Sometimes I turn Street Photography into Subway Photography. There are various good reasons for that. In the underground you can escape foul weather. On their way to and from the trains people are mostly in a rush so they tend to oversee the “hunting” Street Photographers. And in the subway cars travelers are often so focused on their smart phone or their books and papers that you have a very good chance to go unnoticed while taking candid portraits. For other good reasons to take your Street Photography below ground and more subway photographs continue reading after the jump. Continue reading “Street Photography Below Street Level”
You have been looking forward to this weekend trip to a fancy city that you always wanted to see. Time is limited, you only have a couple of days. You are travelling with your partner who is not all that much into photography. You don’t want to spoil the getaway by constantly logging behind, hunting for that perfect photo opportunity, that better angle, fumbling with your gear to change to the more appropriate lens.
And besides taking the marquee shots of well-known attractions (and that everybody back home expects from you) you are looking for those special shots that you expect from yourself, because after all your are not after the tourist snap shots, for you are a photographer.
You arrive at your destination, it is great to be there, the sights and sounds are awesome, the food tastes great, you take the “must-have” shots, but photographically you just don’t get into the right groove, into your creative flow. And somehow this frustrates you because your own expectations towards yourself are otherwise and you know you won’t have a chance to get back to this city anytime soon when the photographic circumstances might be better. Sounds familiar? Continue reading after the jump. Continue reading “Little woes of a traveling photographer”
In my quest of one day establishing myself with some sort of part time photography (about which I’m writing also on this blog) I was pondering to get myself a logo. A logo I can put on my website(s), on the facebook-page, on business cards, on a (potential future) letterhead as well as in the emails. A logo that could be the starting point for establishing a photographic brand. Continue reading “Want your own Logo ? DIY !”
I’m sure you’ve experienced that before: You are out shooting and them discover that something critical piece of equipment is missing. You run out of battery and have no spare with you, all of a sudden the memory card is full and you have the choice to either start deleting individual shots from this on the card to create space for some extra photos or you stop shooting for the day. You are missing a particular lense that you intended to bring and need right now to take that dream shot or complete the job for the customer. Or you pack out your ND grad filter to balance sky and ground and discover the filter-holder is back home. This is even worse when you are traveling and find out at your destination that you left a needed piece of equipment at home.
All of this happened to me a couple of times and this is when I created my photography equipment checklist that I quickly run through before I leave the house. Continue reading “My Photography Equipment Checklist”
I though about this for a while, if I would really need a business card. After all I don’t have a business. But shouldn’t any aspiring artist should have a card with contact data he can give to whatever interested people? Continue reading “A Street Photographer’s Business Card”
I often get asked what gear and camera settings I use when venturing out to shoot on the streets. What works for me is less gear and very basic camera settings.
Let’s talk about the gear first. I switched from my Nikon setup to Micro Four Thirds because I was tired carrying around a big backpack with 5 kilos and more of camera equipment but without compromising image quality. Another benefit from using m4/3 gear is that when you carry a big Nikon with a big lense attached (and even Nikon prime lenses are huge pieces of glass) you always get attention, you are automatically regarded as a serious photographer, with all the negativ implications and restrictions many photographers encounter today when roaming the streets. Now with a m4/3 camera that is much smaller and a small prime lense attached you generate much less attention, blend more in, and that is generally what you are looking for as a street photographer. People tend to much less notice you and when they do, they more regard you as a tourist snapping away than a photographer looking for some serious shots.
Having said that, I typically go out with a single camera, either my OM-D E-M1 or my PEN E-PL7. Attached to it I have typically my M.Zuiko 17mm f1.8 prime lens. 17mm in m4/3 translates to ~35mm in full frame format. A fast, perfect and small piece of glass with excellent image quality. Many famous street photographers shoot 35mm only, as it is more or less equal to the normal field of view of our eyes. In the streets I like to shoot wide as my desire is to show people in the context of their environment. Continue reading “Gear & Camera Settings for Street Photography”