Getting my laptop stolen recently has been the best thing that happened to me recently. Let me explain why.
Not having a laptop the last week, I’ve been making all these excuses not to blog and write. I generally prefer working with a a laptop, having a keyboard, and the flexibility of having a “real” computer.
So the last week I’ve been just dependent on my smartphone. And damn, I’m pretty impressed and realize how much I can truly do with a smartphone. I can (obviously) check my email, plan my schedule, pay bills, but even better– I can record videos, take photos, process my photos, update my blog, and even “write” (actually “text”) articles on my smartphone (like I’m doing now on my smartphone).
Funny enough, I can probably text as fast as I can type. I use android and with the “SwiftKey” keyboard, I rarely make typos. Not only that, but I can write ideas while standing (not possible on a laptop with keyboard), while waiting in line at the store, or when in a cramped airline (Ryanair).
In fact, I’m starting to really wonder nowadays with the cloud and Google services what we really need laptops for. Of course for the power user (heavy video or photo editing) or Excel gurus you’re going to need a computer. But I really feel that 99% of “normal” people no longer need a “normal” computer.
Bringing the topic back to excuses, there were a lot of articles I wanted to write but I made the excuse that because I didn’t have a laptop, I couldn’t write it. But then I really wanted to write, so I used the only tool I had: my smartphone. And I’m able to “write” on my smartphone just fine.
So perhaps moving forward, I’m going to do less “writing” on a laptop, and putting down more ideas on my smartphone using Evernote. I really have no more excuses for my tools being insufficient for writing.
I also used to make excuses that my camera wasn’t good enough for street photography because I didn’t own a Leica. Now that I own a Leica I have finally leaned (the hard way) that the camera is an excuse. Not having a good enough camera is always a bad excuse. The only limitation is your creativity, inspiration, and vision of the world.
What other excuses have I made in my life and art?
I don’t have enough money to travel to shoot interesting street photos. Solution: shoot your own city.
My camera isn’t good enough. Solution: use the camera you already use.
I don’t know any other photographers to inspire me. Solution: buy photo books and make masters of photography your personal tutors.
I don’t have enough time to shoot. Solution: try to take at least 1 photo a day during your lunch break, before work, after work, or of people you know.
I’m too old. Solution: use your age as benefit (you have great wisdom that young people don’t have, which can aid your learning process). Jack Simon didn’t pick up street photography until he was 65, and at age 70 is one of the best in the world.
I’m not talented or artistic enough. Solution: educate yourself by investing in photography education (artists are made, not born).
I’m too lazy. Solution: use your laziness to your advantage and just use a smartphone and make “boring” photos of your everyday life.
I don’t understand technology. Solution: just use a disposable film camera and get the shots printed at the nearest drugstore as 4×6 prints.
I’m afraid to take photos of strangers without permission. Solution: start off by asking permission. If scared of asking for permission start off by asking friends and family to take their photos. Worst case scenario: your mom will never say no.
I’m not inspired. Solution: shoot first, the inspiration will follow.
Restricting to open up. How less can be more when going out to shoot.
I am strongly convinced that creating restrictions leads to more freedom and development when it comes to creativity. This may sound very counterintuitive but I have experiences to back up my claims. I just finished an intense week of photographing which led to an exhibition opening last night. It was a great experience and I would like to share some of the things I came across and learned during this week.
I think we all know how it sometimes can be hard to go out and shoot. We’re all very good at coming up with excuses and it can be tough to break the cycle of non-activity. Next to that it may sometimes feel like we’ve gotten used to a certain way of working which slows down our development so much that it feels like we got stuck and keep coming home with different but the same photographs time after time.
Work within a frame
What I like to do to work around this is to set up some rules and make agreements that involve others to push myself a step further. This past week I did exactly that, really enjoyed it and think this can be of help to others as well.
My project
I came up with the plan to shoot within a 1000 meter radius only, then pick one photograph each day to be printed and finish up the project by showing the outcome in an exhibition. I pitched the plan – Siting: Qlick Editions – to the nice people of photo gallery Qlick Editions in Amsterdam who were very enthusiastic about the idea and we set a date for the project to happen. As the moment to start came closer I made sure I had nothing else going on during this week and dropped all of my other routines so I could fully focus on this one-week project.
Each day of the past week I walked through the area, accompanied by my camera, for about 8 to 9 hours and would come back into the space to make my selection. Not always an easy task, but very rewarding as the photo would be printed and delivered to the gallery the next day. As you may know from your own experience it can be very tough to choose that one photo on the day you took it. That’s why I worked together with Eric: every day I would send him my final selection of around 8 images and he would get back to me with constructive criticism; very helpful in order to get to the pick of the day.
I also devoted a blog to this project on my website so anyone interested could be really involved in the process. I attempted to keep it as open as I could by sharing a lot of the images that did not make the cut, to give some insight into my way of working. Also I used geotagged images to place on a google map to make it possible to see where each image was taken.
I developed this project with the intention to explore different areas in different cities all over Europe and hopefully on other continents as well.
My experiences
Restriction leads to digging deeper into the possibilities that are at hand which may lead to some exciting new discoveries. I truly believe you can find beauty and interesting subject matter anywhere as long as you force yourself to look for it. By limiting the area to work in I did just that and it really gave me a clearer idea of what I’m looking for when I go out searching for interesting photographs. I had to look harder, but also learned to faster recognise the situations that trigger my attention. I had to pull myself through moments when I felt nothing was good enough and exterminate the fear of ending up with a shit picture getting printed. I had to go on when the weather was not as I prefer it when I go take pictures and learned to shoot when it’s a rainy day. I narrowed my scope but didn’t become closed minded, this project actually opened my view and made me see (and capture) things I wouldn’t have seen a month ago.
Make decisions
Dealing with the time constraint is a challenge but it keeps you from procrastinating to make decisions that have to be made regardless. Most of the time it really doesn’t help to postpone a decision. Do it now and you are relieved of one more thing that’s in the back of your head messing with your focus and concentration.
Develop your own project
I don’t think the boundaries I set myself are necessarily the right ones for you. Restriction can come in many forms and it’s only a matter of applying one or more simple rules to your workflow. For example shoot only between 6 and 7 am, use only one camera and one lens (less really is more and healthy for your back and wallet as well), shoot only in portrait orientation, shoot only one photograph of each scene (edit before shooting) etcetera.
Also think about restricting yourself in the process that follows a shoot: choose the one best image within an hour after coming home, don’t crop any of your images, make a print of your favourite image once a week and hang it someplace where others can see it (or give it away, people love getting a printed image). Involving others is a very good way to keep things going and stay sharp anyway!
Change it up
I believe setting up rules is a very effective way to boost your creative qualities, but it only works when you change it up. Don’t stick with the same rules and restrictions forever, in the end the most important things is to enjoy it and shed a new light on your photography.
