Long Exposure Thank you Clay.

Light: The critical ingredient of any photograph. But not all light is the same. How about shooting in that ephemeral, fleeting light just before sunrise and after sunset? The Pinnacle is proud to present another member's expertise in that time of day, from Little Rock**, Arkansas, USA, Clay Wells on Long Exposure.

Clay Wells

Table of Contents

1. Intro
2. Equipment
3. Preparation
4. Shooting
5. Processing
6. Technical Details
7. Conclusion

Intro


|Cano n 40D | ISO 100 | 17mm | 30 sec | f/7.1 |

Big thanks to the group for asking me and allowing me to share this. There are quite a few shooters in this group who create some really amazing long exposures, so I was honored when approached for this. I hope you find what I have written to be informative, that it generates some good discussion, and that you all enjoy reading it. Further, I hope it motivates you to get out and try some long exposures on your own.

I have always been fascinated by long exposures and how motion translates onto film or a digital sensor. It is intriguing how a 5-second exposure during daylight can turn moving people into ghosts or how a 30-second exposure can make them disappear completely. Night-time long exposures are often colorful and eye-catching especially if the subject is a city or moving traffic or reflections on a body of water.

There are many subject and scenes that lend themselves nicely to long exposures. In this Session I will focus mainly on traffic streak long exposures made during the “blue hour”, also known as twilight, that little window in the morning before the sunrises when the black sky is just starting to get some color and that corresponding window after the sun has set. For me, the ideal scene is one where there is interest in the sky like low-lying, thin, wispy, fast-moving clouds with clear air above. These conditions are rare and as my luck usually goes, tend to occur on mornings when it’s not practical or possible for me to shoot. Needless to say, I have many more outings under my belt than keepers in the portfolio.

Whenever everything does work out though, the results can be very satisfying.


1. Equipment


Mandatory:
• Camera
• Tripod

Optional:
• Filters
• Remote shutter release
• Flashlight
• Phone?

Mandatory stuff:

At the very least you will need a camera (obviously). I use a digital 35mm SLR which allows me to control exposure, aperture, ISO, etc, but there may be many non-SLR cameras that allow this sort of control as well. No matter the camera you use, you must have the ability to:

(1) to shoot exposures of at least 3-5 seconds and have the ability to blend images in post-processing
or
(2) shoot exposures as long as 30 seconds or longer.

Ideally, you will also need a tripod. While a flat, sturdy surface may work as well, I don't recommend it. Just get a tripod even if it's a cheap one. Hand-holding is absolutely out of the question.

Optional Stuff:

Filters - you really don't need any filters, and I have taken quite a few shots with none, but there are times when they do allow for some additional creativity. I typically use a circular polarizer to control glare and reflections off of buildings and sometimes a neutral density (ND) filter to extend exposure time if I'd like to capture the motion in the clouds in the sky. Many folks initially think that a neutral density filter makes the image dark or under-exposed. They don't - when used correctly they simply reduce the amount of light entering the lens thereby requiring you to shoot at (1) a wider aperture or (2) a longer shutter speed. But the resultant image, if correctly exposed, should not be dark or underexposed in any way.

The ND filter that I use is a 6-stop, but these come in many other flavors. There are one and two-stop versions and even a 10-stop. I could go broke buying filters. Singh-Ray makes a vari-ND that allows you to dial in 2-8 stops of neutral density. This would make composing the scene much easier since it’s almost impossible to even see through the view-finder when the 6-stop is attached. The problem is the vari-ND is about $400.

I use B+W brand filters which are screw-in type and are stackable. So when I combine my 6-stop ND and circular polarizer, I am getting about 7-8 stops of neutral density since the polarizer provides some as well.
In section 3 I will touch on how I decide when to use the ND or not.

Remote locking shutter release - using this will help reduce camera shake and will allow you to shoot in "bulb" mode and get exposures that are longer than 30 seconds. But it has to have a lock.

