Howarth S., McLaren S. - Street Photography Now - pdf - Ebook download as PDF File .pdf) or read book online. Download Now: eBook Street Photography Now - Sophie Howarth full full version, by Sophie Howarth pdf eBook Street Photography Now. Thames Hudson, p. The first substantial survey of international street photography since the late s. For the last twenty years the.
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Street Photography Now book. Read 31 reviews from the world's largest community for readers. For the last twenty years the candid photography of life in . Review Somehow the most compelling street photography remains the kind that allows us to imagine ourselves wandering into the frame. (Wall Street Journal). feel that I should only shoot "street photography," but I have discovered in my path .. Now I have this vivid backstory, but the viewer has no idea about that story.
Also check out the Portuguese translation. This book is the distillation of knowledge I have learned about street photography during the past 8 years. I want this book to be a basic primer and introduction to street photography.
Everything in this book is just my opinion on street photography, and I am certainly not the foremost expert on street photography. However I can safely say that I am insanely passionate and enthusiastic about street photography— and have dedicated my life to studying it and teaching it to others. Try out techniques for yourself; some of these approaches may and may not work for you.
Ultimately you want to pursue your own inner-vision of street photography. Personally I hate definitions. Therefore for the purposes of this book— I want to purposefully define street photography in a very loose and ambiguous way. However, this is how I would define street photography:.
Many of the master street photographers have often asked for permission when taking photos of their subjects. The best street photographs are often photos of people— but you can shoot street photographs of technically anything. I also think that street photography should be photographed in a public space— but then this is a bit confusing as well.
I have also seen tons of great street photography done at the beach or even in the woods. I therefore think that almost anything can be street photography. I think most people enter street photography because they are interested in photographing people.
And therefore for the purposes of this book we will focus on how to make photographs of strangers in mostly public places.
That is up for you to decide. Personally I would.
Just focus on trying to make meaningful, memorable, and emotional photographs wherever you are. I think in life we often go through the motions without really asking ourselves the important questions of why we do what we do.
So for you— why are you interested in street photography? This is only something you can define for yourself. For me, I shoot street photography because I am genuinely interested in human beings and society. So essentially for me, I consider myself a sociologist with a camera. Like the rest of us, I spend far too much time in front of a screen and trapped inside my apartment.
It is a way of life. Street photography gives me the chance to be more adventurous. Street photography helps me appreciate the beauty in the mundane and ordinary. Street photography helps me express my feelings of the world through my photographs.
Street photography makes me feel more fully alive. Before I personally discovered street photography, I was quite shy to strangers— and not so interested in exploring. I would be the guy who would spend 10 minutes dicking around in Google Maps instead of just asking an adjacent stranger for directions.
I would say street photography has helped build my confidence. My confidence to interact with strangers.
My confidence to take a photograph of a stranger without permission. Confidence to start my own business teaching street photography workshops full-time, and blogging.
Confidence to really speak my mind with my girlfriend and partner Cindy. Confidence to travel the world — places outside of my comfort zone. There is so little you can control in street photography. The only two variables you can control are where you stand, and when you press the shutter credit to David Hurn from Magnum. I also love the thrill and serendipity of street photography.
Street photography has also changed how I see reality. I would just live my life in tunnel vision, totally oblivious to the world around me.
But now, street photography has helped me slow down. I appreciate the small joys of everyday life. I enjoy the laughter of a child.
I enjoy the old man enjoying a coffee at a cafe. So what thrills or interests you about street photography? Perhaps you can share it with us below:. Always be questioning why you do what you do. This will continue to give you more focus in your life— more energy, and more purpose. So okay— you want to shoot street photography. Now what? Where should you shoot? What should you focus on? Well first of all, I recommend shooting street photography in an area where there are lots of people.
Go to where the fish are. So for many, this can be a downtown area. Starting off street photography in a downtown area can be advantageous because you can get swept up in a crowd— and feel less self-conscious about shooting street photography. For example, if you see a scene in which you have an old person— try to also take a photograph of a kid next to them.
You can also juxtapose colors— photograph people wearing red jackets against green walls. Another juxtaposition can be a photograph of a fat man next to a skinny person. Another street photography technique can be trying to capture gestures on the streets. I think that the best street photographs are generally the ones in which the subjects have interesting hand-gestures, facial expressions, body language, and postures. Well, with gestures, you can get a better sense of the emotions a person has— and you can get a sense of how that person feels.
For example, if you took a photograph of a man slouched over a table, with his hand covering his forehead— you can get a sense of angst and stress. If you took a photograph of someone covering their face from the sun— the person looks much more dynamic and energetic. Hand-gestures are often much more interesting than just photographing people with their hands by their sides. I think for me the most important element of making a strong and memorable street photograph is to capture strong emotions.
But ultimately I think that capturing emotions on the streets requires a certain amount of empathy. Meaning— you have to emotionally connect with the subjects you photograph on the streets.
Documents Similar To Howarth S., McLaren S. - Street Photography Now - 2012.pdf
This allows you to get close and intimate with your subjects — and I feel that with physical proximity comes emotional proximity. When you see certain scenes, sometimes you can feel a certain mood. Ditch the photos that lack emotion and soul.