Conclusion
By restricting you have less to worry about and more energy to focus on what you really want and love to do: make better pictures. It makes you look for other ways to achieve the result you have in mind. It also forces you to get better at working with the smaller amount of tools and possibilities you have left. You will learn to exploit what you have at hand and become better at what you do.
Go for it, I’m sure you will get something out of it!
About Maarten
Maarten Rots is an artist working with photography based out of Amsterdam. In his photographs you can see a sense of abstraction and surrealism found in everyday situations, captured by the camera. He loves printed photography and one of the ways he shares his work is through his self-published quarterly photography magazine March & Rock.
The exhibition with the results of his one-week project Siting: Qlick Editions will still be on show during the coming week atQlick Editions in Amsterdam.
I’ve been shooting a lot of photos on my smartphone lately (Samsung Galaxy s6). It has been so much fun and I’ve enjoyed it so much, that I wanted to write an article about my personal experiences and thoughts about the benefits of shooting street photography (and any photos) on a smartphone.
I often get a lot of questions from aspiring street photographers or photographers in general what kind of advice I would give in terms of what camera to buy. Honestly, my frank answer? Just start off by shooting on your smartphone. There are so many benefits. Some ideas below:
1. You increase your rate of learning
Seattle, 2015. Galaxy S6 processed with VSCO b5 preset
Some of the best street photographers I know shoot with only smartphones. Not only that, but their rate of learning is incredible. Many talented street photographers on Instagram have only been shooting for a year or two, and have made incredible growth and progress in their photography.
How? They have constant feedback and quickly learn through shooting all the time, and by sharing images on social media.
The #1 excuse (and problem) that all of us photographers face is that we don’t shoot enough, and we don’t have our cameras with us.
But if you think about it, the smartphone is the ultimate camera. It is small, unobtrusive, always with you, and convenient.
A lot of people say that smartphones aren’t apt cameras because it isn’t “full frame” or whatever. But to be honest, the cameras in the modern smartphones (iPhone 6, Galaxy S6, LG G4, and many others) are pretty incredible. They’re just as good as high end point and shoots from just a few years back.
Of course a smartphone isn’t going to have the same quality as a full frame, DSLR, or any other “real camera.” But at the end of the day, it isn’t image resolution that makes a good photograph. It is the “quality” of your images, in terms of the emotion, composition, and feeling you give your viewers.
I shoot with several cameras at the moment; a film Leica MP, a digital Ricoh GR, and a Galaxy S6. Funny enough I’ve been uploading a lot of photos shot on my smartphone on Instagram (after processing in VSCO with the a6 preset), and people have thought they were film Portra 400 shots. Morale of the story? Photos shot on a smartphone can look good.
Another example: Michael Christopher Brown shot much of his work on his iPhone in Africa, and have made compelling images (that got him into Magnum as a nominee). He didn’t need a fancy or experience Leica to get him in.
2. You focus on the light
Paris, 2015. Galaxy S6
Another thing about smartphones that can help you become a better photographer: you need to focus on capturing good light.
The sensor of smartphones (while pretty good) still don’t compare to the dynamic range of most high end digital cameras. Therefore getting good light and exposure is even more important.
One of the biggest fundamentals in photography I wish I learned earlier on is how important light is. I remember when I got my first DSLR (Canon Rebel XT 350D) and was frustrated that my photos didn’t look as epic as the photos I saw online. My mistake? I only shot in shitty and harsh light, and didn’t know anything about good light (shooting at Golden hour or through windows).
No matter how expensive your camera is, you can’t fake capturing good light. Even if you have mad photoshop skills, you can’t fake good exposure.
Light can truly transform an ordinary image into an extraordinary one. Epic light evokes emotion, awe, suspense, and drama.
Therefore if you shoot street photography on your smartphone, really try to focus shooting in good light. Try to focus shooting sunrise or sunset, or just photographing people next to windows or open doorways (Steve McCurry style).
3. Keep your processing consistent
Paris, 2015. Galaxy S6
I think VSCO is the best smartphone app ever made for photography. The minimalist interface runs like butter, but even better: the presets look damn good. Their analog presets (the “a” series) looks the closest to Kodak Portra 400. Their black and white presets also look amazing.
I try to shoot with my smartphone like I’m shooting film; I try to stay consistent with one “look.” I am in love with the A6 preset, and always apply it to my images, and therefore all my smartphone images look consistent.
My advice? Play around with the presets and find one “look” that you dig and stick with it for a while.
A common mistake I see photographers make is that they have too much variety in their photos by using too many different presets or post processing techniques. Would we love Henri Cartier-Bresson’s work as much if he shot with 20 different types of film in his lifetime? Probably not, we love the consistency of his low contrast black and white images (focused on good composition). We also still remember and love the consistency (and beauty) of Kodachrome color film with Alex Webb and Steve McCurry.
It’s still fine to experiment with different “looks” in your photography. Just try to do it in different projects (like how a film director uses different equipment and film for different movies).
3. You can’t make excuses
Oakland, 2015. Galaxy Note 4
If you are like most modern people, you are probably connected more to your smartphone than your mother or first born child. I know I’m attached to this thing like a leash. I check it first thing when I wake up, and the last thing when I sleep at night. It is so bad that sometimes I get anxiety if my phone isn’t in my pocket (or a foot away).
In the past I have missed so many shots because I didn’t have a camera on me. But now that I have a smartphone I have no excuses. Sure I would prefer to shoot all of my shots on film. But if I’m at the grocery store or having dinner with Cindy, my smartphone is generally much quicker to take out and shoot with.
So really we have no more excuses for not having “time” to shoot. The only limitation we have is our own imagination, our curiosity of life, and ability to see the beauty in the mundane.
If you’re a photographer who owns a big ass camera (or doesn’t carry your camera with you wherever you go) try this experiment: only shoot with a smartphone for a month. Lock all of your expensive cameras in a drawer for that period of time, and you’re only allowed to shoot on your phone. Not only that but shoot everyday.
After a month, see if this liberates or frustrates you. It might liberate you (and you never end up shooting on a “normal” camera ever again) or you are frustrated enough that you build the diligence to carry your “better” camera with you everywhere you go.
4. Who cares what you shot it on?
Orange County, 2015. LG G4
The most annoying thing a photographer can ask (I’m guilty of this too) is: “What camera did you shoot that photo on?” Personally whenever I ask another photographer that question what I’m really saying is: “Wow I really love your photos, and I aspire to make photos as good as yours. But currently my photos isn’t good enough and I think it is because my camera isn’t good enough or suitable for the job. If I bought your camera, could I become as good a photographer as you?”
I had a friend (Misho Baranovic) who had a street photography show with my other mate Olly Lang. Both talented street photographers, and had their photos printed for the exhibition. Some random people came by and asked: “Wow, these photos look great. What did you shoot it on?” To pull their let they said: “On a Leica.” One photographer then said: “Oh yeah you can totally tell by the quality of the Leica glass! You really get that “Leica look”, depth, and three dimensional character.” When we told him he was joking and it was shot an iPhone, and we all laughed together.
