Street photography has grown hugely in popularity over the past couple of years. For me, it’s become one of my favorite photography genres because it’s easy to do, a lot of fun, and so accessible. Most of us live in or near a large town or city, so a spontaneous outing is feasible without planning. I like that. And you don’t need a lot of fancy, expensive gear.
If you’re looking to give street photography a try, or want to elevate your street craft, here are a few things worth considering.
Keep Your Gear Simple
A small, lightweight camera is the best way to go. A crop sensor camera is perfect, and they’re also a lot cheaper than full frame cameras.
As for lenses, a 28mm, 35mm, or 50mm is all you need. In fact, having just one lens makes life so much easier and helps you focus on creativity and looking for good compositions. With one lens, you become a master of framing quicker than when using a zoom lens.
We’re given the impression street photography is a rich person’s pursuit because we see so YouTube guys with Leicas. The truth is, you don’t need one. Sure, I have a Leica Q2 Monochrome because I’m a pretty hardcore black and white shooter, and there aren’t many digital options. For color street photography, I use a 6-year-old Nikon Z50 with a crop sensor and a cheap aftermarket manual focus lens. It’s perfect. You can find these used for a few hundred dollars, since the newer Z50 II was released last year. The Z50 II is great if you want good autofocus eye tracking. I don’t need that, so I have no reason to upgrade. The Z50 II is great if you want good autofocus eye-tracking. I don’t need that, so have no reason to upgrade.
The Ricoh GR III is a great option or any of the older Fujifilm X100 series cameras. For something newer, the Olympus OM-3 is a wonderful little camera packed with the latest tech, should you require it.
Possibly the most important aspect of keeping things small and simple is not standing out and drawing attention. Dress simply—dark colors, I find, are best to blend in. And as much as those gold-coated lens hoods and other attention-grabbing bling look cool in an Instagram feed, it might be worth rethinking using them on the streets.
Two Approaches To Street Photography
Easy Street Photography: Light and Shadows
The first place most people start with street photography is looking for locations with dramatic lighting. Reflections, backlighting, and silhouettes play a big role in finding compositions with drama, contrast, depth, and texture.
A scene with lots of shadows and a contrasting bright area of light is a great place to do some “fishing.” Hang around and wait for people to walk into the light. This is the easiest kind of street photography, and it’s possible to get some very dramatic and graphic results.
This style of street photography is typically about the aesthetics—creating a strong composition that looks good. Something that would look great framed on the wall.
Harder Street Photography: Seeking The Decisive Moment
Cartier-Bresson coined the phrase “the decisive moment,” referring to that split second when composition, lighting, subject movement, and emotion align to tell a compelling visual story.
Street photography is most impactful when it conveys a narrative or emotion. Look for interactions, emotions, or contrasts that add depth to your shots.
The key here is story. It’s story that, for me, takes us from fine art into the realm of documentary photography. The holy grail of street photography is anticipating and capturing that decisive moment in a way that looks good too. Having aesthetics and emotion working together is incredibly rewarding.
Anticipation Is Key
Great street photography is all about anticipating the moment. You need to read the street, observe people, observe what’s going on around you. Often, one must employ a very underrated photography skill: patience. And you need to be ready to react quickly!
Capturing the right moment is vital, and it can often be the subject of a photo and the reason it works. Capturing a simple glance or gesture at the right moment can make or break an image.
The speed in which you react makes or breaks the photo too. In order to react, you need to have mastered your camera and its settings. You need to nail the exposure and your focus. A good technique to learn in zone focusing. I wrote an article about that here.
Social media is awash with street photos of people walking along, not doing anything. There’s no story, no great composition or lighting, nothing interesting happening. There’s no point in taking them! I must add, though, shooting random strangers walking toward you or across the street is a great way to practice your skills. But let’s make no mistake—this is not great street photography. This, of course, is just my opinion.
Let’s Embrace Imperfection
We live in a world where the narrative is about more megapixels and super-sharp lenses. We are fed the belief that technical perfection is what we should be pursuing to make great photos. I say, bollocks to that.
It doesn’t matter if every photo isn’t perfectly sharp or even in focus—or if the framing is a bit off. I believe great street photography should have a rawness and honesty to it. It should be spontaneous and exciting and capture energy. Imperfect photos can feel more authentic and alive. Perfect focus is not required.
Be Confident, Yet Respectful
Don’t be one of those rude a-holes who approaches someone and shoves a camera 12 inches from their face to take a photo—or points a flash at someone. They give us all a bad name.
You need a good mix of confidence and respect. If someone notices you shooting, a smile—and polite interaction, in some cases—makes a huge difference.
I don’t have a problem with asking people if it’s OK if I photograph them going about their business. They might be a stallholder, busker, etc., and you’d be surprised how many people say yes. I often will ask to shoot a street portrait too. Street purists will tell you this isn’t true street photography, but I say do what you want—don’t be limited to someone else’s definition of a genre. Shoot whatever you want if it’s something you enjoy. Rules and definitions are for sheep.
Fear of confrontation is right up there for many, and this can stifle your creativity. To get around this, start with a 50mm lens so you’re a little further from the action. Then, over time, as you build your confidence and hone your street craft, move to a 35mm or 28mm lens, which takes you closer into the action.
Using zone focusing and shooting from the hip—a very stealthy approach—can help you grab candid moments while you build your confidence and develop a technique you’re comfortable with.
What’s your biggest challenge when you’re out shooting on the streets?
And do you prefer documentary realism, abstract “fine art” compositions, or portraits of people?
Let’s continue the conversation in the comments.
Thanks for the article. its a good read!
Nothing to add.