1. The Waiting Game
Setting up my camera and waiting for something to happen is not the most challenging street photography I have encountered.
If you are lucky something might happen.
More often than not it doesn’t.
It does allow you to play around with your settings, you just have to be awake to what unfolds before you.
London is a source of many of my street photographs especially along the South Bank and around Southwark.
Getting to know an area is helpful but new things always crop up mainly because the people are transient.
2. Spotting a Shot
On the Hoof
This method is similar to pre-planned but more spontaneous.
It involves spotting a possible shot and only needing a short adjustment to your position to get what you are after.
Awareness of your camera’s settings is more important as you tend not to have too long to wait.
Unlike sharp shooting (Ch.3) you have more time to think about your shot.
Don’t spend too long thinking about it or the chance will be lost.
The above image was taken at the Lijssenthoek Military Cemetery in Belgium I spotted the potential for this image whilst still outside the cemetery.
The vastness of the graves and the lone woman looking at inscriptions needed recording. The low boundary wall gave me support for the shot.
Sometimes you spot an opportunity and hope it remains in place long enough for you to change position.
This city gent was in a different world, the lunchtime sun and whatever he was listening to allowed me time to move from the top of the stairs to the bottom.
This placed him into a more dominate position which is emphasised by the strong lines of the steps and wall.
I feel street photography should include any public place, even indoors.
Until shortly before this image was taken photography was banned in the National Gallery.
I rarely look at the paintings now, the people are the art to me.
Lighting was poor so I used a bench as a tripod.
Since a child I have admired the paintings and illustrations by the American artist Norman Rockwell. He aways found a way to inject some humour or quirks of life into his work.
This could so easily be one of his Saturday Morning Post covers.
It is rare for me to include animals in my shots but they shouldn’t be excluded from street photography.
I spotted this cat whilst I sat having a coffee in Union Street. Someone was teasing it with a laser light.
I saw the dog walker approaching and I sensed a possible reaction between the dog and cat. I grabbed my camera.
As you can see the cat kept an eye on the dog which appears to sense its presence. It didn’t see it.
Once the danger had cleared the cat pouched out of the shop as if to chase the dog.
Selection of other examples:
"Wall Street Crash", "Street Snapper", "Hurry Up and Wait"', "First Date" and "Fag Brake",
3. Sharp Shooting
Split Second Shooting
This method could be the most difficult and relies on you having your camera ready for anything.
You will be unlikely to be able to change more than one setting on your camera in the fraction of a second you have to take the image.
Even Auto mode can be too slow for this method. I often work in full Manual setting with Speed, Aperture and sometimes Focus fixed in the hope to grab that passing shot.
4. Street Portraits
"Can I take your picture?"
For some photographers approaching a total stranger in the street and asking to take their photo is their worst nightmare.
Having dealt with people in all different situations as a police officer I don’t mind talking to anyone.
In all of my images so far (except one) the subjects have not interacted with myself or my camera.
In this section they do.
So what’s stopping you asking? I have never been chased down the road yet...