THE STREET PHOTOGRAPHERS MANUAL PDF
To create our “Street Photography Resource Guide,” LensCulture asked our For the past 20 years, street photography has meant everything to me: from the. Free E-Book: The Street Photography Project Manual Chapter 1: Why pursue a street photography project? Chapter 2: Free download. The book is a distillation of all the lessons I have learned about composition and street photography, and I put it into a handy PDF which you.
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Get better at street photography with these free eBooks!. The Anti Manual of Street Photography. (or the subtle forgery of photography) by Michail Moscholios, August intro. "The fact that the majority of people. David Gibson's book, The Street Photographer's Manual is published today by Thames & Hudson. ISBN Includes profiles.
Quick Guide to Street Photography This guide by photographer Kent DuFault introduces you to street photography and then goes on to discuss two methods to capture street photos, with practical tips that you can follow for each of the two methods. The last section summarizes some handy tips that you should keep in mind when doing street photography.
Want a free cheat sheet for landscape photography? Click Here to Download. Photographing Strangers A lot of people find photographing strangers unnerving for the fear of being confronted or being objected to while taking photos in such a situation.
This guide not only addresses that topic, but also provides you with different approaches when photographing strangers, e. This guide by street photographer Diane Wehr tries to look at the answers to the all-important question in street photography: Should you ask to take their picture or not? The author examines the question from different perspectives: legal, cultural, and ethical. Read the guide to know about the different scenarios when you might have to tackle this question.
Going Candid Thomas Leuthard is a street photographer who is known for his adept storytelling through his street images. In this eBook, he writes about his approach to street photography full with inputs based on his experiences all through these years.
All these books are available to read online. We have deep empathy for others. Therefore if you are able to make photographs that can resonate on an emotional level with your viewer, you will make a memorable series and project.
I sometimes find the best photography projects happen after photographers have emotional difficulties and joys in their lives. This can happen after a break-up or entering a new relationship , this can happen during a death in the family or a birth of a new child , or it can happen during a depressing time in a shitty job or the excitement of joining a new job or corporation.
So if you are a street photographer and want to pursue a project— you could do a project in which you focus on a certain emotion, and focus on photographing that. If you want to capture depression and loneliness, look for capturing people who are hunched over with their hands over their faces. Copy a project that has already been done before For me, I think ideas are dime a dozen. I think more important than any idea in a photography project is execution. My suggestion is this: look through photography books and projects you already like, and try your best to mimic it.
See the structure, the flow, edit, and sequence of images. What is the opening shot? What characters are in the photo-series? Which shots are detail shots? Which shots are action shots?
How does the project end? How does it make you feel? What kind of compositions does the photographer use? Literally try your best to imitate or copy the work the photographer has done but add your own twist to it. Or you can just look at a list of photography projects that have already been done before in terms of subject matter , and try to pursue a similar topic. Also know that certain subject matter is more photographic-able than other types of subject matter.
Only pursue a photography project that you find personally meaningful. Pursue a photography project that you find interesting, not what others find interesting.
Remember— when you pursue a photography project, it should be meaningful and fun. Pursue the outside arts One of the best ways to come up with ideas for photography projects is to look at the outside arts. For example, Alex Webb studied literature at Harvard while he pursued his photography. I find his photography very poetic and beautiful. Ansel Adams was passionate about nature and conservation— and made his mission as a photographer to capture beauty to protect it.
Elliott Erwitt has a great sense of humor you can see it in his photos. Lee Friedlander was a huge fan of jazz which leads to his edgy off-beat images. So what outside interests do you have outside of photography that you might want to pursue photographically? For example, one project I worked on in the past no longer working on it is photographing people at the gym. Besides photography, I am quite passionate about weight lifting, and go to the gym quite often.
Therefore I wanted to combine my passion of weight lifting and photography, to photograph other weight lifters at the gym. Find re-occurring themes in your work Another way to figure out what kind of photography project to pursue is to look at your pre-existing work, and figure out what kind of re-occurring themes happen in your work.
For example, go through a years worth of your archives in Lightroom or whatever photo-editing software you use and start to tag your favorite images with certain subject titles. Based on what tags you find re-occurring a lot in your work, you can use that as a compass to see what kind of projects you might want to continue pursuing. Chapter 3 summary Coming up with photography project ideas can be challenging if you try too hard.
I think it is better to pursue photography projects and fail many times killing off uninteresting projects than never starting any projects. Not every project idea or photography project you pursue is going to be interesting. Get out of the photography ghetto. Visit unrelated art exhibitions, learn an instrument, or perhaps pick up painting or drawing.
