A high end point and shoot with a zoom that goes from wide to medium telephoto is ideal. Shoot raw files in Aperture mode and auto ISO.
The Intelligent mode on good P&S cameras puts out jpgs, but gets the shot under a great variety of conditions. If you're concentrating on what's going on around you and need to react quickly, I mode is a great way to go. Try it!
[quote=Rabbit]
canoncan wrote:
when ive done street photography before, i put my camera round my kneck with my 50mm on, that way no one really notices you.
Good suggestion. If you have someone with you, you two can be having a conversation as you click the shutter every now and then. Wide angle would be good for that, possible with a preset focus. Doing this at night with a flash would be a dead giveaway.
Cartier-Bresson would look for an interesting background and wait for his subjects to appear. An opposite approach was used by Gerry Winnogrand who I had the pleasure to "stalk" one September afternoon in Central Park, New York many years ago. Watched this master use any number of deft tricks. He would literally walk up to his subject and make a body movement like a stretch or yawn and somehow work the camera into position where he'd get his shot. Of course back in the pre-historic days of film he was using a range finder which is virtually noiseless. If you happen to be in a noisy part of the city you can probably get away with the noisy clunk your Cannon reflex mirror will make but the first approach is probably a good bet if this is just a one time assignment. In this case the subject is invading your territory. find a cool background and wait for them to come. Never appear nervous or make any kind of eye contact and if you are confronted just act overly apologetic and tell them the truth. Let them know this is for an adult education class and offer to delete what ever shots you have taken of them. I shoot commercial but find that a few hours on the street tasking candid shots is my ideal of a fun afternoon. The few confrontations I have had, have always ended peacefully. In more than one encounter it has opened up interesting conversations about photography and chances for some quick street portraits.
One last thing: Google Vivian Maier and check out her work. This is the English nanny who lived in urban Chicago for many years working for wealthy families. After she passed away in the nineties, someone bought a box of old negs at a garage sale and started printing. Her work is classic black and white
street; worth taking a look at.
rpavich wrote:
dawgtired wrote:
I really appreciate humor in street photography. One thing I would suggest is pick a spot, perhaps in front of a storefront with something interesting in the widow and wait till something interesting happens. Perhaps a husband trying to sneek a peek past his wife at a Victoria's Secret window. Or perhaps a juxtapose of society. A window advertising Rolex watches and a homeless guy walks by, etc
I agree...that's the element that I didn't have when I went out my first time...the "story" within the photograph.
quote=dawgtired I really appreciate humor in stre... (
show quote)
But that is what makes street photography, it's got to tell a story, that's why you need to be discrete. If you're spotted what do you think the chances are of you catching that great moment!
Hey Doc, ever watch Candid Camera?
sometimes when I shoot in the city people will mug for me and some of the shots are just great!
Bethj
Loc: Northwest Ohio
dawgtired wrote:
There are several YouTube videos by the funny guy I mentioned earlier. go to YouTube and search Digitalrev street photography. Still looking for the article on Bresson
Digitalrev is hilarious.....I recommend any of his videos if you want a laugh !!!
The way I enjoyed street photography most when I was young and travelled to unfamiliar places, was a technique we then referred to as grab shooting. I'd carry a small rangefinder camera with a mildly wide angle lens preset for a particular distance and whatever light conditions I saw upon entering a particular street. I'd carry the camera cradled in my palm, either cupped toward my hip or in my jacket pocket. I had figured out secure holding positions from which I could trip the shutter, as I recall, often with my thumb. When I'd see something interesting ahead, I knew I'd have to shoot, say, between 8 and 25 feet. Unless the subject was looking right at me they were usually unaware they'd been photographed since the camera went from semi-concealed back being to semi-concealed again in about 1 1/2 seconds.
With today's digital point-and-shoots, that shoot-from-the-hip technique would still work. The time to awaken the camera would be the limiting factor but the practice required to reliably frame while shooting that way would cost you nothing.