Flashlight (torch to some folks) – I carry one in my bag. I probably don’t have to go into detail as to how practical one would be on a pre-sunrise/post-sunset shoot.

Smart phone (iPhone) for entertainment while the long exposures are being made. I don’t recommend calling friends at 5:30 AM – they may decide to find a new friend, but if the phone has internet/game applications, it can help pass the time. Especially when the pre-sunrise light is not all that exciting.

2. Preparation

Preparation is very important. While the shots are easy to make with few variables to deal with, the light changes fast, very fast. In fact from my experience the ideal light typically takes place in about a 10-15 minute window about 30 minutes or so before sunrise. For me the “moment” is that little window when there is some color in the sky but not enough light hitting the streets and traffic to drown out the headlights and taillights. Once you get out and try these, you will know when the shoot is over. Once it becomes bright enough to read without a flashlight, it’s too bright.

I always scout out a location well before I actually shoot it. For a morning shot, I typically like to shoot facing the eastern sky, allowing me to take full advantage of that blue hour light in the east. If it's an evening shot, I like to find a scene that allows me to shoot toward the western sky. It’s a good idea to actually compose the scene during daylight hours noting all the elements and paying attention to which ones are potential distractions, which ones can be cloned, and which ones are likely to become less prominent in the pre-sunrise/post-sunset darkness.

In the shots below, note how the streaks lack real pop. I have learned that a couple of things seem to affect this. Shooting more straight-on seems to increase their prominence. This was shot well off to the side of the scene. Another thing that really robs from the streaks is the presence of street lights. In fact, they can literally kill the shot. So when scouting a location, pay attention to this. In some areas they are so bright that it's nearly impossible to get the desired effect.


| Canon 40D | ISO 100 | 17mm | 25s | f/16 |



| Canon 40D | ISO 100 | 23mm | 30s | f/10 |


Punctuality cannot be over-stressed. The sun won’t wait while you are stumbling out of bed or fiddling around with your gear, so find out what time the big event is and get there early. Shooting at sunrise or sunset will of course require you to know the exact time of the big event. In case you are not aware of it, the longest day of the year, June 21 has the earliest sunrise and latest sunset. The shortest day of the year, December 21, has the latest sunrise and the earliest sunset.

In the winter in Little Rock when the sun is rising fairly late, the morning temps are often in the teens and the wind can be brutal (to me anyway), so find out what the weather is going to be like and dress appropriately. In some cases you may have to park and walk a good distance to the shooting location making a return trip to the car unpractical, so carry that jacket with you even if you think you may not need it. Get some good gloves too or invest in one of those cold weather camera systems. It is basically a pair of mittens that somehow fit over the camera body and allow you to access all the controls. I tried fingerless gloves once and they only seemed to accentuate the numbness in my finger tips.

Lastly, since I typically shoot pre-sunrise, there are a few things I usually do the night before. These include things like making sure the camera bag is packed and ready to go, memory cards available, batteries charged, lens that I am going to be shooting with is attached, ISO is set back to 100 (or whatever its lowest possible setting is). These sound like little things, but the less you have to remember at 5:00 AM the better!

3. Shooting

The hardest part of these shots for me is getting out of bed, especially when it's January and it's 15 F (-9 C) outside and my spot next to my wife in said bed is warm and cozy! But they say, “One must suffer for one’s art”! Once up and out of bed though the rest is pretty easy. Fun too, if you have good skies and good early morning color in the sky. Get to the spot and set up. I usually find a single composition at a previously scouted location and shoot it the entire time. The reason is that since the ideal light doesn't last all that long, the chances of getting more than 2 comps are relatively slim. So just pick one and go with it.

I try my best to compose the scene carefully and commit to it. In other words, once I have started shooting, I keep the camera/tripod position as still as possible. By not making any changes/adjustments I stand a better chance of being able to blend a couple images in post a lot easier. Blending 2 or more images will allow me to create a final image that is evenly exposed in the sky and the traffic and one that has full streaks of light trails in all lanes of traffic.

