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.
Thanks to Misho Baranovic for recording!
If you need a film Leica, lens, Ricoh, or whatever camera or lens from Tokyo, contact Bellamy Hunt at hunts.of.tokyo@gmail.com
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:
Below are my Lightroom film simulation presets from 2015:
(Above photograph by Charlie Kirk)Â
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/
I’m heading out to Sydney this Friday – see you guys all soon! :)
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€.
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!
©Alex Webb/Magnum Photos
Depth is a strong element in the work of Alex Webb. In many of his photographs, they have a strong foreground, mid-ground, and background. The great thing about this is that it leads you (the viewer) to invite yourself into the frame. You see what he sees. You enter the frame by looking at the things closest to you, and then you slowly make your way into the mid-ground, and then slowly out into the background.
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.
“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).
“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.
“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).
“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.
“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.
Also check out my past article on “How to Start Your Own Street Photography Project” for more ideas.
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!
“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.
“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.
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.”
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.
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.
©Alex Webb/Magnum Photos
Below are some incredible photo-books by Alex Webb. Make sure to order one and learn more of how you can paint with light in your street photography. Remember, buy books not gear.
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.
If you are lucky enough to be in London this year, make sure to check out the London Festival of Photography 2012! Above is a teaser promo of the event, and the festival program is now available online.
To stay updated about the festival, follow them on Facebook and subscribe to their mailing list!
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!
Canapés and drinks will be served. Please RSVP today as seats are limited. Family and friends are welcome!
Also the first 200 to arrive at the event will each receive a FREE 8GB Hitachi GST thumb drive!Â
Location:Â
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.
Also make sure to check out Brian Day’s recent interview on Vesper Magazine for his “Time Traveler” series.
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!
Deadline: May 31st, 2012
Submit:Â Angkor Photo Festival 2012 Festival Submission Form
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!
Hey streettogs, I am excited to announce that my good friend Todd Hatakeyama (the owner of the Hatakeyama Gallery) is undergoing a plan of creating a dedicated classroom, to continue to nurture the local arts scene in Los Angeles! The Hatakeyama Gallery was used to featured numerous photography workshops, exhibitions, and is on the Downtown LA art walk route! The venue would be used as a hub for all photographers to meet and interact, while giving a location for up-and-coming photographers to display their work as well.
(Above photo by Daan Loeff)
I know it has been a while since I featured street photography from the community – but here is the last batch of great shots I have noticed on Facebook! If you would like to get one of your shots featured in the future, make sure to upload them to my Facebook fan page! (I prefer using Facebook because it is easier to sort/look through all the photographs).
Some tips to get included in the next post:
Eric’s Note: I am happy to feature the work of Stéphane Daniel, a street photographer based in Montreal. Check out his background in street photography and his images below!Â
Stéphane: During my childhood in France I first learned photography from my father, who showed me how to make a right exposure on his Ricoh. To be quite honest, I remember it as somewhat boring. I also remember for Christmas one year, I received a an ugly red full automatic camera. As a student I used to record “souvenirs” on disposable cameras.
The day I finally had a decent salary, I bought an EOS300 and start to travel with it. Until that moment my life changed. I discovered on photo-magazines the way to shoot with a 24mm, I visited photo exhibitions in Paris and fell in love with Depardon, Salgado, Cartier-Bresson and Nachtwey’s black and white pictures.
Note: Photos used with permission from Martin Parr
As of late, Martin Parr is one of my idols in street photography. I love his never-ending passion for street/documentary photography (Alec Soth recently called him the “Jay-Z” of documentary photography)- and the thought-provoking images that his photos tell. For this article I will share 10 things that I learned from Martin Parr and his work that I hope will help you in your street photography as well!
Having fun with the boys in Koreatown in Los Angeles. Showing Bellamy Hunt (Japan Camera Hunter) a great time during his last night here!
Bellamy Hunt
http://twitter.com/jpncamerahunter
Eddy Boom
http://twitter.com/lazyedt
Darren Wong
http://twitter.com/sticboy
Some behind the scenes footage from my student exhibition at the UC Riverside Extension Course I taught this quarter (I showed some of my photos as well!) Many of the students had never shot street photography before, and I was very proud of the images they were able to create during the quarter! Thanks to Colin Westerbeck (author of Bystander: A History of Street Photography) who helped edit and sequence the student photos as well!
Enroll in the Spring course here: https://www.extension.ucr.edu/enroll/catalog/olr_course_details.php?crsid=27030
*4-2-12 Update: We have randomly chose a winner, and it was Julien Rath! His winning comment was below. Stay tuned for the next free giveaway! :)
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The good folks at Custom SLR (one of my site sponsors) has generously provided a Custom SLR Glidestrap + C-Loop ($64.95 value) for a give-away on the blog! You can have the chance to either win this great strap which is perfect for street photography- especially on your DSLR, Leica, or rangefinder camera. It takes a ton of strain off your neck- while letting your camera hang to the side – perfect for getting ready for “the decisive moment”. You can see a sample video of it in action here.
To enter this giveaway, all you need to do is:
There are three ways to enter (the more ways you enter, the more chances to win!):
This contest will end Friday, March 30th, 2012. We’ll randomly pick a winner and announce it on the blog!