The Street Photographer's Manual
Pursue any sort of ideas that interest and stimulate you. So my advice is this: pursue photography projects that excite you, make you feel alive, are personal, and are fun. How do you know when it is time to stop a photography project? You know when to stop a photography project when you lose the heart for it. But then again sometimes these dips in inspiration are good chances to re-evaluate your project, to perhaps switch up the direction you want to take your photography project, whether to ditch it or to continue pursuing it.
The dip is a chance that we can re-evaluate our work, figure out whether it is worth pursuing our projects, and figure out when it is worth ditching our projects. Is there a different direction I need to take my photography project? Are there other perspectives that I am missing out in my photography project? Are there certain subject matter that I need to photograph? Perhaps you can explore other neighborhoods close to your neighborhood.
However sometimes we should quit in a smart way. If we are pursuing a project that has no legs, quitting halfway is smarter than wasting valuable time and resources. But the logical thing to do in many cases is to quit halfway, and pursue other projects that might be more interesting and might have more impact. When to ditch and when to keep pursuing a project How do I know which projects to ditch and which projects to keep and continue to pursue?
I simply follow my curiosity. Once a project bores me, I put it on hold— and try to explore different ways to shoot it. But if I have explored all different avenues and ways to shoot it and still am bored — I figure out it is time to retire the project.
The Street Photographer's Manual
I want my photographs to mean something deeper. So to sum up, I think the best way to know when to continue working on a project or ditching it is this: Avoid boredom, and latch onto meaning and purpose. Taking a break Another strategy you can employ when figuring out how important a project to you is taking a break.
Try the following: purposefully leave your camera at home for a week or two, and see if you feel an urge to continue photographing your project. I then would walk around the city and downtown area, and see all these great guys wearing suits. Sometimes taking a break is good for your creativity— as it gives you a chance to recharge your batteries and see things afresh.
Rather, master Judo wrestlers leverage the strength and movement of their opponents and use that energy to throw them to the ground.
Rather, I simply take a break, recover, and continue writing when I am rested up. It is all part of the creative process.
Use the dip of motivation to your advantage— to give you purpose, direction, and strength. Now what? Get honest feedback and critique First of all, I aim to get honest feedback and critique from other photographers I trust and admire.
The great shots are kind of like oil mixed in water— over time, they rise to the top. Of course there will be conflicting opinions. Some photographers will agree that certain shots are really strong, and other shots they will totally disagree.
In these circumstances, you need to make the final decision as an editor. It is important to get as much feedback and critique on your project as possible, but the final edit of your project belongs to you. Many famous photographers have done this technique with great success.
They sometimes put these walls next to their bed, so the first thing they see when waking up is their photos and also the last thing before they see before going to sleep. Sometimes by mixing them up randomly, you can start to pair and sequence your images based on similarities or hidden connections.
If you plan to do a photography book that has opposing pages for pairing images— I think the only way to do this is with physical prints not on an iPad or a computer.
When editing, sequencing, and pairing images— there is a strength to the physicality of dealing with prints. Furthermore, you can have other photographers make a sequence of images with prints that they like, and have them spread it on the table or the ground. Once they do that, you can take a photograph with your phone or camera of their sequence to memorize it. Make a book dummy Also another good strategy to putting together a photography book is to make a maquette book dummy.
You can use this to see how the images will feel, and how you sequence and put the images together. I first of all focus on emotion— because I feel that is what makes a good image and a good story. Secondly, I have to be very critical and ask myself whether the photo fits the theme. For example, there are a lot of photographs I make that I think are great images but have nothing to do with my project.
So rather than sneaking in some of my strongest images for the sake of it — I need to have the discipline to edit them out for the sake of the larger project. The editing and sequencing process can also take a long time sometimes as long as it takes to shoot a project. It seems that most photographers when working on a book work on the edit and sequencing of their project for at least 1—2 years.
And when you publish a book, you cannot physically go back and re-edit or re-sequence your work. See if the flow of images makes sense to you. Sometimes you want the sequence of images to be really similar each photograph is really similar to the next photograph. In other cases, you might want each image to be strongly contrasted from the next photograph.I also found the artists profiled all had a similar view - the true diversity of street photography was missing. Readers Also Enjoyed.
Avoid boredom, and latch onto meaning and purpose. Chapter 3 summary Coming up with photography project ideas can be challenging if you try too hard.
What it is is more difficult to nail down with objects, shadows, sequences, blurs, etc.
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