(Above photograph by Jun Shen Chia from his “Tokyo” series)
Eric’s Note: This article is written my good friend, fellow street photographer, and gamer Jun Shen Chia. I met him in Singapore, and marveled at how he was able to shoot so quickly on the streets. I also found out he was a total nerd when it came to video games- and asked him to write this fun article! Enjoy it.
Jun Shen: People ask me, “Jun Shen, how do you shoot so fast on the streets?!?â€Â  I’m like a ninja, whipping out my camera, shooting it, and putting it away so quickly that my subjects don’t know what hit them. They walk away whispering to themselves, “What was that? Did he take our photo?
It’s thanks to video games, folks. Read on to find out why.
Eric’s Note: This interview was conducted by Alex Coghe, a street photographer based in Mexico City. Check out his upcoming workshops and keep in contact with him!Â
Alex: I am happy to start a series of exclusive interviews on Eric’s blog with this interview with Tom Young (yotung on Flickr) – a “journeyman” street photographer based in Edmonton, Alberta, Canada. Keep reading more how he combines his interest in the urban environment and society in his street photography!
Thank you for your feedback and thoughts in my previous article titled, “Why Digital is Dead For Me In Street Photography“. The post I written has sparked a healthy amount of discussion and debate. However I would like to clarify some points which I made in the article which I feel was misinterpreted.
(Above image:Â Henri Cartier-Bresson, Naples, 1960)
Adam Marelli, a photographer based in NYC (also doing a street photography workshop with me in NYC [register intent] and Calcutta India [register intent]) recently wrote up an incredible series on composition, surrealism based on the work of Henri Cartier-Bresson. Make sure to bookmark all the pages below (they are very thorough and intense) and read them when you have some time on your hands!
(Above photo from my “Dark Skies Over Tokyo” series. Shot with my Leica M6 and Kodak Tri-XÂ film)
I never really understood the appeal of film in the digital age. After all, shooting film was expensive, cumbersome, and a pain in the ass to do compared to digital. Not only that, but with digital I had all the instant gratification I wanted. I didn’t have to wait before seeing my images- they would come to me instantly. I could post-process them all I wanted- to give my images that certain ‘look’ that I desired.
For this post I will share how I first got introduced to film street photography, the pros of shooting street photography with film, and how you can get started shooting street photography with film as well. Keep reading to learn more!
Recently when I taught my street photography workshop in Hong Kong I had the great pleasure of having Jonathan van Smit as a guest speaker. Jonathan is a street photographer originally from New Zealand, and has shot the raw streets of West Kowloon for nearly four years now. Check out my interview with him over at the Leica Blog.
In the interview he explains how he shoots the raw streets of West Kowloon, how he interacts with his subjects, and how he got his old Leica taken from him at knife-point.
Eric’s Note: Streettogs Gallery is an on-going feature and intiative by Manila-based street photographer A.G. De Mesa. Click here for more info.
AG: This week, let me share to you some thoughts on why having a body of work is important while showing a great work from Kip Praslowicz.
After years of studying, looking, and analyzing photographs I have to realize one thing: The body of work is the most important thing a photographer should have. However, the journey of making a body of work is not that easy. It is so consuming that at times, photographers sacrifice their personal lives in pursuit of the great work. More often than not, it results with a lot of emotional and mental stresses. Â With those reasons and a lot more, why then do we need to pursue a body of work? (more…)
Eric’s Note: Tomasz Lazar, a very talented young street photographer recently has had the honor of being chosen by the jury of Emphas.is to present his project “Theater of Life” alongside with such great photographer as: Kadir van Lohuizen,Lynsey Addario, Christopher Morris, Paolo Pellegrin, Tomas van Houtryve, Laura El-Tantawy, Carolyn Drake or Joao Pina. Now he is trying to gather money for next part of my “Theater of Life“. With Emphas.is you can get access to the entire process of developing the project, tracking his every step from planning to research to the travel diary.
Tomasz: Theater of life is a very personal project about life – how I perceive of it. It is an exploration of surrealism in everyday life. Theatre of life is an essay that is a combination of my experiences and thoughts about what surrounds me.
Just got a new minty Ricoh GR1s film P&S camera in the mail from Bellamy Hunt (Japan Camera Hunter). Unfortunately the LCD screen got a bit damaged en-route from Tokyo to Australia. Bellamy is getting it fixed for me now!