*Credit to PetaPixel for the contest idea!Â
After a month-long trip in Hong Kong, Kuala Lumpur, and London – finally had some time to sit down and think about my travels, my friends, family, and what I want out of life. Traveling has been tough on me mentally, physically, and emotionally – but it has been through the support of the community and those close to me who have helped me keep on going!
Also watch the video above to hear about my crazy story of leaving my luggage at home (and surviving a month on the road without it!). Thanks again so much for everything guys :)
A nice and fun review of the new Fujifilm X-Pro 1 from Kai Wong from DigitalRev TV. Check it out and subscribe to their awesome show today – or else Kai will hunt you down ;)
Lenses reviewed:
Still haven’t had the chance to play with the new Fujifilm X-Pro 1- but have been hearing great things about it so far! Hopefully I will have the chance to shoot with it on the streets soon and let you guys know what I think!
I recently taught a street photography workshop in Kuala Lumpur at the Leica Store Malaysia and had a phenomenal time. Huge shout-outs to Shannel and rest of the Leica Store Malaysia crew for making it such a successful workshop! The above video include some snippets shot with my GoPro HD camera in the streets of Kuala Lumpur during the workshop. As you can see, nobody got punched in the face – and most people in the are are extremely friendly!
Also check out my upcoming street photography workshops below, and click more to see all 162 snapshots from the workshop!
4/14-4/15: Melbourne, Australia – Introductory – Info – Register now – Sponsored by Michaels –Only 2 spots left!
4/21-4/22: Sydney, Australia – Advanced – Info – Register now
5/12-5/13: Berlin, Germany – Introductory – Info – Register now - NEW!
5/31-6/3: Stockholm, Sweden – Introductory – Info – with Fotographiska (The Swedish Museum of Photography) – Only 3 Spots Left!
TBA
12/9-12/15: Calcutta, India – Week-long Immersion Course – Info – (with Adam Marelli and Jason Martini) – NEW!
You can also stay updated with my future workshops by signing up here.
Thanks to Martin-Neep who found this hour-long interview with street photography master Henri Cartier-Bresson. If you have time later today, grab a nice cup of hot cocoa- kick back- and enjoy!
Share some insights you find interesting by leaving a comment below!
For those of you who may not know, this quarter I taught my first online street photography course with UC Riverside Extension titled, “All the World’s a Stage: Introduction to Street Photography“. Many of the students who enrolled in the class had no experience with street photography before, yet have done incredibly well in the course.
This Friday (3/23) from 6-9PM we will be exhibiting the best street photographs taken by the students from the course.
The exhibition will be held across the street from the extension Center (1200 University Ave in Riverside).
1299 University Ave. Suite 203
Riverside, CA 92507
(Room 2303)
The event is open to the public. Please feel free to bring your friends, family, and fellow photographers! Looking forward in meeting all of you!
Link to Facebook Event:Â https://www.facebook.com/events/252298181531296/
Eric’s Note: I am very pleased to share the work of Fabrizio Q on the blog this week. I met Fabrizio while I was in London, and saw his “160 Yen” series – a project he worked on while living in Tokyo. It is a strong project full of the idiosyncrasies of Japanese life– all jammed inside the Tokyo Yamanote Line. See more about Fabrizio and the project below.Â
Fabrizio: I have always been fascinated by the pulse of Tokyo life, by its pure, elemental energy, by how the city and its inhabitants embrace each other like partners in a dance: naturally, gracefully, in perfect unison.
In April 2010 I had the opportunity to spend a whole month in this great city. While I had been shooting in the streets there previously for photographic projects, this time I set off with a very precise purpose – documenting the countless aspects of Tokyo life by photographing commuters throughout the day.
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(“Nails” from my City of Angels series)
Editing in street photography is one of the most important aspects to know. When I refer to “editing“, I am referring to the act of choosing your best images, rather than “post-processing”. However nowadays when most photographers refer to “editing” their work, you can almost determine with 99% accuracy that they mean “post-processing” their work. Due to this confusion and interchanging use of the word “editing” – the true art of editing of choosing your best work is a lost cause.
For this article, I will attempt to explain why editing is so important in street photography and give practical tips and advice on how you can become  a better editor of your work (and how to ask others for advice as well). Keep reading if you want to find out more!
In this Google+ Hangout video, Magnum Photographer Martin Parr talks to Aaron Schuman, photographer and curator about his own personal work, capturing the uniqueness of boring objects, how to take non-cliched photos, and his general insight about photography. You must check this video out, probably the best 18 minutes you will spend all day! :)
One of my favorite quotes from the video was when someone asked him what one phrase of advice he would give aspiring photographers (14:18 mins in):
“Find the extraordinary in the ordinary” – Martin Parr
See more interesting insights over at Martin Parr’s blog and check out his book, “Common Sense” (which is mentioned in the video).
Which quotes from Martin did you find most inspirational? Share them in the comments below!
Darkon Coan, one of the readers of the blog, recently shared me an image of Henri Cartier-Bresson’s famous “Behind the Gare Saint-Lazare” shot in 1932 compared to what it looks like now in Google Maps shot in 2008. Fascinating to see how little has changed in that period of time!
See it large here.
Eric Kim interview in Hong Kong from F8 Photography Ltd.