I recommend taking several test exposures to get an idea of how much you should compensate (under/over) on the exposure. Once you've got the correct exposure settings, it's time to begin shooting through the good light until the show is over.

If you use a dark neutral density filter, it is a good idea to compose the scene without it, then switch to manual focus or lock the focus, then attach the filter for shooting. There is a good chance that you won't even be able to see the scene with the ND attached and the camera will probably have a tough time focusing. If your lens doesn't focus internally, be careful when attaching the ND filter so as not to turn the focus ring, or the polarizer for that matter.

You will also want to cover the eye-piece while your exposures are being made to prevent light from entering the back of the camera. Not doing so will throw the metering off. If you don’t believe it, set up and do this: look through the eye-piece from about 6 inches and note the shutter speed. Then really get your eye pressed up against the eye-piece and use your hands to block light coming in from the sides and note the shutter speed. Big, big difference! And to minimize camera shake I also recommend using a remote and/or the self-timer and mirror lockup functions if your camera provides it. Anything you can do to preserve the sharpness of the image the better.

Shoot for the streaks first (the lower half of the shot), the sky later (top half). Once you have made your test shots and determined the appropriate exposure settings, it’s time to start shooting. If you can get 15 to 30-second exposures without the ND, I recommend not using it for the traffic shots. Ideally the light in the sky is still approaching “ideal”, so start getting some good traffic shots. You can worry about the sky in a few minutes. Watch the traffic closely. There isn’t much of it in Little Rock at 5:15 AM and there are some occasions when a 30-second exposure won’t net too many streaks. Pay close attention to the access roads, exit ramps, and side streets. When you see a car on these less-used streets, make sure to capture it. Remember, you are going to blend these in post to make it look like every street was full of cars and light.

Once the light in the sky starts getting nice, carefully attach the ND if you want more than 30 seconds on the shutter speed and begin capturing shots of the sky. You may need to compensate your exposure so shoot a test shot or two and adjusts accordingly. And be glad this is digital and not film! At the end of this is a discussion on how to determine the exposure and shoot 30-plus second exposures in bulb mode. I figured I’d save the boring part until the end. Some people may be perfectly happy shooting shorter exposures.

4. Processing

Creating more traffic than there really is:

"Another Early One"


| Canon 40D | ISO 100 | 20mm | 30s- traffic/170s- sky | f/7.1 |


"The Worm"


| Canon 40D | ISO 100 | 21mm | 30s | f/10 |

I use Photoshop Elements 6 for editing. Typically I will blend an image or two in order to get full traffic in all lanes including the access ramps in the above. You don't need bumper-to-bumper traffic, but having light in every lane is typically more appealing. So while shooting, I try to pay attention to the traffic and make sure to capture the scene whenever a car is approaching those access ramps and side streets. In Elements I simply open the two images I want to blend, use the move tool (V), hold down the shift key and drag one image onto the top of the other. This will ensure that both images line up assuming you composed without moving the camera. Set the blend mode of the top image to "lighten".

The top shot above is a composite of several shots for the traffic ranging from 20-30 seconds and a 170-second exposure for the sky to get the streaks in the clouds. Skip to the bottom to see how to correctly determine the exposure on a 30+ second exposure. It's somewhat technical and I was hoping not to put anyone asleep until the end of this.


The four "non-keeper" images below were shot under fairly un-interesting skies and were edited very little, but they illustrate two things:

(a) The blending to get more light streams into a the final image
(b) What these types of shots look like when shooting at relatively short shutter speeds. Whether you like the effect or not of course depends on personal preference.








Final:





Other early morning traffic streak shots:


Good Morning (Fire Eater)


| Canon 40D | ISO 100 | 17mm | 30s | f/5.6 |

The above is actually my most "interesting" image according to Flickr and is still very popular in terms of daily views and such. This happens to be a single image, no blends. I was lucky enough to get enough motion in the clouds in 30 seconds. This is rare though.