If you make a memorable photograph, who gives a damn what camera you shot it on? Do you honestly care? Or are you worried that other people care? Do you feel insecure that if people “found out” you shot a photo on a smartphone, it would somehow devalue your photo?
For me, I actually respect photographers more when I see that they shot a certain photo on a smartphone. Why? They were able to make a beautiful image with such basic equipment.
When it comes to photography, sometimes it can be a big dick measuring contest (at least for men). Photography can sometimes be just about showing off your gear and how rich you are, or your status. It’s kind of how the most insecure people buy the most brand name clothes, watches, purses, cars, etc. Funny enough, as a general rule, the more expensive the gear a photographer has, the more insecure they are about their photography.
Personally one of the main reasons I wanted to get a Leica was because I was lured by the prestige, status, and the legend of Leica. I truly did think that buying a Leica would make me more inspired, creative, cultured, whatever.
But in reality, it hasn’t changed my photography much. The only real things that have helped my photography: reading photo books, learning from the masters, and shooting more. Sure at the end of the day, I still prefer shooting on a film Leica for the simplicity and ease of use, but at the end of the day, a camera is just a camera.
5. But what if my smartphone camera sucks?
Pacific Northwest, 2015. Galaxy Note 4
Unfortunately there are a lot of smartphone cameras out there with really low resolution.
In these cases, use that as a benefit. Dando Moriyama shot with a cheap film Ricoh GR and made super grainy black and white shots, while others were using fancy Leica cameras or sharp slr lenses.
So my suggestion: try shooting black and white and intentionally make your shots high contrast and gritty. Use the downside (low image resolution camera) to your benefit.
If you use an iPhone (older generations), I’m a big fan of Hipstamatic and the filters. If you use android, get the new snapseed app (which is epic and has great monochrome filters).
6. Practical tips shooting street photography on a smartphone
Some practical tips I’ve learned shooting on a smartphone;
a) Shoot a lot
The benefit of shooting digital is that it doesn’t matter if you shoot a lot. It doesn’t cost extra money. I also think it is generally better to overshoot a scene than undershoot a scene. Sometimes subtle differences can make the difference between a so so photo, and a great photo. For further reading on the importance of “working the scene”, watch my YouTube lecture or pick up a copy of “Magnum Contact Sheets.”
So if you see a good scene, keep shooting it until either your subject gets pissed off, walks away, or the moment is over. The problem is that street photographers move on too quickly and don’t shoot a scene enough.
When I see a good scene and shoot it on my smartphone, I’ll take 20+ photos whenever possible. Some of my favorite smartphone photos were shot with 50+ images.
b) Look like a dumb tourist
Shooting on a smartphone makes you look like a dumb tourist. Keep shooting and pretend like you’re not shooting your subject and you’re shooting something in the background.
For extra dramatic effect, flare our your elbows and knees. Fanny packs are a bonus, and make you almost invisible. I’m only half kidding.
c) Use the right apps
Every smartphone is different in terms of performance. I recommend trying out different smartphone camera apps to find what works for you the best.
For iPhone I recommend the “pro camera” app (you can prefocus and tap the screen to shoot). You can always use the default camera app too. Hipstamatic is also good for cool looking effects.
For Android, either use your default camera app, or download the Google camera app. Use whatever is faster and more responsive.
For editing and post processing, I recommend VSCO, Snapseed, or a combination of both.
If you don’t like sharing your photos as squares, use “Squaready” on the iPhone, or “Square InstaPic” on Android (to share your photos as a rectangle by adding a white or black border).
You can also try using mobile Lightroom on an iPad, but I find it still a bit clunky.
7. Instagram tips
Garden Grove, 2015. LG G4
To be honest, Instagram is by far the most dominant social media platform at the moment. For this reason, I think it’s the best platform to share your images on.
Don’t focus on getting a lot of likes. Seek to learn. Try to find a few photographers you admire, and seek to get critique or feedback from them by critiquing and giving honest constructive and helpful critique to them.
Focus more on engagement, communication, and interaction on social media. I would rather have 10 followers who is really active and helpful to me on Instagram, than 10,000 passive followers.
As a general rule on social media the quality of feedback you get on your photos is equivalent to the feedback you give others. The more you give the more you will receive in return.
As with hashtags? My personal philosophy: less is more. I try to limit my hashtags to 2 or less. Just try to follow a few hashtags to find good photographers to follow and engage.
Can’t find any hashtags you like? Start your own, like I did with #streettogs and #buybooksnotgear.
Conclusion
Berkeley, 2015. Note 4
Chase Jarvis once wrote: “The best camera is the one you have on you.” To expand on that, I think the best camera is the one you just shot a photo on. Meaning, a camera is only important insofar much as it is a tool to capture a certain image, feeling, or emotion you witnessed. The camera is just an intermediary tool for your eyes and heart.
Nobody gives a shit what camera you use to make images, and neither should you. Shoot with whatever comes is most convenient for you, and “image resolution” doesn’t really matter that much at the end of the day in street photography. Embrace grain, grit, and rawness.
Lastly, just remember to shoot and enjoy yourself. As large format shooters in the past looked down on medium format shooters, and as they looked down on 35mm shooters, and as film shooters looked down on digital photographers, and full frame digital photographers looked down on crop sensor photographers, looked down on compact cameras, looked down on smartphones. Everyone can be a snob with cameras, there is no end.
Let’s preach death to the camera. Long live photography!
Sorry for missing an entire. It has been a fiery and explosive month for me here. (I even lagged behind my Streettogs Academy duties) but all is well right now. Here’s another round of links, reads, and finds for all of you to digest.  Here you go:
“Geometry is the language of man… he has discovered rhythms, rhythms apparent to the eye and clear in the relations with one an- other. And these rhythms are at the very root of human activities. They resound in man by an organic inevitability, the same fine inevi- tability which causes the tracing out of the Golden Section by chil- dren, old men, savages, and the learned.â€
– Le Corbusier (1931, Towards A New Architecture)
Are you a street photographer and want to learn how to use your intuition to capture better “decisive moments” on the street? Do you feel frustrated that your photos tend to be cluttered, uninteresting, and lack emotion and magic?
This book will teach you the fundamentals of composition in street photography: the importance of diagonals for dynamic images, strong contrast to separate your subjects from the background via “figure-to-ground,” how to juxtapose your subjects, color theory, and how to create compelling stories.
“Composition must be one of our constant preoccupations, but at the moment of shooting it can stem only from our intuition, for we are out to capture the fugitive moment, and all the interrelationships involved are on the move.â€
– Henri Cartier-Bresson
This book will also provide you with contact sheets and a behind-the-scenes look to some of my most iconic images, and how you can create similar images.
Furthermore, you will learn how changing your perspective will totally transform your images. A subtle change to your approach will make all the difference in your images:
“The photographer’s eye is perpetually evaluating. A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight bending of the knees. By placing the camera closer to or farther from the subject, he draws a detail– and it can be subordinated, or he can be tyrannized by it.â€
– Henri Cartier-Bresson
This book is a distillation of all the lessons I have learned about street photography and composition over the years. I dispel some of the myths of “the decisive moment,” how you can often see composition after-the-fact, and the secret for making memorable street photographs.