If you want to find out more about the Ricoh GR-series, check out this Ricoh buyer’s guide by Bellamy.
Tokyo, 2016 (with “Eric Kim Monochrome 1600” preset)
I’ve been working on these presets for a long time. They’re mostly optimized for the Ricoh GR and when shooting with flash— but I figure they will look good with any camera (as long as you shoot in RAW).
There are two Lightroom presets included:
Eric Kim Color 1600 (gritty, high-contrast color preset)
Eric Kim Monochrome 1600 (gritty, high-contrast black and white preset)
Under the “Presets” drop-down menu (bottom-left) right-click (or on Mac, control+click) and click “Import…” and then select your presets from your “Downloads” folder
Apply to your image
Older Presets
Downtown LA, 2015. “Eric Kim Neopan 1600” preset.
Below are my Lightroom film simulation presets from 2015:
Eric’s Note: I am pleased to feature this interview with Stu Egan, the founder and editor of Radiate Magazine – a magazine dedicated to street photography. Stu currently works in London as a book editor and works on Radiate Magazine to help the street photography community and feature talented photographers. Check out this interview with him below about how he got interested in street photography and how he started the magazine.
If you live in Melbourne, make sure to check out Michael’s camera for their sweet camera museum (and some of my photos on exhibition!) Also make sure to check out Michael’s Camera for all your film processing, prints, and gear in Melbourne here: http://www.michaels.com.au/
Eric’s Note: “Waiting For Haiti” is a long-term photography project by photographer Robert Larson that aims to help raise awareness and money to support smaller charities in Haiti. Read the story of Renaldo Fevilien, one of the friends that Robert befriended while in Haiti- and the horrific atrocities that he suffered. *Note that many of the photographs in this post are incredibly graphic and may not be safe for work.
Robert: This is Renaldo Fevilien.
Renaldo and I met during my last trip to Haiti. Our mutual friend Jeanmary Michel introduced us the night I arrived. We were watching The Boondocks and drinking whiskey. I remember looking at Renaldo sitting there with this I.D. card / bottle opener around his neck, and wearing his sparkly clean Lugz. My first impression was “damn thats a big son of a bitch!â€.
TURKEY. Istanbul. 2001. View from a barbershop near Taksim Square. (c) Alex Webb / Magnum Photos
Photographs used with permission from Alex Webb
One of the street photographers who have had a strong impact on my street photography is Alex Webb. Webb is a Magnum photographer who uses strong colors, light, and emotion to capture beautifully complex images. After picking up a copy of Alex Webb’s “The Suffering of Light” I fell in love with his work and his use of color- and started to also make the transition from black and white to color.
If you want to see some things you can learn from Alex Webb and his work, keep reading below!
Suggestion: When you are out shooting on the streets, try to get subjects in your foreground, mid-ground, and background. Be patient and wait until all the elements come together, and think of how your photographs can lead viewers into your photograph, and then out of them.
2. Fill the frame
USA. New York City. 1983. Coney Island.
“It’s not just that that and that exists. It’s that that, that, that, and that all exist in the same frame. I’m always looking for something more. You take in too much; perhaps it becomes total chaos. I’m always playing along that line: adding something more, yet keeping it sort of chaos.” – Alex Webb
If I could categorize some of Alex Webb’s work it would be “orderly chaos”. He often fills the frame with so many subjects that it almost feels too busy. However many of the subjects in his photographs don’t overlap and there are many “mini-interactions” in his photographs. This is what makes his images interesting- as I think his photographs tell lots of small stories inside the frame.
Suggestion: When shooting on the streets, try to constantly add things to your frame – yet know when “too much” is “too much”. Try not to overlap the subjects in your frame, and try to have a nice balance between dark shadows and the light (shoot when the light is good- sunrise and sunset).
3. Walk… a lot
USA. Texas. Dallas. 1981.
“I only know how to approach a place by walking. For what does a street photographer do but walk and watch and wait and talk, and then watch and wait some more, trying to remain confident that the unexpected, the unknown, or the secret heart of the known awaits just around the corner.” – Alex Webb
The only way you are going to capture great street photographs is to walk on the streets… a lot. When you are out walking on the streets, you will open yourself up to many more opportunities to shoot on the streets, and also experience the feel of a place.
Back home in Los Angeles, nobody walks. In-fact I am guilty of it myself. When I go to the supermarket (which is about a five minute walk) I like to drive my car (which only takes one minute). However on the way I am missing potentially great photo opportunities.