I have found that if you find young couples walking they are always willing to let you take photos of them.. I show them the shots on my camera and then give them a card and tell them to contact you for the photos.. usually works for me!
sinatraman
Loc: Vero Beach Florida, Earth,alpha quaudrant
there is NO EXPECTATION OF PRIVACY if a person is out in public or ia somewhere clearly visable from a public area. your taxes paid for the road and sidewalks, and public parks etc. reason many street photographers used rangefinder cameras is they were less noticeable, and much quiter. this typoe of photography is where point and shoots can shine since they are smaller and quieter then dslr's good luck. i love srteet photos, candid unique and can be very powerfull.
sinatraman
Loc: Vero Beach Florida, Earth,alpha quaudrant
oh for the vivian maier reference, her work is exceptional. she died in 2011 2 days before the man who bought her storage locker was able to track her down. in the storage locker besides her cameras, albums and printed photos was over 600 exposed but never developed rolls of films. volunteers from all over are helping to develop print and scan her work into an archive. the city of chicago put on an exibition of her work at OHare airport. there is a web site you can go to, and personally i find her work as compelling as HCB's.
Rabbit wrote:
rpavich wrote:
dawgtired wrote:
I really appreciate humor in street photography. One thing I would suggest is pick a spot, perhaps in front of a storefront with something interesting in the widow and wait till something interesting happens. Perhaps a husband trying to sneek a peek past his wife at a Victoria's Secret window. Or perhaps a juxtapose of society. A window advertising Rolex watches and a homeless guy walks by, etc
I agree...that's the element that I didn't have when I went out my first time...the "story" within the photograph.
quote=dawgtired I really appreciate humor in stre... (
show quote)
But that is what makes street photography, it's got to tell a story, that's why you need to be discrete. If you're spotted what do you think the chances are of you catching that great moment!
Hey Doc, ever watch Candid Camera?
quote=rpavich quote=dawgtired I really appreciat... (
show quote)
Have you seen the video I posted above? He's right in the middle of the action but nobody even notices him...it's a skill evidently.
Bethj
Loc: Northwest Ohio
sinatraman wrote:
oh for the vivian maier reference, her work is exceptional. she died in 2011 2 days before the man who bought her storage locker was able to track her down. in the storage locker besides her cameras, albums and printed photos was over 600 exposed but never developed rolls of films. volunteers from all over are helping to develop print and scan her work into an archive. the city of chicago put on an exibition of her work at OHare airport. there is a web site you can go to, and personally i find her work as compelling as HCB's.
oh for the vivian maier reference, her work is exc... (
show quote)
I got to see her exceptional exhibit while it was in Chicago...If a Vivian Maier exhibit is in your area definitely go to see it !!!!
Curtis Thomson wrote:
Cartier-Bresson would look for an interesting background and wait for his subjects to appear. An opposite approach was used by Gerry Winnogrand who I had the pleasure to "stalk" one September afternoon in Central Park, New York many years ago. Watched this master use any number of deft tricks. He would literally walk up to his subject and make a body movement like a stretch or yawn and somehow work the camera into position where he'd get his shot. Of course back in the pre-historic days of film he was using a range finder which is virtually noiseless. If you happen to be in a noisy part of the city you can probably get away with the noisy clunk your Cannon reflex mirror will make but the first approach is probably a good bet if this is just a one time assignment. In this case the subject is invading your territory. find a cool background and wait for them to come. Never appear nervous or make any kind of eye contact and if you are confronted just act overly apologetic and tell them the truth. Let them know this is for an adult education class and offer to delete what ever shots you have taken of them. I shoot commercial but find that a few hours on the street tasking candid shots is my ideal of a fun afternoon. The few confrontations I have had, have always ended peacefully. In more than one encounter it has opened up interesting conversations about photography and chances for some quick street portraits.
One last thing: Google Vivian Maier and check out her work. This is the English nanny who lived in urban Chicago for many years working for wealthy families. After she passed away in the nineties, someone bought a box of old negs at a garage sale and started printing. Her work is classic black and white
street; worth taking a look at.
Cartier-Bresson would look for an interesting back... (
show quote)
Far more than worth taking a look at; she was a towering talent. There is simply no understanding why she did what she did.
senad55verizon.net wrote:
Far more than worth taking a look at; she was a towering talent. There is simply no understanding why she did what she did.
I was hypnotized looking at her images.
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