Different areas afford different photographic opportunities. I probably have some sort of photographic style. I haven’t given it much thought but there are certain elements that I love in a photo. India is one of those places that just keeps giving me those things that I love. We travelled from Mumbai to Kerala and this is a mix of them.
You can choose from a lot of different lenses and cameras combinations. One mean, lean, street-shootin machine combo was the Voigtlander R4M and Zeiss 21mm 2.8 Biogon. I sold them off earlier this year (the lens and body separately of course to increase the value). This was from a roll of film I found lying around that hadn’t been developed quite yet. Seeing these fruits makes me miss her.
She was sold to purchase the Mamiya RZ67 Pro ii; a massive studio-oriented camera that is antithetical to the rapid fire shooting that a small rangefinder will allow. This is also a bid to further remove myself from 35mm film and dive deeper into 120mm. My Hasselblad SWC should be able to provide some of the same types of images (almost same field of view but square format, shallower DOF and different ergonomics). This is making me want to go on a walk!
I am still in the 35mm film world though. Below is my trusty Nikon F3HP with 35mm lens. A gift from my brother, she’ll never be sold.
I am now fortunate to call a very special woman my wife – yessir, I am a very happily married man. We were married on February 23rd at 4 PM in Miami, FL. I would post photos of the wedding but our photographer is still busily editing and developing. That will come soon enough.
After the greatest night of our lives, we woke up early on Sunday morning preparing to leave for the trip of our lives – Thailand. Twenty six hours later, we arrived in Bangkok! Do honeymooning and street photography mix? I think so…
*All shots were taken with my Pentax 67 and either a 75mm or 105 mm lens using Provia 100f slide film.
Why? The man’s hands above are larger than they should be (proportional to his body). This is perspective distortion and it can’t be helped (all lenses do it). Another issue is that the lines of the building in the back make it look like it is going to fall over. Mind you, no distortion is 100% bad, you can use it to your advantage… but most of the time pointing the camera up doesn’t work that well for me (unless carefully thought out).
Here’s an example that does work:
Things feel natural in the above photo. The framelines of the image mesh well with the lines in the photo. A contrary illustration being the first shot in this post (the building should be standing up straight… not diagonally).
To further the argument, let’s look at some photos in the subway. I took the next shot with the camera pointed slightly upward:
Now look at the edges of the second photo – notice how the pillars in the subway match the lines of the frame of the photo. Which feels better to you? To my eye, the second (post-processed version) is better.
Now the frustrating thing is that you sometimes want to shoot upwards to get other elements. In particular, I wanted to get someone walking along the top corridor in the above shot. So I shot upwards. Well… sometimes you have to. But keep in mind what it is doing.
Simplifying your life can really teach you what matters. Imagine everyone got rid of the dish washing machine, car, computer, television, espresso machine and alcohol cabinet. America’s obesity problems and alcoholism would probably decrease and thereby increase our standard of living! Easy peasy!
Well maybe throwing out your modern conveniences is not so easy. But simplifying your photos is! This is the first lesson in taking better pictures and the first thing that amateurs should focus on. So imagine yourself a stripper and take off all of the extraneous fluff until you get to the bare essentials.
Photography has often been referred to as an art of reduction, so here are some tips about things to avoid:
1) Don’t photograph crowds. Focus on one individual.
In shooting street photography, it is really tough to shoot crowds unless you can find some way of making the crowd form some kind of pattern (if everyone is wearing a uniform for example). Normally a crowd is filled with people wearing different colored clothing and this just gives you a hodge-podge that is not that appealing.
Focus on shooting one individual that stands out from the crowd. This brings focus to your photo.
2) Take out multiple and conflicting lines. Focus on one or two lines.
Too many lines, or too many conflicting lines can be confusing to the eye. Remember this is about “visual comfort”.
3) Take out color. Shoot black and white.
There’s a reason black and white photography is so popular. It strips out the unnecessary complications of color! Taking away color allows the eye to focus on facial features, patterns, lines and shade gradations in an easier way than color does.
4) Take out text/brands/logos.
I have written about this subject here. Text is a major focal point and a major distraction. Brands make photos seem like advertisements. Stay away!
5) Shoot fast aperture and shallow depth of field.
By having the background out of focus, it brings focus to that which is sharp. In the majority of cases this should be a face.
6) Stay away from crazy camera angles and shoot at the height of your subject’s face.
This is a comfortable perspective for the viewer as we normally see others at eye level (unless you’re 4 years old).
7) Make portraits.
Making images of buildings is overrated (and very difficult to be successful at). Everyone comes to NYC to look at buildings. Look at the people you’ve come across and photograph them.
So those are some simple starting rules for street photography. These practices work for me so read through them and see which ones suite your fancy. Then incorporate!
The natives used to call Coney Island Narrioch. This meant “Land without shadows.” While the Lenape language doesn’t feel like it rolls off of this caucasian’s tongue the meaning is pretty apt. The beach runs parallel to the direction of the sun and therefore there are few shadows throughout the day. If only the Lenape could see their beloved Island now… they would probably eat a corn dog.
Coney is a quilt of different races, creeds and colors. I’ve met Senegalese, Russians, Israelis, Turks, Chinese… you name it. People are fishing, fighting, dancing, biking and throwing frisbees. The variety of people doing their variety of things eating their variety of foods and partaking in the variety of festivities can be overwhelming. All of these reasons in full technicolor make this one of the best places for serendipitous photography.