Suggestion: Try to walk as much as you can. Even if getting to a place (grocery store, bookstore, shopping center) will take 30 minutes (instead of five minutes) try to walk. Bring your camera along, and you will open yourself up to many more photo opportunities.
4. Look for the light
USA. San Ysidro, California. 1979. Mexicans arrested while trying to cross the border to United States.
“Colors are the deeds and suffering of light.†– Johann Wolfgang Von Goethe
“The Suffering of Light” is the title of Webb’s most recent book- a phenomenally beautiful book with smooth and thick white paper, velvety pages, vividly brilliant colors, and a great selection of Webb’s best work from the last 30 years.
From a recent interview he talks about the quote:
“My understanding – of course, I’m not a philosopher or a scientist – of an aspect of Goethe’s theory of color is that he felt that color came out of tension between light and dark. I think that is very appropriate when you think about the kind of color that I shoot.” – Alex Webb
He often describes when he is shooting in places- he looks for the tension between borders. For example, he found Istanbul a fascinating place because geographically- it is located as a hub for many different cultures. It is a melting pot in terms of socio-economic, political, and ethnic terms. He says about Istanbul, “I returned frequently between 2001 and 2005 to complete a book on this vibrant and melancholy city that sits between the divide between the East and west: Istanbul: City of a Hundred Names”.
He also refers to shooting at the U.S.-Mexico border and says:
“…There is something about the transience, the impermanence of the border that has always fascinated me. It’s a place where two cultures meet and intermingle and create almost a third country.”
From another interview when asked about himself shooting:
“When I am working, then I really have to work. I really have to work. I really have to stay attuned. I have to get up early in the morning, get out and I wonder and maybe the light is getting less interesting, then I eat my breakfast… I work in color, where light is really important in a very special way, so I work certain hours much more than others. I am always out at the latter half of the afternoon and in the evening.”
Suggestion: When shooting in color, don’t shoot color for the sake of shooting color. Think about what sort of message or meaning that shooting in color has. Also make sure when shooting with color – shoot when the light is good (morning and late evening).
5. Realize 99.9% of street photography is failure
MEXICO. Boquillas (Border). 1979. Jumping.
“Luck – or perhaps serendipity – plays a big role… But you never know what is going to happen. And what is most exciting is when the utterly unexpected happens, and you manage to be there at the right place at the right time – and push the shutter at the right moment. Most of the time it doesn’t work out that way. This kind of photography is 99.9% about failure.” – Alex Webb
It is rare that you make a great photograph. There are some many things beyond your control. How your subject looks, the intensity of the light, the background, the moment, and so forth.
Therefore realize that when you are shooting street photography, 99.9% of your images are going to be bad photographs.
Suggestion: Go out and shoot as much as you can. Although 99.9% of street photography is about failure, the more you go out and shoot- the more chances you will have to take great images.
If you go out and shoot for an entire day and shoot 100 photographs, you might get 1 decent photograph. If you shoot 200 photographs, you might get 2 decent photographs. If you shoot 300 photographs, you might get 3 decent photographs.
Of course if you machine gun when you are out shooting- it won’t make you a better street photographer. Shoot with intent, and after that – a lot of getting a great image is a numbers game. Remember you can make your own luck.
6. Work on projects
HAITI. Bombardopolis.1986.
“Most of my projects seem to start as exploratory journeys with no visible end in sight.” – Alex Webb
As written previously, I believe that working on projects is a great way to approach street photography. The reason is that working on projects will give you direction, purpose, and will allow you to create a narrative or story.
However working on projects is often difficult. We don’t know how long they will take, or what to shoot. When talking about his own projects, Webb states: “Different projects seem to have different arcs of completion”.
Suggestion: Think about how you see the world, and how your photographs reflect that. First start off by shooting your own life. What makes your city unique from others? If you want to go travel, go to a place with an open-mind and see what themes emerge. Then start focusing on those themes- and narrowing down.
Guanajuato. 1987. Child and statue.