While I was teaching my street photography workshop with Gary Tyson from F8 Photography in Hong Kong, I had the huge pleasure of being interviewed as well. In this video I talk a bit of my reflections on the workshop, as well as general questions about my approach and thoughts on street photography in general. Great production by Gary and the rest of his team!
F8 Photography runs workshops and training in Hong Kong and Cambodia for photography enthusiasts, more information can be seen at the website, f8photography.com.hk or on the blog at f8photography.com.hk/blog
If you want a quality-education in street photography, I recommend either buying, borrowing, or browsing though some of the books below. Books that are bolded are some of my personal favorites.
If you love learning, read the books below:
Street Notes is a pocket-sized assignment journal to break outside of your comfort zone:
Eric’s Note: Streettogs Gallery is an on-going feature and intiative by Manila-based street photographer A.G. De Mesa. Check out more info here.
AG:Â Photography is nothing without seeing. The light, colors, shadows, contrasts, patterns. Human life in general. And it is in seeing that a good photographer will be able to replicate what was seen in a photograph.
This is one of those works that really invites you to just see.
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My good friend Mijonju from Tokyo recently got his hands on the new Fujifilm X-Pro 1 in Tokyo and made this little mini-review on it. Hope you find it entertaining and helpful!
Make sure to subscribe to him on YouTube and follow him on Twitter.
X mount to M mount adapter
http://www.petapixel.com/2012/02/09/fujifilm-showing-off-leica-m-mount-adapte…
All the specs
http://www.dpreview.com/previews/fujifilmxpro1/
What do you think about the new X-Pro 1 for those of you guys who have shot with it? Worth the hype or not? Share your thoughts in the comments below!Â
Eric’s Note: For this feature, I am pleased to feature the work of Tomasz Lazar to the blog. Having seen tons of street photographs, I don’t see photographs that often move me. However looking at the work of Tomasz takes me to another world– one full of energy, excitement, and darkness. Quite possibly one of the best street photographers out there, and has had the recent honor of winning the World Press Photo of the Year for News, 2nd place. All of these photographs in this post are from his “Theater of Life” series.Â
Tomasz Lazar – freelance photographer. He was born in 1985 in Szczecin. Graduate West University of Technology, Computer Science. First year student at the Univesity of Opava – Photography. He participated in many workshops such as Tomasz Tomaszewski, Edddie Adams Workshop in the USA. Winner of photography competitions in Poland and abroad (including the Sony World Photography Award, International Photography Award, BZ WBK Press Photo, World Press Photo).
I just finished my street photography workshop in London with Charlie Kirk (two cute dogs) and thought I’d make a quick GoPro video on the behind-the-scenes action! The footage shows us shooting in Brick Lane in London, with the students shooting on the streets (with a little bit of encouragement from myself and Charlie!).
Below are some of my upcoming street photography workshops. Register if you would like to attend, and sign up to stay updated with future workshops!
4/14-4/15: Melbourne, Australia – Introductory – Info – Register now – Sponsored by Michaels
4/21-4/22: Sydney, Australia – Advanced – Info – Register now
5/12-5/13: Berlin, Germany – Introductory – Info – Register now – NEW!
5/18-5/19: Amsterdam, Netherlands – Introductory – Info – SOLD OUT! – with Thomas Leuthard
5/31-6/3: Stockholm, Sweden – Introductory – Info – with Fotographiska (The Swedish Museum of Photography) – Only 5 Spots Left!
(Date TBA): New York City – Info TBA - Register now (to reserve your spot) – with Adam Marelli
Over the last few months, the amount of haters and online trolls I have attracted has increased exponentially. They are everywhere—on Facebook, Twitter, Flickr, Blogs, Online forums, and the worst—YouTube (I swear, half the things people say there…).
To be quite honest, I used to take a lot of these hateful things to heart—and it still does sting pretty hard time-to-time. Growing up, I always took criticism very personally—but through my experiences on the blog and my online social presence has helped me overcome (mostly) all of this haterade people on the internet love to drink.
For this post I will talk about a bit of my experience with haters on the internet, and some advice I would give to anyone else dealing with online trolls whose sole mission in life is to make you feel like crap (while they are still living in the basement of their parents’ house).
Recently when I was in Kuala Lumpur, I had the great pleasure of meeting Robin Wong, a passionate local street photographer. He was also lucky enough to get a test-unit of the new Olympus OM-D EM-5 directly from Olympus, and tested it extensively the past few days.
As mentioned in my last post, you don’t want to fall victim to GAS (Gear Acquisition Syndrome). However if you are using a DSLR and find it too bulky or have a point-and-shoot and want something a bit beefier yet compact, I found the Olympus OM-D EM-5Â a pretty solid option paired with the Olympus 12mm f/2 Lens (which is great for zone focusing). However if you already have an Olympus EP-3 or any other relatively Micro 4/3rds camera out there, I wouldn’t recommend an upgrade.
If you got any questions about the camera, make sure to ask Robin Wong over at his blog.
Eric’s Note: CritiqueMe is an on-going street photography critique series by Ollie Gapper, a photography student and street photographer based in the UK.Â
Ollie Gapper: So this week I thought I’d try and do something different with the CritiqueMe series, where, instead of trying to offer a full critique to a photographers work, I wanted to shape the critique around one particular aspect I feel the featured photographer and community in general may find useful.