Keep the ones that you can empathize with as a human being. I think that street portraits can sometimes be the most emotional and powerful type of image— as what is more interesting than a human being? As babies— we are genetically hard-wired to be interested in the faces of others. Apparently if you have a white piece of paper with two dots side-by-side and another dot directly below it, babies mistake them as faces that is why babies are so drawn to electrical outlets.
So if you are a street photographer that is interested in faces— I recommend trying to photograph people you find interesting. First of all, you can start off by asking for permission.
Howarth S., McLaren S. - Street Photography Now - 2012.pdf
The best strategy is to just approach a person and be totally honest. Tell them that you find their face interesting, and that they look like they have a great story. Approaching strangers and asking them to take their photograph takes a lot of courage— and it took me several years before I was able to get rid of that heart-thumping emotion when approaching strangers.
Why not? However now I have realized that most people are actually okay with having their photograph taken. Therefore I now assume everyone wants to have their photograph taken— which means I show a lot more positive body language, which makes people trust me more.
But we will talk a little more about how to build your confidence and overcome your fear of shooting street photography in a little bit. Another approach you can take in street photography is to photograph people with nice backgrounds and compositions. When I first started street photography, I was absolutely terrified to photograph strangers without their permission or to ask them to photograph them. Therefore I started off shooting street photography more from a distance.
I tried to make the subject small, and tried to make images in which the background and architecture was the primary focus. So what you can do is the following: You can do this also by looking for interesting leading-lines in your photograph, and just wait for the right person to be at the end of that leading line.
When looking for geometry and nice compositions, look for diagonals, curves, triangles, and good separation of your subject from the background. Another common mistake many street photographers make is that they only make one photograph of a scene, and move on. This is an amateur mistake. Overcoming your fear of shooting street photography is one of the things I write the most about— and even offer street photography workshops on how to conquer your fear of shooting street photography.
Needless to say, this is the most popular course I offer— and the topic that most street photographers are interested in. But rather what I meant to say was this: So basically— if you want to be a good street photographer, you first need to build up your confidence as a street photographer. The concept is this: For an entire day you have to approach a bunch of strangers, and ask for permission to make a photograph of them. Not only that, but getting rejections can sometimes be harder than you anticipate.
What you can do is this: The power of a smile is incredible to disarm people, and have them feel comfortable and happy around you. We are hard-wired to be risk adverse— meaning we want to avoid conflict. We also predict the worst-case scenarios; we imagine getting punched in the face, having our camera broken, and having the cops called on us. But that almost never happens.
You generally care about and are interested in your fellow human beings. It takes a unique and empathetic person to be interested in street photography. A lot of people ask about the ethics of street photography. Is it okay to photograph people who are homeless? Is it okay to take photographs of children? A topic on ethics is a tricky one.
Ultimately you want to follow your own heart.
Rather, follow your conscience in a way, which allows you to sleep at night. Therefore I generally try to avoid photographing the homeless, destitute, or mentally unstable. If I do want to photograph a homeless person, I will generally approach them, ask for permission, and do so in a kind and genuine way.
Therefore if you really want to build your confidence in street photography, you need to start off being comfortable being photographed. Do onto others as you would like others to do onto you.
Here are some tips and techniques you can use:.
Free E-Book: “Street Photography 101: An Introduction to Street Photography”
Ironically enough— the closer you are to your subject, the less likely they are to notice you photographing them. After all— who in their right mind will photograph a stranger at such a close distance?
Therefore try this instead: Try this assignment also: Most people will try to dodge your camera, and others will just ignore you. Start off this assignment by not taking any photographs. Simply aim your camera at people. If someone yells at you, they have no case.
Once you start getting comfortable walking around in a busy crowd with your camera glued to your face, start to make photographs. Keep it glued to your face. As people walk into your line of vision, make photographs. The good thing about working a street corner is that you have people coming at you from all these different angles.
This is also a good technique— as shooting on the streets and walking around all day can be very tiring, and not the best use of your energy. I know these techniques sound a little bit sneaky and mischievous— perhaps even disingenuous. And they are. Ultimately any approach in street photography is up to you.
Whether you feel comfortable using them or not is your personal judgment call. But I still wanted to share these techniques, which have worked very well in terms of being invisible on the streets. You want to photograph a scene without disturbing it or altering it. If you shoot too slowly, people start to notice your presence.
And honestly, you will always alter a scene either consciously or subconsciously simply by being there. I have actually found out sometimes being caught shooting a street photograph results in a more interesting photograph.
Some of my best street photographs are the ones where the subject notices my presence, and looks directly at me or into my lens. My friend Thomas Leuthard has a technique in street photography to intentionally get eye contact in his shots. He does the following: If you see Thomas shooting in real-life, it can feel very unsettling to see how long he waits until the subject looks directly at him.
