Tag: composition

  • The Street Photography Composition Manual

    The Street Photography Composition Manual

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    Dear streettogs, you might have read it in my last update post from Paris, but I am excited to release my newest free (and “open source“) e-book: “The Street Photography Composition Manual.” The book is a distillation of all the lessons I have learned about composition and street photography, and I put it into a handy PDF which you can print out, carry around on your iPad, or read it from the convenience of your laptop.

    Download

    Book Description

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    “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.”

    – 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.”

    – 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.

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    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.”

    – 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

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    Below is the overview of all the chapters and sections in the book:

    • Introduction to Composition in Street Photography
      • The “Fishing Technique”
      • Leading Lines
      • Perspective & Leading Lines
      • Seeing Leading Lines After-the-Fact
    • Chapter 1: Dynamic Street Photography
      • Hand Gestures
      • Repeating Hand Gestures
      • Not Showing Faces
    • Chapter 2: Horizontal vs Vertical Framing
      • When to Shoot Horizontals vs Verticals?
        • Horizontal Shots
        • Vertical Shots
      • Shooting Both Horizontals and Verticals
    • Chapter 3: Triangles
      • The Golden Triangle: Introduction
        • Applying the Golden Triangle
        • Applying Composition After?
        • The Golden Triangle Overlay in Lightroom
      • Working the Scene
      • To Crop or Not to Crop?
      • Triangles in 3 Subjects
      • Contact Sheets
        • Contact Sheet: Mumbai, 2013
        • Contact Sheet: SF, 2015
      • Composition & Intuition
    • Chapter 4: Figure-to-Ground
      • Look at the Background First
      • The “Figure-to-Ground Test”
        • How to Create Your Own “Figure-to-Ground Test”
        • Example of “Poor” Figure-to-Ground
      • Dramatic Light & Figure-to-Ground
      • Flash & Figure-to-Ground
    • Chapter 5: Juxtaposition
      • Juxtaposing Emotions
      • Juxtaposing Directions
      • Surrealist Juxtaposition
    • Chapter 6: Color Theory
      • Red-Green Complementary Colors
      • Orange-Blue Complementary Colors
        • Contact Sheet: SF, 2015
      • Violet-Yellow Complementary Colors
      • Warm vs Cool Colors
        • Warm Colors
          • Contact Sheet: Tucson, 2013
          • Contact Sheet: Downtown LA, 2013
        • Cool Colors
        • Cool Colors with a Splash of Warm
          • “Is it Street Photography?”
    • Chapter 7: Storytelling
      • Open vs Closed Photos
      • Open-Ended Emotion
      • Eye Contact?
      • Closed Photos
      • Storytelling Without People?
      • Can You Create a Truly “Objective” Photograph?
    • Chapter 8: Conclusion
      • Emotions are King
      • Break the Rules
      • Give Back

    Sample pages from the book

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  • Travel Update: My Experience Shooting Street Photography in Paris, Getting My Backpack Stolen, and Free Composition Ebook

    Travel Update: My Experience Shooting Street Photography in Paris, Getting My Backpack Stolen, and Free Composition Ebook

    I’m on a train to Aix en Provence, to the south of France and wanted to share my experiences shooting street photography in Paris.

    If you read on the internet, apparently there are more strict regulations about image copyright and street photography in France. To my understanding, you can take a photograph of anybody in public, but there are restrictions on publishing a photo of a stranger.

    I have a mantra in life: “It is better to beg for forgiveness than ask for permission.” So generally speaking, I don’t worry much about image copyrights and street photography.

    Shooting street photography has been an absolute pleasure in Paris. Despite the fact that a lot of people say that Parisians are mean and rude, I have found the opposite to be true. I know a tiny bit of French (Cindy is fluent), and whenever we went to restaurants and spoke French, they didn’t default to English (only at a few touristy food stalls near landmarks). People were friendly helping us find where to go, with food recommendations, and great service in general.

    When taking photos of strangers, it was totally fine too. After shooting when I smiled and said “merci beaucoup”, most people smiled back and said no problem. I also asked a lot of people to take their portrait while here, and 90%+ of people said yes.