There are times we may hit brick walls with our street photography, and don’t know what direction to head toward. Webb shares one of his experiences:
“In 1975, I reached a kind of dead end in my photography. I had been photographing in black and white, then my chosen medium, taking pictures of the American social landscape in New England and around New York – desolate parking lots inhabited by elusive human figures, lost-looking children strapped in car seats, ad dogs slouching by the street. The photographs were a little alienated, sometimes ironic, occasionally amusing, perhaps a bit surreal, and emotionally detached. Somehow I sensed that the work wasn’t taking me anywhere new. I seemed to be exploring territory that other photographers- such as Lee Friedlander and Charles Harbutt – had already discovered.” – Alex Webb
After this realization, Webb headed to Haiti, which transformed him- and also influenced him to change his work into color.
I experienced something similar myself. When I first started shooting street photography, I shot like Henri Cartier-Bresson – looking for the decisive moment, being patient, and juxtaposing interesting subjects and backgrounds. However after a while, I found myself hitting a dead wall- and being uninterested in that way of working.
I then found a video on YouTube about Gilden shooting street photography- and was fascinated. I experimented shooting with a flash – and found that getting close was more interesting to me, and a better way of working for myself. After all, I find myself to be much more of an outgoing and up-front person, rather than someone who is a more passive and “invisible”.
Suggestion: Experiment if you feel frustrated with your own work. If the way you are shooting street photography isn’t making you happy- try something else. Always shoot in b/w? Try color. Shoot digital? Try film. Always upload your photographs everyday? Try once a month.
Experimentation is very important- but try not to experiment too much. Experiment enough until you find yourself reasonably content, and stick with it!
8. Follow your obsession
MEXICO. Oaxaca state. Tehuantepec. 1985. Children playing in a courtyard.
“I mean its an obsession, you follow the obsession but at the same time you have so many doubts, you know. Why am I wasting so much money going back to this place, taking more pictures? What’s the point of it? No one cares about it. I think I care about it but maybe I am deceiving myself.” – Alex Webb
If you want to become a great street photographer, I think obsession is important. Not all of us want to become great street photographers (we may just do it for fun or as a hobby) but if you take your street photography seriously – work hard and overcome your doubts.
There are times you might doubt yourself why you are out shooting. I experience it all the time myself. But working on projects can help you stay more focused with your photography, while also meeting other photographers, reading photo books, and constantly shooting.
Suggestion: To stay obsessive with street photography, constantly read books on street photography, meet other street photographers, and shoot. In sociology there is a saying that “you are the average of the five people closest to you”. Therefore if you hang around with a lot of passionate street photographers- by proxy- you will become a passionate and (healthily obsessive) street photographer yourself.
9. Capture the emotion of a place
Leon. 1987.
“Color is very much about atmosphere and emotion and the feel of a place.” – Alex Webb
Shooting in color is a great way to capture the mood and the atmosphere of a place. But once again mentioned before in this article- don’t shoot color simply for the sake of shooting color. Think about how shooting color can add context and meaning to your photographs.
UGANDA. Kampala. 1980.
Alex Webb shares about the experience that transformed him to shooting color:
“Three years after my first trip to Haiti, I realized there was another emotional note that had to be reckoned with: the intense, vibrant color of these worlds. Searing light and intense color seemed somehow embedded in the cultures that I had begun working in, so utterly different from the gray-brown reticence of my New England background. Since then, I have worked predominantly in color.” – Alex Webb
Therefore you can see one of the main reasons he switched to color was to capture the mood and intensity of the locations he was visiting.
Suggestion: Think about what kind of mood or emotion your project/photos are trying to tell- and choose the right medium. If you are interested in capturing the darkness and gloom of a place- b/w will probably work better. If you want to capture the energy, light, and excitement of a place- color might work better. Remember the saying, “The medium is the message.”
10. Travel
GRENADA. Gouyave. Bar. 1979.
Before I started traveling and teaching street photography workshops full-time, I had never traveled much. The negative thing about not traveling is that you can become close-minded. You only think about the values of the society you live in- and you forget about the outside world.
MEXICO. Ciudad Madero. 1983.
Traveling has helped open up my eyes to the rest of the world- and has transformed me as a person as well. I see the world from a much more global perspective- and have relished meeting new people while experiencing new cultures.
Travel can also help you get out of a rut in your photography (although not necessary). Webb shares one of his experiences:
“I happened to pick up a Graham Greene’s novel, The Comedians, a work set in the turbulent world of Papa Doc’s Haiti, and read about a world that fascinated and scared me. Within Months I was on a plane to Port-au-Prince.
