Street Photography
Robert Doisneau
Henri Cartier-Bresson
2017 s1-Group Flickr for Field Trip-LINK
Challenges |
Resources |
|
|
|
photography_field_trip_to_gulou_guide.pdf | |
File Size: | 896 kb |
File Type: |
1. One arm Length Challenge "GET CLOSE"
This challenge originated from Satoki Nagata, a talented street photographer from Chicago (who in-turn, got it from his photography mentor).
The idea is this: you are only allowed to shoot from .7 meters which is around 1-arm length away.
What is the purpose of this assignment? One problem a lot of street photographers have is fear of getting close to their subjects, and so generally they shoot too far away. The result can be a less gripping image than one that is up close and personal.
Well– if you have fear when it comes to shooting street photography, by getting super-close to your subjects, it will force you to build your confidence and become intimate with your subjects.
You might find that it is impossible to shoot from .7 meters without being noticed. So you can start off by asking for permission from your subjects.
What you can also do with this assignment (to ensure you don’t cheat) is pre-focus your lens to .7 meters (which roughly 3 feet) and tape your focusing ring there. If you have a lens without distance markings, just stick out your arm and touch a wall, then pre-focus on the wall, then tape your focusing ring shut.
Through this assignment, you will become much more comfortable shooting from a close distance.
The idea is this: you are only allowed to shoot from .7 meters which is around 1-arm length away.
What is the purpose of this assignment? One problem a lot of street photographers have is fear of getting close to their subjects, and so generally they shoot too far away. The result can be a less gripping image than one that is up close and personal.
Well– if you have fear when it comes to shooting street photography, by getting super-close to your subjects, it will force you to build your confidence and become intimate with your subjects.
You might find that it is impossible to shoot from .7 meters without being noticed. So you can start off by asking for permission from your subjects.
What you can also do with this assignment (to ensure you don’t cheat) is pre-focus your lens to .7 meters (which roughly 3 feet) and tape your focusing ring there. If you have a lens without distance markings, just stick out your arm and touch a wall, then pre-focus on the wall, then tape your focusing ring shut.
Through this assignment, you will become much more comfortable shooting from a close distance.
2. Gestures "Capturing Emotions"
How can you capture emotions in street photography?
Simple: start off by capturing gestures.
What is a gesture? It can be facial gestures: someone smiling, someone frowning, someone making a funny face. It can be a hand-gesture (someone slumped over a table with his/her arm covering their face, someone pointing, someone with their hands on their knees, etc). People often show emotions most through their body language and gestures.
Don’t photograph people just walking with their hands and stiff and by their sides. And don’t fear the rain. Some of the most genuine expressive gestures come out in the rain.
And moving forward in your street photography– continue to try to photograph gestures and emotions. This is one of the key things that makes a great street photograph.
Simple: start off by capturing gestures.
What is a gesture? It can be facial gestures: someone smiling, someone frowning, someone making a funny face. It can be a hand-gesture (someone slumped over a table with his/her arm covering their face, someone pointing, someone with their hands on their knees, etc). People often show emotions most through their body language and gestures.
Don’t photograph people just walking with their hands and stiff and by their sides. And don’t fear the rain. Some of the most genuine expressive gestures come out in the rain.
And moving forward in your street photography– continue to try to photograph gestures and emotions. This is one of the key things that makes a great street photograph.
3. Shadows
Go out and find a scene where shadows make interesting patterns or shapes.
While light is what we are chasing for this assignment you cannot forget about lines, form, pattern and contrast.
While you are out shooting for this assignment I want you to take a photograph and then examine it.
Ask yourself, “Does the shadow make the shot?” or “Do the shadows make the shot?”
In other words, is the photograph a picture of something that has shadows in it? Or do those shadows make the shot?
If the shadows aren’t making the shot then try another angle.
Tips: You’ll have the best luck with this assignment if you shoot when the sun is out and the light is bright, but not directly overhead. You may need to decrease the size of your aperture (in other words, increase the f-number) so you don’t over-expose the picture.
While light is what we are chasing for this assignment you cannot forget about lines, form, pattern and contrast.
While you are out shooting for this assignment I want you to take a photograph and then examine it.
Ask yourself, “Does the shadow make the shot?” or “Do the shadows make the shot?”
In other words, is the photograph a picture of something that has shadows in it? Or do those shadows make the shot?
If the shadows aren’t making the shot then try another angle.
Tips: You’ll have the best luck with this assignment if you shoot when the sun is out and the light is bright, but not directly overhead. You may need to decrease the size of your aperture (in other words, increase the f-number) so you don’t over-expose the picture.
4. Juxtaposition "Look for OPPosites"
This exercise involves creating strong contrast in subject matter.
Think about how things that are next to each other create irony or a new context. It may be helpful to look for things that are opposite (young old, big little, new technology old technology, or simply humor in juxtaposition).
Have fun with this one.
And as always, be clever.
Think about how things that are next to each other create irony or a new context. It may be helpful to look for things that are opposite (young old, big little, new technology old technology, or simply humor in juxtaposition).
Have fun with this one.
And as always, be clever.
5. Perspective "Change up your Vantage point"
In this next exercise continue focusing on making a good photograph with light, composition, the decisive moment, but add something new….consider the angle of your camera to the subject.
Try getting down low and looking at the world from the ground level, or try getting above your subjects and look down. See what happens. How does it change the story being told in the image?
Try getting down low and looking at the world from the ground level, or try getting above your subjects and look down. See what happens. How does it change the story being told in the image?