Street

Photography
55 Ways to Capture Better Shots of Ordinary Life

by Eric Kim
With contributions from:
Ludmilla Morais
Blake Andrews
Thomas Leuthard
Kramer O’Neill
STREET PHOTOGRAPHY by Eric Kim
erickimphotography.com Text © 2015 DEXT AB.
Images © Eric Kim, except where otherwise noted; see rights page for more information.
All rights reserved.
No part of this book may be reproduced in any form—whether written, electronic, recorded, or photocopied
—without written permission of the publisher.
Although every precaution has been taken to verify the accuracy of the information contained herein, the
author and publisher assume no responsibility for any errors or omissions. No liability is assumed for
damages that may result from the use of information contained within.
Published by DEXT in Stockholm & New York. On the web at DEXT.mobi. Contact us at
sales@DEXT.mobi.
Editor: Johan Steensland, Cemark
Consulting Editor: Julie Mazur Tribe
Proofreader: Alison Hagge
Cover Design & Layout: Tobias Hagberg Kim, Eric, 1988
Library of Congress Catalog Number: 2013957591
Print edition ISBN: 9789186841546
E-pub edition ISBN: 9789186841621
Kindle edition ISBN: 9789186841560
PDF edition ISBN: 9789186841638
First edition E-book authoring by Ionfox AB
Contents
Foreword
Introduction
 Chapter 1: A first taste
The biggest challenge for budding street photographers is to overcome their fear
of shooting in the streets. Use the tips in this chapter to learn how to conquer that
fear.

1. Get close! Now take two steps closer.
2. Show respect
3. Ask for permission
4. Ignore those who call you weird
5. Conquer your fears
6. Learn to defuse tension
7. Practice instant responses
 Chapter 2: Camera gear
One great thing about street photography is that it transcends technology and
gear hype. Bring a small and simple camera with a wide-angle lens, and you will
be fine.

8. Use a wide-angle prime lens
9. Carry a messenger bag
10. Smaller is better
11. Don’t worry about the gear
12. Carry spare batteries and memory cards
13. Keep a shooting journal
14. Try shooting film

Guest Gallery: Ludmilla Morais

 Chapter 3: The decisive moment
“The decisive moment” is a term coined by street photography pioneer Henri
Cartier-Bresson. This chapter will explain what it is all about, and how to
capture that split second of genius and inspiration.

15. Wander and explore
16. Search your backyard
17. Always bring your camera
18. Look for beauty in the mundane
19. Shoot as much as you can
20. Don’t regret missed shots

Guest Gallery: Blake Andrews

 Chapter 4: Technique
Use the techniques in this chapter to challenge yourself as a storyteller, make the
most of your equipment, and energize yourself when you feel uninspired.

21. Shoot a theme
22. Tell great stories
23. Get eye contact
24. Use zone focusing
25. Switch up your lenses
26. Experiment with different perspectives
27. Shoot from the hip
28. Shoot at night
29. Juxtapose elements
 Chapter 5: Blending in
Learn how to blend into the environment and use your personality to make
subjects feel more comfortable.

30. Go for the candid look
31. Smile!
32. Avoid eye contact—or make it?
33. Use an all-black camera
34. Pretend to shoot something else
 Chapter 6: Styles
Your view of the world is unique, as are your personality and aesthetic
sensibility. Here are some ideas for finding your personal style.

35. Look for geometry, lines, and framing
36. Celebrate everyday life
37. Get in-your-face
38. Include multiple actors: harmony in chaos
39. Highlight formal elements

Guest Gallery: Thomas Leuthard

 Chapter 7: Processing
Decisions, decisions, decisions. This chapter will help you decide how to crop,
when to work in color versus black-and-white, how to deal with imperfections,
and how to compose your shots.

40. Develop your unique style
41. Know when to work in black and white
42. Know when to work in color
43. Accept imperfections
44. Crop for a better story
45. Show only your best work
46. Identify your “keepers”

Guest Gallery: Kramer O’Neill

 Chapter 8: Getting online
As a street photographer, you will get to meet a lot of people, both in real life
and virtually. Here are some tips to make the most of your online presence.

47. Get constructive criticism
48. Focus on a few
49. Give more than you take
50. Spend more time shooting

Appendix: Privacy laws around the world

Foreword
I have had the honor to accompany Eric Kim throughout his photographic
journey—from his Los Angeles–based portfolio and countless photography
initiatives, to his now global photography community, workshops, and travels.
Eric has always been a teacher and lifelong learner at heart. When he realized
how limited the resources were for aspiring photographers, he created a lively
blog for discussion and sharing his knowledge. By doing that, he turned a
solitary and competitive art form into a community of learners and teachers such
as himself. Eric’s exuberant and giving personality is inextricably woven into his
approach to photography and teaching —intentional, present, and honest. Eric
never intended to be a professional artist or blogger. He simply does what he
loves! And he strongly believes in sharing that passion and experience with
others. This book demonstrates not only Eric’s extensive knowledge in street
photography, but also his firm belief that with the right tools and dedication,
you, too, can further develop your photographic abilities.
Cindy Nguyen,
Eric Kim’s First Student
Introduction
I remember when I shot my first street photograph. It was a sunny afternoon in
Los Angeles. I had just finished class and was waiting for the bus, camera in
hand. Suddenly, I noticed a young man with round spectacles leaning against a
pole, casually reading a book. In that split second I was overwhelmed by a
thought: I had to take a photo of him! However, the mere thought of taking the
man’s photograph without his permission scared me. My heart was pounding. I
slowly brought the camera to my eye.
And that was when it happened: the magic! The man shot a glance at me, and
I clicked the shutter. Adrenaline flowing, I looked at my LCD screen and knew I
had got the shot. I had captured something remarkable. It was this great moment
that introduced me to street photography. This moment—this simple photograph
unearthed in me a passion for documenting the unstaged beauty, intricacies, and
humor of everyday life.
People often ask me, “Eric, what exactly is street photography?” Simply put,
it is capturing the beauty in the mundane, and ordinary people doing everyday
things. It is capturing a slice of life, unedited and raw. It is an affirmation of the
world around us and all the things we are often too busy to notice.
If you have ever been interested in street photography or wanted to learn how
to shoot images of strangers in public, this book is for you.
Eric Kim
“If your photos aren’t good enough, then you’re not close enough.”Robert Capa
 Chapter 1: A first taste

The biggest challenge for budding street photographers

is to overcome their fear of shooting in the streets. Use
the tips in this chapter to learn how to conquer that fear.
 1. Get close! Now take two steps closer.
Robert Capa, the famous twentieth-century war photographer and co-founder of
the international photo agency Magnum, once said, “If your photos aren’t good
enough, you’re not close enough.” This is especially true for street photography,
as getting close to your subject is an important consideration if you want to
capture a compelling image.
Whether out of respect for their subjects, laziness, or shyness, photographers
often try to keep their distance. As a consequence, their images often lack
feeling and soul.
By getting close to your subject you create an image that feels more intimate.
You make the viewer feel that he or she is there. Rather than being a voyeur
looking in at the scene, the viewer becomes an active participant.
By getting physically close to your subject, you also get emotionally close.
You are able to experience your subject’s perspective, which allows you to
connect with him or her on a personal level and makes you feel part of the
action. By getting closer, you fill the frame with more energy and action.
Presence cannot be registered from a distance; it must be up close and personal.
Type in dext.mobi/ae2U to see a YouTube video of Eric shooting in Venice Beach, California
 2. Show respect
Street photography should be done without permission, candidly, and from the
heart. However, shooting pictures of people in public raises delicate questions
about showing respect for your art form, and your subjects. Remind yourself of
the why—that is, why you are shooting in the streets. Respect demands that your
intention should be to capture the beauty of everyday life. For example, think
twice before shooting photos of homeless people or others struggling in life. Do
you truly empathize with their situation and want to shed light to it? Or are you
taking photos to exploit their misery and to call yourself an artist? It’s all about
the why.
Recall from the introduction what street photography is: Besides being about
capturing beauty in the mundane, it is about capturing a slice of life, unedited
and raw. It is about affirming the world around us and all the things we are often
too busy to notice. Showing respect for your art form is about staying true to it.
And this respect will help you with the why: your motivation, your intention.
What, then, about your subjects? Although street photography dictates that
you should work candidly, people in many cultures will find it rude and intrusive
to be photographed in public. Show respect for your subjects by considering
their emotions and their reactions to being photographed (should they notice).
Show respect by listening to your conscience when you find yourself in a
sensitive situation. And when you are truly in doubt, show respect by asking
your subject for permission.