Mark Carey, 48, is a London based, self taught documentary photographer. Trained as a carpenter, Mark made a dramatic career change in 2009 to become a full time reportage wedding photographer. During the spring and summer he shoots weddings in a photojournalistic style and during the winter heads off to India and South East Asia to shoot street and documentary photography.
Marks has been particularly influenced by the wonderful geometry photographer Henri Cartier-Bresson and the complex compositions of magnum photographer, Alex Webb. Mark has also recently been accepted as a member of the Indian street photography collective ‘Thats life‘. You can see more of his travel portfolio here.
We are all gear-heads at heart. We love hearing about the newest and greatest camera out there, and we love seeing comparisons with different lenses, at different apertures, and the sharpness and “characteristics†of each lens. I think it is fine to think and discuss about gear in photography, but when discussed about in excess– it starts getting unhealthy and like a disease.
I am weak, and I get tempted by gear all the time, but I try to constantly remind myself not to fall victim to gear acquisition syndrome (also commonly known as “gasâ€). Based on sociology, psychology, cognitive science, philosophy, and my personal experiences I will suggest some tips how you can cure yourself of gas (no not your farting, you might need to lay off the beans or get some stomach medicine for that).
If you ever watch an introduction to alcoholics anonymous, each person in the group goes around in the group and says, “Hi, my name is “X” and I am an alcoholicâ€. Similarly, it is important to realize that we are human, and we are weak– and we fall quite easily to temptation. We love to think that we have strong willpower, but studies show that we actually have extremely weak willpower. Admit to yourself that you get tempted to gear as much as the next person, which will help you better resist the “poisoning†of gear around you. I shoot with a Leica camera, and I meet a lot of Leica users and shooters– and many gearheads and collectors. There is nothing inherently wrong with being a gearheads or collector, but it is a vicious cycle that I feel never brings one true satisfaction and happiness (as we always want more).
Take for example yesterday in Kuala Lumpur. I just finished my street photography workshop and had a cocktail and VIP party at the Leica store, and stumbled upon a Leica MP with a .58 magnification viewfinder. It was so goddamn gorgeous, and I felt my own gear whoring come out of myself. I then started feeling that my Leica M6 was inadequate, and that the .72 magnification viewfinder was useless with a 35mm lens. Also I marveled at the Leica script that was embossed on the top plate of the MP, and told myself I needed one. I had a drink and played with the MP some more, and it felt so right in my hands, with the heavy brass and the “mechanical perfection†of the film advance lever. The guys around me were laughing and “poisoning†me in all good fun, and I knew I had to resist myself. I reminded myself how weak I was to peer pressure and gear — and took a step back and gave back the MP.
As humans, we have very weak self-control and constraint. Take smoking for example. Many people try to quit “cold turkey†using just their will– but few people actually succeed. Statistics prove that majority of smokers quit when having some physical aid (using a e-cigarette or nicotine patches) to overcome their addiction to smoking. I feel that the same goes with gas. You need to create some physical constraints on yourself. For example, I am awful with money. If kept to my own will, I would spend all of my money on Leica lenses, crocodile leather shoes, and ice cream cones (I love ice cream almost as much as Allamby). I know this, and therefore consult my girlfriend Cindy before making any serious monetary investments.
About a month ago, I asked Cindy what she felt about myself buying a Leica MP (yeah I have been thinking about it for a while). She essentially smacked me upside the head and told me I would be a complete moron if I did, and talked some sense into me. She gave me a ton of clarity, and by having her as a “gatekeeper†to my wallet–she helps me a ton from making stupid decisions. If you don’t have a beautiful and bossy girlfriend to help you keep your money in check, perhaps hire a financial consultant and tell them to prevent you from making stupid financial decisions (including gas). Even by putting all of your savings into a fund (that you can’t touch) and keeping a certain limit on your credit card, you will prevent yourself from buying crap you don’t need.
One thing I learned in sociology is that “you are the average of the three closest person to yourselfâ€. Therefore if you hang out with a lot of gear-heads, you will be a gearheads yourself and succumb to gas. Rather than hanging out with gearheads and stroking your Leica and lenses with baby oil, hang out with photographers who talk less about gear, and more about photography. Finding a community more focused about shooting (and less about gear) will in-turn make you more focused on photography and less on gear. Inevitability we all love talking about gear at one point or another (the latest Leica rumors, the new Fuji camera, or the new Olympus micro 4/3rds) but try to find a group that keeps it to a minimal.
Currently the only cameras I own are my Leica M9 and my Leica M6, along with my 35mm summicron f/2 asph (yeah the latest version baby!) I gave my old Canon 5D to a close family friend’s younger brother (who is an aspiring photo journalist) along with my 35mm f/2 and my 24mm f/2.8. I told him it was all he needed to take incredible photographs. He asked me if he should buy a 70-200 lens and I threatened him that if he bought it, I would take my Canon back. I also recently had a 21mm Voightlander for my Leica, and returned that. I also gave my 21mm to my good friend Todd at the Hatakayana Gallery to use on his sweet new 21mm Leica lens (yeah the same guy who gave me his M6! Even trade.) The last three months or so (since I inherited my M6 from Todd in Tokyo) I have been working on all of my personal projects on film (tri-x and portra 400).
