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Street Photography for dummies
What do we need to shoot a Street picture?
1. A camera
Whatever kind of a camera is good. Either it is a ridiculously expensive rangefinder or an unbelievably cheap point and shoot compact. Either it shoots digital or it shoots film. Either it weighs a ton or it weighs few grams. ANY camera is fine as long as you have it with you.
2. A public place
This can be out in the streets or at the beach or inside a hotel's lounge or in a diner place or inside a supermarket or a mall or a school or whatever PUBLIC place. This public place must be visible in our picture. And things must be happening in this public place.
Exactly, people! We need people in candid situations. Definition of "candid" from Merriam-Webster's online dictionary: "subjects acting naturally or spontaneously without being posed" Definition of "candid" from Wikipedia: Candid photography is best described as un-
Street Photography for experts
Defining Street Photography
by Dave Beckerman
Most types of photography can be easily defined by their subjects. A wedding photographer takes pictures of weddings. A portrait photographer poses someone and takes their picture. The nature photographer covers a wide area, but it is easy to categorize.
Street photography is difficult to define because it can encompass just about any subject.
If I were to ask you to name a few famous street photographers, you might pick, Garry Winnograd, Henri Cartier-Bresson, or maybe Robert Frank. But if I asked you to define street photography – that would be more difficult. You might say that street photography is candid pictures of strangers on the street. That might be a good start, but it doesn’t really describe street photography.
To start with, street photography doesn’t need to be done on
52 Street tips from the masters
“If you can smell the street by looking at the photo, it’s a street photograph.” — Bruce Gilden
“Turn your attention to the four-legged population.” — Ying Tang
“Take a bus. Do weekly shopping. Pop into a public loo.” — Nils Jorgensen
“Document some evidence of human ingenuity that would otherwise go unnoticed. Do it without including any humans in the picture.” — Michael Wolf
“Get lost in a thicket of signs and structures.” — Wolfgang Zurborn
“Never ignore a cliché.” — Artem Zhitenev
“When you have to shoot: shoot! Don’t talk!” — Il Brutto.
“Make a picture containing The Good, The Bad and The Ugly.” — Jens Olof Lasthein
“On your knees please… take a picture fro
Friday night Street Specials v1.2
A weekly selection amongst the images that were suggested as DDs
or simply impressed me and I think they deserve more attention.
Enjoy them, comment on them and remember to visit the photographers' galleries as well.
If you like what you see, this article
so it can reach as many deviants as possible.
Yard's contest 1st runner up
yeah sure, no bikes
stripes x 3
a real superman at young age
a penny for his thoughts
The story behind the shot - v.2Do you also want to share your experiences and be featured?
Here is how to: The story behind the shot
Winner of theYard's Autumn Street Contest
Well this wasn't a difficult image to spot. I see this very same scene everyday because the bush is in the park of my town and I cross it everyday. Children play inside this bush all the time, they love popping out of it standing on the branches, and parents and grandparents have to follow, help, untangle children from it all the time. Which is why the bush is hollow. I always find amusing watching the grown ups disappear inside the bush while the children pop up and th
Where to find Street in dAWell...obviously not in the site's Street Gallery unless you are willing to dig hard.
I've been hearing complaints and I'm complaining myself about the Street Gallery. As it seems it is impossible to open people's heads and stick the definition of Street Photography (if there is one) on their brains.
So, what can we do?
Fav the real street images that you see in the Street Gallery
This way, they'll rise above the empty streets, girlfriends, converse shoes and all the irrelevant stuff that floods the Gallery, in the Popular view of it.
Watch the Street Groups
and enjoy the street shots that come everyday in your inbox.
Once, there was only one Street club in dA. Now there are several Street groups that you can follow.
Try them, find out which ones are alive, which ones are worth watching, stick to them and support them.
In alphabetical order , I present you the Street groups of deviantArt
:iconDecisive-instant: :iconMobileStreet: :iconPhotographe-de-Rue
Friday night Street Specials v12.2
Fantasies by DualMechanized
As Happy as the Rain is Heavy... by dannyst
A Market Tale by NunoCanha
Image 114 by Mag1cMushroom
Street Photography DDs - January 2012About the Street Gallery, Street DDs etc.
Kare-3 by AcemHoca
Three, two, one by NickKoutoulas
balloon by celilsezer
You like me too much by Dionisic
Matt WeberMatt Weber shots his way through life.