The first three-week trip to Haiti transformed me- both as a photographer and a human being. I photographed a kind of world I had never experienced before, a world of emotional vibrancy and intensity: raw, disjointed, and often tragic. I began to explore to other places- in the Caribbean, along the U.S.-Mexico border- places like Haiti, where life seemed to be lived on the stoop and in the street.” – Alex Webb
Suggestion: Travel as much as you can. I know in the states, people don’t travel as much as they should. Part of it is the work-a-holic society we live in (and crappy 2-week breaks we get), but even a brief trip to another place in the world can be life changing. Traveling has taught me to be less materialistic, and also more appreciate of other cultures and ways of life- and thinking. It has also helped me explore new photo projects in different parts of the world (in Asia specifically with my “First World Asia” project which is currently underway).
Not everyone can travel- but if you can- travel and open your eyes to the rest of the world as much as you can.
Eric’s Note:Â I am very pleased to feature the work of Scott Strazzante, a full-time staff photographer with the Chicago Tribune and avid street photographer. Check out how he started in journalism and got into street photography and check out his shots below!
Scott: Although, I have been a full time staff photographer since 1987, the last 10 with the Chicago Tribune, I have only been doing street photography for the past two years.
I squeeze in as much street time as I can between assignments or when I am on the road.
Obviously, New York and London are the two capitals of street photography, but I think Chicago is a hidden gem.
Eric’s Note: I am pleased to feature this article by Colin Corneau, a Brandon, Manitoba based photojournalist and street photographer. Check out his article below explaining the strengths of shooting solo!Â
Colin: First off, let me make clear that my column is in no way making a case against working in groups.I’ve had the pleasure of shooting street with another fellow photographer many times, I don’t think creativity is a zero-sum game — just by getting out there and making an effort to create something, we make the world just a little bit bigger.
Hey streettogs, I am excited that this Thursday 4/12 (tomorrow) from 1-2pm I will be giving a free seminar at Michael’s Camera in Melbourne.
I will be telling the stories behind some of my most memorable images, giving tips on shooting in the streets, and will be open to any questions! I will also be available to do some portfolio reviews afterwards (so bring an iPad or some prints!)
Make sure to drop on by, and follow Michael’s Camera on Twitter @MichaelsCamera
Address:Â 265-269 Elizabeth Street, Melbourne VIC 3000, Australia -Â Google Map
Juliane Eirich was born in Munich, Germany. After two internships in Miami and Munich she studied at the Academy of Photographic Design in Munich. After graduating she moved to New York City and Honolulu to work and pursue her own projects. She spent 18 months of 2007-8 in Seoul, South Korea on a scholarship. She now lives and works in Berlin and New York. Read more to see the rest of the series.
Street photographer Markus Hartel recently rigged a Kodak Playtouch HD camcorder on his Leica M9 with a straight flash bracket and an additional camera hot shoe mount and recorded some footage of him shooting in the rain in New York City on his 28mm Elmarit. To keep his camera dry, he would hold his camera upside down or put it inside his jacket to keep it dry.
Markus is also holding special 1:1 Street Photography Tours in NYC. Check them out here.
(All photographs are used with permission from Junku Nishimura).Â
I just finished reading the book: The Power of Habit: Why We Do What We Do in Life and Business which was a fascinating look into how we build our behaviors and lifestyles through habits. The book argues that the majority of the lives we lead are nothing but a string of routines and habits – and that we could change our lives by changing our habits.
This got me thinking about street photography. The biggest hurdles that I used to be challenged with with my old day-job (and still am struggling with) is finding enough time to shoot street photography. This blog post in reference to the legendary book, “The Seven Habits of Highly Effective People” by Stephen Covey will hopefully help you build better habits to spend more time shooting street photography, and how to get better!
Eric’s Note: Hey streettogs, I wanted to share this great opportunity hosted by Photovoice, a charity that combines social advocacy and photography! If you have ever wanted to give back to the community (while obtaining some great street photography prints) – check it out! More info below :)Â
Photovoice: Leading practitioners from across the world have come together to offer their work in an online sale to raise money for the charity PhotoVoice. The Street Collection includes beautiful, dramatic, comic and moving images that capture the energy and idiosyncrasy of everyday life on streets across the globe. Over 300 prints will be available at just £100 each. This is a unique opportunity to buy outstanding street photographs at an affordable price. Many of the prints available are well known but have never previously been available for purchase.
Eric’s Note: Streettogs Gallery is an on-going feature and intiative by Manila-based street photographer A.G. De Mesa. Click here for more info.