The shot below is another single image. I was lucky enough to get this on my 2nd outting. It was very cold that morning - I guess this was my reward.

"This City Comes to Life"


| Canon 40D | ISO 100 | 50mm | 30s | f/11 |


5. Other non-traffic-streak evening/night shots that are fun to take

Even though many of the photos I posted here focus on traffic-streak shots, shooting at twilight or dusk, in the blue hour, is quite fun. Here are a few other shots I have taken during these times:

This is the street-car that runs a loop in downtown Little Rock. This was only a 1 or 2 second exposure, but it was long enough to blur the car and give an interesting effect.


| Canon 40D | ISO 160 | 17mm | 1.60s | f/4 |

Another favorite subject of mine I shot under some fast moving clouds one evening and with a 6-stop ND:


| Canon 40D | ISO 100 | 50mm | 30s | f/7.1 |


This is an evening shot the Arkansas State Capitol building dressed up in Christmas lights. No motion of any kind here, but this to me illustrates the blue hour at its most beautiful. Ten minutes later, this shot would lose all interest for me, as the sky would have been totally black.


| Canon 40D | ISO 100 | 17mm | 4s | f/8 |


Morning shot of the Capitol that illustrates both (1) the beauty of the blue hour in the sky and the window reflections and (2) photographer's luck, something I don't have too often, in that traffic streak that resulted from a maintenance vehicle passing in front of the building.


| Canon 40D | ISO 100 | 17mm | 30s | f/5.6 |

Sometimes it's possible to capture motion in the sky after the sun is up in the morning, but you will need both lots of neutral density and fast moving clouds.


| Canon 40D | ISO 100 | 17mm | 30s | f/11 |


Waterfalls are another favorite subject of mine. Someone could do an entire session on these subjects. Best to shoot these on cloudy, overcast days. While this exposure is 8 seconds, that is really more than long enough. In fact, in some cases, it may be too long. At this length you run the risk of capturing movement in the trees. Typically an exposure of 1/2 second or more is all you need. Of course there are ways to fix the movement in the trees if you feel like blending a couple images.


| Canon 40D | ISO 100 | 17mm | 8s | f/11 |



6. Boring discussion on how to calculate exposure manually

If I use a neutral density filter, it is typically a 6-stop. In the pre-sunrise darkness at a desirable aperture of f/8 to f/11, the camera is typically going to display the blinking "30 sec" or equivalent message, for shutter speed when this filter is attached, indicating there isn't enough light to get the correct exposure. To determine the correct exposure, I usually open the lens up all the way with the filter attached. If I'm lucky enough to get something other than the blinking "30" at f/4, then I'm in good shape - this is a little easier to calculate than if I were to still get the blinking "30".

For reference, each interval below represents one full stop of light:

f/2 - f/2.8 - f/4 - f/5.6 - f/8 - f/11 - f/16 - f/22 - ??? (my sensor is too dirty to worry about it at this point!)

In aperture priority mode, say for example that at f/4 the resulting shutter speed is 25 seconds. From f/4 to f/5.6 is one full stop and for every full stop down (going from wider aperture to smaller) you have to double the shutter speed. So the shutter speed at f/5.6 needs to be 50 seconds. The next full stop on the aperture is f/8. Shutter speed at f/8 should be 100 seconds. The next full stop, f/11, would need 200 seconds. F/16 would require a 400 second exposure.

If you open the lens up all the way and still get the “low light” indication, then you will have to remove the ND and observe the shutter speed at the desired aperture setting. Say for example, without the ND, you get 2 seconds at f/8. When you attach the filter, you are cutting 6-stops of light. It’s like stopping down the aperture 6-full stops. To compensate for that, you will need to double the shutter speed 6 times, resulting in a shutter speed of 128 seconds.

It’s best to experiment with and get an understanding of all of this before you are out shooting, so play around with it when it doesn’t matter. The math is simple, but at 5:30 in the morning, when time is of the essence, it can be easy to make a simple mistake. One that might cost you “the shot”.