But it is a technique that makes his images much more connected with his subject— as there is the eye contact. To sum up— overcoming your fears of shooting street photography is one of the biggest barriers you must conquer in order to make interesting street photographs. I want to harness my fear for the positive. So use your fear and harness it for the positive. Fear is a thrilling emotion— that helps some of us who are adrenaline junkies.
Fear in street photography is also what makes it hard. And when it comes to being invisible— honestly it is pretty overrated in my opinion.
But often time that feels creepy, and feels wrong to me. So as an exercise, write down the list of things that you are afraid of in street photography— and write down how you think you can overcome them. I think without a past, we have no future. We need to study the history of the greats that have come before us, in order to become better photographers ourselves.
I think one of the most important attributes for a photographer to have is persistence. Without persistence, you can never overcome adversities, and continue to work hard in your photography. Not only that, but you will also face a lot of dips in terms of motivation and inspiration.
This is natural, and part of the photography process. Know that the best bodies of work often take years and decades to create.
Many of these master street photographers started similar to us. Therefore as a photographer, know that you need to really put in the hours to become great. There are no shortcuts. So in street photography, always be persistent. Always have your camera with you, and try to take at least 1 street photograph everyday. During these dips of motivation, perhaps you should purposefully leave your camera at home— and then feel the frustration of when you see a good street photography opportunity but you left your camera at home.
Street Photography Now
For me, I found the best way to overcome dips of motivation is to just keep shooting. I find that when I have a camera around my neck and in my hand, I start to see more interesting things around me.
And the more I click, the more inspired I feel. In-fact, I think the more critics and haters a photographer has, the more successful that photographer is. After all, if you were a nobody, you would have no haters. Many great street photographers took decades of facing criticism before getting recognized for their work. Daido chose to go against the grain— and now several decades later— he is greatly admired as being one of the fathers of modern Japanese photography.
William Eggleston is another great example of a photographer who had a lot of critics. When he first exhibited his photographs at the Museum of Modern Art in New York City— he was one of the first photographers to have color photographs exhibited. Therefore when William Eggleston exhibited his work, tons of critics called his work amateur, horrible, and a slap to the face of the photography world. Many petitioned to have his work removed from the walls, and said it was the worst exhibition that the MOMA ever exhibited.
However several decades later, many regard William Eggleston as one of the fathers of modern color photography. They now praise the way he sees colors— and now he is one of the most famous living photographers in the world. Essentially you want to listen to your own inner-voice, your own inner-vision.
Whenever you are doing anything innovative, you will always be criticized and judged. After all, it is always easier to follow the status quo in photography rather than pave new ground. Most of the greatest street photographers in history have been quite consistent with their photography.
Rarely do they deviate from their working methods. Rather, they try to keep their cameras, lenses, film, and technique consistent in order to master it. Once they master their technique, they can approach different types of project and subject matter. For example, Henri Cartier-Bresson famously shot his Leica and mostly his 50mm on black and white film his entire life.
He consistently made images and refined his craft and vision according to a painterly-aesthetic. To him, composition was everything. And with consistent equipment his Leica and 50mm he was able to really hone his vision— and know what his photographs would look like even before bringing his camera to his eye.
Henri Cartier-Bresson stuck with this working method for several decades, before he decided to retire from photography and devote his attention to drawing and painting. And we are left with an amazing body of work by Henri Cartier-Bresson, in which he captured the world with his unique vision all around the world. Alex Webb is another great street photographer who has been remarkably consistent with his working methods.
Although he started off shooting black and white film, once he switched to color street photography—he has never turned back. For several decades, he also shot with a film Leica, a 35mm lens, and Kodachrome slide color film. He created a signature style by shooting multi-layered, complex, and vibrantly colored images. He applied this working method in the Mexican border, in Haiti, in Istanbul, and even in America. Alex Webb is certainly still one of the most famous color street photographers. Thousands from all around the globe appreciate his work— and even though Kodachrome film is dead, he is still producing work now working with a digital Leica, but still working in color and in his signature multi-layered style.
I think in art and photography it is very important to experiment. But at the same time, too much experimentation leads you nowhere. Each artist's profile is written like a brief biography so as to allow the artwork more room.
Thankfully, this is the case; bec I really liked the book. Thankfully, this is the case; because as I enjoy reading a bit about each artist's process and influences, I like to sit and consider each photograph even more.
The photographer whose work I like the most was Nick Turpin. There were other very powerful pieces on display, but something about his has made me want to seek out more. Overall, this book is well composed hehe and I feel like it would be a required reading for photography students. It would also make a fantastic coffee table book as well for those like me that are interested but can't invest time and money into the field.
The photo on the cover really drew me in and led me to borrow it from my library. This really helped me learn more about this genre of photography and I love looking at these photos for inspiration.
Highly recommended.The photographer whose work I like the most was Nick Turpin. Email Address. The quality of the photograph reproduction is very good. But that almost never happens. One of the biggest problems a lot of street photographers face in their work is having too much clutter in their frame.
So many exapmles, styles, ideas: Personally I like to shoot in small groups as they give me motivation and confidence. July When the most of us shoot street photography, we become tunnel-visioned.
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