3. Ask for permission

Because street photography should be unposed, it might seem counterintuitive to
ask your subjects for permission before taking their pictures. But most beginning
street photographers have at least some fear of photographing strangers in
public, and a great way of getting over that fear is to ask for permission before
you start shooting.
When you ask for permission, it signals that you find something intrinsically
interesting about your subject. That’s flattering to your subject, and as long as
you look like someone with the best of intentions (which you have, don’t you?),
most people will gladly accept.
When you approach your subject on the street, remember to keep a smile on
your face. By smiling, you might alleviate feelings of distrust. It also makes your
subject feel more comfortable.
 To break the ice, say something along the lines of, “Excuse me, I know this
may sound weird, but do you mind if I take a photo of you? I find your face
absolutely beautiful.” This simple icebreaker might seem artificial, but it
contains some key elements. It starts by offering respect and politeness (“Excuse
me”), then acknowledges the unusual aspect of your request (“I know this may
sound weird”), and ends with a compliment (“I find your face absolutely
beautiful”). By complimenting your subjects, you may make them want to get
their photograph taken.
Feel free to exchange any or all of the phrases above to create your own
icebreaker. Just remember, it should ideally contain some versions of the key
elements described above.
And if your subject should decline, remember to say “Thank you!” and move
on to the next person you find intriguing.
 4. Ignore those who call you weird
Street photography is an art that is largely misunderstood. Many people see
street photographers as “creeps” who invade the privacy of others, rather than
artists who capture beauty in the mundane. Be prepared to be regarded as
“strange” by the people around you—and this goes for your closest friends as
well as the man on the street. After all, shooting photos of strangers without their
permission is taboo in many cultures around the world.
Try to disregard what others think. Instead, go out and shoot what you love
and make great images. And while you’re at it, don’t be afraid to get yourself
dirty—literally. Shoot with your chest or back on the ground and experiment
with different angles. When you’re waiting for the right person to come into
your frame, ignore people who may be looking at you curiously. You might hear
someone say, “Did that guy just take a photo of that other person?” Be aware of
how others may react, but try not to pay too much attention.
When you publish your images on the Internet, people may question you.
Those who don’t grasp the concept of street photography might tell you that you
must ask for permission. They might tell you that publishing your street photos
is wrong, or even immoral. If this happens to you, stay calm. Explain your
country’s street photography laws and tell them that publishing your photos is
within your legal rights. Let them know that street photography is not about
exploiting people; it’s about art. Even so, some people might still refuse to listen.
That’s part of life. Just ignore them.
Type in dext.mobi/Jah8 for YouTube video.
 5. Conquer your fears
When I first started in street photography, I was petrified. Taking photographs of
strangers without their permission felt wrong. I feared their reaction, should they
catch me in the act. Whenever people caught me taking their photos, my heart
would race and heat would rush to my face. However, over the years, I have
come to change how I think about street photography. I have also come to
change how I approach it. And in turn, the fear I used to feel is all but gone.
I advise you to try to rewire your brain. Identify exactly what makes you
afraid. Are you afraid that the strangers you photograph will physically or
verbally attack you? My experience is that the vast majority of people either
won’t notice or don’t seem to care. Within the minority of people who do mind,
some have asked me to delete their images. And really, is that something to
worry about?
Learning street photography is, in a way, like learning to swim or ride a bike.
You cannot learn it by simply reading books. Theory alone will not do it. You
need to take action. You need to practice. You need to get out there and shoot.
It’s the only way of getting over your fear. I offer no shortcuts, because I don’t
think there are any. So go out there with a smile on your face, and you will be
surprised how many people don’t mind.
Type in dext.mobi/Quah for YouTube video.
 6. Learn to defuse tension
When you’re shooting photos in the streets, most people won’t even notice you,
as they are typically lost in thought. The ones who do notice you will typically
assume you’re photographing something or someone else. And even among the
people who notice that you’re photographing them, some will feel honored and
happy about it.
However, there is a small risk that someone will approach you and be
aggressive. Should that ever happen, there are two things to do. First, look the
person in the eye and offer your friendliest smile. Most often, a smile will
dissipate any feelings of suspicion. Think about it: If you were doing something
wrong, would you stand your ground, look the person in the eye, and smile?
Second, stay calm. Offer your business card and explain what you are doing.
Motivate your subject by sharing what it is you found beautiful about him or her.
In the rare case when a person continues to be aggressive, simply delete the
photo and show that it’s gone from your memory card. Although street
photography is perfectly legal in most countries, it might be wise to avoid
getting into a fight with a stranger who insists you should delete an image. If
your gut tells you that you just snapped the Image of Your Life, keep in mind
that you have no obligation to erase it. Whether it’s worth a public fight with a
stranger, well, that’s a judgment call.

7. Practice instant responses

When working in the streets, you need to know how to respond if you’re
questioned. If a person you photograph approaches you’ll, you have about a
second to react. Should you hesitate or stutter, the person’s suspicion of you and
your motives might grow. So it’s a good idea to prepare and practice your instant
responses.
The second you feel a questioning look or notice someone approaching, take a
step closer, look directly back at the person, and—most importantly—have some
good responses prepared. Here are a few you might use:
“Sorry for the confusion. I thought you were someone famous!”
“You have beautiful eyes.”
“I am a photography student. One of my assignments is to take photos of
interesting people on the street, and I find you absolutely fascinating.”
“You have a smile that could light up a room.”
“I didn’t mean to confuse or offend you. I am a street photographer and I
capture beautiful moments and people I see in my everyday life.”
Whatever your personal phrases, your objective should be to defuse the
situation, ease any feelings of anger or distrust, and foster an understanding of
what you do. Good phrases, spoken with confidence, will generally help even
the most suspicious person accept what you are doing.
 10 simple exercises to get you going
It can be daunting to shoot strangers with a camera.
Here are ten exercises to help you wear down your initial
shyness and get started.

Exercise 1: Start a conversation

Have a conversation with a stranger and ask him or her for permission to take a
photo.

Exercise 2: Look for signs

Look for signs (billboards, advertisements, arrows, and so on) and juxtapose one
with a person either standing next to it or walking past it.
 Exercise 3: Don’t ask for permission
Find someone you want to take a photo of, approach him or her, and take the
photograph without permission. After taking the photograph, wave at your
subject, smile, and say thank-you.

Exercise 4: Stand still

Stand still at a busy intersection for twenty minutes and take photos of people
who come near you.

Exercise 5: Walk around

Walk around holding your camera to your eye as if it were a video camera, but
don’t take any photos. Note people’s reactions.

Exercise 6: Be selective
Work on being selective. Spend an entire day shooting street photography, but
limit yourself to thirty-six shots.

Exercise 7: Ask people to pose

Go out in public and tell someone you are working on a street photography
project. Then ask him or her to pose for you a certain way. Present the same
question to three different people. Note how each reacts to you.

Exercise 8: Make eye contact

Capture a photograph while making eye contact. If you see someone you want to
take a photograph of, aim your camera at him or her. Wait for the subject to
sense your presence and turn toward you, then take the photo.

Exercise 9: Take it to the next level

Take a photograph of a stranger. When your subject looks at you, say “Pretend
that I’m not here.” Continue photographing and see how he or she reacts.

Exercise 10: Work on a theme

Spend an entire day photographing only one thing, such as cars, the color red,
feet, hands, hair, and so on.
“To me, photography is an act of observation … I’ve found it has little to do
with things you see and everything to do with the way you see them.”Elliott
Erwitt
 Chapter 2: Camera gear

One great thing about street photography is that it

transcends technology and gear hype. Bring a small and
simple camera with a wide-angle lens, and you will be
fine.
 8. Use a wide-angle prime lens
It may seem that a telephoto lens will get you close to the action, but it’s actually
the other way around. Because it will let you shoot from a distance (hence
making you lazy), a telephoto lens will distance you from your subject. This
distance—or lack of presence—is devastating to your street photographs.
Looking at the images, one might feel like a distant observer rather than a
participant. Also, a telephoto lens compresses the depth of your scene, severely
cropping the background. The net effect is that the subjects in your images are
deprived of much of their context.
Instead of a telephoto lens, try a wide-angle prime lens. A short prime has
many advantages: it’s small and lightweight, and it offers a large maximum
aperture and high-quality optics. It also forces you to get close to your subjects.
For a full-frame digital SLR camera, try a 28mm or 35mm lens. These are the
classic focal lengths for street photography. Using them will open your eyes to
the world in a way that a zoom lens simply cannot.
Don’t worry about losing potential shots by leaving your zoom lens behind.
Shooting without your zoom forces you to be more creative. And you have to be
creative; who wants to look at pictures taken by a lazy photographer? Also, you
will work more quickly with a prime, since you won’t lose precious time
fiddling with a zoom ring at the decisive moment.
 9. Carry a messenger bag
To keep a low public profile, a street photographer needs an easily accessible
camera bag. The so-called messenger bag is ideal. It is lightweight, casual, and
most importantly, it lets you take out your camera without hassle. The most
important and obvious part of street photography is to always have your camera
with you. But what good is your camera if it’s behind you in that cumbersome
backpack? What good is it tucked away in some more or less professional bag
that takes minutes to open? Go with the messenger bag, because it will help you
with the most important part of street photography.
Also, make sure you pack light. The heavier your bag is, the less time you can
spend shooting and the less you’ll enjoy the time you are shooting. In addition to
your camera and a prime lens, bring only what you really need: an extra battery,
memory cards, perhaps another prime, and some cleaning cloths. Or why not
challenge yourself by bringing only your camera and your favorite prime lens?
The lighter you are, the more freely you can work, and the more time you will
spend shooting instead of fumbling around in your camera bag.
 10. Smaller is better
The larger the camera, the more conspicuous the photographer. A DSLR,
especially a bulky high-end model, makes you stand out in a crowd. You might
as well wear a t-shirt that says, “I am a professional photographer.” This is
devastating to your street photography because it can cause subjects to feel
uncomfortable, self-conscious, and even threatened. A smaller camera is better.
You will blend in more easily. When you use a small camera, people may just
dismiss you, mistaking you for a tourist or (shame on them!) an amateur.
Another benefit of a small camera is that its weight and size will encourage
you to take it with you more often than you would a big, heavy camera. The
smaller your camera is and the less gear you carry, the more photos you will end
up taking.
For people starting out in street photography, I recommend a point-and-shoot,
a micro four thirds camera, or even a smartphone.
 11. Don’t worry about the gear
A beautiful thing about street photography is that it doesn’t require much camera
gear. Contrary to other kinds of photography, like landscapes or flowers,
expensive lenses are secondary. What you do need, however, is a passion for
shooting people and cityscapes.
The father of modern photojournalism, Henri Cartier-Bresson, once said,
“Sharpness is a bourgeois concept.” And if you study successful street
photographs, you’ll notice that they are often grainy, gritty, and slightly blurry—
properties that can evoke the raw realism of life. Many photographers spend too
much time worrying about gear and too little time actually taking photographs.
But concentrating on photographing—spending your time out there with your
camera—is what will inevitably lead to better images.
What you should worry about when it comes to gear is familiarity— meaning,
getting to know yours as well as you possibly can. Regardless of what camera
you choose, it will have its pros and cons. There is no such thing as the “perfect”
street photography camera. What it comes down to is getting comfortable with
the gear you have and understanding how to work with its particular pros and
cons.
Avoid thinking of your gear as a crutch. Just go out and shoot.