    I had one experience when I was in a more “ghetto” part of Chatlet and took a photo of some rough looking kids after they asked me not to (my fault). The kid (around 16 years old) approached me and tried to take my camera for me and got a bit aggressive (he had his posse with him). He kept asking me in French to delete the shot, and I tried to explain I shot film. He didn’t understand and was quite angry and refused to let me leave.

    Fortunately there was an onlooker who told the kids to back off in French (once again the friendly French). The kids finally relented, and one of the kids gave me a light backhand to the face and walked off.

    Getting my backpack stolen

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    Another fun story: the other day I got my backpack stolen in Republique during the gay pride parade. I finished a super fun day of the workshop and was with my students at a cafe having a beer. We were all laughing, having a good time, and I had my backpack literally right next to my seat. But suddenly I turned away and it was gone. I guess somehow a thief took it while all of us were distracted. None of us saw the thief. We only saw that one of the pins I had on my backpack (a silver airplane pin my friend Jonathan gave me) was on the ground (with a wing bent).

    What did I get stolen in my backpack? Fortunately I had my passport, film, and other valuable belongings back in my airbnb apartment. I lost my laptop (2012 macbook air 11 inch), 3 rolls of film I shot that day, my Leica sf20 flash, some batteries, and not much else.

    Thank God my students jumped to my rescue. Emmanuel, one of the workshop students (who speaks French), took care of me and Cindy by taking us to 3 police stations to file a report, and paid for our uber taxi rides. Unfortunately that day (because of the terrorist bombing in Lyon) we couldn’t file a report. But the next day we did successfully.

    Other good news? I have travel insurance (covered up to $10,000 with GEICO and only pay around $20 a month), and my stuff is covered.

    Honestly I am surprised it took me this long to get my stuff stolen considering how careless I am about my stuff, and how much I travel. I’m just happy I didn’t lose my passport, wallet, and smartphone (I’m typing this out on my phone in Evernote).

    What about my data in my laptop? 95% of my photos and video is backed up in dropbox (premium membership FTW), and 99% of my other data is backed up in the cloud (Gmail, Evernote). I lost some gopro pov films I shot in Paris, but the next day I was inspired to shot more footage (will upload soon). I also changed all my passwords and reset my laptop remotely via the apple “find my phone” application.

    I hope the guy who stole my laptop uses my laptop, maybe learns how to code, and is able to stop his life of crime.

    For a new laptop, I might buy the new MacBook 12” retina (90% of my laptop work is writing and blogging), and I don’t need much speed (I shoot mostly film). Also I think the gold color is pretty sexy haha. Plus the retina screen should be nice for photos. And the weight is super light (.5 pounds lighter than my 11 inch). So perhaps getting my laptop stolen was a blessing in disguise.

    Morale of the story? If you’re traveling, keep your bag or backpack wrapped around your leg or under the table. Always have your important documents back at your hotel or apartment, always backup your files (both to an external hard drive and to the cloud). Also have an extra photo or photo copy of your passport (if it gets stolen, this makes it easier to get a new copy). Also be careful of scammers, and when your intuition says someone seems or looks fishy, follow your gut.

    If you’re traveling, just assume sooner or later you’re going to have your importance stuff stolen. So be prepared in advance what to do if it happens.

    If you shoot digital, buy lots of SD cards, an extra external hard drive, and keep your photos secure (you can always buy a new backpack, laptop, camera, but you can’t recover your photos).

    Thank God I didn’t get my Leica stolen.

    Places to shoot in Paris

    If you’ve never been to Paris, the best places to shoot aren’t in the city center, but around the edges.

    For my airbnb I stayed in both Place d’Italie and Bercy, both great places to shoot street photography (fewer tourists). In Bercy there is a cool Park (bercy Park with a skatepark inside), and the “bercy village.”)

    Near the Gare de lyon train station is good and also inside the station (lots of interesting characters).

    Favorite neighborhoods : the marrais (Jewish neighborhood with the best fallafel and trendy stores, go to las du fallafel), the canal saint martin (cute boutique and bookstores with a beautiful view of the canal, go to “chez prune” for food).

