Walking 20,000 to 40,000 steps on a photo walk isn’t always practical. Sometimes, you need a way to capture compelling images without constant movement. A method called the "fishing technique" offers an alternative, letting you stay in one spot and wait for the right moment instead of chasing subjects.
Coming to you from Peter Forsgård, this insightful video breaks down how to use the fishing technique for street photography. Instead of constantly moving, you pick a spot, set up your composition, and wait for something interesting to enter the frame. This approach allows you to focus on backgrounds, lighting, and depth without rushing. Forsgård highlights its usefulness when mobility is limited, as in his case, where an injury forced him to find creative ways to shoot without extensive walking. He explains how this method can train your eye for composition while also reducing the physical demands of street photography.
One advantage of this technique is the ability to refine compositions before pressing the shutter. Instead of reacting quickly to changing scenes, you can study the environment, adjust framing, and ensure backgrounds enhance the shot. Forsgård emphasizes looking for elements like textures, shadows, and signs that add interest. He also points out that shooting from a seated position or leaning against a surface can make long waits more comfortable. While it requires patience, it’s a useful way to develop a stronger sense of visual storytelling.
Finding the right location is key. Forsgård suggests places with consistent foot traffic, like city streets, metro stations, or shopping malls. Indoor locations are particularly useful in bad weather, but some private properties may restrict photography. He also warns about safety concerns when remaining in one spot for extended periods, as being stationary can make you more vulnerable to theft or unwanted attention. The fishing technique works best when paired with situational awareness and a plan for moving if necessary.
This approach also encourages experimenting with different gear choices. A wide angle lens allows you to capture more of the environment, while a telephoto lens lets you isolate subjects from a distance. Forsgård notes that manual focus and manual exposure can be beneficial when using this method, as they provide greater control over the final image. He also suggests trying long exposure techniques to introduce motion blur when working with static backgrounds. Check out the video above for the full rundown from Forsgård.
Alex, this is such a valuable breakdown of the fishing technique in street photography. As a fashion and editorial photographer, I often think about how setting a stage—rather than chasing a subject—can create a more intentional and cinematic result. The ability to refine a composition before the decisive moment arrives is a powerful approach that translates well beyond street photography.
What stands out to me is how this technique encourages photographers to think like directors rather than hunters. In fashion photography, I often design a scene first—selecting a backdrop, composing the frame, and then waiting for the model’s movement to bring the image to life. The same principle applies here: by pre-visualizing the shot, you allow the spontaneity of life to unfold within a well-considered frame.
An interesting extension of this idea is how it could be used in other genres, such as event or portrait photography. What if, instead of orchestrating every moment, we set the stage and let interactions naturally evolve? This could lead to more authentic, storytelling-driven imagery.
Paul Tocatlian
Kisau Photography
www.kisau.com