12. Carry spare batteries and memory cards

There is a saying in the military that goes, “Two is one and one is none.” This
refers to the necessity for a soldier to carry spares of any crucial piece of
equipment. A soldier needs to be extra careful as failing to carry backups might
ultimately result in lives lost.
Even though photographing in the streets is a smidgeon less serious than
fighting in the battlefield, this is a good saying for street photographers. Without
a doubt, there will be times when you find yourself out in the streets with either
a drained battery or a full memory card (or both). There will also be days when
you forget your main memory card or battery at home. That’s when the backups
stacked away in your bag will save the day. It’s all about being prepared. Try to
avoid ending up in a situation when you want to shoot something, but can’t.
 13. Keep a shooting journal
Some people call it notes, others call it records. Still others use words like data,
files, ledger, or even journal. And for every term out there, there is at least one
approach to the actual task. You might use a piece of paper and a pen, a laptop,
or an iPad. Or why not use a voice recorder, a notebook, a legal pad, or even a
personal leather journal? Regardless of the type of person you are, there is an
option that suits you. That’s a good thing, because even if the term and approach
are unimportant, the task itself is anything but.
Street photography will introduce you to interesting people with incredible life
stories. I’ve had the opportunity to listen to some truly touching stories from
businessmen, the homeless, street performers, even children. By recording these
stories in pictures, a street photographer is preserving a piece of personal history
as well as a part of society’s history. But don’t forget that the story behind a
compelling picture is often part of what makes it so special. When you present
your work, whether to friends over cups of coffee or to visitors at your first
exhibit, it’s important that you can retell the stories behind your pictures.
We all know what a “keeper” looks like. But what makes it so good? Try to
uncover the secrets of good photography through your notes. Describe what
makes that image so powerful and moving to you. What compositional elements
work well? Is it the framing, the action, the person’s physical traits, or the
expression? By zeroing in on what fascinates you about your “keepers,” you will
better understand and develop your photographic style.
Type in dext.mobi/g6Ke for YouTube video.
 14. Try shooting film
Although analogue cameras are becoming more and more obsolete, there’s still a
good reason for trying one (if you can find a roll of film for it, that is). Actually,
shooting film can be a powerful learning experience. When you are shooting
with film, you automatically force yourself to be more critical and disciplined.
The limited number of shots in each roll makes you economical and selective.
While a digital camera makes it is easy to take hundreds of bad photos by
aimlessly firing away, film requires you to think a bit before pressing the shutter.
The film developing process will also teach you patience. Digital cameras
provide “instant gratification” in that we can immediately review the images we
shoot. With film, there is uncertainty about how your images turned out —
whether they were framed correctly, exposed well, or sharp. All of these
questions get a chance to marinate inside your mind. And once you get your roll
of film developed, you can study it from a more mature perspective and learn
from it with a deeper understanding.
If you shoot with a film rangefinder camera that does not have built-in
metering, you will also have to learn to handle available light. For instance, you
will get a better sense of what aperture and shutter speed to use during certain
times of the day at certain ISOs. Understanding light and exposure will make
you more aware of the lighting in any scene, an awareness that can only help
when you return to shooting digital. It will allow you to go beyond what the
auto-exposure setting on your camera can offer.
 Guest Gallery: Ludmilla Morais, Los
Angeles, California

Brazil-born Ludmilla Morais started taking photographs

in August 2005 when she received a camera as a birthday
present. She hasn’t stopped since. She lives and work in
Los Angeles, California.
How did you get started in street photography?
Street photography entered my life during the time I was being courted by an
Italian street photographer named Andrea. I caught his eye while engrossed in
making self-portraits. As our relationship flourished, he suggested I turn the
camera on people other than myself. Following his suggestion, I braved the
streets. From then on, I couldn’t stop. I fell in love with street photography. Self-
portraits began to give way to my new passion.

What are some things you look for when shooting

on the street?
I rarely leave home with something in mind when it comes to street
photography. I initially tried to follow models and projects, but my concept of
what street photography is has become quite broad. So basically, I shoot what I
feel like in the places where I wander. I try to capture whatever makes my heart
skip a beat, even if the result does not always turn out as I had envisioned. I
can’t say that I look for people, because in some of my photographs all you can
see is their absence.
 Describe the story behind the most meaningful
street photograph you have ever taken.
It is hard to pinpoint a single photograph and describe the story behind it. I
would have to go with one of my most popular recent photos. I was walking
around downtown Los Angeles, waiting for the golden hour. The light was harsh
and I was about to cave in and go home. But as I turned onto Broadway, I saw a
Hispanic man running one of those table games with three bottle caps and one
ball. He’d shuffle the caps and the person would have to guess which the tiny
ball was under—in most cases, it was none of them! It is an old con game. As I
approached the small mob of people on the sidewalk, he saw my camera and
shouted insults and crude jokes at me, unaware that I spoke his language. I
replied promptly, and as I did, he told me that photographing his game was
illegal. I asked him to define illegal activity. In the end, we both laughed it off
and carried on. Most of my stories are about conflicts, and all of my photographs
are meaningful to me—even the ones that don’t get to see daylight.
 What do you think makes a great street
photograph?
The passion and sensibility of whoever is taking the shot. A perfectly balanced,
but soulless photograph doesn’t do anything for me.

What advice would you give aspiring street

photographers?
Shoot! Always have a camera with you. Educate yourself without turning into a
copycat. Be aggressive, but know when to back down and respect other people
on the street. Conflicts will always happen and altercations will come by the
dozen. Know yourself. Know your rights and hold your ground. Shoot more,
then edit, edit, edit, edit. Learn how to educate your eye, create your own pace,
and be true and passionate about what you do.
To see more of Ludmilla’s work, visit ludmillamorais.com.
“You can’t photograph if you’re not in love.”W. Eugene Smith
 Chapter 3: The decisive moment

“The decisive moment” is a term coined by street

photography pioneer Henri Cartier-Bresson. This
chapter will explain what it is all about, and how to
capture that split second of genius and inspiration.
 15. Wander and explore
Some of my favorite street photographs were shot in unexpected places and off
the beaten path, which is why I always tell beginning street photographers to
wander, to explore.
If you automatically go where everybody else goes, you will probably take the
same pictures everybody else takes. Sure, popular locations can be fun and offer
good exercises in camera handling and composition. But to shoot truly personal
and unique photographs, you need to seek out personal and unique locations.
Start with a general idea of where you want to go. Once you get there, let your
curiosity guide you. Explore the quiet streets and narrow alleyways. Here’s
where you are most likely to find unique opportunities to capture precious
moments of locals interacting and kids playing. It’s true that seeking your photo
opportunities this way requires a bit of work. But you will be rewarded for your
efforts by more personal and interesting photographs.
 16. Search your backyard
One of the most common complaints I hear from beginning street photographers
is that their hometown simply doesn’t offer any interesting photo opportunities.
Interesting photographs, they argue, require foreign and exotic places, such as
Paris, New York, or Mumbai. But ironically, people in these “foreign” places
don’t feel that their city or country is particularly interesting, either. I guess the
grass is always greener on the other side.
In fact, the best street photography opportunities might be right in your own
backyard. Shooting in your home environment might be difficult, but with the
right training you will start to discover amazing opportunities. All it takes is a
couple of simple exercises.
Try to take in your usual surroundings with a fresh pair of eyes. Rather than
running your usual route from one place to another, take time to slow down.
Pretend that you’re seeing this environment for the first time. Try to identify the
small, quirky things that make your surroundings interesting and unique. This
simple exercise will teach you to notice and appreciate things you may not have
paid attention to before.
If you live in a suburb, you might feel that it’s the least interesting place to
shoot. However, look for juxtapositions, such as a massive SUV alongside a tiny
compact car. If you live in a farm, look for animals behaving in interesting ways.
If you simply cannot find anything interesting about your hometown, invite a
couple friends from other places to visit and ask what they find unique or special
about where you live.