A.G.:I’ve been following Lem’s work over at Flickr for quite some time now. He is what I would classify as a classical street photographer with mastery of light, timing, and overall visual design. His terrific use of black and white reinforces that aesthetic especially when he utilizes it to for silhouettes.
I want to emphasize that Lem’s photographs are really good. Although recently, he is posting something that is really unique. (more…)
Hey guys, if you happen to be in Melbourne (or closeby) check out the exhibition launch of the G-STREET Photography Contest on Thursday, 19 April, 6pm at No Vacancy Gallery, QV Building in Melbourne. Originally I couldn’t make it- but now extending my stay here in Melbourne just so I can attend!
Make sure to come out and meet other passionate street photographers, and chat it up with the judges of the contest, Michael Baranovic and Tamara Voninsky.
The best contest entries (not just the winning ones) will be exhibited alongside the judges’ works. Come and see if yours has been put up for all to view and admire!
Had some time to catch up with my good friend Brian Day, a street photography local in Detroit. We chatted about shooting street photography in Detroit (the pros and the cons) as well as his new Fujifilm X-Pro 1 – which is a fantastic camera – with its quirks (like every other camera out there).
As discussed in the video, apparently the Fujifilm 35mm F1.4 Lens gets “aperture chatter” which is pretty damn annoying when in broad sunlight. If you are interested in getting the X-Pro 1, I’d probably get the Fujifilm 18mm F2.0 Lens which is roughly a ~28mm full-frame equivalent that supposedly doesn’t get “aperture chatter”.
However some of the pros of the camera mentioned include the ridiculously clean high-ISO (I shot at ISO 12,800 in JPEG and it looked better than my old Canon 5D at 3200 ISO) as well as the great image quality. However considering that the body is starting at around $1,699 – the camera isn’t cheap. If having an optical viewfinder is important to you, I’d get the Fujifilm X-Pro 1 and the Fujifilm 18mm F2.0 Lens and stick it in manual focus (1.2 meters) and zone-focus at f/8-f/16 all-day.
If you want a camera that is a bit more affordable, has incredibly-fast auto-focus, as well as great image quality + high-ISO – check out the new Olympus OM-D with the Olympus 12mm f/2 lens. The great thing about the 12mm lens is that it has “real manual-focus” on the lens, as well as hyperfocal marks for zone-focusing. Not a big fan of the Electric Viewfinder (the refresh rate is apparently twice as fast as the old model) but I prefer optical viewfinders.
Both are great cameras, but remember not to get sucked too much into GAS (Gear Acquisition Syndrome)! If you already have a Fujifilm X-100 or any other Micro 4/3rds, I wouldn’t upgrade. But if you own a DSLR and want less weight and bulk when you are out shooting on the streets, both cameras mentioned above are great cameras.
For those of you who have the new Fujifilm X-Pro 1- have you experienced this “aperture chatter” and what is your take on the camera? Share your thoughts in the comments below!Â
Hey streettogs, FYI but the call for submissions for the 2012 Angkor Photo Festival is now open! There is currently no imposed theme, and no limit in terms of the number of images you can submit to be considered. Submit below!
Eric’s Note: This week I am pleased to share the work of Mike Aviña, a street photographer based in Northern California. His images have a strong film noir style, and exuberant swagger. Check out his thoughts about his work and images below.
Mike: I like taking pictures, obviously. I think it is rooted in some sort of drive to capture and freeze reality and hold on to a piece of time—probably ultimately not a healthy instinct but if it is channeled well maybe I can make some strong images. These thin little slices of time we get in pictures are difficult but the shots that work are sort of like gasoline on the fire. I can’t really explain it more than that.
Recently I met Colin Westerbeck, the author of “Bystander: A History of Street Photography” and he shared some great stories with me. One of the stories he shared was the great friendship that Garry Winogrand and Joel Meyerowitz shared. They would hang out a ton, go shooting, eat with one another, and critique one anothers’ work at each others’ houses.
When it comes to street photography, I personally like to shoot with other people. Although you probably get the “best” photographs when going by yourself, going along with a buddy or a couple of friends is a great way to stay motivated, have fun, and still get some great shots. Imagine like having a gym-buddy (they will get your ass out of bed to go workout). Same thing with having street photography buddies (they get your ass off the computer at home and go out and hit the streets).
For this blog post I will describe how you can start your own street photography community, and the benefits that it will bring you!
