Free E-Book: “Street Photography An Introduction to Street PDF (Small/ MB) Dear reader, welcome to “Street Photography ”. photography, and hope that by upgrading our camera (or getting the newest and shiny .. that all “serious” street photographers shot with one— as a lot of the. If you're starting in street photography, here is my free and open-source 'MINI Street ERIC KIM x Annette Kim PDF Visualizations – HAPTICPRESS.
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PHOTOGRAPHY GUIDE. DEVELOP AN EYE FOR GREAT PHOTOS! BY ÉRIC ST-PIERRE. Photojournalist and former Uniterra volunteer. The Uniterra. Street Photography by Eric Kim is a distillation of knowledge Eric has learned about street photography during the past 8 years. This book. Smartphone Photography - The Ultimate Guide to Smartphone Photography several pedestrians crossing a street may not catch your eye, but a shot of a.
Also when you shoot with a wide-angle lens, you look more discrete. Wide-angle prime lenses tend to be smaller, and less conspicuous. If you use a zoom lens, you have to point the lens straight at your subject, which often gives you away, or makes you more visible.
In a practical sense, wide-angle prime lenses are also cheaper than zoom or telephoto lenses. Wide-angle prime lenses are also generally shaper than zoom lenses. What about 50mm lenses? Famous street photographers like Henri Cartier-Bresson shot with mostly a 50mm his entire life he sometimes shot with a 35mm, especially in India where the streets were more crowded.
My theory is that in the time of Henri Cartier-Bresson, the streets were probably more empty than they are now. There are more human beings on earth than there were in the past, so a 35mm might have not been needed in the past. A 50mm might have sufficed when there was more room in the streets to shoot.
I shot with a 50mm lens on a full-frame Canon 5D DSLR for a while, and found out in most situations especially when shooting indoors it was simply too tight. However one of the benefits of the 50mm lens is that it flattened the background more, which meant more simple compositions. Considering that Henri Cartier-Bresson was obsessed with geometry and composition he studied painting , the 50mm worked for him. What about lenses wider than a 28mm focal length?
I see some street photographers experimenting with lenses even wider than a 28mm — like a 24mm, a 17mm, or even a 10mm fish-eye.
Furthermore, one of the biggest difficulties that street photographers have is not getting close enough to their subjects and filling the frame. The wider your lens, the closer you have to get to your subject. If you are shooting with a 28mm lens, I recommend you to shoot from.
If you shoot with any lens wider than a 28mm, you have to get close. Really close. I mean damn close. Close enough that you might hit your subject with your lens. And also the wider your lens is, the more difficult it is to get a proper perspective. I find that the street photographs that are the most dynamic are the ones that are shot head-on. You might end up shooting all of your photos from the side, which create a strange perspective of your subjects. There are some famous street photographers from the past Saul Leiter being a good example who shot with telephoto lenses who made these wonderfully-mysterious and beautiful street photos.
There are also many street photographers who use zoom lenses in their work Martin Parr is also a great example who make beautiful images. There is no perfect lens or focal length for street photography. When you are starting off, I recommend you to experiment, and try out what works for you. Perhaps it might be a 24mm, a 28mm, a 35mm, a 50mm, a 85mm, a mm, or , or something even longer. Or maybe a lens even wider.
The longer you stick with one focal length, the more likely you are to master that focal length. You will start to see the world in that focal length, and will be able to frame a scene without even thinking about it. You will become very keen about the edges of your frame, and never need to crop your photos ever again. You will improve your composition, and make better photographs. Chapter 4: 15 Street Photography Techniques To get started, here are some practical street photography techniques and tips you can use in the streets: 1.
Work the scene One of the common mistakes I see in street photography is that photographers only take 1—2 photos of the scene, and move on because they are either too self-conscious, nervous, or impatient. Try this instead: work the scene. Take multiple photos of the scene. Preferably 15—20 more tends to be better. Sometimes a subtle difference between what is happening in the background, the eye contact of a person, or a hand gesture is what makes the photograph.
Think of the analogy of baseball— the more times you swing your bat, the more likely you are to hit a home run. It almost looks like the subject of your frame is looking directly at the viewer. The stronger the eye contact, the more emotional, and more memorable the photograph generally is. My suggestion: get close to them, and keep clicking, until they notice you and make eye contact with you. The second they make eye contact, that is when you click.
Get low Many photographers shoot from eye-level. The problem is that this is a boring perspective. We are always used to seeing the world from this perspective— try to get a unique perspective by getting low.
By crouching down and shooting your subject from a low angle, you make your subject look bigger than life. Things on the edges of the frame also get exaggerated which look novel.
Not only that, but by crouching down and getting low— you seem a lot smaller and less intimidating to your subject.
Imagine a knight bowing down before a king. I like to ask to take photographs.
What I try to avoid is having someone just look at me and pose for me with a peace-sign. Where you from? How would you describe your personal style?
Direct your subject If you ask for permission from your subject, know that you can also direct them. I generally ask them to stand against a simple background, and try to get them to do an interesting hand-gesture.
To get a subject to do an interesting hand-gesture, I ask them about their sunglasses, their hair, or even their watches. Can you keep wiping his forehead? You can either look for an interesting background, billboard, leading lines, and create a juxtaposition with your subject who walks by it or somehow interacts with it. Sometimes you catch a lot of fish.
You never know—but the skill to have is patience. Rather, they shoot from the side. As you can imagine in concert photography, the light situation can be different within seconds.
You can change the white balance setting on your camera to different predefined color temperatures. However, one of my concert photography settings is to keep the white balance on auto mode. You still have to ability to change the white balance setting afterward in post-production. Bonaparte, Nikon D , 85mm f2.
One of the questions is: Autofocus or manual focus? I love shooting old analog cameras and manually focusing is a breeze with a Hasselblad or a Mamiya. But not with our DSLRs. Therefore I definitely would not recommend to manually focus your lens at your first concert.
So, set your lens to Autofocus and forget the rest. Why I am not suggesting RAW? I want you to succeed from the get-go and keep your motivation levels high. Dillon, Nikon D , 70mm f2.
It allows you to rapidly shoot three to four photos in a row depending on the frames per second of your camera model. This is not one of the must-have concert photography settings, but it helped me a lot in the beginning.
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WordPress Shortcode. Published in: Full Name Comment goes here. Are you sure you want to Yes No. Browse by Genre Available eBooks Make him beg you to take him back. Show More. Guest , No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. An Introduction to Street Photography 1. What is street photography? SF, 3. Why shoot street photography?
SF, 4. How to shoot street photography? Downtown LA, 5. Work the scene SF, 6. New Brighton. From 'The Last Resort'. Ask for permission Tucson, Arizona, 9. Ask your subjects not to smile Istanbul,