17. Always bring your camera

Have you ever witnessed the perfect photo opportunity and cursed yourself for
not having a camera with you? For a dedicated street photographer, that’s quite
possibly the worst feeling in the world. But just because this has probably
happened to you before doesn’t mean it has to happen again.
Carry your camera with you everywhere you go. And when I say everywhere,
I mean it literally. Bring your camera to the grocery store, when you are going to
see your family, or when you are just taking a walk around the block. The most
interesting shooting opportunity might appear where you least expect it.
Woody Allen once said, “Eighty percent of success is just showing up.”
Applied to street photography, this means that the better part of your positive
development as a photographer comes from simply having a camera with you.
Think about it! It’s extremely hard to take a good photo without a camera, but
it’s only a little difficult with a camera. Improve your odds; always bring your
camera!
Nowadays, when camera-equipped cell phones seem to be the norm, there’s
no excuse for leaving home without a camera. As photographer Chase Jarvis put
it, “The best camera is the one that’s with you.”
 18. Look for beauty in the mundane
Everyday life for most people tends to be repetitive. We generally wake up at the
same time every day, eat the same breakfast, take the same route to work, and so
on. And humdrum routines have a tendency to keep us from appreciating our
lives and the world around us.
But even though most of us do have repetitive routines, there’s a simple way
to find exciting opportunities for street photography. Try to re-envision the
things you see every day. For example, if the old man with the funny shoes goes
out to grab his newspaper every morning at 9:00 a.m., anticipate that and shoot
it. Don’t wait until the next day; he might be gone! If you take the subway to
work, look at the people around you. What makes each person different and
unique? Tell their stories with images.
The fast pace of modern life also prevents us from seeing the beauty around
us. Slowing down is the only thing that helps. Why not take a different (and
slightly longer) route to work or school? And if you see something interesting,
stop and take a photograph of it. If you’re heading to the store, try walking
slowly and looking carefully at the things around you. As an exercise, look at an
object as a reflection or a shadow instead of the other way around. Re-envision
what’s typical to you, and more street photo opportunities will present
themselves. It’s often the things we normally overlook that are the most
beautiful.
 19. Shoot as much as you can
Sometimes when you look at the work of other street photographers, you might
think, “Hey, I could have taken that photo!” And it’s true. You could have. That
is, if you were at that particular place at that particular time, ready with camera
in hand.
Street photographer Thomas Leuthard once shared a quote that stuck with me.
The quote, by Roman philosopher Seneca the Younger, was: “Luck is when
preparation meets opportunity.” (As a side note, the attribution to Seneca has
been contested, but the quote is still a good one.)
The fact that “being prepared” and “showing up” are such big parts of
successful street photography makes the genre wonderful. Street photography is
far less technical than other forms of photography. Don’t worry too much about
gear and gadgets, but always be prepared to capture the decisive moment.
Walk as much as you can and be on the streets as much as you can. Instead of
going by car, take the bus or the subway. Instead of eating inside your office,
visit a place you haven’t been to before and eat there. Although there’s no
formula for creating successful street photographs, spending more time outside
among people will definitely help your chances.
 20. Don’t regret missed shots
Missing the decisive moment is frustrating. Despite bringing your camera
everywhere and keeping your eyes open for shooting opportunities, you will
miss many good photos. Try not to beat yourself up about it. Instead, move on
and look for the next great shot. Interesting moments happen thousands of times
each day, in millions of places around the world. Even if you miss your decisive
moment, thousands upon thousands more await you around the corner. Use this
fact as motivation to take even better photos.
 Guest Gallery: Blake Andrews,
Eugene, Oregon

Blake Andrews is a self-taught photographer based in

Eugene, Oregon.
How did you first get started in street
photography?
I didn’t start out as a street photographer. In the beginning (circa 1993), I had no
idea what street photography was. I just knew I liked to walk around and find
pictures, so that’s what I did. I was living in a city at the time, so most of what I
was shooting was urban material: signs, graffiti, shadows, clusters of buildings,
and so on. I didn’t know any other photographers at the time, and it was before
the Internet, so for the first several years I was pretty much on my own. Most
days I’d spend some time shooting, then once a week I’d go to the darkroom to
see what I’d gotten that week—a pattern I have continued ever since. I
occasionally saw photo shows, but I encountered most other photography in
books. I was very influenced by [Henri] Cartier-Bresson in the beginning and,
later on, [Lee] Friedlander. Those guys helped lay the foundation for me, and
even today I find it hard to escape their influence. Cartier-Bresson was a master
of visual geometry. From Friedlander I learned the art of layering, and he also
showed me that it was okay to inject humor into my photos. Honestly I’m not
sure if what I do is street photography. I just follow my muse. Sometimes this
leads me to typical urban street situations, and sometimes not. The one thing I
shoot more now than I did initially is people, mainly because they’re often the
most dynamic elements around. You can walk down the same street over and
over and not much changes, except for the people. They’re always different,
even from one second to the next. This keeps things fresh.
 What are some things you look for when shooting
on the street?
I look mostly for form, geometry, pattern. Those are the things that catch my eye
initially, and sometimes I wait around to combine them with chance events.
Unlike some street photographers, I don’t have much empathy for strangers. My
photos don’t usually get inside people’s heads, and they don’t usually have much
emotional resonance. I’m more of a cold-blooded assassin. I don’t care who or
what is in the photo as long as the elements combine into something visually
interesting. I’m very tuned in to gesture, especially hands. I think the two body
parts that can make or break any photograph are hands and eyes. But I’m too
slow and shy to pay attention to eyes, so for me it’s hands. If I see someone’s
hands in an interesting position, it’s almost as if nothing else exists. I zero in and
shoot them, and sometimes I’m not even sure what else was in the photo until I
see the result. Form and pattern are my building blocks. But the main ingredient
in the best street photos is serendipity, and that’s something you can’t really look
for. When you look for it, it disappears. But if you shoot enough you can count
on it periodically.
 Describe the story behind the most meaningful
street photograph you have ever taken
It’s impossible to say which one is the most meaningful, but there is one that
sticks in my mind: a photo of a woman in front of a bush. This was sort of a
turning point for me. The funny thing is, I don’t remember taking that specific
image, although I’ve since pinpointed where it must’ve been taken. I was
shooting a ton back then, too much to keep track of, really, and this was just one
frame on the roll. But when I saw it on the contact sheet it just jumped out at me
and I couldn’t wait to print it. The image had a certain quality that I hadn’t
noticed before in my work. It was visually confusing, and something about that
confusion just pushed a button for me and seemed to offer a new direction.
Before that point I’d been trying to document people and events, but this photo
wasn’t about the person or the scene so much as it was about raw visual
language. It was about the photo itself. I was so excited at the time that I wrote
on the back of the work print, “This is the photo I’ve been trying to make!” I’d
never written anything on a print before, except for the date and place. But that
one seemed special at the time and, almost a decade later, I still like it.
 What do you think makes a great street
photograph?
There is no one all-purpose formula, but what I enjoy the most are photos that
surprise me or make me see things in new and different ways. I enjoy photos that
are visually ambiguous, that create a mental puzzle for me to solve and,
hopefully, a psychological or social one, too. It goes without saying that a good
photo has to have good visual balance. The forms need to relate to one another
and also to the frame, and sometimes that relationship can be pleasantly counter-
intuitive or off-balance. But beyond form, I think a good photo has to take you
someplace past the purely visual, to make you wonder about the scene, and to
make you wonder about the world. A lot of times, but not always, this wonder is
added through chance element or serendipity. I think it’s hard for any single
image to convey the personality of a photographer, but groups of photos can do
that. And I think that is what makes most good street photos succeed: when you
look at a collection and feel the presence of the person making them.
 What advice would you give to aspiring street
photographers?
Advice is tough to give. It’s like advising a flower on how to grow. You can talk
as much as you want to a flower, but in the end, the thing is going to bloom
according to its own design and its own schedule. The worst thing you can do is
try to steer it. A rose can’t become a carnation. You just have to have faith that
in the end, your flower will bloom. If I have any advice it’s to keep that faith.
Don’t short circuit nature. Don’t give up on your style. If you stick with it, and
give it attention and food and water, your flower will bloom, and it won’t look
quite like any other flower in the world. Don’t shoot street photos. That’s telling
the flower how to grow. Instead, shoot whatever interests you regardless of
what’s in it or how it looks, or if you think it’s “street” or not. You need to find
your interest, find what you see that’s different, and then trust fate.
To learn more about Blake Andrews, and see more of his pictures, point your web browser to
blakeandrews.blogspot.com.
“It is more important to click with people than to click the shutter.”Alfred
Eisenstaedt
 Chapter 4: Technique

