Thoughts on Street Photography (2021)
30th April 2021
Lockdown has reduced the opportunities to engage with street photography which, nonetheless, remains a remarkably popular genre. It is often the main reason photographers give when seeking advice on buying their first Leica camera. There is a perception that Leicas are quiet and unobtrusive which, to a certain extent, is true; but any reliable brand is capable of capturing pictures on the street. Yet I have ambivalent feelings about the subject, regardless of camera used.
A few of the most well-known street photographers use methods which are anathema to me. Their methods, as revealed in videos of them in action, portray a highly confrontational style. They stalk their subjects, with flash guns fully charged, and often leap in front of their prey, resulting in highly startled or distinctly puzzled expressions. Was that their aim, I wonder? Do strangers want such pictures taken of them, albeit in public places? Frankly, I see no need for this threatening behaviour, nor do I like the results that they produce. Their captured expressions are not truly representative of ordinary people, going about their lawful business in a metropolis. Thankfully, the majority of street photographers employ more subtle approaches.
[Young schoolboy eyeing a relaxing prostrate couple of tourists in Venice, (Leica Digilux 2, 2006 - Cropped image)]
The Leica Academy UK has sponsored several interesting free webinars, one or two of which have featured successful street photographers, whose methods are more discrete, even to the point where they are unnoticed or ignored. Those speakers restored my faith in human nature. One was deeply involved in documenting ‘rough sleepers’ for a charity. In his case, compliance and awareness were critical to his success. He actively engaged with people sleeping in the streets, allowing the photographs to be a conduit for help. In contrast, other photographers preferred a more subtle approach and considered it a failure if their subjects’ reactions detracted from a truly candid and unobserved capture. These varying approaches caused me to ponder on the psychology of street photography, an aspect which found me reading a small book by Matt Stuart recently, called “Think like a street photographer ”. Matt is a very successful exponent of the calm approach, although the title of his book implies a multi-faceted style. (Please note that this article is not a review of his book)
[Reading Matt Stuart’s book for inspiration (Leica CL, 2021)]
Matt Stuart has spent many hours a day, pounding city streets, essentially looking for suitable locations or ready-made situations. Such places are characterized by having a potentially interesting background, good lighting, and a steady flow of people passing through his chosen zone. That is the relatively easy bit. Waiting for suitably attired strangers to complete his composition calls for patience and endurance. Capturing them in a memorable picture demands considerable skill, plus a little luck. All too often, nothing happens, and he returns home empty-handed. His success rate is woefully low. Yet, when everything comes together, his pictures entertain his followers and leave him convinced that his patience has been rewarded. In contrast, my approach is very low-key and usually forms part of a general photographic foray where anything which catches my eye becomes a potential photographic subject.
[Silent actor on the street in Venice (Pentax Optio 555, 2006)]
Very occasionally, luck plays a part. Who knows what is coming along and stopping at the traffic controls where our photographer is loitering? Passengers off-guard on public transport; character dogs in open-top sedans looking thoroughly bored or appearing to be the actual chauffeur. It can and does happen. Will you be ready? Let us consider how best you can prepare for the unexpected.
[A young boy thought he was the one going fishing on the pier at Beaumaris, North Wales. (Leica M9 + 90 mm Elmarit lens)]
Being Prepared
Carrying a small inconspicuous near silent camera is an advantage. Knowing how it operates and being able to make adjustments without raising the camera to your eye also helps considerably. Ideally you will use settings which minimize the need for focusing and fiddling with exposures. Practising zone focusing and using a high shutter speed together with a median lens aperture setting, all help and give confidence while waiting for the unexpected to happen.
[Morris dancer couple trudging to an event in Lincoln. Lesson learned: use a much higher shutter speed when subjects are walking (Leica CL with standard zoom lens)]
Sometimes humour is evident without a human being in sight. The cover picture of Matt Stuart’s recent book comprises a fallen leaf on the pavement. Yet, with the right orientation and presentation, we see kissable lips. How many photographers would have simply walked by, their eyes looking elsewhere or their minds on some other subject. If you are pre-occupied preparing to shoot human beings, it is easy to overlook inanimate objects.
[An example of temporary Art in the street. The cyclist depended on the lamp-post for support, despite it appearing to grow out of his head! (Scan from film)]
Success is more likely with an ever-alert mind. There lies the kernel of the appeal of street photography to me. It is the lure of the unexpected, which informs my approach to street photography. Although, in my case, it also applies in non-street situations. The disorganized bustle of a foreign street market is an assault on the senses. However, skills learned on the street, equally come into play in such places. Markets, museums, art galleries all have potential. If there is a secret to success, it is to be prepared, no fiddling with cameras, and remaining ever alert to the unexpected and often fleeting opportunities. Oh, and a sense of humour certainly helps.
[Time for a snack as two resting Morris dancers park their pram filled with musical instruments and accessories. (Leica CL with standard zoom lens. Cropped)]
While I am far from being called a ‘street photographer’, I enjoy looking at the work of those accomplished in the genre. Within reason, it is also easy to practise the skill, thus becoming more alert to the potential of this popular field of photography.