Nowadays my M9 is my backup camera (and really expensive point and shoot camera). Therefore all I am really using for my street photography is my Leica M6 and 35mm summicron f/2. It is one camera and one lens. Nothing more and nothing less. What I love most about having one camera and one lens is that it is just less stressful, and plain bliss. I never concern myself with having a different focal length for a situation (having a 28mm if someone is really close or a 50mm if someone is further away) but rather I learn to adapt to my situation, and become more creative. I have used a 35mm focal length more or less exclusively for around 4 years now, starting with my Canon.
I now know the focal length inside and out, and know how my frame looks in any situation. I don’t really even have the desire to have any other lens, as the 35mm framelines on my Leica are difficult enough to see with my glasses. Less is more. Having more choices simply gives us more stress. Remember the last time you wanted to order something at a restaurant, and there were like five million options on the menu? You then order something, wishing for the best, and it comes out and you feel disappointed? (damn, this chicken Alfredo sucks– I should have gone with the beef stew). Less options is less stress on us, and doesn’t cause “paralysis by analysisâ€. But damn, if I got a Leica MP with a .58 viewfinder and 28mm lens, it would be pretty sweet. Ahhhh nooo! Eric, stop this self-poisoning of yourself.
New cameras and lenses are expensive, and often that money can be used towards better things related to photography (buying photo books, going on trips, buying film, or paying off your maxed out credit card). I currently have the M6 which is worth around $1300 usd. The Leica MP is around $3300 usd. The cost of upgrading will be $2000.
Let’s do some math:
What else can I better do with $2000?
All of these things will do me so much more for my photography and happiness than a new shiny Leica. Do your own calculations for what gear or lenses you may be pondering, and see how ridiculous your ideas may be.
The best thing I have heard digital cameras likened to were computers. Think about how long you can use a computer before it gets outdated. 4 years, at best? Digital cameras as essentially computers. They get outdated fast as hell. There are always new digital cameras coming out with moar and moar megapixels, iso, dynamic range, faster autofocus, and crappy features like hdr and panorama, etc). I doubt you can use a digital camera longer than 4 years, without it being considered a dinosaur.
Ever since I got my film Leica, I no longer am very impressed or concerned with these new cameras coming out (besides the MP). A film Leica will last you a lifetime, and you never need to upgrade. It is simple and straightforward, and remember- all film cameras are “full frameâ€. Regardless of my MP envy, I would say that having my Leica M6 and 35mm summicron — I feel truly “content†with my gear. If you want to make a purchase, remember to get a good lens, as they will last a lifetime (more or less). They will outlast your camera, as there is only so sharp you can make a piece of glass. I doubt they will ever quit selling film- and don’t worry about Kodak going bankrupt. Their film business is stilly profitable.
Remember, when photography first came out people said nobody would ever paint anymore. People still paint. People said cd’s would kill vinyl records. Vinyl records are now thriving more than ever (thanks to all the hipsters who shop at Urban Outfitters). Classic things never truly “dieâ€.
If you spend an unhealthy amount of time on gear forums, stop. It is quite possibly the worst thing you can do in your spare time. I actually suggest downloading an add-on for chrome or Firefox that prevent you from visiting these sites altogether.
Rather, spend time visiting sites about photography. Spend time on invisible photographer Asia, la pure vida, burn magazine, in-public, the magnum website, little brown mushroom blog, Blake Andrews blog, and so on. Looking at great photographs will inspire you to take great photographs. Looking at reviews of gear and lenses will make you want to spend your money. Remember, you are what you eat.
In street photography, sharpness and the “bokeh quality†of a lens is the most overrated thing ever. Sure if you give me a Noctilux and have me shoot that bad boy at .95 I will squeal like a little schoolgirl about how creamy and “bokehlicious†the photo turn out, but it is quite useless in street photography. When is the last time you saw a great street photograph from any of the masters and said, “Wow, that photograph is really sharp†or “Wow, that photograph has really nice bokehâ€.
Another thing that I used to do a lot (which I am trying my best not to do anymore) is look at someone’s photographs (who are very good) and ask what camera or lens they use. It is like asking your chef what pots and pans he or she uses to cook your meals (if the food is really good). If you don’t want to get slapped in the face (or your food spit in) realize that it is the artist that creates the art, not the tools.
Frankly speaking, all prime lenses out there are pretty damn sharp (and you will always sharpen the photos a bit in post-processing anyways) and I feel that street photography is best captured using a large depth of field using zone focusing. Therefore don’t worry about having a large maximum wide aperture– unless you want to take nice bokeh shots of your water bottles at home, that is.
Material things never bring true happiness. Yeah, yeah we have all heard it before but it is true. We all tell ourselves, oh–if I only had full-frame I’d truly be happy. If I had that Leica I’d be truly happy. If I had that one 1.4 lens I would be truly happy. Realize that with gear, it is a slippery slope. As humans, we are biologically greedy. We want stuff, and like having lots of it. It was our genetic way of making sure that we wouldn’t die. After all when we were cavemen, if we hoarded tons of food for ourselves, we would have a higher likelihood of making it through tough winters and droughts.