So why didn’t I shoot in color with the two above shots? Well black and white is appropriate for all occasions. And shooting film you don’t have much of a choice. The portraits on the boardwalk are also nice in bNw. But I wanted to do something different than my normal portraiture that day… it was time to get wet and get color!!
After moving to NYC, there was little I could do with my underwater photo gear. The equipment I had was sitting there like a pile of raw gold… Lots of potential but no application. So how to mix underwater photography with my love of street work? Coney Island, the land lacking shadows, provided me the answer!
I rushed into the water with my camera in the large black housing. Most people were really struck by it (about the size of a basketball, pitch black and all aluminum). Lucky for me, many people were simply curious and wanted me to take their photo. I got to work with a kid I met in the water. Shooting on top of the water was fun an can get good results but the kid wanted me to get him all the way under so I happily obliged:
Wandering around in the water some more, I found a dad and his little girl on his back. They were making nice V shapes with their arms, trying to maintain balance.
There were others interested as well. A Russian couple and a some Puerto Ricans. I had such a great time I could have spent the whole day there wandering around in the waves… getting photos… But when I was on my way back, I found a kid having the time of his life just throwing water in the air.
His enthusiasm was infectious! There was never a person so happy to just create water droplets. On the other hand, his dad (on the left) was not so amused with this random guy with a camera in his hands wanting to document the joy.
It was a successful trip and one I will not doubt repeat in the future! I highly recommend you visit the land without shadows (camera in hand!).
Happy (wet) shooting!
P.S. – all photos in color on this page were shot with a digital camera – the Canon 7D. While I almost always stick with film, I just couldn’t lie to you.
Zeiss 21mm f/2.8 Biogon Lens
Wide, fast and prime. No, this is not a description of how I like my meat or my women. These are the characteristics of the proper lens choice for subway work.
Why fast? The subway is dark! Lenses that cannot open up wider than f/3.5 will have limited use (unless shooting very high iso). So go for something that can go to f2 or faster!
Why wide? The subway is cramped! I have tried working with a fast 50mm but it’s no dice, there just isn’t enough space to move and position yourself. This may work for shooting in the subway station as there is a long corridor, but typically not for the subway train car. I have also shot with a 135mm on a train car and while there can be good results, the zoom of the lens is too limiting to take advantage of all of the different available situations you will find yourself in.
I have a sweet tooth for sweet spots. And the sweet spot (in my humble and sugary opinion) are for prime lenses between 21 and 35mm focal lengths. This really gives you the range between classic portrait lenses on the long end and super-wide lenses on the short end. A good 35mm lens is really nice to have (even beyond subway shooting). But for portraits on the subway, I consider it perfect. On the wide end, 21mm is wide enough to capture a lot of information. One further point about going wider than 40mm or 50mm is that you can’t shoot from the hip (if you don’t understand why, that will be explained soon my curious friends).
Why prime? In a word – simplicity. Zooms offer you too many options. We need to be focusing on things besides the camera! We need to look at the lighting and the composition! Then when all of those things align, the camera just becomes a part of us. The more options/settings/extraneous nonsense you have to worry about the less you can connect with your camera. And connecting with your picture maker, is an important thing.
There are lots of kinds of equipment that you can get intimate with (and they don’t all have to be in the “adult” category). Camera equipment has such wonderful history and can be such great mechanical pieces of art that intimacy feels natural only after spending a few weeks of shooting. This is why staying with one body and one prime lens is so great. The satisfaction you get from that connection between man and a properly wielded tool is something to behold! The sound of that clunky springy shutter, the solid metal feel of the body, the dim, dusty viewfinder and simple spot meter… I wouldn’t trade it for the world (to say the least one of those crappy plastic digital cameras).
So go on, work with one camera and one lens (preferably fast, wide and prime). You guys are a match made in heaven!
While I think that the rules I talk about in the above post have their strengths, they should not always be followed 100%! Feel free to break all of my rules!
Dust off your old cameras, baby it’s workshop time! That’s right. You are cordially invited to come aboard for the month of October to meet other budding street photographers and partake in the glory of shooting in NYC. You will learn a great deal about street photography, your camera and our lovely city. Full details below and at the following link:
“This street photography workshop will help you get comfortable with your camera, get comfortable shooting in the street and show you a bit of New York that you may not know. While this course is geared towards beginners, intermediates are welcome as well. Limit of 5 people per class (some classes have groups of 10 or more, that’s just not good for our purposes). The class is designed to be cut into four separate parts:
- In Class discussion! We will go over the history of street photography and pay homage to those that came before us. We will discuss technique in detail. From framing, composition, metering, depth of field and content. If you need a tutorial with your camera then I am very acquainted with Nikon, Canon, Sony and other cameras.
- Welcome to China Town! See the madness and beauty of China Town! This area is a dream for photographers as it is filled with amazing characters, small streets and lots of action!
- Coney Island! A lot like China Town in the amount of energy but with a completely different culture! See the Wonder Wheel and get a bit of history as you soak in the rays and shoot in the sun!
- Williamsburg waterfront. This is my home turf and as such I like to think I know a thing or two about it! We will visit the Puerto Rican neighborhoods and walk along the edge of the Hasidic ones.