So decide which of these you want, switch to "M", manual exposure mode, set shutter speed to "B" or "bulb", aperture to desired setting based on your calculation, use the locking remote shutter release and make the exposure. Just make sure that if you go with a 400 second exposure that your calculation is right and that you remember how long it has to be after you lock the shutter open! There is nothing worse than making a 7-8 minute exposure only to discover that it is either under or over-exposed. Write down the exposure time too if needed. In “bulb” mode you have to physically lock the shutter open, then unlock it at the appropriate time. It’s not all that hard to forget how long the exposure needs to be midway through it. Check your camera – it may display the elapsed time on the LCD. If not, use a stopwatch.

I recommend turning off the in-camera noise reduction, since it takes as long to perform the noise reduction as the camera took to make the exposure.

I shoot RAW, but if you shoot JPEG you will have to experiment with the white balance settings. I typically use the setting that the camera chooses when making the conversion. You may have to de-saturate the yellows depending on how harsh the artificial street lighting is in your area.

Conclusion

Well. You've made it to the end! The great thing about digital is that it affords us the opportunity to experiment with all these techniques. I seldom tried any of this in the film days. I just couldn't afford to. I have complete respect and admiration for those that did though.

So, get out this evening or tomorrow morning and give that "blue hour" a try!

**Little Rock, AR, home of former US President Bill Clinton, while he was Governor of Arkansas.

Leading Lines Thank you Terry.

TPorter2006

Leading Lines

Say what you want about photographs, but the one thing they lack is depth. Pick up a print, and it has length and width but most are pretty thin. Look at an image on a computer, same thing, it’s flat. But chances are good your photographic subject did have depth. So it is up to the photographer to create the illusion of depth to show what existed in our 3-D world in a 2-D format.

One of the ways to do this is with linear objects in the image called leading lines. The line shapes actually lead your eye through the picture. Anything with a line form can be a leading line, whether natural or man-made.

Fences,


Roads


& Shorelines


are all good examples of leading lines. These contours can convey a feel of distance and give perspective and scale to a shot.

Leading lines are an important compositional element. They can direct interest to your main subject, as well as adding depth to your image. Think of a colorfully dressed bicyclist on a deserted road with the two yellow lines leading you right to that focal point. Or the classic shot of railroad tracks receding in the distance to a vanishing point.

Most of the time, you are directing attention from the bottom of the photograph towards the heart of the scene, or from the foreground to the background. But you can also use a leading line from the corner of an image.

Leading lines act like a flashing arrow to your viewer, saying “Look Here”. So you do want to watch which direction these lines are taking. Is it away from your subject? Does a line lead someone out of the photograph totally? Make these lines work for you. Look for leading lines in the foreground before you compose your shot.

You can also try to use leading lines that echo the other shapes in your image. A curving mountain road through sloping mountains, for example. The straight line of a street leading into a cityscape.

When you compose a picture such that it has a defined leading line, I think you need good depth of field. The leading line should not be soft and similarly the background that you are leading the viewer to should be sharply defined.


Lines also carry certain pre-conceptions.

Vertical lines imply power and strength


Horizontal lines can show tranquility or be static.


Curved lines have beauty and can be more subtle.


Diagonal lines are more dynamic and imply action


Jagged lines suggest conflict.


Keep the idea of leading lines in mind, they can help show the true depth of your subject and make images more compelling!



Here are some examples of images in The Pinnacle Hall of Fame pool that I think demonstrate great use of leading lines:

"Valley of Fire, Vegas" by Kathy~


"Purple Mountains" by joiseyshowaa


"Rusty Trails" by drwhimsy


"Rush Hour" by Anderson Fang



More resources on Leading Lines:

www.anntorrence.com/blog/2008/10/learn-photo-composition-...

desktoppub.about.com/od/gestalt/Gestalt.htm

projects.ilt.columbia.edu/edviz/curriculum.html

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.