Nowdays modern day life is much different. Most people in the modern world don’t suffer from famine and most of our basic needs are met (food, shelter, clothing). However the instincts we have make us never satisfied with what we have. And of course, advertising and consumerism has a large part to blame as well. There is no “end goal†of gas.
Let’s say you start off with a dslr, you will want a full-frame. You get a full-frame, you want that nice canon L lens. You realize the canon L-lens zoom isn’t enough, so you get some nice prime lenses. You then realize the whole damn thing is too bulky, and go for a Leica. You then get a Leica M9, and need more lenses. You end up collecting all the lenses, and then realize you want the M9 titanium. M9 soon becomes passé, and you get a S2. The madness never ends. Be content with what you have and of course feel free to purchase gear, but realize once you find a system you are reasonably happy with (80% satisfied) stick with it.
Many of us try to rationalize what we do in terms of our purchasing decisions. We tell ourselves that the cameras and lenses we buy are “investments†and thus make rational decisions. Let’s cut away a lot of the bs. A lot of us (including myself) want to just show off with our gear and have bragging rights.
One of the reasons that I kept my old 35mm 1.4 summilux for so long was so I could state that I had a summilux for the sake of having one. The summilux wasn’t the optimal lens for street photography (far too big and heavy) and I never used the 1.4 (only when taking snapshots of my friends at bars to show them the creaminess of the bokeh!)
The reason a lot of us buy expensive cameras or gear is to try to fit in (if our friends all have a certain camera or lens, we will want to get one). Another reason is that we might want to differentiate ourselves from other people (like Leica users vs Dslr users). We want to feel superior with superior gear to be seen by others as having a higher status. With more status comes more prestige, comes more opportunities for us to connect with other people with high status, and have a feeling of “smugnessâ€.
We all love our toys and cameras and lenses. I don’t see any problem “geeking out†with gear with the friends or playing with our friends new camera or lens. It is perfectly healthy and all fun. However what becomes an issue is when we concern ourselves with gear excessively. Photography is a damn expensive hobby, and not being able to have the best and greatest sucks. We don’t want to be the loser with the “crop sensor†or only having the f/2 lens instead of the f/1.4 lens. We just want to fit in and feel “important†with other people with nice cameras and things.
If you currently suffer from gas, admit to yourself that you are a gear whore and decide for yourself if you want to cure yourself or not. If you have the cash and enjoy continually acquiring lenses and cameras, no problem. If you don’t have the cash and you are taking out credit card debt to feed your addiction, you should probably reconsider things. Life isn’t about getting nice things and being happy.
Spending time with others and being social is what makes us truly happy. Therefore quit spending so much damn time on gear forums and thinking about that stuff, and get out of the house and call some buddies and go shooting. The more time I find myself going out and actually taking photographs and spending time with my fellow streettogs, I am truly happy. I geek out and at times have wet dreams about the next Leica purchase myself, but I realize that I am weak and easily susceptible to peer pressure or advertising. Take a moment to consider how addicted you may be to gas, and I hope this has helped you.
After traveling and having done many workshops on street photography, I have met many Leica M9/rangefinder users who have had difficulty configuring their camera for shooting on the streets. There are lots of misconceptions out there, which make things confusing for people. Therefore here is some advice I have for Leica m9 users (or Fuji x100 or rangefinder users) when shooting street photography. (Note that for the original video, the audio gets cut out at 16 minutes, so I edited the video down).Â
Check out the video below, and I have things written in more detail below!
Here are some snapshots from my recent street photography workshop in Hong Kong with Gary Tyson from F8 Photography. See all the behind-the-scenes fun and goodness below!
Also check out all of my upcoming workshops in London, Melbourne, Sydney, and Sweden by clicking here.
Just had a chance to play around with the new Fujifilm X-Pro1 here in Kuala Lumpur, Malaysia. Looks like a very solid camera, with a few quirks (like every other camera out there). It might be a great option for those of you who have DSLR’s and want something more compact and discrete when shooting on the streets. Check out the video of a unit (without lens or battery) with some of my impressions above!
Hey streettogs- I am excited to share this GoPro Tour of the Leica Store in Kuala Lumpur, Malaysia. Some of my photographs are on display, in preparation for my workshop here this weekend. If you are in town, stop by and check out the store and the street photography books, and say hi to Shannel Woo, the Leica Malaysia Retail Manager here. Will keep you updated with everything!
Eric’s Note: Streettogs Gallery is an on-going feature and intiative by Manila-based street photographer A.G. De Mesa. Check out more info here.
A.G.: Gary Tyson is a great commercial photographer and has been in different locations around the globe. He is also the co-insturctor in Eric’s previously concluded street photography workshop in Hong Kong so I was really delighted whe he sent in a link of a collection of his street photographs.
What I usually do when a collection is sent instead of a series is I try  edit properly to show things in common. It could be aesthetic similarities, strong themes, or repeating subjects. So I pointed out to Gary a subject that continually pops up in his street shots:
Hey streettogs- I just wanted to keep you updated with all of my upcoming street photography workshops. See the list below if I am coming to a city below you! :)
3/3-3/4: Kuala Lumpur, Malaysia – Introductory – Info – to register email info@leica-store-malaysia.com
3/10-3/11: London, UK – Introductory – Info – Register now (to reserve your spot) – with Charlie Kirk
4/14-4/15: Melbourne, Australia – Introductory – Info TBA – Register now (to reserve your spot) – Sponsored by Michaels
4/21-4/22: Sydney, Australia – Advanced – Info TBA – Register now (to reserve your spot)
5/31-6/3: Stockholm, Sweden – Introductory – Info – with Fotographiska (The Swedish Museum of Photography) – NEW!
