When you begin the challenge is to overcome the fear of welcoming strangers. Since telephoto lenses are not normally used in street photography, how can you look a few feet from your subject, turn the camera on the eyes, concentrate, and click the shutter, without getting nervous? A street photographer is not just a good scare at the beginning (it’s a good sign to be case sensitive), but they do not want to do something to change the way the individual acts of will.

With a little practice you can overcome your reluctance to take pictures of strangers and techniques that will help you learn better snapshots. A word of warning – it can be addictive. Decide after a while, the street photographer, which seat has the best views in the restaurant, or what side of the road offers the best opportunities.

QUESTIONS psychological and moral

The first thing is to accept that you pierce the confidentiality of your intended subject. You can have the best intentions, but if you decide to show your camera to someone without their permission, you will conquer her personal space. This is what it means to take a photo of the open road. Before entering the physical techniques that can facilitate your work, it is important to evaluate your own motivations. Most of the time you see something you just want to share with the rest of the world. It could be funny, strange, mysterious, have an interesting design, or any other quality you think it’s worth shooting. But you’re nervous, under the picture. This is normal. If you are a beginner, ask yourself if you take the picture, if you are not afraid of the consequences of your imagination. This may drastically claim, but it’s your last day on earth, and that nothing else matters but getting this shot. Take a deep breath and after learning the various techniques listed below – you should be willing to come to work.

WHICH CAMERA?

A camera on the street has good features: a quiet shutter, interchangeable lenses, fast lenses (F-Stop of F2.0 or less), no shutter lag, RAW capture mode, concentrating ability, and in dark, use high ASA, a good viewfinder and easy enough to take with you wherever you go. I speak not from any point to know and shoot digital camera that meets all these criteria. A digital single-lens reflex (DSLR) take all or most of these properties. The Canon 40D, for example, is not heavier than a Leica M, but the glasses are bigger fast. The high end point and shoot, like a digital camera is known, has some of these features but do not have interchangeable lenses and zoom lenses are usually no faster than 2.8 wide.

The current crop of digital SLR cameras offer many features of the camera good road.

So we get there. Regardless of the digital camera, use the switch on all the sounds, the camera takes. Also, clear the immediate display on the LCD. Make some tests to find, the higher the ASA, you can use without too much digital noise. Again, this is where the best digital SLR. Cameras like the Canon Mark II may allow you an ISA as high as 3200 (or more) without using a lot of noise in the image. Most digital cameras produce images of points and about 200 ASA silent.

Most digital SLR cameras rely on a series of tic-tac-toe of priorities. Keep the focus on and turn the other poles.

For a digital camera with a cropped sensor is a 30mm F1.4 lens a good walk. Sigma is an excellent, but remember, the Sigma 30mm f1 0.4 not working with a full frame sensor). If you have a full-frame sensor and a 35mm F1.4, in combination with a 50mm F1.4 using an excellent combination. With a lens that gives you a good shot at F1.4 is very important. And just because a lens opens F1.4 does not mean it’s good, F-stop, so choose carefully this lens. In keeping with Canon 50mm F1.4 is a complete and a sensor that works with well trimmed, is one of their best lenses, and in comparison to their other F1.4 lenses are cheap.

A DSLR is usually a method to decouple the issue from the focus. It’s a good idea to do that. The Canon 40D and in fact almost all Canon SLR (which goes back to the days of film) have this property. Set to lock the focus to a key block on the rear panel, and press the shutter button half the show. I emphasize this idea, because many times you use the button on the back to pre-focus shot of your doing, and, framing, since the camera comes to you. The idea that you want to take the camera out of focus on the exposure does not make much sense. In general, if you leave on the counter, it is better to lock the counter and on a general reading of what in the frame.

Whether it’s a sunny day or a cloudy day – ASA 800 is a good start. You almost always want to get all the shutter speed you can. If your camera produces images very noisy at 800 ASA, it is not the right to use the camera.

Never use a lens cap. Not at any time for any reason. You should always have a UV filter on the lens that protects the lens and make it easy to make a quick recording. You can always tell an amateur, if you use a lens cap.

Dress the part

You are directed to a tourist site, to dress like a tourist. I’m not kidding. Even if you lived in your city for 50 years get a tourist card and dress like you’re new to the Center-West are on vacation. I’ll understand this part for you.

Visit a crowded tourist attraction, where everyone has a camera. Dress and act like any other tourist. Study your tourist map. Gawk like everybody else in history. And keep an eye on interesting topics.

Do not remove your eyes from the camera after shooting

Start with everyone else. Take photos of the story. Hold the camera to your eye, you can now browse through the crowd to something interesting. As you shoot, do not remove the camera from the eye, even after you have the desired impact you. Continue moving the camera around pretending to take photos. Never give away the fact that you took someone image by the camera from the eye after shooting.

