There's never one approach to street photography. That's what makes the genre so beautifully diverse. Naturally, when there's so much diversity, it opens the door to differing opinions on the right or wrong approach to a certain craft.
I do my best to keep a balanced perspective; just because it's not right for me doesn't mean that it's inherently wrong. However, I believe one approach to street photography is flawed, and it's something we need to address. . thephoblographer.com
Consider this: think like a painter. Painting is basically an additive process: the painter adds paint to a canvas. Photography is basically subtractive: the photographer, through careful composition and cropping (or cloning in the digital darkroom), subtracts unwanted or distracting elements from a scene to create a vision — or impression — of a scene. […] petapixel.com »
2020-06-06 20:07
When we speak of food photography, we immediately think about how each shot should make the viewers salivate at the food or feast they're looking at. But as with any genre, being experimental and looking for unique ways to work with it pays off. thephoblographer.com »
2018-10-09 19:00
In this beautiful short film by filmmaker Vincent Urban, photographer Chris Burkard tells the story of how after growing weary of surf photography in crowded cities he sought solitude, adventure, and beauty in remote places. petapixel.com »
2017-09-22 21:29
The time-honored approach to improving one's photography has always been time spent out there taking pictures. Education, gallery shows, and reading photography books can do wonders for a person's development, but there is nothing that comes close to the importance of just going out there constantly for a long period of time. thephoblographer.com »
2017-03-27 19:02
There are typically two extremes to street photography approach: one being completely stealthy and ninja-like to capture spontaneous, unposed and original moments happening on the streets as if the photographer was merely observing without active interaction (eg Henri Cartier-Bresson), as opposed to straight in the face, direct confrontational approach (eg Bruce Gilden). thephoblographer.com »
2016-12-13 20:03
People often cite creativity as the number one skill required to make compelling photographs. Generally, I agree that what you see in your mind's eye leads to making the best photographs. However, in the world of street photography, our ability to see what is in front of us is integral to the strength of our images, and that means we must learn to be as observant as possible, ensuring we don't miss the shot.
Speak to any photographer from any discipline, and they'll likely tell you the most important thing to master is light. You may have great creative vision and an eye for a good scene, but if you don't understand how to light your frame, there's a strong chance your photograph is a dud.
In February, I wrote an article about why I love my Fujifilm XT2. While I'm not one to pat myself on the back, I'm very proud of that article. Not because it was popular with our readers, but because I was able to put into words the feelings I felt for something that those on the outside would see as merely a tool.
Street photography has grown in popularity in recent years. As cameras became more accessible and social media became integrated into our daily lives, more people fancied trying their hand at photography.
I have previously written about the possibilities of photography being addictive. It's certainly plausible that street photography is addictive—the hunt, the catch, the shot, the endorphins! It's the reason so many street photographers go out every day in search of the rush that comes with "getting the shot.
Not having the motivation to do something you love is demoralizing. And unfortunately, stagnation in photography is all too common. I've experienced crippling creative ruts, left wondering if I'll ever pick up my camera again: that's no exaggeration.