I WEAR THE BLACK HAT EPUB
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Wide-angle prime lenses tend to be smaller, and less conspicuous. If you use a zoom lens, you have to point the lens straight at your subject, which often gives you away, or makes you more visible.
In a practical sense, wide-angle prime lenses are also cheaper than zoom or telephoto lenses. Wide-angle prime lenses are also generally shaper than zoom lenses.
What about 50mm lenses? Famous street photographers like Henri Cartier-Bresson shot with mostly a 50mm his entire life he sometimes shot with a 35mm, especially in India where the streets were more crowded.
My theory is that in the time of Henri Cartier-Bresson, the streets were probably more empty than they are now. There are more human beings on earth than there were in the past, so a 35mm might have not been needed in the past.
A 50mm might have sufficed when there was more room in the streets to shoot. I shot with a 50mm lens on a full-frame Canon 5D DSLR for a while, and found out in most situations especially when shooting indoors it was simply too tight.
However one of the benefits of the 50mm lens is that it flattened the background more, which meant more simple compositions.
Considering that Henri Cartier-Bresson was obsessed with geometry and composition he studied painting , the 50mm worked for him. What about lenses wider than a 28mm focal length? I see some street photographers experimenting with lenses even wider than a 28mm — like a 24mm, a 17mm, or even a 10mm fish-eye.
Furthermore, one of the biggest difficulties that street photographers have is not getting close enough to their subjects and filling the frame. The wider your lens, the closer you have to get to your subject. If you are shooting with a 28mm lens, I recommend you to shoot from. If you shoot with any lens wider than a 28mm, you have to get close. Really close.
I mean damn close. Close enough that you might hit your subject with your lens. And also the wider your lens is, the more difficult it is to get a proper perspective.
I find that the street photographs that are the most dynamic are the ones that are shot head-on. You might end up shooting all of your photos from the side, which create a strange perspective of your subjects.
There are some famous street photographers from the past Saul Leiter being a good example who shot with telephoto lenses who made these wonderfully-mysterious and beautiful street photos.
There are also many street photographers who use zoom lenses in their work Martin Parr is also a great example who make beautiful images. There is no perfect lens or focal length for street photography. When you are starting off, I recommend you to experiment, and try out what works for you. Perhaps it might be a 24mm, a 28mm, a 35mm, a 50mm, a 85mm, a mm, or , or something even longer. Or maybe a lens even wider. The longer you stick with one focal length, the more likely you are to master that focal length.
You will start to see the world in that focal length, and will be able to frame a scene without even thinking about it. You will become very keen about the edges of your frame, and never need to crop your photos ever again.
You will improve your composition, and make better photographs. Chapter 4: 15 Street Photography Techniques To get started, here are some practical street photography techniques and tips you can use in the streets: 1. Work the scene One of the common mistakes I see in street photography is that photographers only take 1—2 photos of the scene, and move on because they are either too self-conscious, nervous, or impatient.
Try this instead: work the scene. Take multiple photos of the scene. Preferably 15—20 more tends to be better. Sometimes a subtle difference between what is happening in the background, the eye contact of a person, or a hand gesture is what makes the photograph. Think of the analogy of baseball— the more times you swing your bat, the more likely you are to hit a home run. It almost looks like the subject of your frame is looking directly at the viewer.
The stronger the eye contact, the more emotional, and more memorable the photograph generally is. My suggestion: get close to them, and keep clicking, until they notice you and make eye contact with you.
The second they make eye contact, that is when you click.
Get low Many photographers shoot from eye-level. The problem is that this is a boring perspective. We are always used to seeing the world from this perspective— try to get a unique perspective by getting low.
By crouching down and shooting your subject from a low angle, you make your subject look bigger than life. Things on the edges of the frame also get exaggerated which look novel.
Not only that, but by crouching down and getting low— you seem a lot smaller and less intimidating to your subject. Imagine a knight bowing down before a king. I like to ask to take photographs.