If you also would like to keep updated with future workshops (or request I go to your city) please sign up below!
I stumbled upon a street photography POV video with a GoPro by Patrick Casey in Downtown Nashville. You can see that even though the streets aren’t very crowded, there are still lots of photo opportunities to be seen! He gets some solid shots in the video- and also shares them for everyone to see how he works in the street.
Some more info from YouTube:
I use a Leica M4 with a Zeiss Biogon 35mm f/2. I use portra 400 handprocessed in a unicolor press kit. I print every photo I take in a darkroom. Song in the background is Pretty Lights – Stay
For those of you interested in making your own street photography POV video, this is what you will need:
You can put the pieces together, and have your GoPro mount on top of your camera’s hotshoe mount.
Looking forward to seeing other people make more of these videos! Also let us know what you thought about Patrick’s video and shots in the comments below!Â
It now has been around 5 years that I have been shooting street photography- and I have learned an incredible amount through trial and failure. I made this recent list of things I have learned while shooting street photography– and some of my personal opinions. Remember, take everything in this list with a grain of salt! I simply made this list as both a way for me to self-reflect, and hopefully you can find some of these tips helpful.
You can also see my old posts, “101 Things I Have Learned About Street Photography” and “100 Things I Have Learned About Street Photography“. As you can see, many of my opinions have changed over the course of 2 years. Keep reading- I hope you enjoy!
76. Spend less time arguing over the definition of street photography, and go out and shoot more
77. You only remember 5-10 photographs from some of the most famous street photographers who have ever lived. Aim to take 5-10 great photographs before you die.
78. Photography is incredibly difficult
79. If people notice you taking a photograph of you, tell them, “Ignore me—pretend like you don’t see me†and most people will laugh it off and continue doing what they were doing
80. If confronted by a person on why you took their photograph, take a step toward them and be open and honest about your intentions. Stand your ground and know your rights.
81. Simplify your photographs. Less is more.
82. Don’t put watermarks on your photographs. It cheapens your work.
83. Street photographs don’t sell
84. Travel as often as you can to open up your views to the rest of the world and society
85. Always carry an extra memory card and battery (in war two is one and one is none)
I had the huge pleasure of meeting up with Kaiman Wong from Digital Rev TV a few days ago- and filming this video! It was great to finally meet Kai in person (he’s really that hilarious!) as well as the video genius Lok and the lovely Alamby who helped coordinate everything. I was shooting with my Leica M6, and Kai with his Leica M2 and 15mm Voightlander lens (super wide!).
Some people on YouTube wrote some responses regarding arranging photographs for my shots. I thought it was a legitimate question and here is my answer:
Generally I don’t ask for permission when shooting, but typically after shooting my first photograph without permission – I enjoy chatting with my subjects and getting them to pose for me. Of course once they start posing and get directed by me, it is no longer candid and thus not proper “street photography”. However in the end – I like interacting with my subjects and I feel that it is able to help me build rapport and good will. I am not so interested in only taking all of my photos without permission- as I do ask for permission at times for my shots as well.
Hopefully the video will be good to those who are uncomfortable shooting street photography, and afraid of the reactions of others. I very rarely have any issues shooting in the street, and I try to show how I interact with my subjects in the video.
In the end I am not so interested in defining what street photography is or isn’t– but creating messages and meaning through my photographs– that make statements about society. I discuss this at length at a previous post titled, “What’s Important in Street Photography?”
Anyways hope you guys enjoyed the video and will keep you updated with more stuff from Hong Kong soon!
Foreword by Ollie Gapper: CritiqueMe is still alive and well, I just haven’t had time to produce a good, in-depth critique this week, it will be returning soon!
Its been thrown at you pretty relentlessly over the past few months: the notion of shooting film and its merits over digital, but what should you know before/during your time spent shooting this marvellous medium? This is a short list of things that I have personally found useful learning in shooting film, things I hope will help you as much as me!
Things have been a bit hectic in Hong Kong and prepping for my workshop this weekend, but wanted to take a chance to feature the best street photographs posted to my Facebook fan page the last two weeks.
On an unrelated note, I actually had the chance to meet Kaiman Wong and the rest of the team from Digital Rev TV and we did some recording for a video on street photography that will release soon (stay tuned).
If you would like to get one of your shots featured in the future, make sure to upload them to my Facebook fan page! (I prefer using Facebook because it is easier to sort/look through all the photographs).
Keep reading to take a look at all the images!
Eric’s Note: Streettogs Gallery is an on-going feature and intiative by Manila-based street photographer A.G. De Mesa. Check out more info here.
A.G.:Â I always defined street photography as “Photographing people in a public place with or without permission”. Â That is how I go about shooting but when I encountered the work of William Eggleston, my definition shattered.
It seemed that his work doesn’t fit how I understood and read about photography. His photos are so simple, mundane, and very uninteresting. So much so that I think Eggleston’s War with the obvious is the anti-thesis of Bresson’s philosophy The Decisive Moment.