You can not find anyone worth shooting, but it is an easy way to get started. It was not very scary, and you will see that even when standing very close to your subjects, you can take their pictures without arousing suspicion. You can use the same techniques used in the salons of the road or parades. As good as any densely populated area that is filled with tourists, is a good place to practice.

Keep both eyes open, turn off the LCD

Keep open to your non-shooting eye. You should be able to find the kinds of issues, even with the camera to your eye. Most DSLR cameras have an LCD screen for viewing images on the back. This should always be turned off.

You do not want to get the LCD when the unit is turned on in your eyes. It’s annoying, and it betrays the fact that you made a hit, especially on dark a place. In addition, if the LCD is turned off, and hold the camera a bit before your face, you see the reflection of what is happening behind you.

Do you know what’s going on behind you useful in a street where the people move, because you can estimate the distance of the subject, if you turn around, and you have your camera for this one pre-focused. Of course, you have to judge how fast they’re going towards you, and where to turn and wink. But again – if the device to keep your eyes when you’re just looking around. You’ll be surprised how easy it is to take a picture of the trays when they are five feet from you, not knowing is.

Shot of the HIP VS. With the camera in your eyes

As a general rule of street photography, if you can take the picture with the camera to your eye, you have a better chance. I know there’s a school shooting-de-la-hop photography, you can practice, but you’ll never be able to regulate this type of shooting, and if you set the camera to your eye . (This is my personal opinion, and of course up for debate.) There will be times when it is simply impossible to shoot with the camera in the eye, and so the hip shoot is worth learning. But I do not think it is a good way to start to.

You need to make decisions about the depth of field. A common technique for street photographers on hyper-focal length. I do not think it is also necessary with modern auto-focus cameras, but the idea is that with a great goal in the 30 – width 35mm, you can set the lens at f8, if you have enough light, and put the focus on three meters, and I know that everything is about 6 meters to 15 meters, the hyperfocal distance. (I’m not looking for a goal that I write this, so that the exact distance and f-stop can be disabled, and the most modern autofocus lenses contain no hyperfocal scale. But the old cameras with hyperfocal scale lens is a proven technology.) I have not found it necessary with modern auto-focus cameras.

PRE-FOCUS

For example, with Canon and Nikon digital SLRs, you can focus on a key on the back of the camera and exposure to lock against the trigger. They expect you to comment on a particular topic and focus on keeping the reverse it, but maybe you are not willing to take pictures again and do not drive much. You can continue to hold down this button until you are ready to shoot, or you can turn the lens focus manually while the button and hold. Then you can release the button, and I know that the focus remains the same. Do not forget, the autofocus of the lens reset when you are done each time or is further blurred.

Modern cameras have a number of priorities. They are a selling point. But they are not very useful for street photography. I recommend that they turn away all but the center point, use to do before, with discussion. I do not like the idea that decide to focus the camera.

Suppose you go into a New York street and you see a number of issues leaned against the building on the right side. You know you’re from and ask them to us to make your picture and then on foot. Then the distance between you and a building just to the right of the same. They focus on building on the right before you get your issues and barriers to concentrate. Now, when you approach your subject, turn right and shoot without the need to focus.

Have a friend LONG

This technique has a long time in the history of street photography. Walker Evans bring a friend, and stand on a busy street pretending to shoot them. It was an illusion, and it would move the camera so that it does not take pictures in and the people behind it.

GADGETS

Sneaky camera gadgets have been around for 100 years. The attachment at a right angle to the viewfinder is often used by street photographers famous. It can rotate at different angles, so you are looking in a different direction from where the lens is focused.

A similar device that fits over the end of the lens, a mirror on the inside. The lens in front of the points in a straight line, but the mirror is oriented to the left or right side.

Both units are still made, but they take some getting used to. I have not found it necessary, even though I have experimented with both devices.

SERIOUS PLACES

The subway car is another popular venue for street photographers.

When Walker Evans’s series of underground “Portraits” was, he used a twin-lens Rolleiflex camera. They look to focus on the small screen and compose. Evans used a cable release, which ran the arm of his jacket. He placed the camera sitting on your lap in front of the slot and held his right hand into his pocket to operate the cable release.

He knew in advance that the distance was too much about them. If you are on the same subway line to shoot the trains are always the same dimensions. If you do not have a camera with auto focus, you know, the distance between the points.

Evans was a problem with the configuration. After his shot, it was very obvious that he advanced the film to the next image. He would usually get up and move to another car loaded with a new frame.

Although the subway is a difficult place to turn, it has one advantage: it is loud. There are always enough noise to drown out the click of the shutter. I have thousands of pictures in the subway with a camera for me without difficulty in all sorts of other than look bad sometimes. But before the device is brought to you should already be concentrated. This rule is for most of the shots from the street true.