What I try to avoid is having someone just look at me and pose for me with a peace-sign. Where you from? How would you describe your personal style? Direct your subject If you ask for permission from your subject, know that you can also direct them.
I generally ask them to stand against a simple background, and try to get them to do an interesting hand-gesture. To get a subject to do an interesting hand-gesture, I ask them about their sunglasses, their hair, or even their watches. Can you keep wiping his forehead? You can either look for an interesting background, billboard, leading lines, and create a juxtaposition with your subject who walks by it or somehow interacts with it.
Sometimes you catch a lot of fish. You never know—but the skill to have is patience. Rather, they shoot from the side. If you want to make photographs that are a lot more engaging, full of energy, and dynamic— shoot head on.
So the way you can do this is walk down a crowded street, stop somewhere in the center, and wait for people to walk head-on towards you.
Then after you take the photos, play dumb, and move on. What I suggest is putting your camera to manual focusing, and pre-focus to the background whatever is furthest away, between 3—5meters. Then try to incorporate more subjects into your frame— the foreground, middle ground, and background.
A good photographer to study is Alex Webb, who does this extremely well. Embrace negative space I am more of a minimalist and prefer having negative space in my photograph. Where to add negative space? My suggestion is to just use it intuitively — if your frame feels too crowded, add more negative space. Furthermore, you can add more negative space to your photograph by capturing dramatic shadows.
Shoot either at sunrise or sunset, or shoot in the bright light with —1 or —2 exposure compensation. A great photographer to study who uses minimalism, negative space, and shadows well is Rinzi Ruiz. Minus exposure compensation This is related to the prior technique. The idea is to put your subject into the bright light, and set the exposure-compensation of your camera anywhere between —1 and —3. Leading lines Leading lines can be found anywhere— from alleyways, to street poles, to parks, or even drive-ways.
An easy way to incorporate leading lines is to first identify the leading lines, and then wait for the right subjects to enter the frame. Subtract from the frame The last tip is remember: what you decide not to include in the frame is more important than what you decide to include in the frame.
What is a distraction at the edges of my frame? What should I decide to keep, and what to ditch? Try a combination of these techniques, or if you want to practice, just focus on 1 of these techniques in a day.
The more tools you add to your street photography toolkit— the more prepared you will be for certain shots. Even though we all have different styles and approaches, trying something outside of your comfort zone will help you grow and develop as a photographer and human being. So be brave friend, go forth, and make beautiful photos! Here are some practical tips I have in shooting candid street photography: 1.
For example, if you want to take a photograph of someone, by moving your camera too quickly to your face, you will give yourself away. Assignment: Keep your camera close to your eye A solution: try to have your camera really close to your face. This way, when you want to make a photograph, the distance between moving your camera to your eye will be very short.
If you have a camera neck strap, tighten it very close to your chin. Then you can quickly bring up your camera to take a photograph, without attracting too much attention. If you use a wrist-strap, walk with your camera close to your face. Then when you want to take a photograph, you can just move your camera very subtly to your eye, and click a photo. Because with an LCD screen, we look more like a tourist. Not only that, but it is less obvious who we are taking a photo of.
I used to do it a lot, but the problem if you can never frame accurately. Simpson's second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in ? Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hatdelivers perceptive observations on the complexity of the anti-hero seemingly the only kind of hero America still creates.
I Wear the Black Hatis the rare example of serious criticism that's instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he's doing.
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I feel the best thing about candid street photography is the sense of thrill, excitement, and spontaneity that comes around. And why is Klosterman still obsessed with some kid he knew for one week in ? By using a zoom lens, you tend to get lazy.
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Free PDF/ePub eBook: How to Shoot Street Photography
You have to trust the process. Taking the underlying principle of conflict, one approach to ceaseless, restless experimentation is to employ the principle in an experiment of randomness.
I had to keep pulling the bar in to keep from being swept upward, and part of me wanted to just let the kite go higher to feel the sheer joy of it.
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