For those who are looking for a stylish, sleek, and functional messenger bag for street photography – check out the new ONA Union Street Bag. ONA sent me a bag to review, and after thorough testing (took it all over India) here is my review/overall impressions of this bag. Keep reading more if you are interested in making an investment into a fashionable and durable bag that will last you a long time!
Recently at the Downtown LA Art Walk, some of my fellow LA Streettogs and myself showed our work at the Hatakeyama Gallery. Lots of awesome people came out and supported and checked out some of the work by our group.
In the video I use my GoPro video camera to take you behind-the-scenes of the gallery, and right in all the fun! You can also get a sneak-peak on 3 of my photographs from my series: “Dark Skies over Tokyo” (shot with my Leica M6 and film). I will be sharing the full series later on, so stay updated!
LA Streettogs featured:
Read more to see all the pictures from the event!
The “What Photographers Actually Do” meme has been spreading like wildfire as of late. Danny Santos just put together a one for street photographers which is pretty hilarious (and true to a certain extent).
What would you add/change in the image above? Leave your thoughts in the comments below!Â
I am pleased to share that my recent street photography workshop in Downtown LA was awesome! Not only were all the participants in the workshop willing to push themselves and find more meaning in their photography, but the group interaction and support was phenomenal. Huge thanks to Todd Hatakeyama from the Hatakeyama Gallery! Also huge thanks to Todd for providing these workshop photos!
Keep updated with all of my upcoming street photography workshops in Kuala Lumpur, London, Melbourne, Sydney, and New York here!
Also keep reading to see all of the photos from behind-the-scenes.
Update 2-27-12: Congratulations to John Barduhn for winning the giveaway! His tip was: “Always say “Thank You“. Stay tuned for our next giveaway soon ;)
thinkTANK Photo has generously provided a Retrospective 20 Shoulder Messanger Bag ($167.75 value) for a give-away on the blog! You can have the chance to either win a version in Pinestone or Black (I prefer the Pinestone color). They make fantastic street photography bags, as they don’t look like camera bags (thus you can be more discrete). If you want a smaller bag, also check out the Retrospective 5 (good for street photographers with a Leica or Micro 4/3rds system).
To enter this giveaway, all you need to do is:
There are three ways to enter (the more ways you enter, the more chances to win!):
This contest will end Friday, Feb 24th, 2012. We’ll randomly pick a winner and announce it on the blog!
*Credit to PetaPixel for the contest idea!Â
Eric’s Note:Â This feature is by Trevor Marczylo, a Winnipeg-based street photographer who has made the move to Korea! If anyone in Korea wants to meet up with him- drop him a line! Follow his blog as well.
Trevor: I ‘ve gotten a ton of emails over the last few weeks regards to how I get that black sloppy border around my images in the darkroom. I simply just took a file and hacked into it until I was happy.
So for this week’s article I thought I’d write a quick and simple discription on how to file out your negative holder so you can have your own signature negative border style.
There really isn’t anything to it and all you need is a small flat file and your negative holder, some black paint or nail polish and the will to destroy your neg holder.
I am excited that issue #2 of Radiate Magazine is out. Radiate is a street photography magazine edited by Stu Egan, and features work, interviews, and features from up-and-coming street photographers from all around the globe.
Included in this issue are David Solomons brilliant and often unseen early BW, Steve Richmond‘s incredible Kimology series and Charlie Kirk’s interview of Claire Atkinson.
You can get hold of printed copies here which costs $21 + shipping. It will make a great addition to your street photography library!
You can also download free PDFs from that page, or if you don’t want to register with Magcloud just head over to www.radiate-magazine.co.uk and get one there.
Also check out the first issue of Radiate here.
Congratulations once again to Stu and the rest of the Radiate team and featured photographers! Let us know what you think by leaving a comment below!Â
Eric’s Note: If you are wondering what all those crazy things coming out of Ollie’s head are, check out his last blog post.
Ollie Gapper: I was recently lucky enough to pick up a Canonet QL17 rangefinder off of eBay for a steal at £30 with postage, a camera I had been after for quite a while, and for good reason.
(From Song Tan and Seoul, South Korea © Jack Hubbell 1981-1983) – Flickr
Eric’s Note: Today I am glad to feature the work of Jack Hubbell (Cyclops-Optic) on the blog today. Charlie Kirk turned me onto his work, citing the unique way he saw the world.Â
Jack: To have something in common with Eric Kim. What? Perhaps you think it Photography, but no. Further back than that. Further away than that. Off to a nation called Korea. Whilst Eric’s connection lies with ancestry, mine deals with birth. And by that I mean birth of vision.
Long before director Stanley Kubrick directed influetial films such as Lolita, Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange and The Shining — he took incredible street photographs in New York City since he was 17. He worked until the 1950’s for Look Magazine before he decided to pursue filmmaking.
Keep reading to check out incredible street photographs taken by Kubrick – which are comical, intruiging, and full of energy and excitement! Make sure to also check out Twisted Sifter for all the images!
*Florian Dirks from my Facebook fan page has let me know that not all of the photographs included below are unposed- some of them are elaborately staged. Incredible photographs nonetheless. Also big thanks to Rinzi Ruiz for directing me towards these photos!Â