You can concentrate on your subject, if they are not looking, you set the camera to the instructions and wait “time” if it happens again.

Whether on the train or elsewhere, is the best time to shoot, if it is a distraction. For example, when the mariachi band is the car everyone is watching. You can pick up other passengers unnoticed.

And even if you can see, people will understand that your camera when you take some pictures of the mariachi band as well. It’s the same technique as a reference point as an opportunity to take photos.

Another modern phenomenon that makes life easier for the street photographer: Everyone, whether on the street or in a subway car that is already diverted from their iPods, cell phones, e-books and Blackberry. One day I was on the train, and noticed that everyone around me had headphones, or reading their e-mail. In combination with the noise of the train, I was able to close-up shoot of a passenger, about a foot and a half away has been noted by me and not from someone. I found it incredible. It was not like ten years ago.

SHUTTER SPEED

In general, for the admission of the hand, the shutter speed equal to the focal length of the lens. When to Use a 30mm lens, shoot your shutter speed should be at least 1/30th of a second. If your pictures with a 90mm lens, set your shutter speed at least 1/90th of a second to avoid camera shake.

Some photographers can hand hold a camera at 1/15th of a second with a goal of 30mm and some will fight to keep the camera relatively stable, even at 1/30th of a second with a 30mm lens. So it is only a guide. Camera shake is also a feature of the camera. A SLR camera with the blow back of the mirror, swinging more than a compact camera that has no mirror. Many digital SLRs now have “Live Mode”, where the mirror slap is a factor. Then you have to experiment to find the combination of light intensity / shutter system that prevents the camera shake with your configuration, to find.

But, remember, is not the same as the blur of motion blur. Even if your camera is set on a tripod with mirror lockup and a cable release, when movements of the subject is too fast for the shutter speed, focus, you have a perfect background to blur (no removal of the device) with a motif.

I call this technique Stutter Step. The purpose of stuttering step is the ability to freeze your walk in the middle of the movement, if necessary, at the same time the shutter button, then continue as if nothing had happened. If you do it slowly, can anyone think fast behind you, because you stopped dead in your tracks for a moment while the camera from my eye and took a picture of someone who walks in towards you. For this type of setting in which the image (s) more directly to you, it’s best as fast a shutter speed that can work on.

DSLRs generally have the following parameters: P (Programmed Auto), AV (opening mode), TV (shutter speed mode) and M (manual mode). They also have aa series of icons to other situations, such as the mode of action or portrait mode and night mode. Use this. Again, you do not want the camera to make decisions for you.

But it is very convenient to your AV and TV mode, so that the rotation of the dial, you are set for the opening or aperture priority mode. In the event that it is a sunny day and you’re on foot, and expect that the images of others who go, you can work in TV mode, set your shutter to 1/1000th of a second. This assumes that you have a relatively fast lens, and you can shoot an ASA of 800.

But to return to the stage of stuttering. The camera is hanging around his neck. They wear clothes tourism. You see an interesting situation developing in front of you. The camera is on 1/1000th shutter priority (more if you can manage) is set, and you have the picture of how far you shoot if you will. Set up your camera on the sidewalk and the focus on the distance you imagine that you are doing your picture and focus lock that in.

Well, just when the situation is good, you sometimes will not move more in mid-stride, the camera to your eye. You already know that this is a picture in portrait or not, and what the context, and while you are still, take your shot, as if nothing had happened, you go on your way. Their topics were. Even if you’ve noticed, it is unlikely to turn around to find out why you have to take their photo. Maybe you’ve done, and maybe not.

FOR the benefit of high ASA

One advantage of the ability of modern cameras, a high ASA score. They can be turned around 1/4000th of a second your shutter speed, with an ASA 1600th Some cameras use the latest ASA scores of 32,000 and without noise in the RAW image. This opens up a new world for street children photographers. With high ASA you can use a large f-stop and shutter speed in low light situations, like taking the subway. For example, you could use an F11 f-stop with a 1/1000th of a second shutter speed, and still have enough light for correct exposure in the subway. This is a new development in the shooting of the street.

Film photographers jostling had previously street or use a fast film for shooting. You can use a ISA 1600 or more, but the negative result is grainy. As I write this, the Canon Mark II to shoot slightly to ASA 1600 with similar results or better than ASA 400 black and white film.

Do not throw anything AWAY

No matter how you try, no matter how good your technology road is, most of your shots are common. You can search for a shooting day with nothing vorzuweisen return. You may feel unproductive.

Street photography is like fishing. If you want to go fishing, the catch is large, but the whole experience of getting up early, and make many unsuccessful casts from a boat is not productive. Enjoy the experience when you fish or not to go back. You can not throw the stick and expect to catch a fish every time.