Started out as a taxi driver and saw so many things on the streets that he kept saying "If only I had a camera…" A camera seemed like the only way to capture the crazy stuff which was happening almost every night.
Claims that the 70's were more interesting than the 80's, but in December 1984 bought a competitive camera, an AE-1 and a 50mm lens.
Started out in color film, but one year after he turned to b/w, because color was tricky to develop.
Thinks that failure is important, and that failing over 99% of the time and not giving up is something to be proud of. Takes "awful pictures on a daily basis and always will. There aren't too many other types of photography where that's the expected result."
Suffered from the photographic equivalent of "Writer's Block" for many years and it would be the crazy decision to spend most of my savings on a pair of M6′s and a few lenses that helped him to comeback. "The 28mm & 35mm lenses are the perfec
Street Photography: To Lo And Behold!Street Photography Quiz:
When was the last time a random passenger in a bus made your jaw drop?
Happens with me all the time!
Whenever I go out into the streets, I never plan on what I'm going to shoot, nor do I have a particular theme in mind.
Mind you, planning ahead is highly benefical to a Street Photographer or any photographer for that matter - a practice that almost always yeilds excellent results when properly utilized.
For me, it's just the sheer excitment of stepping into a vast concrete jungle, unsure about what's around the next corner, or perceiving an event that is about to unfold before you, the sound of your heart beating as you walk/run towards the developing scene - all the while hoping that you get there in time to take... that one shot, that ultimate payoff; is all that matters.
Sometimes you could be standing there observing a street scene when you begin to notice things falling into place; a photo opportunity forming right before your very eyes.
Sebastião Salgado, a living legendAs any boy, I grew up absorving the World. And the World mesmerized me everytime my late dad would bring some journals or magazines where Sebastião Salgado's photos were featured.
I can´t hide the admiration I have for this photographer, this man that is still alive and living in Paris, and the way he changed my way of seeing the World, respecting my fellow man, seeing the light where only darkness seems to exist.
Sebastião Salgado was born on February 8th, 1944 in Aimorés, in the state of Minas Gerais, Brazil. Began his career as a professional photographer in 1973 in Paris, working with the photo agencies Sygma, Gamma, and Magnum Photos until 1994, when he and Lélia Wanick Salgado formed Amazonas images, an agency created exclusively for his work.
He is a UNICEF Goodwill Ambassador, and an honorary member of the Academy of Arts and Sciences in the United States.
Uses Leica, most of the time he uses 28mm, 35mm and 60mm lenses (one for each camera body). He use
TSF: A "Non-People Street" FeatureStreet Photography:
Non-People Street can be a touchy subject for some 'purists'.
I remember back when I had just started working on TheStreetFactor
and was toying with the idea to include a Non-People Street folder in the gallery.
I was chatting with a good friend of mine, who also happens to be a brilliant Street Photographer.
He found the whole concept absurd:
My purist friend: Non-Human Street?! That's absurd!
Me: How so?
My purist friend: You CANNOT photograph buildings and objects in candid situations for one.
A Street shot without people isn't really considered as Street Photography.
Me: What about HCB? He did a lot of Non-People Street too.
(I didn't know much about Bresson back then; I was only taking a blind shot in the dark...)
My purist friend: Well, yeah...
Markus Hartel"What is street photography? A reflection of every day life – real, unaltered impressions of public places, places that everybody visits every day, the street where you live, the parking lot of your favorite grocery store, the subway. Street photographers document the truth – take candid pictures of things that you don't notice in your daily grind." - Markus Hartel
Born in Germany, grew up in a pretty rural area and soon developed his inclination towards photography with a rangefinder camera that his grandmother gave him. Went to New York City in 2003 and found it very inspirational, capturing life around him with his camera strap wrapped securely around his wrist, framing the camera from the hip.
Doesn't stick around in one place for a very long time, likes to keep moving, uses use a Leica M9 and prefers the 28mm Elmarit.
If he his (one of) the most talented and promising street photographer presently? I don't know.
Reminded by :iconPhotoColo:
Don't find excuses not to shot, cre
John Gutmann - The New ApproachJohn Gutmann was a German-born American photographer and painter (yes, another one), born in 1905.
In Germany he worked as a photojournalist for Presse Photo, left Germany in 1933, and in America found an exuberant car culture, a dizzying array of billboards and graffiti, a racially diverse citizenry, music and dancing in the streets and young women galore. He especially took an interest in the Jazz music scene.
