The Yard Collective EditorialHello, dear Members, Watchers and bystanders.
This Journal is an Editorial, general one.
Lots of words, few pixels. But, if your bare with me it will (probably) make sense.
Long is the list of Journals and notes about street photography, definitions, tendencies, and all that philosophy that comes with the genre we came to love.
But, as a community, street photographers are in part forgetting to go through the ABC periodically, so that newcomers and enthusiasts can feel comfortable and empowered to taste this misunderstood part of photography.
So, with a surprise unveiled somewhere below, let’s start going through the ABC (I’ll be needing your important input as comment too), like that part in the end of the camera’s user guide  : “Camera doesn’t shot>Turn it on; Camera doesn’t work>Check your batteries for charge.”
Maint The Yard Collective Editorial by *NunoCanha
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Wide Aperture #3This is Wide Aperture, a little corner where we get closer to experienced and talented photographer. This is where they, kindly, share their insight in a very direct way, straigth from behind the viewfinder.
This is where the XXI Century kicks in, blending the classic vintage work with the latest techniques and media, from unorthodox work to borderline street portraiture, always keeping in mind the most engaging unstaged and candid photos with a narrative we call Street Photography.
On the weekend posted in our frontpage, delivered to friends and Watchers during the week.
Today we met :iconeyalbin: Eyal Binehaker, an excellent, amazing, Street photographer and photojournalist from Israel, inspiring and (always) a dear administrator of this Yard, as he walks through, working hard and patiently for "that" shot, in his unique style.
How did you find street photography, and how do you describe your photographic style?
It took someti Wide Aperture #3 by *NunoCanha
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Wide Aperture #2This is Wide Aperture, a little corner where we get closer to experienced and talented photographer. This is where they, kindly, share their insight in a very direct way, straigth from behind the viewfinder.
This is where the XXI Century kicks in, blending the classic vintage work with the latest techniques and media, from unorthodox work to borderline street portraiture, always keeping in mind the most engaging unstaged and candid photos with a narrative we call Street Photography. On the Weekend on our frontpage, Journal for our members and Watchers during the Week.
Today we approach Baptiste Hauville :iconhbapt:, a very talented and inspiring photographer from France - and a good friend of TYC-, as he cruises this patio searching for "that" moment to compose.
How did you find street photography, and how do you describe your photographic style?
When I first went out in the street with my camera -about 2 years ago- I have to admit tha Wide Aperture #2 by *NunoCanha
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Wide Aperture #1This is Wide Aperture, a little corner in our main page where we get closer to experienced and talented photographer, shared after in the form of journal.
This is where this photographers, kindly, share their insight in a very direct way, straigth from behind the viewfinder.
This is where the XXI Century kicks in, blending the classic vintage work with the latest techniques and media, from unorthodox work to borderline street portraiture, always keeping in mind the most engaging unstaged and candid photos with a narrative we call Street Photography.
This week we kindly thank :icongilad: Gilad Benari, a very talented photographer from Israel, willing to demystify his photography through our simple but concrete approach.
How did you find street photography, and how do you describe your photographic style?
I'm more of a creative photographer, or rather a copywrite with a camera. Street photography is only a part of my work, and I find it best t Wide Aperture #1 by *NunoCanha
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Street Photography @ 50mmThe use of 50mm in SP is almost a legacy.
Without going through the discussion of telezoom vs prime lens, let’s just keep in mind that street photography is all about narrative. To have narrative, to tell a story, you have to be near the main character(s) in order to put the viewer in the same place. And if you’re documenting a time and a place your images should look precisely like that.
Like if you were there.
And that’s why the photos you like from the “Master of Photography” look so real (leaving lots of aspects aside, of course): the focal length. The 35mm look more real, put you right there even if with some distortion, but 50mm is close enough too, and without disturbing the scenery and providing enough set for your characters.
Of course there’s always the discussion of the crop factor (Canon’s 1,6x sensor will turn a 50mm lens into a 80mm and Nikon and most brands 1,5x sensor into a 75mm, and so on...), but you’re documenting ou Street Photography @ 50mm by *NunoCanha
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Sta.sh
and :iconstraightfromcamera: :iconmaclunar: :iconnfilipevs: 
Thanks for all your efforts and involvement in the Yard. :iconthankyouplz: We're so grateful to all of you guys. Hope to see you around here or any other place on the world wide web. 