Use the techniques in this chapter to challenge yourself

as a storyteller, make the most of your equipment, and
energize yourself when you feel uninspired.
 21. Shoot a theme
When you head out for some shooting, try having a theme in mind. This is an
effective method for giving your images more storytelling power. Plus, it’s more
interesting to view a set of photos that have a common theme than one without
any sense of cohesion.
Your theme can be almost anything. Often, the simpler a theme is, the better.
Here are some ideas for simple themes to shoot: Handbags, hands, children, hair,
feet, shadows, reflections, the color red (or any color), posters, tattoos, doors,
dogs, and so on. And remember, it’s better to go out and shoot only people’s
hands than to have no theme at all.
 22. Tell great stories
When you are out shooting, imagine the people around you as actors and your
surroundings as a collection of stages. You are the silent, invisible director.
Just as in a real play, some actors are stronger in certain scenes than in others.
And some actors interact better with certain actors than with others. It’s your job
to make the most of your scene by figuring out the interactions. What’s
happening around you? Who depends on whom? What are their feelings toward
each other? Is it a drama, or is it comedy?
On the street, keep your eyes open for interesting actors. It’s a mistake to limit
yourself to the young and beautiful. Look for the elderly with weathered faces.
Look for people wearing interesting or unusual clothes, like red velvet shoes,
brilliant white fur scarves, or extravagantly large sunglasses. Clothes are
interesting visual markers that tell us something about how a person wants to be
perceived.
Once you’ve found your actors, try to capture them on a suitable stage. Look
for lines, shadows, or arches that provide interesting framing or context. Look
for tall and ominous buildings, quaint storefronts, or sparkling lights at night. If
you see an interesting stage but can’t find any interesting characters, wait
around. Use your waiting time to plan your shot. Think about how you want to
position and frame your actor. Once a suitable person walks onto your stage,
you’re ready to shoot.
 23. Get eye contact
The famous saying, “The eyes are the windows to the soul,” applies strongly to
street photography. Making a memorable street photograph requires connecting
viewers and subjects. And to do that, we need to see our subjects’ souls.
When I see an interesting person I’d like to photograph, I take several shots. I
try to take the first shots without the person noticing me. Then, I hold up my
camera and wait for the person to sense my presence. When the person does and
is looking right at me, I press the shutter.
Few things fascinate us more than the human face, and a face is even more
fascinating when the eyes are looking straight at you. You might feel
uncomfortable making eye contact with strangers. That’s natural. But you might
just produce a compelling and powerful image—one that connects your subject
with your viewer.
 24. Use zone focusing
Imagine that a briskly walking subject enters your view finder. Your adrenaline
kicks in as your subject passes right before your designated background. You
press the shutter. But instead of a click, all you hear are your camera’s autofocus
mechanics hunting for a focus point. When you finally hear the confirming beep-
beep, your subject is long gone. The fact is, autofocus systems on consumer
cameras are simply too slow for street photography.
Zone focusing means shooting in manual focus mode, with a pre-set and
controlled focal point and depth of field. As a result, your camera will react
immediately when you press the shutter and your subject will be in focus.
Set your camera to f/8, pre-focus at the distance where you expect your
subject to be, and check the depth-of-field marks on your lens to determine the
range that will be in focus. The darker it gets, the more you want to increase
your ISO to keep your shutter speed faster than 1/320 sec. However, once it is
too dark and your shutter speed isn’t fast enough, I suggest abandoning zone
focusing and either using autofocus or focusing manually.
The two focal lengths that I recommend when using the zone focusing
technique are 28mm and 35mm (full-frame equivalent). The reason is that the
wider your lens is, the deeper your depth of field when your camera is pre-
focused at certain distances.
Type in dext.se/3coo for YouTube video

25. Switch up your lenses

Regardless of how much you love something, that thing will eventually get
boring if you let it become part of your humdrum everyday life. Street
photography is no different.
A simple trick to maintain your excitement about street photography is to
periodically change lenses, thereby forcing yourself to work with a less familiar
focal length. That will keep you on your toes. You will see the world in a
different way—literally.
Try switching among the three street photography standard focal lengths:
28mm, 35mm, and 50mm (full-frame equivalents). With the 28mm, you must
get very close to your subject to get an interesting image. It also allows you to
include more of the background. A 35mm lens is versatile enough to let you
move in close or take a step back, whichever you want. Finally, the 50mm is the
focal length Henri Cartier-Bresson used. It provides a “normal” perspective,
much like what we see with the naked eye. Once you have chosen your lens, try
sticking with it for a pre-determined period of time. It can be one month, six
months, a year—the length is unimportant. The point is that you’ll learn to
understand the nuances of each focal length. Your eyes (and your brain) will
adapt, so you’ll be able to frame your shots even without your camera.
Eventually, you will be able to predict exactly how your shot will look before
you shoot it.

26. Experiment with different perspectives

Most photographs are taken at eye level. And because we see the world from this
perspective as well, these eye-level images might strike us as all too familiar.
Instead, experiment with different angles to bring out the unusual and engaging.
When you shoot from a low or high angle, you offer a fresh perspective to your
viewers. Also, these perspectives might allow you to include more of the
background in your photos.
Crouching in public is a bit unusual, and you might draw attention to yourself
doing it. To some people, it might even signal “photographer!” So when you
crouch to take someone’s photo, do it quickly. When shooting from a crouching
position, try to integrate the subject with the background. If there’s a tall
building behind your subject, crouch and shoot with the camera held vertically.
If there are horizontal leading lines in the background, hold your camera
horizontally.
Another technique is to shoot down from a bird’s-eye view. Try, for example,
the top floor of a building! This perspective will make people look tiny in
comparison to the urban landscape. By paying attention to your environment
before you shoot, you can compose your shot more easily and quickly.

27. Shoot from the hip

Modern-day street photographers call it “shooting from the hip,” just as cowboys
called it in the Wild West. Of course, photographers shoot only pictures. Apart
from that, the technique is pretty much the same: aim and shoot from the hip!
The idea is to improve your chances of capturing truly candid moments by
shooting unnoticed. Sure, people will notice you. But hopefully they won’t
notice that you are taking pictures.
When you shoot from the hip, be sure to use a wide-angle lens and zone
focusing (see Tip 24 on page 70). You should also be aware that this technique is
difficult and requires a lot of practice to master.
Shooting from the hip can be a great way to get more comfortable on the
streets. But ultimately, it’s best to stick to conventional shooting. Because even
though you might become good at framing your shots from the hip, you’ll never
be able to do it as well as with the camera held to your eye.
Type in dext.se/8shu for YouTube video.
 28. Shoot at night
The painter Vincent van Gogh once said, “I often think that the night is more
alive and more richly colored than the day.” I think Van Gogh was right. Urban
areas are most ripe with shooting opportunities at night. This is when the streets
come alive and artificial lights, absent during the day, suddenly illuminate the
night. These lights create a romantic and eerie ambiance, casting mysterious
shadows on objects, buildings, and people.
To avoid blur from camera shake, the general rule of thumb is that your
shutter speed should match (or be shorter than) your focal length. This translates
to a shutter speed of 1/50 sec. for a 50mm lens, 1/35 sec. for a 35mm lens, and
so forth. That’s why night shooting requires a fast lens— that is, one with an
aperture of at least f/2.8. With a slower lens (such as one with a widest aperture
of f/4.0), it becomes almost impossible to get a fast enough shutter speed. And
even with a fast lens, you will need to increase your ISO to 1600 or 3200 to get
the recommended shutter times.
A tripod will slow you down too much. But if you really need to stabilize your
camera, try putting it on the ground and taking photos of stairs, people’s shoes,
and the lights at night. Or try resting your camera on a table, against a wall, or
alongside a lamppost.
You can also experiment with turning the rule of thumb above on its head. Try
taking photos with very long shutter times and see what effects you create.
Taking blurry photos of silhouettes at night on a colorful neon-lit street can
create soulful (or ghostly) images impossible to achieve during the day.
 29. Juxtapose elements
Creating interesting street photography is sometimes a challenge. But one
technique comes in handy when you feel stuck: juxtaposition! This means
capturing two elements that directly contrast or contradict one another.
For example, if you see a beautiful young woman, try capturing an elderly
woman beside her. If you see a colorful background, try capturing a man who
looks downcast and is wearing all black passing in front of it. If you see a single,
tiny child amongst a group of adults, capture that! The simpler the composition,
the better.
Juxtapositions can also be used to create humor and a sense of whimsy. If you
see a sign on a wall with a finger pointing out, wait until a person passes the sign
so it looks as though the finger is pointing directly at that person. If you see a
guy kicking a ball, try to position yourself so it looks as if he is kicking
something else. Create visual puns with your images. Once you can capture
photos that make viewers laugh out loud, you will know that you have created
effective street photography.
“I love the people I photograph. I mean, they’re my friends. I’ve never met most
of them or I don’t know them at all, yet through my images I live with
them.”Bruce Gilden
 Chapter 5: Blending in