This is a unique book and no other resource exists quite like it. Consider it your practical one-stop guide and manual for improving your composition in street photography. Furthermore, it is open and free for you to download, print, share, distribute, translate, remix, to help support the community of street photography.
I have written this out of pure love, and I hope you enjoy reading it as much as I enjoyed putting it together.
Love,
Eric Kim
@ Aix-en-Provence, France / July 1, 2015
Table of Contents
Below is the overview of all the chapters and sections in the book:
Complementary Colors is a tricky thing to pull off since you need to have that mental color wheel in your head and at the same time, making sure you have a strong point of interest in your composition. Weather also needs to be in your side to pull off those nice contrasty colors that will make your Complementary Color stand out. Despite those challenges, I think this group of images pulled it off!
Here’s the latest results and Analysis for Complementary Colors!
Hey streettogs, pretty cool stuff: Magnum is selling signed 6×6” prints for only $100 at the Magnum Store! You can browse all of the photos here.
Over 50 Magnum photographers have submitted images that fits the theme: “An Image That Changed Everything.” Not only that, but they shared their personal stories related to the images.
The sale is only going on until Friday, June 12th at 8pm. Once the sale is up, they will no longer sell them. So get them while they’re hot!
“In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to colour. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It’s the first good photo I made in this new chapter of my work.â€
“This photo, which was the cover of my book (based on a true story), changed the way I worked forever. After this successful book in 2012, I totally changed my methodology. From that point forward, I focused only on my self-published books. I dropped doing assignments, and simply worked on personal projects and artworks. I never plan a change. Things just happen. I think recognizing when something revolutionary is going on in your creative life is the key. One needs to realize when a turning point is right before your eyes. It’s just like photography itself. Fleeting. Carpe diem. Miss it, and you’ve missed it forever.â€
“The sad, vibrant, tragic, beguiling country of Haiti has been key to my photography. After reading Graham Greene’s The Comedians — a novel set in Haiti that both fascinated and scared me — I made my first trip in 1975. But, photographing in black and white, I soon realized that something was missing: I wasn’t capturing a sense of the searing light and the heat — physical and, perhaps, metaphysical — of this country, so different than the grey-brown reticence of New England, where I grew up. I wasn’t dealing with the emotional intensity of my experience of this vivid and troubled land. So, when I returned to Haiti four years later, I decided to work in color. As I wandered through the porticos of downtown Port au Prince in 1979, I remember spotting this man with a bouquet of bulrushes — strikingly outlined against a vibrant red wall — just as a second man, in shadow, rushed by. I took the photograph and slowly began to realize it was time to leave black and white behind.â€
I am excited to share this new presentation I just put together on the theory of composition in street photography, drawing from the wisdom of Henri Cartier-Bresson. You can see the entire presentation below:
I am excited to share that I just touched down here in Seattle! Absolutely beautiful weather (all of the other times I’ve visited were in January), and have already had some amazing espresso— and feeling pretty pumped up (the coffee here is seriously the best in the world).
Dear streettogs, I am excited to announce my new free book: “The Street Portrait Manual.” If you’ve ever wanted to learn how to build your confidence approaching strangers, how to direct your subjects, and not make photos that look “posed” — I think you will enjoy this one!
Download:
You can download this book for free below in the following formats:
This version has only text, no images. Use these files if you want to read the book on a Kindle, e-reader, or if you want to edit, change, translate, or modify the text (as this book is “open source“).
Dear streettogs, if you want to learn more of how to shoot street portraits, I just put together a 47-minute video lecture for you! In this lecture I cover what “street portraits” are (and how they differ from “street photography”), how to approach strangers, how to overcome the fear of rejection, as well as practical tips for shooting street portraits.
I am excited to announce that I just finished writing a new book titled: “How to Overcome Photographer’s Block.” If you have ever felt lack of motivation, inspiration, or direction– this is the book for you!
If you’re in a creative rut, learn how to break out of your “photographer’s block” with this comprehensive and practical manual. In this book, I share practical tips, guidance, and assignments to break out of any creative barrier you have with your photography, no matter how severe.
You will learn how to overcome perfectionism, “paralysis by analysis”, giving yourself the permission to make “imperfect photos”, learn how to integrate your life with photography, how to focus on the process (not the outcome), how to add more novelty and randomness to your life, and more.
The book is “open source,” meaning you can share it, remix it, and do anything you want with it for free. Feel free to share it with a friend, print it out, or even translate it into a different language!
You can download the book for free in these formats:
Life is good in Berkeley! Just finished a fun 1-day intensive street photography portrait crash course workshop in SF, and after meeting all the great students, I’m more pumped up to write articles, produce content, and share what’s in my neck of the woods!
In “The Artist’s Way†by Julia Cameron, I came across this interesting idea: that creativity is like a shark. If sharks stop swimming, even for a minute, they will sink to the bottom of the ocean and die.
A lot of things in life are about momentum– about creating positive habits, that allow us to achieve our dreams.
A monthly compilation of interesting reads, videos, books/zines, or portfolios to follow about street photography or other related genres. Check out the April 2015 edition.
I just finished reading an excellent book on art, creativity, and following your passion titled: “The Crossroads of Should and Must†by Elle Luna. The original idea was written on Medium here, and then blew up on the internet.
The premise of the idea is this: in life you are pulled between things you “should†do vs things you “must†do. But what brings real happiness? If you want to learn more, read on.
I am currently reading “The Artist’s Way†by Julia Cameron— an interesting book that links creativity, spirituality, and overcoming your artistic self-censor.
I know a lot of photographers who are perfectionists or have a lot of self-doubt. This causes them to not pursue their dreams of becoming a photographer. Not becoming a full-time photographer, but to be someone who makes photography a part of his or her everyday life, soul, and existence.
I often have a hard time going out and making “street photosâ€â€” and I have a lot of other friends who face a similar difficulty. A lot of street photographers disdain their busy lives, and how they aren’t ever able to make time to go out and hit the streets and shoot “street photographyâ€.
But being really inspired by my friend Josh White— I realized that you don’t need to be a “street photographerâ€, you just need to be a “photographerâ€. Or better yet, don’t even be a “photographerâ€, be a human being with immense amounts of curiosity about the world, with the passion and drive to document it.
Dear streettogs, I am excited to share that I have a new free e-book to share with you guys: “On Being an Artist and Photographer“. The chapters include:
Chapter 1: How to Succeed and Survive as an Artist and Photographer
Chapter 2: The Role of the Artist and Photographer
Chapter 3: How to Express Yourself as an Artist and Photographer
Chapter 4: How to Have a Creative and Flexible Mind as an Artist and Photographer
Chapter 5: How to Break Out of Your Comfort Zone in Art and Photography
Chapter 6: How to Be Self-Compassionate as an Artist and Photographer
Chapter 7: Conclusion
This free e-book is a compilation of all of the previous blog posts I’ve been writing on the book: “Akademie x Lessons in Art and Life“. I know the blog posts are a bit difficult to download and access, so I put them together in an easy-to-access free download file.