Gutmann is recognized for his unique "worm's-eye view" camera angle, and at the time this approach to angle and framing was not widely used by American photographers. He enjoyed taking photos of ordinary things and making them seem special, like street photographers do.
Some of his images predate by two decades the kind of informal, lonely-in-America pictures that Robert Frank made famous in ''The Americans.''
"As a rule I do not like to explain my photographs, I want my pictures to be read and explored. I believe a good picture is open to many individual (subjective) associati
How They Did It: The Story Behind the ShotHTDI:TSBTS aims to guide emerging photographers by showcasing tips, techniques, and stories generously shared by some of dA's most accomplished Photography > Animals, Plants & Nature artists. At the same time, we hope to shed light on the often overlooked amount of effort that is required to create striking images like these. Making a great photograph takes time, planning, a creative eye, and solid photography skills. What happens behind the lens is just as important as the final product!
I am sure many of you have been told "Great photo! You must have an awesome camera!" or "Wow, you sure were lucky to get that shot!" While a "good camera" and "luck" are small ingredients when creating a visual feast, we photographers would like to remind everyone that technical competency, determination, patience, and creative vision are the real meat and potatoes of any tasty photo.
"Was it luck that I happened to wake up at 3am fi
FAVOURITE FILMSThis time we asked a lot of film street photographers for their favourite choice of film - it ended up being a wonderful and BIG collection - so please scroll down all the way if you want to read about everyone's film favs and have a look at our most favourite submissions to the Filmie Gallery for this month.
Thanks to everyone who took the time to send their thoughts about their favourite films! If you are not included but want to share your favourite film as well, please feel free to do so in the comments!
Well then, let's get started!
so fav film would be:
kodak tri-x 400
but i also like fuji neopan 400 very much
It's all about taste, I really enjoy the grain and sharpness it produces and for me it's the best in terms of tones and contrast. it gives me that moody and contrasty look that I want, every time.
in the neopan the grain and the tones are a bit different but I love the results as well
I don't use film much these days b
Stop taking boring photos!An extract from Tony Ray Jones's http://www.amateurphotographer.co.uk/how-to/icons-of-photography/534741/tony-ray-jones-iconic-photographer notebook contains some interesting tips to take better street photos:
BE MORE AGGRESSIVE
GET MORE INVOLVED (TALK TO PEOPLE)
STAY WITH THE SUBJECT MATTER (BE PATIENT)
TAKE SIMPLER PICTURES
SEE IF EVERYTHING IN BACKGROUND RELATES TO SUBJECT MATTER
VARY COMPOSITIONS AND ANGLES MORE
BE MORE AWARE OF COMPOSITION
DON'T TAKE BORING PICTURES
GET IN CLOSER (USE 50mm LESS)
WATCH CAMERA SHAKE (shoot 250sec or above)
[Bullet; Red] DON'T SHOOT TOO MUCH
[Bullet; Red] NOT ALL AT EYE LEVEL
Friday night's Street Specials v11.4
Yellow Umbrella by pwillyams
Urban mermaid by PatriceChesse
kind of footstool by veftenie
XX street scene by djailledie
quai n.24 by Christine-Muraton
Deep in thought by Dionisic
Waiting in Ambush by Treamus
Hold tight 2 by Petach123
im by AcemHoca
Venice in the rain by myoung4828
Escape from the rain by PetriW
Surfer by DougNZ
Street Photography color 038 by sagi-k
All Here For A ReasonI turned onto a shady, well-manicured driveway that, for all intents and purposes, looked harmless enough. Maple trees lined both sides of the street, and a parade of Canadian geese marched across the road to a wide duck pond with a flamboyant fountain. There were blooming crepe myrtles and rose-of-sharons, and as I grew closer to my destination, neatly trimmed gardens with neatly trimmed bushes.
I stopped to let the geese pass. They looked at me; one hissed. I honked my horn and moved around them.
At the end of the road sat a collection of grayish buildings and a number of signs directing me to the appropriate parking lot. "Welcome to Ten Creeks Hospital," said one of them. "Please enjoy your stay." I parked in the visitor's lot. Surely I wouldn't be staying.
I was shaking when I got out of my car. I had spent the morning getting high. One foot in front of the other, flip-flop noises, hot sidewalk. Mulberry and magnolia trees, freshly shaved grass. A bench and pan for smokers. A set o
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