Learn how to blend into the environment and use your

personality to make subjects feel more comfortable.
 30. Go for the candid look
Street photography is all about capturing candid moments in everyday life, and
the most fascinating candid images tend to show people unaware of being
photographed. As opposed to people posing and flashing rehearsed smiles,
subjects unaware of the camera offer something truer and more genuine. They
provide a more natural and accurate depiction of everyday life.
So for the street photographer, it’s necessary to be able to blend into the
environment. The better you blend in, the better your chances are of capturing
people without them noticing you. Wear casual clothes and walk in a relaxed
way. It takes some practice before you can look and feel relaxed, but
remembering your why (see Tip 2 on page 14) will help you succeed. If you
walk stiffly and look tense and nervous, people will start noticing you and might
even get suspicious.
The moment you make eye contact with someone, he or she will be fully
aware of your presence and the chance of a genuine shot is lost. Therefore, if
you want candid photos, avoid eye contact with your subjects and get close with
a wide-angle lens. Try shooting from the hip (see Tip 27 on page 74). The trick
is to stay unnoticed until the moment you press the shutter.
 31. Smile!
According to sociologists Nicholas Christakis and James Fowler, our happiness
is directly affected by the emotional cues we receive from people around us.
Smiling is indeed infectious! That’s why smiling is your best weapon to combat
any suspicion from people when you are shooting in the streets.
A while ago, I was out shooting in Los Angeles when I noticed a tough-
looking kid hanging out on a street corner. Despite feeling intimidated by him, I
forced myself to take his picture. The moment I pressed the shutter, the guy
looked straight back at me with the meanest look on his face. Heart pumping,
adrenaline flowing, I instinctively offered him my best smile. Thinking he would
probably kill me, I was surprised to see the tough guy suddenly light up and
smile back at me. It was the kind of genuine smile that goes straight to your
heart. I guess guys like him don’t often receive smiles like that.
People typically isolate themselves in public spaces: reading papers, listening
to their iPods, surfing the Web on their smartphones. It’s uncommon these days
for two strangers to strike up a conversation. However, this doesn’t mean that
people don’t like having conversations or seeing friendly smiles. Personally, I
believe that smiling can create a bond of trust between people. So whenever you
are out shooting on the streets, remember to keep a smile on your face,
particularly immediately before and after you take someone’s picture. Also,
don’t be afraid to say “Thank you!” to people after taking their photos. It will
most likely lower any sense of suspicion.
Of course, this attitude of smiling and saying “thank you” and “please” is
nothing new. It works—and not only for street photography!

32. Avoid eye contact—or make it?

Avoiding eye contact is a good way to blend in, to stay unnoticed. However, if
you wish to build up your confidence as a street photographer, it’s good to
practice making eye contact with your subjects.
Confusing?
The fact is that there is no “right” choice of whether or not to make eye
contact. Each street photographer develops his or her own preference. Try it both
ways—with, and without, making eye contact—and see which works best for
you.
 33. Use an all-black camera
A camera like a DSLR can be a menacing-looking beast to the average citizen.
To stay low-profile, make your camera look as generic and un-intimidating as
possible. Use black electrical tape to cover any fancy logos. Electrical tape
doesn’t leave any sticky residue and its finish and texture blends in with most
cameras. Rather than new and professional, your camera will look old and
analog.
If you can make people assume you’re shooting with an old, cheap camera,
you have accomplished something. They are more likely to take you for a
hobbyist than a professional with an ulterior motive. And this creates a simple
but effective extra layer of invisibility.

34. Pretend to shoot something else

It’s not always easy to make everything line up for the perfect shot. You have
chosen your background, your perspective, and finally your subject. And you
need to get close, but you don’t want to alert your subject. That can be hard.
 The trick is to pretend that you’re shooting something interesting behind your
subject, such as a building, or whatever there is in your chosen background. If
your body language suggests that this is what you are doing, most people won’t
give it a second thought. And if your subjects are convinced you are shooting
something else, they will relax even with you shooting around them.
Start by looking intently at your background. With your eyes locked on it, step
closer to your subject. Stop at a spot where you know your wide-angle lens will
frame your subject nicely in the scene. Now, crouch and shoot the photo! When
you lower your camera, remember to keep your eyes fixed on the background.
Then nod and walk away. Your subject will probably turn around to look,
wondering what you photographed.
Sometimes I pretend to be a confused tourist. For example, if I see someone I
want to take a photo of, I will get really close, crouch, aim my camera up, and
then take the photo. Afterwards, I will look around at the buildings—appearing
confused—and walk away.
“Oops! The Moment! Once you miss it, it is gone forever.”Henri Cartier-
Bresson
 Chapter 6: Styles

Your eye to the world is unique, and so is your

temperament and aesthetic sensitivity. That’s why you
need to work on finding your personal style.
 35. Look for geometry, lines, and framing
There are many different styles of street photography. Some photographers
prefer to get up close and personal, while others like to include more background
and context. The latter group often focuses on geometry and lines. There’s no
“correct style” for street photography. It’s all up to the photographer. However,
it’s good to understand the basics of the established styles.
The late street photographer Henri Cartier-Bresson was a master of geometry,
lines, and framing. Parts of his approach are described in Chapter 3. First, he
identified an interesting backdrop to use as a stage. Then, he waited for his
actors to enter the scene. Finally, he pressed the shutter at “the decisive
moment.”
To find your background, look for interesting shapes, shadows, and lines.
Look for arrows, curves, arches, diagonals, shadows, and entrances. Let objects
like these be part of your toolbox when setting your stage. Then take your time
as you wait for the right actors to walk onto your stage. This approach may test
your patience, but you can be rewarded with incredible images.
 36. Celebrate everyday life
Some of the most beautiful street photographs ever taken are seemingly simple
shots of everyday life. Masters of this style include Robert Doisneau, Helen
Levitt, and Vivian Maier. The inherent challenge is to capture ordinary people in
extraordinary ways.
To try this style, your shooting locations should be mundane. Go to a grocery
store, mall, beach, or park. Look for children playing, couples holding hands, or
smiling seniors. And to be successful, get close to your subjects. Do your best to
be honest and open about what you do. Hopefully, people won’t mistake you for
a creep.

37. Get in-your-face

Street photographers such as Bruce Gilden are known for getting incredibly
close to their subjects. Some of these photographers even use flash! Gilden
doesn’t do this to simply provoke people. Rather, he believes that getting that
close lets him convey a far more intimate picture of his subject.
 Even though this style may make you feel a bit like a kamikaze pilot, you may
wish to give it a try—though blasting your flash in the face of a stranger is
probably pushing it. Use a super wide-angle prime lens. Get very close—so
uncomfortably close that your subjects will probably think you are shooting
something else, behind them. Also, be quick in your approach. You might even
have to step in front of people walking by to get the shot. If your subject is
standing in a corner, walk around, get close, and take the shot. The challenge is,
of course, to do all of this while still showing your subjects some respect. Avoid
scaring, annoying, or provoking them, and always thank them after taking their
picture.

38. Include multiple actors: harmony in chaos

Joel Meyerowitz and Alex Webb are masters of using multiple actors and
layering their shots with a myriad of subjects. They wait for the actors to fill the
frame and then capture the image at the exact moment when the chaos turns into
perfect harmony.
Because your subjects have minds of their own, they rarely behave and move
the way you anticipate. But don’t give up! Shoot a lot, but be selective when you
review the images.
Large scenes with multiple subjects often require soft, even lighting. Shoot at
sunrise or sunset, or when there’s an overcast sky. A wide-angle lens (35mm or
wider) is a must if you want to be able to capture everything in your scene.

39. Highlight formal elements

There is a misconception that street photographs have to include people. But as
long as your images show some trace of human presence, directly or indirectly,
they still qualify as street photography.
Lee Friedlander mastered this human-free style. He shot mundane scenes,
such as gas stations, signs, and billboards, but framed and composed them in
such a way that they told stories. In one of his projects, he shot from his driver’s
seat and used his car window as a physical frame.
The trick to successfully photographing scenes without people is to base your
compositions on the formal elements in art: points, lines, shapes, space, texture,
light, and color. Try to find interesting juxtapositions and work hard on your
compositions.
Look for mundane, often overlooked subjects like plastic bags, trash cans,
chain-link fences, interesting signs, advertisements, and walls. And whatever
you’re shooting, try to find a story behind the image. Does that chain-link fence
and shadow look like they are holding a person prisoner? Does that little paper
bag look like a human face? Let your imagination and creativity run wild.
 Guest Gallery: Thomas Leuthard,
Zug, Switzerland

Thomas Leuthard is a Swiss photographer who travels

the world to witness and document life on the streets.
While he started with close candid portraits of
strangers, Leuthard now looks for leading lines and hard
contrasts, combining architectural scenes with the human
factor to breathe life into static scenes. His main
playgrounds are railway stations around the world,
where life meets architecture and technology.
For Leuthard, street photography is a way of
escaping his work in information management. He
believes that the camera itself is irrelevant, that
photography is all about the eye and what you see.
How did you first get started in street
 photography?
I was at the Olympics in Beijing in the summer of 2008. I was fascinated by the
things happening on the street. There was so much to see and there were so
many different looking people doing different things. I even started doing a
series of photos of bicycles and faces. I was not aware that this was a big change
in my life. It even took some months to develop this kind of photography and
really start shooting on the streets.