Free download:
This book is “open source†meaning you are free to distribute, edit, change, remix, or share this with your friends (freely and openly). Enjoy:
I think as artists and photographers we often put a lot of pressure on ourselves. We always put pressure on ourselves to improve our photography, to take our work to the next level, and to make “original†work.
In “Akademie x Lessons in Art and Life†artist (and our tutor) Shirley Tse gave lots of interesting ideas on art that are quite taoist/buddhist in nature. Her ideas reflect on self-compassion in art, and some of her lessons include loving (not judging), being critical without being judgmental, sharpening one’s visual intelligence, and not worrying so much about being original (but more focus on being authentic).
I think one of the most exciting things about being an artist is following your curiosity, passion, and to pursue a life-long path of learning.
Continuing from my “Akademie x Lessons in Art and Life†series, here are some lessons I learned from the Raqs Media Collective in how you can constantly transform yourself through art, how to step outside of your comfort zone, and thrive in a life-long pursuit of learning:
Continuing my series on “Akademie x Lessons in Art and Lifeâ€, I thoroughly enjoyed an essay titled: “Me and Marcuse†by Michelle Grabner. She exposed me to a lot of new ideas that I want to explore below on the following topics: what art is for, the importance of filtering images, undoing and re-doing your world-constructs, and the importance of learning:
Continuing the lessons I’ve learned from “Akademie x Lessons in Art + Lifeâ€, I want to share some thoughts I’ve learned from Carol Bove, one and the artists and “tutors†from the book.
Carol expresses ideas on self-expression, what work means to her, time and information management, as well as uncensoring and finding yourself. I hope you enjoy these ideas:
(Editor’s Note: Words and Photographs by Ryan Tacay)
In a world of instant-gratification and disposable media, it’s hard to take something like instagram as a serious way to share something artistic and long-lasting. Going past the jokes about it being all about the bathroom selfies, things I ate today, or this afternoon’s sunset, it’s actually one of the best ways to get one’s work out there and seen.
For starters, with instagram claiming they have about 300 million active users compared to the 92 million that Flickr has, it’s safe to say that although the images are displayed no larger than a 640×640 pixel square format, there’s a larger audience. Having come from Flickr since 2005, I get more traffic and activity on instagram these days. It has become my preferred method of sharing my street photos.
Continuing my education with “Akademie x Lessons in Art + Lifeâ€, I wanted to share some thoughts I have gleaned from Piero Golia, one of the artists and “tutors†in the book. Here are some of his ideas that stirred my thoughts and creativity, and how I think we can apply these concepts as a photographer.
I just gave a free street photography webinar, and here are some of the slides that I shared on practical tips, assignments, and “traits of great street photographers”. The video recording of the event will be available in a week or so, will also make sure to share. In the meanwhile, enjoy this presentation!
You can also see the presentation on Slideshare here. You can see the full list of all of my presentations here.
Other Free Video Street Photography Lectures
You can also see some of my other free video street photography lectures below:
I am currently reading: “Akademie x Lessons in Art + Lifeâ€, which is probably one of the most inspirational art/life books I’ve picked up as of late. It is a beautifully printed and bound book, folding open like a school instructional manual.
I personally never went to art school. I entered college as a Biology major (to become a doctor like a good Asian kid), but upon going into school (and realizing I hated science and math), I switched to the exact opposite: sociology.
Epic bokeh photo of me by my buddy Tyler Hayward in Toronto.
Hey streetogs, after my 3-week trip in Chicago, Toronto, NYC, I am excited to finally be back home in Berkeley. It is wonderful to enjoy sleeping in my own bed, being back at home with Cindy, and the lovely weather of Berkeley. Unfortunately, I think I caught a mild cold while traveling, and will spend the next few days recuperating. Fortunately, caffeine and green tea has been my new friends (gonna take a break from the coffee for a while until I get better).
(Editor’s Note: Words and Photographs by Jared Krause)
I started shooting in June of 2009. I had causally been thinking about photography and decided to buy a camera. I started posting to a photo blog because I felt like photography was a good way to share my experiences with other people. Shooting street photos gave my photography purpose, a goal and a style to pursue rather than just taking random shots of anything. It was a edgy and new to me. I decided to start posting photos to my blog every day, and did so for over a year. In that period, I got very comfortable using my camera, and quite familiar with light, contrast, colour and the other elements involved in photography. Even though I wasn’t shooting street, I was learning.
I love music. I love listening to music when I’m writing (like I am doing now), I love listening to music when I’m driving, and I love having music play in the background when I’m with my friends.
I have a lot of favorite artists and I have found one thing that separates the “successful†artists and from the “unsuccessful†artists: the “successful†artists continue to produce work (and don’t die off).
(Editor’s Note: Interview by Eric Kim. Photographs by Nick Gervin.)
Eric: Hey Nick great to have you. Can you start off by telling us a (brief) life story and how you first picked up a camera?
Nick:Â Thanks for having me, Eric. I first picked up a camera in 1992 at the age of twelve. I wanted to document the graffiti art I was discovering in and around Portland, Maine. At that time, the city was in poor shape and it had a lot of derelict buildings that I would skip school to explore.
I really had no clue what I was doing when it came to photography; I was more of a point-and-shooter then. Still, I felt that the documentation was important and, later on, it would prove to be. Like all things in life, the graffiti didn’t last forever and the photographs I had made then helped document a subculture. I continued to point-and-shoot over the years, mostly with disposable cameras.
In my street photography workshops, I often give the students a “5 yes/5 no†assignment. The concept is simple: you approach a bunch of strangers and ask permission to take their portrait. You intentionally try to get 5 people to say “yesâ€, and 5 people to say “no.â€
Sometimes students struggle to get all 5 people to say “yesâ€, and sometimes students have no problem.
So what are some good strategies to quickly develop a rapport with strangers, and have strangers to say “yes†to having their picture taken?
One thing to remind myself: street photography is supposed to be fun. If you’re not having fun, why are you doing it?
We all have the stresses of everyday life that we have to deal with. We have to deal with stressful commutes, unreasonable bosses, difficulties at home, drama with friends and family, and financial stresses and worries.
Street photography is supposed to be the exact opposite of that.
Street photography is therapy for the mind, soul, and body. Street photography is a chance to (momentarily) escape all the bullshit of everyday life. Street photography is the chance to empty our minds, and to simply stray the streets without a single oppressive thought in our mind.
Street photography is the chance to wander, to explore, and to feel like a child again.
Street photography is the chance to meet interesting strangers on the streets, to enjoy nice and fun conversations, and to meet other like-minded passionate people.
Street photography is having the thrill of the “huntâ€â€” of trying to find an interesting image (in an area that might be boring).