Your best route every time it has been interesting. In contrast to fish, you can not always easy when you have taken a blow. Many street children photographers in the picture is left sitting for a while, have to watch them. That means you throw it. Make backups of your images, and even if you do not think very well – do not throw away. Given the impossibility of describing what makes a good shot of the street, do not throw it away. Even a shot off-focus have something interesting, if you have enough distance to have to judge it. You can find something in a shot that seems boring, if you look back a few years later. What happened to me often enough that I never delete digital images.

THE PEOPLE Oblivious

Street photography is easier than it was before. Go to the people of the city to become clogged with their senses. Most people are not aware of what is happening around them than ever before. The music is blasting in their ears, or they talk on their mobile phones. If they do not talk on the phone, they can through the streets while reading their e-mail. This makes it easier, a stranger to photograph without notice.

Street photography is harder than it was. Since we live in an era of urban terrorism, and Web postings, the people and the police more suspicious than ever. This suspicion extends to brands and products. Subways and streets with video cameras watching your every move is filled. As you shoot, you probably also be photographed. In New York, has all the signs forbidding photography major infrastructure.

In New York, even if it is legal to take, pictures in the subway, there is the possibility that by the police, you think you are a terrorist will be called into question. Maybe they do not know the laws. You can shoot in the subway, you do not like using a flash or tripod. However, there is always a good idea of ??ID with you when you are arrested. I was arrested several times while shooting in the subway, and usually I can tell you that I am an art photographer, working in black and white, and show an ID and that is enough. If you want to use a flash or a tripod, it is still possible to obtain a permit to photograph a particular location on the subway.

Ask permission

Photographers who are starting to whether it’s a good idea to ask permission you want. It would be nice if you could, but it is not practicable. Once you start a conversation with your subject, you will not do street photography. From there, the person will make the pose, and you will be doing what I call street portraits. If you have a model release? If you do not, are portraits of the road, it is not practicable. On any given day, you can be 100 pictures, only to find a good (if you’re lucky). It would be impossible to ask every person shot to sign a statement of your shots are a lot of people rush by in a fraction of a second.

What if you get caught

At some point you will be surprised, and you approach your topic. Maybe they say, “Did you just shoot me.”

Honesty is the best policy. The answer is “yes.” You smile and try to explain what it was, you find so interesting about them. With a digital camera, you can display the image on the back of the unit. May annoy the person then, or they can be flattered themselves. If they are angry and the picture is not that great, then you’d be, for them to remove it – and play no tricks. Remove while watching them. If there is a big blow and keep it, then you have to earn it. When using a film camera, you can simply ignore and say “no”. But everyone knows that you only see the image on the back of the camera.

Most of the time the person is flattered and wanted to know if you want to take another photo. At this point, they almost always have to ask, and shoot you know that you are not using it. You are not a war correspondent. Few pictures are worth going to a big fight to the end. In all my years of shooting, is the worst thing that has happened is that someone asked if I would please remove the photo. I think it happened two times out of ten thousand rounds.

SUMMARY

- Choose a place with many tourists simply, when you start.

- Turn off the camera does the beep.

- If you remove photos of people in a crowd, you do not mind the camera when you take a picture, but you keep scanning the crowd with her.

- Turn immediately playback on the LCD digital

- Use a range of normal lens. Do not rely on telephoto lenses

- Make sure you are focused and know how you’re going to frame the picture before the camera goes to you.

- Too hip, and without looking through the viewfinder as a last resort.

- Practice in search of specific ideas literal irony, juxtaposition, design elements, joy, sadness, emotional moments, things you find unusual surprises.

- Get ready to take on hundreds of recordings for each well. And try to understand what a good shot. (This is not within the scope of this article).

- Always have a camera. They are to take some of your best pictures in your daily routine.

- Know the laws. You do not need to be a big trouble with the police to go if they keep you from pictures in a place where you know it’s legal to take pictures, but it is important to know your rights.

- Do not ask permission or authorization model, if you “portrait” of work to do on the road. Do not expect that you are pictures will be used for print advertising, if the person is not recognizable (profile, on the back, etc.)

- If you are afraid to bring the camera into the eyes – try to imagine it is your last day on earth, and the image you see before you is great. In other words, one has to shrink in the shot. But there is a balance, and if it is just too scary – so no use of violence. Make your own anxiety about it. When to shoot and when not to push it, it’s something you learn over time.

- Never use a lens cap (with a UV filter on the lens in place)

- Remember that no matter how you use these techniques, you still have to invade someone’s privacy. There is no way, dass To have the feeling that what you are shooting is worth it.

And finally, give yourself time to get used to the experience. Expect to nervous at first. Do you expect to be there for a few years have these techniques will become second nature. I think nervousness is actually a good sign. Anyone who is a degree of empathy can be uncomfortable street photography is the beginning.