What are some things you look for when shooting

on the street?
When I shoot candid portraits with a longer lens (85mm), I look for interesting
characters. These are normally older people, as we already see younger people in
fashion magazines all the time. When I shoot full scenes with a shorter lens
(35mm), I look for people doing ordinary things in interesting ways, or people
who may work together with some shapes in the background around them. In
these cases, I have to look for much more. The photo has to tell a story. But I
still have to get close, to avoid including too many things in the picture.

Describe the story behind the most meaningful

street photograph you have ever taken
This is difficult to answer. I have several photos I like for different reasons, and
nearly every photo tells a story. Sometimes the story is much more interesting
than the photo itself. I would not want to pick just one photo as there are so
many interesting stories that are so personal and often touching. This is what
keeps me traveling around the world to shoot on the streets. For the viewers, my
photos are street photography. For me, they are memories of my trips and walks
with friends. I always remember the place where I took a shot and if it was a
one-shot wonder or if I took a series of photos. I always remember who was with
me at the time. None of this information is in my photos, which is fine. One day
I will publish another book that will tell the story behind my fifty top photos.
Then you can get fifty answers to this question.
 What do you think makes a great street
photograph?
It’s actually very simple. You have to tell a great story, there should not be too
much in the photo, and eye contact will help viewers connect with the person
being photographed. All of that should happen at the right, candid moment. If a
photo has a timeless look, there is a better chance that people will like it. And
don’t forget about the composition. You can ruin a photo with bad composition.
A lot of people struggle with that. They use expensive cameras but shoot without
any sense of composition.

What advice would you give to aspiring street

photographers?
Read my two free e-books about street photography. Then go out and practice.
It’s all about practicing every day and having your camera with you all the time.
I take a lot of photos and still keep only about five percent of the photos. Know
what you do and why you do it. Don’t let anyone get you off this track, no
matter what they say. Street photography might be difficult for some people and
there will be critics, but keep shooting.
Thomas blogs about photography at thomasleuthard.com, where you also can find his collection of great
(and completely free) e-books.
“Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop.
Die knowing something. You are not here long.”Walker Evans
 Chapter 7: Processing

Decisions, decisions, decisions. This chapter will help

you decide how to crop, when to work in color versus
black-and-white, how to deal with imperfections, and
how to compose your shots.
 40. Develop your unique style
Thanks to the advancements in camera technology, anyone can be a
photographer. Although this has leveled the playing field, it also means that we
are barraged with mediocre photos on the Web. The sheer volume of images
makes it difficult to get noticed.
If your goal is to stand out and reach a larger audience, it’s crucial to develop
a unique style. You need to make your pictures instantly recognizable. For
example, if your specialty is street portraits, use the same lens and focal length
for every one of them. If you like to use juxtaposition, create a body of work that
consistently shows it used in humorous or fascinating ways.
Finding—and sticking with—your style will help when you’re building your
brand. However, finding your personal style requires a lot of experimentation.
Take your time! Sticking to one single style too soon in your photographic
career is like putting your creativity into a straightjacket. Never constrain
yourself to one single style if you have yet to find your own. In the end, you
should always be shooting for yourself—not for others.
 41. Know when to work in black and white
Most street photographs are in black and white. This is probably because the old
masters used black and white film (it was all they could afford). Hence, it looks
vintage and retro. But even though many contemporary street photographers
prefer black and white, there’s no reason you shouldn’t use color if you are so
inclined. There are many examples of great color street photography.
Don’t convert your images to black and white just because it’s common to do
so. Judge each and every picture for its own potential. Photographs that benefit
from conversion to black and white are the ones with shadows, silhouettes, and
the formal elements of art. By translating the different colors into shades of gray,
you help viewers focus on the composition rather than the colors. And since we
see the world in color, a black and white image allows us to transcend reality.
Personally, I shoot RAW but set up my camera so that my previews are in
black and white. Even if the preview is just a rough approximation of what I
create later in post processing, it still gives me a good idea of how the image will
turn out. And the cool thing about RAW is that you can process both a color and
a black and white image from the same original. Don’t know which one to
choose? Try both!
 42. Know when to work in color
Color not only adds another dimension to a photograph, it also carries a powerful
symbolic value. For example, a woman in a red dress against a neutral
background can easily convey a feeling of danger, sexuality, or mystery.
When you work with color in your street photography, use the color to tell
your story and strengthen your message. For example, the color yellow draws
attention. Use it to lead your viewers’ eyes to key elements in your image. The
color blue is said to be peaceful and calm. Green can imply growth and hope, but
is also said to trigger jealousy. (Have you ever been green with envy?)
Let the feeling or message you want to convey determine how to process your
image. Let’s say you took a photo of a person looking out over a beach, with the
clear blue ocean in the background. If you want to emphasize the scene’s sense
of peacefulness and tranquility, the blue of the sky and ocean becomes
important. The choice is obviously to keep the colors. However, if you’d rather
create a feeling of uneasiness, you could make it a high-contrast black and white
to make the ocean and sky look ominous and menacing.
Juxtaposing colors also works well. Try, for example, to place red and green
elements next to each other. Or try to find a person dressed in green in front of
an all-green background, such as a hedge or some shrubbery. Setting pairs of
complementary colors next to each other can also be powerful. Complementary
colors are red and green, blue and orange, yellow and violet.
Turning a great color photograph into black and white can rob it of all
meaning. Use color whenever it is to your advantage, and have fun with it.

43. Accept imperfections

Many people obsess over technical perfection; images should be grain-free and
razor sharp! However, in street photography these properties are rarely the most
important ones. In fact, technical imperfections can often add realism and make
your images come to life.
Personally, I like my images to have a bit of grain. I feel that it adds
dimension and makes the images appear raw and real. To me, images that are too
clean and perfect often look soulless and fake. Therefore, don’t hesitate to shoot
at ISO 800 and above. A high ISO will also let you use shorter shutter speeds
and achieve greater depth of field. That helps when it’s dark, when you want to
capture moving subjects, and when you are using zone focusing (see Tip 24 on
page 70). I often shoot at ISO 1600, or even 3200.
Blur from camera shake or a moving subject can also add to an image. Even if
the blur was unintentional, it can make an image appear more dynamic and fluid.
Experiment with longer shutter times to see what kinds of effects they create.
And never delete any images when you are out shooting! The preview on the
back of your camera is way too small to use for any kind of quality assessment.
An image that may seem too technically flawed to bother with in the camera
preview could turn out to be your best shot when viewed on your computer
monitor.

44. Crop for a better story

Many street photographers frown at the concept of cropping. Perhaps they
consider it to be bad form, cheating, or just plain wrong. However, cropping can
be a highly effective tool for refining your composition and increasing its
storytelling power.
Let’s say that you have identified a favorite among your shots, a keeper that
tells an amazing story. Only, there’s this distracting element—a random person,
a phone line, strange patterns, whatever—close to the edge. It ruins the shot.
And it’s driving you crazy! There’s not one single good reason why you
shouldn’t try to crop out the distracting element.
As a general rule of thumb, crop less than 10 percent of your image. By
abiding to this rule, your image will maintain its resolution as well as its crucial
ambiance and context. Remember from Chapter 2 that for street photography,
telephoto lenses should be avoided. Considering that excessive cropping is
essentially the same thing as using a digital telephoto lens, it should be avoided,
too. In fact, it should be especially avoided, since image quality will degrade
proportionally to the amount of cropping.
 45. Show only your best work
Of all the recognized street photographers throughout history, few are known for
more than a handful of images. However, these images are the cream of the crop:
the best images they ever produced. And these images constitute a narrow
selection of the few hundred images they ever published. Considering that these
photographers probably took tens of thousands of images in their careers, it’s
obvious they only showed a tiny fraction of their work.
Being this selective is necessary. Show only your best work and never show
more than one version or variant of the same scene. For example, if you shot a
scene in both landscape and portrait orientations, show only one of them. And
because selection can be difficult, it may be wise to get feedback from friends
and fellow photographers online before adding an image to your portfolio The
first ten or so of your images that people come across have a major impact on
your reputation as a photographer. At a time when it has become increasingly
easy to produce and publish a myriad of photographs, having the discipline to
show only your best work is more important than ever. Also, keep only street
photographs in your street photography portfolio. If it also contains pictures of
dogs and landscapes, you will probably lose parts of the audience you are trying
to reach.
 46. Identify your “keepers”
I define a “keeper” as a photo that’s good enough to be shown to other people
and perhaps even good enough to be added to your portfolio. After a full day of
shooting, I am lucky if I get one or two keepers. But every photographer is
different. Many of us are even more selective with our work and might identify
only one or two keepers a month.
Identifying your keepers from a big pile of shots is a skill that takes both time
and effort to learn. The first question to ask yourself is: What makes a good
street photograph? Try to answer that question for yourself by studying the work
of street photography masters, such as Henri Cartier-Bresson, Robert Frank, and
André Kertész. How do they frame their images? How do they tell stories
through their images? What elements do they include? It might take quite a bit of
studying and analyzing, but eventually you will develop a sense for what makes
a good shot. And you’ll learn to identify your own keepers.
A pair of fresh eyes is your best friend in the selection process. The late
photographer Garry Winogrand once said, “Photographers mistake the emotion
they feel while taking the photo as a judgment that the photograph is good.” He
would actually wait as long as a year to develop his rolls of film. Once the year
had passed, he would feel emotionally disconnected enough to tackle his
selection process more objectively. Waiting an entire year might be a bit
extreme, but try to hold off at least a few days before uploading an image to the
Web, and even longer to include it in your portfolio.
 Guest Gallery: Kramer O’Neill, Paris,
France