Whenever street photography becomes like a chore or stressful for you, take a break. You’re doing something wrong.
You shouldn’t treat street photography like a job. Treat it like leisure. Treat street photography as an activity that brings you supreme happiness and joy in your life. Treat street photography as an outlet which makes you feel truly alive.
Don’t compare yourself to other street photographers. After all, their life circumstances are different from yours. Perhaps they don’t have a family and have much more free time to shoot than you. Perhaps they live in a more “interesting†city than you do. Perhaps they are better connected, and therefore are more “famous†than you.
Strive to become the best street photographer you can, and enjoy the journey and the process.
Be like a kid again— have fun like a child in the playground for the first time.
One of the most interesting ideas that I’ve got from Nassim Taleb’s book “Antifragile†is his concept of “via negativaâ€. The concept is this: when describing something, negative descriptions often work best.
What is a negative description?
Well, describing what something isn’t can better define something.
From here on out, Photography Quick Links will now be known as Street Photography Quick Links. Just like from last month, a compilation of interesting news, write-ups, videos, and other things about street photography and other related genres that I have personally consumed. Since it is international women’s month last March, there’s a special section on the work of great female photographers!
Hey streettogs, I just uploaded some slides for a free talk I did for Chase Toronto the other day on tips, techniques, and tricks to conquer your fear of shooting street photography.
You can also download the slides for free here. Enjoy! :)
So after a long trip in Stockholm, Dubai, and London I wanted to share some of my experiences shooting medium-format (Hasselblad 501c + 80mm lens and Mamiya 7 + 80mm lens) for street photography (and traveling in general).
To start off, I have been really fascinated with shooting square-format photographs recently. To be honest, my first real fascination with shooting squares was from Instagram (and of course photographers like Lee Friedlander and Vivian Maier).
So I first started shooting a lot of squares on my smartphone (squares in-camera, post-processing in VSCO, and uploading to Instagram and social media). Then I realized I had a Hasselblad that my friend Jeroen Helmink gave me about 2 years ago (which was collecting dust on my shelf) that I wanted to try out. Dutifully while living in Berkeley, I carried around my (quite heavy) Hasselblad while on my daily chores and just exploring the neighborhood.
I just re-read an excellent book titled: “The Art of Learning†by Josh Waitzkin. If you’ve ever watched the film “Searching for Bobby Fischer†(the movie about the kid chess prodigy)— that movie was based on Josh Waitzkin’s life.
“The Art of Learning†is a rare book in the sense that he became world champion not only in chess, but also later in competitive Tai Chi “push handsâ€. In the book, Josh breaks down how he was able to learn at an incredible pace, how he was able to push his own creative boundaries, and how he achieved excellence at a master-level.
For this article I want to break down some lessons that I’ve personally learned— which can help you in your street photography or life in general. Let’s go:
The other night here in Chicago, I woke up in the middle of the night. I was tossing and turning (put on the heater too hot at night).
In a state of being half-asleep, I started to have all of these random ideas for blog posts. One of them was: “measure your life as a photographer in decades, not years.â€
I recently got 164 rolls of Kodak Portra 400 developed after a year of shooting (and not looking at any of the images). I would have to say— I was so impatient towards the end. I wanted to see my images, and I started to get frustrated. There have been many times when I’m frustrated waiting for my film to get developed that I think of just switching all of my work to digital— to get that sweet, blissful instant gratification.
This is a guest post by Josh White, a street photographer based in Seoul, Korea.
Josh: Yesterday (and sort of the day before) I took part in the 24 Hour Project. For those of you that don’t know, it is a street photography initiative that involves photographers worldwide.
Basically, how it works, is you take one photo per hour for 24 hours in your given city (cities in my case). So, from 00:00 on Saturday, March 21st, until 11:59 I was to stay awake and take and post one photo per hour. By the time 00:00 rolled around I felt more like #fml than #24hourproject.
I recently stopped into the Costco in Mountain View, California with 164 rolls of Kodak Portra 400. You should’ve seen the look of the staff— it was a look of confusion, awe, and amazement.
They were surprised that all that film I brought in was all shot by me. They were also partly worried that they would have to process all of it. I reassured them by telling them to take their time— I wasn’t in a rush. After all, I had been sitting on my film and letting them “marinate†for nearly a full year.
And so the cycle continues for Streettogs Academy! Our assignment this time round is deceptively simple. This assignment would actually go down as the assignment with the most interaction (so far). Many comments were shared and there were a number of photos that got the attention of many members of the group. If you look closely, the photos that got selected and got the most interest are the ones that had the simple basic requirement of a good image: A strong visual hook. So let’s see all of them.
Hey streettogs, I am excited to share that my friend Walter Margerison and IÂ are curating a group street photography show at ArtÃs Coffee in Berkeley, comprised of 24 Bay-Area based street photographers.
The exhibition is this Friday, March 20, from 6-9pm. Free alcoholic beverages will be served, and this will be a great chance to meet other street photographers from the area! Don’t miss out, hope to see you there, and bring a friend (or two!)
Artis Coffee Address: (Google Map)
1717B 4th St
Berkeley, CA 94710
Copyright Rene Burri / Magnum Photos. BRAZIL. Sao Paulo. 1960.
On October, 2014 Rene Burri passed away, at age 81. He had an incredible career of photography behind him, and produced many iconic images, which include those of Che, Picasso, and many other street photographs which perfectly combined geometry, story, and form.
About a year ago I got a copy of his color street photography, which was published in “Impossible Reminiscencesâ€â€” and was deeply moved by his color work. I feel that his photographs have an emotional and cultural sensitivity to them. Rene’s work feels like a more empathetic Henri Cartier-Bresson.
I therefore felt inspired to write an article on Rene Burri. Unfortunately there isn’t too many interviews he has conducted, but based on what I could find online— here are some lessons I have learned from him:
I was stunned to hear that photographer Caio Proença recently translated my free e-book: “Street Photography 101: An Introduction to Street Photography” into Portuguese (free download here)! Caio writes a bit about why he decided to translate it:
I have always known Dorothea Lange’s work documenting the Great Depression (and her famous “Migrant Mother†photograph), but didn’t know much about her life and philosophy. In this article I will share some of the lessons that Dorothea Lange has taught me about photography, and how you can apply that philosophy to your own work:
(A.g.’s note: Photography Quick Links is a new initiative I want to do here on the blog. These are links I have personally read and sifted through. This is by no means a definitive guide but for those news stories or news articles regarding photography [but will try to concentrate it to street of course] that you may have missed or I think you should definitely see to help you in your shooting and understanding of the medium. I am still thinking of a permanent title for this one [will double check with Eric] Cheers and happy reading!)
For those that love evocative black and white, you might like his work. There is quite a passion and energy as he constantly updates with new work via his tumblr. Worth to check out and get lost in
The follow up to Patrick Tsai’s photo diary, Talking Barnacles. Tsai continues the exploration of the non-fiction ongoing photo essay complete with vignettes from his day to day life being spent on an island somewhere in Japan. I’m working on an extensive write-up on his two works. I hope I get the chance to give it the justice it deserves.
