISO 320 | 29mm | 1/80 | f/13 | MM |


Shooting Up-Close: Gives that sense of putting the viewer "right there" in the action. For example, shooting very close-up with a 50mm f/1.8 lens like this shot.


"Back Up Slowly Fella!" - Large On Black
Nikon D300 | ISO 200 | 50mm | 1/500 | f/5 | SPM |

I can just about reach out and touch this guy and as you can see his dog is getting ready to reach out and touch me. Looks like he's feelin' a bit peckish and his master doesn't look like the sharin' type.


Equipment: You get to leave the tripod home. In general you can use just about anything for good "street" shots. It's not about "tack sharp" and in fact graininess often adds that grittiness that is "street". I've seen excellent street shots with 2-megpix cell phone cameras!

Currently I'm using a Nikon D300, sometimes a D40x, and very recently a Ricoh Digital GR II. For lenses I shoot with anything from a 50mm f/1.8 prime to 17-55mm f/2.8 and 70-200mm f/2.8 telephotos. However, even when I use say the 70-200mm I get in close otherwise you lose the immediacy and intimacy of the shot especially street face candids. Most of my shots that use the telephoto lenses I'm still within 20ft or less from the subject.

In praise of "old school" . For the old school street purist the king of all street cameras are rangefinder cameras and the Leica analogue/film cameras are arguably the most coveted of all street cameras. Light, very unobtrusive (a mere 6 inch long by 1 inch thick), great lens system, quality body build, and for those in the know a camera that "translates light unlike any other photography instrument".

These analogue beauties will set you back $5,000 or more for just the body. When all is said and done the old school street warrior armed with a Leica M body and a roll of tri-x. is still king in the world of street photography

But for us more pedestrian types almost anything will work well for the street. It is admittedly very difficult to be stealthy with the typical DSLR camera. However, the most important issue is that you know whatever gear you do have. Knowing your gear is key as often times in street you barely have time to focus much less fiddle around with your camera.

In praise of "new school" . On the other end of the spectrum, contemporary street photographers like Nitsa throw the rule book out altogether and celebrate "No Rules, Street Photography". Here the use of any camera and processing technique are fair game and the concept of what constitutes street photography is relaxed.

How the Pros Roll!

If you are at all interested in Street Photography I guarantee you'll find the videos of these pros entertaining and instructive. Three pros, three different styles, all shooting in the center of the street photography universe - New York City.


Check out how "Street Nija" Joel Meyerowitz does the street dance in this video. If I could call your attention to one thing it would be to notice his pure joy, enthusiasm, fun and flow.

And yes, that is a Leica he is shooting with and notice how manageable and stealthy it is compared with the typical DSLR. Also shooting with a wide angle prime lens he has to do a lot of footwork which gets him into motion and in the flow of the street and it forces him to get in close vs telephoto lenses which tend to make us stationary, takes us out of the flow and makes us a bit lazy.



A very different approach and ethic is taken by the famous and very controversial Street Photographer Bruce Gilden in this video.



Check out how Street Photographer Joe Wigfall "sees with his hands" in this street photography video.

Parting Thoughts

Well that's it folks! It's been a pleasure to bring you up to the same level of ignorance that I enjoy. So grab your camera, the street is out there.... and it's already in progress!


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Note on the the legal and ethical issues involved with Street Photography

In the U.S. you have the right to take pictures in public spaces where there is no reasonable expectation of privacy. This can even include privately owned spaces like a mall, contrary to security folks who often think otherwise. Public places include parks, sidewalks, malls, etc. Even though it’s technically private property, being open to the public makes it public space.

I always carry a couple of copies of the "Photographer's Rights" and keep them handy.

Of course just because it's legal and you can do it, doesn't mean it's the right thing for you to do. And just because it's legal doesn't mean some folks won't be ticked off when they catch you. Everyone has their personal ethical calculus they need to work though. I would encourage you to talk through these feelings with someone whose opinion you trust. It's a good discussion to have.

Here's my personal but evolving stance on this :

1. Doing street photograph is a legal activity. While I do feel that I"m stealing a little part of someone when I take their photo without asking, I'm also respectful of them and their capture, and I have no harmful intent. I'm not a professional photographer and have no intention of selling their image.

2. When doing "street" I find it incredibly helpful to smile a lot, look like I know what I'm doing and that I'm having great fun. I can't emphasize this enough. It can often disarm folks when you inevitably get caught taking pictures. I hide in plain sight and don't sneak around. You really don't want to come off like "stalker guy".

You can even get playful with folks and with the right attitude that playfulness can be quite infectious, like this up-close shot with a D40x and manual focus 50mm lens.


Nikon D40x | ISO 200 | 50mm | 1/50 | f/5.6 | MM |
"obey your thirst..." - Large on Black

3. I'm ready to politely engage if I must and defuse the situation if I have to and now feel comfortable doing so. While stealth is crucial in SP, being overly fearful of getting caught will inhibit you from getting close enough to the action and it will show in your work. The photos will lack immediacy and intimacy.

4. I often shoot at our Saturday Market, the University, Downtown, etc. When I go out shooting I keep a pack of 4x6's pictures and hand them out to folks whose pics I've taken and happen to bump into. This simple act creates a tremendous amount of good will and acceptance.
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Thank you Garth.