Kramer O’Neill designs and animates things, and takes

lots of pictures, many of which might be described as
“street photography”—a genre combining some of his
favorite pursuits: cinematography, editing, amateur
psychology, amateur anthropology, and very long walks.
He was the 2010 Photo Urbanism Fellow at Design
Trust for Public Space in New York City; excerpts from
that project, Same Time Every Day, were displayed in
New York’s subway system. His photos have been shown
in galleries in New York, London, Paris, Louisville,
Turin, Cardiff, and Los Angeles, and he has self-
published two photo books: Pictures of People and
Things 1 and Til Human Voices Wake Us. He is a
founding member of the Strangers Photo Collective, and
currently lives in Paris, France.
 How did you first get started in street
photography?
It turns out I had been doing it on and off for most of my life, I just didn’t know
what “it” was. Once it was identified, that helped shape things a lot. I’d say I
really started five years ago.

What are some things you look for when shooting

on the street?
Lines, light, people. Someplace crowded enough to have some kind of
interaction going on (and you can pass through relatively unnoticed), instead of a
formless clump of people. That said, with the right setting, having one person (or
no one) in the frame can also make a good picture.
 Describe the story behind the most meaningful
street photograph you have ever taken
I may be hedging a bit, but my favorite street shot doesn’t fit a conservative
definition of “street.” It’s actually a wedding picture, wherein the bride and
groom are having this really ambiguous moment. On some level, I knew it
would be special the moment I took the picture. I just walked up to the bride on
the dance floor (I was a guest, not the official photographer), held out the flash
off-camera, and tried to open the shutter and hit the flash’s test button at the
same time. The way they are in the frame, and the way things are moving around
them, feels like something only still photography can do: freezing a moment of
numerous haphazard interactions—including my own actions within the mix—to
clarify those interactions in a way that the eye alone (tethered as it is to linear
time) cannot.
 What do you think makes a great street
photograph?
Like any art form, a great photograph does something specific to the medium,
conveying something that can only be conveyed in that art form—and which
makes it hard to discuss in another form (such as writing, in this case).
Photography, being the mechanical/chemical/ electronic medium that it is, is
well-suited for moving temporal events out of time. And that might be a long
way of saying that great photography is both immediate and timeless. As photos
get older, their perceived contexts change, but great work succeeds through it all.

What advice would you give to aspiring street

photographers?
Shoot a lot, and edit ruthlessly. Don’t be afraid to get right into the scene. Your
presence will alter the subject you are shooting, making you a participant in the
action. Participate. There are many ways to do that, but I’d recommend with
courtesy and friendliness. You are not making photographs of other people; you
are documenting your own interaction with the world.
To see more of O’Neill’s work, visit his websites krameroneill.com and picturesofpeopleandthings.com.
“Be yourself. I much prefer seeing something, even if it is clumsy, that doesn’t
look like somebody else’s work.”William Klein
 Chapter 8: Getting online

As a street photographer, you will get to meet a lot of

people, both in real life and virtually. Here are some tips
to make the most of your online presence.
 47. Get constructive criticism
Constructive criticism from peers is crucial for anyone who wants to learn an
artistic trade. The easiest way to get feedback on your photographic work is to
join an online community. But even if it’s easy to get feedback, it’s trickier to
get the kind of feedback you need. The positive criticisms given in most online
communities are variants of, “Nice shot!” and “Beautiful!” Although comments
like that will make you feel good, they offer very little information that is
actually useful.
Rather than seeking tons of comments and views of your images, try to find a
small group or community of street photographers willing to exchange
constructive criticism.
 48. Focus on a few
Instead of posting your photos on a dozen photo sites on the Internet, try to find
a small community of street photographers and stick with it. Get to know the
people in the group and stay in contact with them. One single useful comment is
better than fifty versions of, “Awesome shot!”
Start by looking up a few inspiring photographers and providing constructive
and thoughtful feedback on their images. Be specific and tell them exactly what
you like about each and every image. Also, tell them what you think they can do
to improve their shots. In a world of two-word comments, your more
constructive feedback will stand out. Hopefully, many of your selected
photographers will respond with useful comments on your images. Start with a
handful of photographers and try to build a small but strong community from
there.

49. Give more than you take

Much in life is about reciprocity. If you want people to give you meaningful
feedback, give others meaningful feedback. Take the time to provide thoughtful
comments and ideas.
For example, if you are providing feedback on an image of a person, you
might say something along the lines of, “I love the way you captured this candid
moment of that boy lost in thought. The way he is holding his head makes it look
like he is worried and in doubt, and I feel the emotion in the image. I don’t like
the way you framed the image; I would have positioned it a bit more to the left.
But regardless, it is an effective image.”
The more you give, the more you will receive.
 50. Spend more time shooting
Although being active in an online street photography community can be very
helpful, I advise you to spend about 80 percent of your photography time out on
the streets shooting, and no more than 20 percent interacting with your online
community. Spending too much time online, discussing gear, shots, and
techniques, will hamper your photographic development. Don’t let this happen
to you! Set a hard limit on the time you spend on photo-sharing sites every day.
Then go out and shoot! This is the only way to truly become a better street
photographer.
“Street photography is 80 percent balls and 20 percent skill.”Eric Kim

Appendix: Privacy laws around the

world
Know your rights. When traveling, you need to know
what rules apply before you start shooting. Here is a
summary of laws in a selection of countries.
Stay updated!
Privacy laws may change quickly, and the burden of checking what laws apply
at a location rests on you. If in doubt, check current advice on street photography
websites or refer to a photographer’s association in the country you plan to visit.

United States
It is legal to take photographs of strangers in public without their permission as
long as they are on public property. This includes the police and government
workers.
No one can force you to delete your images if you are on public property. You
can even take photos of private property as long as you are on public property.
You cannot take photos of people without their permission when you are on
private property.

United Kingdom
In the UK, street photography is generally allowed as long as you are shooting in
a public space. However, it can get a bit tricky. If police have “reasonable
suspicion” that you are a terrorist trying to take photos for malicious intent, they
can arrest you. They are particularly sensitive about taking photographs of
children. However, this is a gray area that is not yet explained well in British
law.

Canada
In Canada it is not illegal or against copyright to take photos of people,
buildings, public art, and sculptures in public. However, you cannot take photos
on private property or photos of people who have a “reasonable expectation of
privacy” (i.e., people in a bathroom).

Australia
In Australia you can shoot virtually anything you want in public, unless there is
a sign specifically indicating that photography is not allowed. However, you
cannot take photographs of people who have a “reasonable expectation of
privacy.” Although you can take a photo of a person without their permission,
you cannot use it for advertising (which would require a model release).

France
In France you need to secure permission from your subjects prior to
photographing them in a private setting, with the exception of famous people.
Taking photographs in public spaces is allowed, but French law prohibits
publication of photographs without the subjects’ consent—effectively rendering
street photography illegal in the country that gave us Henri Cartier-Bresson and
so many other well-known street photo pioneers.

Germany
In Germany you cannot publish photographs of strangers without their consent
unless they are unidentifiable. However, you can publish pictures of famous
people (i.e., pop stars, famous actors, politicians).

Sweden
As a general rule, taking photographs of people in public spaces is allowed in
Sweden. If signs to the contrary are posted, however, an establishment may ban
you from entering their premises—although photography in itself remains
lawful. Private use of images is allowed, but if the images are meant for non-
editorial commercial distribution, permission is needed for publication. Also,
you are not allowed to take photos of people who have an expectation of privacy
(i.e., people in a bathroom).

Korea
You have the right to shoot and publish street photographs in Korea, unless the
image you publish will severely damage the subject’s reputation (which is very
unlikely to happen). Also, you cannot publish a person’s photograph for
commercial purposes.

Japan
There are no laws that prohibit street photography in Japan.

China
There are no laws that prohibit street photography in China.
 Image rights
All images by Eric Kim, with the exception of those in the following Guest
Galleries:

Ludmilla Morais
Blake Andrews
Thomas Leuthard
Kramer O’Neill

All images are © copyright their respective owners.

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