Here we go with another assignment over at streettogs academy. Cheers to Harry Fodor for bagging the editor’s choice for Assignment no. 8.
In his email to me, he gave a pretty nice explanation/rationale on why he chose his theme. He made a good observation of what the group is doing and I think it is a great way to continuously challenge ourselves.
In Harry’s words:
Well, what’s my idea for the next assignment?
Hmm, last assignments themes were all about interactions, interactions between people (7th “Opposites”, 3rd “Foreigners” ) or interactions between people and the environment (last one, 6th “Directions”, 4th “Strong Light”) or themes about emotions (5th “Fear”, 2nd “Friendship”). Only the first one (“Square”) was about “technical” aspects – so, why not doing something like a “rhetorical loop“ and going back to the beginning?
I want to write this article on a photographer, blogger, and overall cool guy — Blake Andrews.
I first saw Blake’s work on the In-Public website, and was amazed by his surrealistic street photography— and his sharp eyes for shapes, forms, and visual elements.
I am excited to announce that I finally put together my free ebook: “Letters from a Street Photographer“. This book is much more philosophical in nature– and combines the philosophy of stoicism and street photography. If you seek more purpose, happiness, and meaning in your photography, this book is for you.
Here is a breakdown of the chapters:
Chapter 1: How to shoot and live without regrets
Chapter 2: How to deal with negative critics
Chapter 3: How to focus on your life’s work
Chapter 4: Fuck fame
Chapter 5: How to be happy
Chapter 6: How to live a purposeful life
Free Download:
This book is “open source” — meaning it is free to download, share, and remix. I hope you enjoy this fruit of my love:
Wow— where do I even begin? I would say that “The Decisive Moment†by Cartier-Bresson is one of the most beautiful photo books I have ever handled— and it is a book that brings me extreme joy and happiness (you can see all the photos from the book for free on the MagnumPhotos website here).
Sure I have seen many of these photos by Cartier-Bresson before, but to see them in a physical manifestation is a different experience. Not only that, but the original version of “The Decisive Moment†was nearly impossible to get (second-hand copies before the reprint were around $1000+). However now with this re-print by Steidl, “The Decisive Moment†is now open to everybody.
All systems go as our Space assignment wraps up! Thank you again to Kirk Lothian for the interesting idea and letting me play with Space and Star Trek Puns like nothing else! Let’s lift off and head on to the actual entries everyone in the streettogs academy group sent in.
I’ve just put together this list of street photography aphorisms, heuristics, and sayings. This is a distillation of all of my current thoughts and philosophies on street photography. Many of these sayings and ideas are heavily borrowed from others, and none of these ideas are original.
Don’t take everything in this list as “truth”. Rather, take everything with a grain of salt. Take the sayings which resonate with you, and discard the rest.
Update: I re-edited this book with new images and design / April, 2016
Hey streettogs, I am excited to announce that I’ve finally published my free e-book: “Street Photography 101“. If you’re new to street photography, want to learn the fundamentals, or refresh your existing knowledge– check it out. As always, this book is “open source” — meaning you can freely edit, remix, and distribute this information as you would like.
Below is an overview of some of the chapters I will cover:
Chapter 1: What is street photography?
Chapter 2: Why street photography?
Chapter 3: What to look for when you’re shooting street photography
Chapter 4: How to overcome your fear of shooting street photography
Chapter 5: Lessons I’ve learned from the masters of street photography
Chapter 6: Street photography equipment, technical settings, technique
There is no doubt that we are in an age where information on the web is fast and oftentimes free but despite that, we can’t discount the value of books. This tangible medium has helped teach men and women for centuries as it was and is one of the best way to pass information and/or stories. We are in a great era since we are seeing a great number of photo books come out year after year after for the past decade from self published ones, to reprints, and experimental approaches. Having a photo book from a photographer you look up to or a photographer whose work you admire is a treasured material. Based on my experiences, here are some ways you can build your photo book collection:
My friend Todd Hatakeyama recently gave me a superbly refreshing book titled: “The 5 Elements of Effective Thinkingâ€. It is a basic primer on how to think more effectively when solving problems– and can help students, teachers, and anyone trying to learn or improve their skills.
Like always, I took away a lot from the book– and thought about the principles and how we could apply them to street photography. Here are some of the ideas I learned from the book:
The following are the notes I have jotted down during the Angkor Photo Festival last Nov. 28-Dec. 6, 2014. I have organized my thoughts and the lessons so that it would be easy to comprehend for others.
The notes I have is most likely different from the other participants since we had different experiences based on the mentors we had, the skills we wanted to develop, and things we encountered while photographing. These notes are not a substitute for the entire experience during the workshop. I’m sharing it here since you may be in the same situation that I am in or perhaps see something different with regard to the work you are doing. I also share in Eric’s philosophy that information should be open.
With that said, I will say that the time, effort, and everything I put in working through the workshop/festival, meeting other photographers, and just overall looking and doing work made me mature and more confident about what I do. All thanks to the festival organizers, my mentors Kosuke Okahara and Ian Teh, the photographers I met who gave me tips and a few pints of beer, and my batch mates who as I type are already making great leaps in their photography.
Other notes: All in brackets [ ] are my personal opinions and notes on the things that were said or what I think is related to the lesson.)
For more info on the Angkor Photo Festival and workshops, click here.
Dear streettogs, I am really excited to share that I have (another) free e-book for you guys (because I love you) titled: “The Street Photography Project Manual”
The concept behind the e-book was this: I wanted to put together all the information I knew regarding coming up with ideas with street photography projects, how to shoot it, how to edit and sequence it, and how to publish it. Here is a quick overview of the chapters in this e-book:
Chapter 1: Why pursue a street photography project?
Chapter 2: What makes a great photography project?
Chapter 3: How to come up with a street photography project idea?
Chapter 4: How to stay motivated when pursuing your photography project
Chapter 5: How to edit/sequence your photography project
Chapter 6: How to publish your photography project
Chapter 7: Conclusion
Free download:
This book is “open source” meaning you are free to distribute, edit, change, remix, or share this with your friends (freely and openly). Enjoy:
Hey streettogs, I just finished writing a little mini e-book titled: “The Social Media Blackbook for Photographers“. I have been thinking about distilling a lot of my thoughts on social media and photography– and I hope this can be a helpful resource to you. A lot of the thoughts in the book is just my personal take on social media and how it can benefit you as a photographer. Here is a brief overview of the contents of the book:
Chapter 1: Why social media?
Chapter 2: What is social media?
Chapter 3: The importance of creating value in social media
Chapter 4: How to gain more followers
Chapter 5: The importance of engagement in social media
Chapter 6: Common mistakes in social media
Chapter 7: Social media strategies, tips, techniques
Chapter 8: Conclusion
This e-book is open-source (share, distribute, re-mix, translate, or do whatever you want with it). You can download it for free below:
Today I turn 27 years old, thank you for all the kind birthday wishes!