[A chance encounter. A wedding couple posing for the professional and guest photographers outside an hotel in Lincoln. Although difficult to see at this size, a small aperture was used with focus on the wedding pair so that they stood out in terms of clarity (Leica Q cropped)]
A few of the most well-known street photographers use methods which are anathema to me. Their methods, as revealed in videos of them in action, portray a highly confrontational style. They stalk their subjects, with flash guns fully charged, and often leap in front of their prey, resulting in highly startled or distinctly puzzled expressions. Was that their aim, I wonder? Do strangers want such pictures taken of them, albeit in public places? Frankly, I see no need for this threatening behaviour, nor do I like the results that they produce. Their captured expressions are not truly representative of ordinary people, going about their lawful business in a metropolis. Thankfully, the majority of street photographers employ more subtle approaches.
[Young schoolboy eyeing a relaxing prostrate couple of tourists in Venice, (Leica Digilux 2, 2006 - Cropped image)]
The Leica Academy UK has sponsored several interesting free webinars, one or two of which have featured successful street photographers, whose methods are more discrete, even to the point where they are unnoticed or ignored. Those speakers restored my faith in human nature. One was deeply involved in documenting ‘rough sleepers’ for a charity. In his case, compliance and awareness were critical to his success. He actively engaged with people sleeping in the streets, allowing the photographs to be a conduit for help. In contrast, other photographers preferred a more subtle approach and considered it a failure if their subjects’ reactions detracted from a truly candid and unobserved capture. These varying approaches caused me to ponder on the psychology of street photography, an aspect which found me reading a small book by Matt Stuart recently, called “Think like a street photographer ”. Matt is a very successful exponent of the calm approach, although the title of his book implies a multi-faceted style. (Please note that this article is not a review of his book)
[Reading Matt Stuart’s book for inspiration (Leica CL, 2021)]
Matt Stuart has spent many hours a day, pounding city streets, essentially looking for suitable locations or ready-made situations. Such places are characterized by having a potentially interesting background, good lighting, and a steady flow of people passing through his chosen zone. That is the relatively easy bit. Waiting for suitably attired strangers to complete his composition calls for patience and endurance. Capturing them in a memorable picture demands considerable skill, plus a little luck. All too often, nothing happens, and he returns home empty-handed. His success rate is woefully low. Yet, when everything comes together, his pictures entertain his followers and leave him convinced that his patience has been rewarded. In contrast, my approach is very low-key and usually forms part of a general photographic foray where anything which catches my eye becomes a potential photographic subject.
[Silent actor on the street in Venice (Pentax Optio 555, 2006)]
Very occasionally, luck plays a part. Who knows what is coming along and stopping at the traffic controls where our photographer is loitering? Passengers off-guard on public transport; character dogs in open-top sedans looking thoroughly bored or appearing to be the actual chauffeur. It can and does happen. Will you be ready? Let us consider how best you can prepare for the unexpected.
[A young boy thought he was the one going fishing on the pier at Beaumaris, North Wales. (Leica M9 + 90 mm Elmarit lens)]
Being Prepared
Carrying a small inconspicuous near silent camera is an advantage. Knowing how it operates and being able to make adjustments without raising the camera to your eye also helps considerably. Ideally you will use settings which minimize the need for focusing and fiddling with exposures. Practising zone focusing and using a high shutter speed together with a median lens aperture setting, all help and give confidence while waiting for the unexpected to happen.
[Morris dancer couple trudging to an event in Lincoln. Lesson learned: use a much higher shutter speed when subjects are walking (Leica CL with standard zoom lens)]
Sometimes humour is evident without a human being in sight. The cover picture of Matt Stuart’s recent book comprises a fallen leaf on the pavement. Yet, with the right orientation and presentation, we see kissable lips. How many photographers would have simply walked by, their eyes looking elsewhere or their minds on some other subject. If you are pre-occupied preparing to shoot human beings, it is easy to overlook inanimate objects.
[An example of temporary Art in the street. The cyclist depended on the lamp-post for support, despite it appearing to grow out of his head! (Scan from film)]
Success is more likely with an ever-alert mind. There lies the kernel of the appeal of street photography to me. It is the lure of the unexpected, which informs my approach to street photography. Although, in my case, it also applies in non-street situations. The disorganized bustle of a foreign street market is an assault on the senses. However, skills learned on the street, equally come into play in such places. Markets, museums, art galleries all have potential. If there is a secret to success, it is to be prepared, no fiddling with cameras, and remaining ever alert to the unexpected and often fleeting opportunities. Oh, and a sense of humour certainly helps.
[Time for a snack as two resting Morris dancers park their pram filled with musical instruments and accessories. (Leica CL with standard zoom lens. Cropped)]
While I am far from being called a ‘street photographer’, I enjoy looking at the work of those accomplished in the genre. Within reason, it is also easy to practise the skill, thus becoming more alert to the potential of this popular field of photography.
[A chance encounter. A wedding couple posing for the professional and guest photographers outside an hotel in Lincoln. Although difficult to see at this size, a small aperture was used with focus on the wedding pair so that they stood out in terms of clarity (Leica Q cropped)]
Copyright © David Askham 2021
Comments
By Gerry Phillipson: Thanks for this. Interesting insights to one of my major genres. So good to see the CL being used. By David Askham: Thank you, Gerry. Yes, the CL is perfect for street photography. Quiet, yet effective.