I am currently in LA for the weekend, visiting some close friends and family for a quick birthday dinner, then heading back home to Berkeley early Sunday.
I am generally not the person to reflect very much. I kind of like to live life in the present moment— and don’t think too much about the past or the future. But I have found starts of the new years as well as birthdays are a great time to do some personal reflection.
In this video presentation I share compositional techniques to make better street photographs (diagonals, figure-to-ground, curves, leading lines, framing). You can see all the slides for this presentation here.
Articles on Street Photography Composition
If you want to learn how to improve your compositions in street photography, enjoy these articles:
As a part of my on-going “Ask Eric Kim” series– here is a question I have from Darren Hoyland from my Facebook fan page:
Darren Hoyland: How [do you]Â keep yourself motivated whilst out on the streets when you have that deja view moment of been here done that?
Hey Darren, I face this a lot: when I’m shooting on the streets and I don’t feel motivated and I feel like I’m just repeating myself. Here are some tips I recommend in terms of staying inspired with your street photography and to stay motivated:
I am a big fan and believer of “heuristics” (or rules of thumb). I was first introduced to the idea of “heuristics” from Nassim Taleb (in his book “Antifragile“) and later more from Gerd Gigerenzer (a German psychologist who wrote the excellent book: “Gut Feelings: The Intelligence of the Unconscious“). Below is a list of heuristics (ad random thoughts on photography) I personally believe and try to follow:
Don’t buy a photography book unless you plan on reading it more than once.
Don’t buy a photography book with the intention of selling it into the future.
When in doubt, ditch.
A photo is either a “hell yes” or no.
It is better to travel to fewer places (than seeing a lot of places, but less time in each spot)
Always have a backup when traveling and taking photos (camera, lens, battery, memory card, film)
Better to bring more film (than less)
A week in a foreign city is a sweet spot to getting to know the city
The bigger your camera, the less likely you are to carry it with you on a daily basis, and therefore you are less likely to shoot daily, and will end up shooting less
Try to take at least 1 photo a day
When in doubt of a photo, don’t upload it
Work on series, not individual images
Lots of likes and favorites doesn’t necessarily mean the photo is good
It is better to be deeply influenced by a few photographers (and know their work really well), than being a little bit influenced by a lot of other photographers
Changing a bad color into black and white won’t make it a better photo
Adding clarity, sharpness, vignette won’t make a bad photo better
Post process a photo until it looks about 80% good and stop, or else you run the risk of over processing
The less time I spend on social media the happier and more focused and productive I am
Don’t compete against others, compete against myself
Spending time with photographers obsessed with gear will make me want to buy more gear
The more time I spend on gear review sites, the more gear I want to buy (that I don’t need)
Whenever I am feeling uninspired by my photography or dissatisfied with my work, I want to buy a new camera (thinking it will make me more creative, and spark more inspiration)
I only need 2 pairs of clothes while traveling (one pair I’m wearing, and the other in the bag). Wash each pair in the shower with shampoo every night and hang dry.
While traveling don’t wear cotton (stick to athletic quick dry material)
The most successful photographers are often the least satisfied
The more people who say they hate your work (or call your work overrated), the more successful you are.
People with a large followed by following ratio (on Twitter) aren’t spammers
The more hash tags a photographer uses on social media, the more hungry for attention they are
The best photography I can do is in my own backyard (I better than anyone else, and it is usually more unique)
Shooting film helps the editing process (I unintentionally let my film marinate for a long time because I’m either busy or lazy, and therefore when I get my film finally processed and scanned, I’m no longer emotionally attached to my photos and can “kill my babies”)
If I spend too much time trying to make my digital photos look like my film photos, just shoot film
I’m happy if I can make one meaningful street photo a month
The more a photographer gossips about others, the more insecure they are about their own work
You are the average of the 5 closest photographers to you.
Photographers who criticize the equipment of others are often just jealous and want that equipment
A viewer will respect or value a photo more if you tell them you shot it on film (unfair, but true)
To get an honest critique, tell people to be “brutally honest” and help “kill your babies”
Don’t defend my photos during a critique. Keep my mouth shut, nod, and take notes
Always be ready to share my portfolio with someone else (via my smartphone or iPad)
While traveling I generally shoot 1 roll of film every 2-3 days
When booking accommodation, the most important thing is location, location, location
When traveling in a foreign country and trying out a new meal at a restaurant or a coffee, ask the waiter (or barista) what they ate or drank today (as a good guide to make your own decision)
The more tourists in an area, generally the less interesting it is to photograph
If possible, always fly direct. If the cost of a direct flight isn’t 25% more expensive than the cheaper option, go for it.
It never hurts to ask for permission when taking a photo of a stranger
Best way to overcome jetlag : fast for at least 18 hours before arriving at my target destination
Creepiness is proportional to focal length
If I want to overcome jetlag, drink as much coffee as I want until it is time to sleep at around 10pm my destination time
When on an international flight, switch my watch to the target destination, and try to stay awake (and sleep) accordingly
If I’m jetlagged and it’s past midnight in a foreign country, take melatonin.
When in doubt, smile at a stranger and say ‘hello’
The most interesting thing to photograph is your own life.
Have a double-shot of espresso whenever I feel uninspired (always does the trick).
What are some other rules of thumb or heuristics that you personally believe in and follow? Share your tips and thoughts in the comments below!
In this video lecture above, I share some practical tips, thoughts, and philosophies about being “invisible when shooting street photography. You can check out the slides here.
This morning on the way to the gym, I was listening to the newest podcast episode of “Invisibilia†(a new NPR podcast on cognitive and behavioral science) and they had an episode titled “Fearlessâ€.
The episode was fascinating to me— as I have always been obsessive with this idea of conquering your fear of shooting street photography.
I notice that out of all the workshops I teach, my introductory “Conquer Your Fear of Shooting Street Photography†course is always (by far) the most popular.
Cheers to another Streettogs Academy Assignment done and let’s continue the voyage with the Assignment from editor’s choice, Kirk Lothian. Here’s a hint to what it is: It should make us boldly go where no one has gone before.
I recently came upon the work of Harry Callahan from a friend and former workshop student named Chris Giuseppe.
This past weekend, I organized a small meet-up in San Francisco in the mission district (Haus Coffee is lovely) and about 10 of us street photographers met up, exchanged prints, photography books, current projects, and good laughs and catching-up.
This Harry Callahan book that Chris brought (the book is just called “Harry Callahanâ€) was a big tome– and diverse in its material. Harry Callahan had an incredible career in terms of his photography– he photographed so much different subject matter with so much emotion, soul, and tenacity.
Another two weeks, another assignment done over at streettogs academy! Sam Trachsel gave us Opposites as a theme for this assignment! Let’s look at how the members of the group interpreted the theme!
Introduction to Composition in Street Photography