    A bit outside of Paris, highly recommend going to “la defense”, where there are mostly businesspeople and an epic cube arch. Great for architecture street photography.

    Also for architecture and composition, go to the French National Library (BNF).

    For a lot of people, go near the Lafayette gallery, Chatelet, or near Opera.

    My favorite photo gallery? The polka photo gallery (they have a Bruce Gilden exhibition going on, and a great bookstore).

    Favorite meals in Paris (not expensive): Auberge Saint Roch, “cafe constant”, chez Lili et Marcel.

    My shooting

    For this trip in Paris, I shot some for my “Suits” project near la defense, but most of my shooting was on my film Leica on tri x pushed to 1600 with a yellow filter (from my friend Karl Edwards from StreetShootr.com).

    I don’t know why, but suddenly this trip I was inspired to shoot more gopro pov videos, hope you enjoyed them. I plan on doing more of them.

    Most of the shots in black and white are just random photos of interesting things I saw for fun.

    I’ve also been shooting a lot on my smartphone (Galaxy s6), and processing them in color (Vsco a6 preset). Actually really love the colors that come out, they look like portra!

    Honestly, traveling with all this film is kind of a pain in the ass. When doing the gopro video with the Ricoh GR, I fell in love with that camera again. I thought how nice it would be if I did all my traveling with the Ricoh GR (and just leaving the Leica and film at home). Maybe next trip.

    Books I’ve been reading

    I’ve recently become a huge fan of Matthieu Ricard, French scientist turned into Buddhist monk. On my kindle, I’ve read his book “Happiness” (great book that taught me true happiness is serving others), and a new book “Altruism” (inspiring me to devote my life to help others as well).

    Krishnamurti’s “The first and last freedom” was recommended to me by a friend, and his philosophy on creativity and the mind is fascinating.

    Reading “the magic of thinking big” (for inspiration), and for health I read “brain maker” (learned the importance of a healthy stomach).

    My life purpose

    The biggest thing I’ve been meditating on this trip is how to live a meaningful life. My new favorite quote:

    “To live is to be useful to others.” -  Seneca.

    I am fortunate that now through my workshops I’m doing comfortably well financially. Of course I still stress out about money, my future family, security, etc, but I have faith that as long as I keep working hard, helping others, everything will be taken care of.

    I don’t want to die the richest man in the grave. I want to continue to contribute to society, and devote my life to “be useful to others.”

    “The Street Photography Compositional Manual”

    I’ve finished a new ebook on street photography and composition that I was tempted to charge money for. My problem is that 95% of my income is dependent on traveling and teaching workshops, and I wanted to create a new income stream that could allow me to spend more time at home with Cindy, my loved ones, and my future children.

    But then this goes against my philosophy of “open source”, and I need to practice what I preach.

    So upon much deliberation, the book is going to be open source. A suggestion that someone gave me: “Why not make it a ‘pay what you want’ model or accept donations?” I think this is much better.

    I personally feel information should be open, free, and used to empower people.

    You can download the pdf for free below on Dropbox (you don’t need a Dropbox account to download it, just click the download icon from the top bar):

    The Street Photography Composition Manual” (pdf direct download)

    So read it, take a look, and you can pay what you think it is worth here via PayPal:

    Donate via PayPal

    Or you can use this fun form below to help support me and the blog!


    Donations




    I wrote the book all from scratch, and distilled all of the lessons from composition I learned. I had a ton of fun writing it on the Apple iBooks author platform, and I hope to write more books with it.

    When you download the book, feel free to share it with anybody you think it will help. Also feel free to change it, remix it, translate it, or whatever you think will benefit others.

    Upcoming travels and workshops

    The week long workshop in Paris was awesome. I loved getting to know all the students personally, showing them to areas “off the beaten path”, all the good food, beer, wine and coffee, fun laughs, daily critique sessions, and their improvement! I like the more relaxed pace of a week long workshop, plan on doing more of them in the future.

    So I’m heading down to aix en Provence with Cindy (she’s going to study at the archives there), then off to Lisbon with my mom and Cindy’s mom. In aix I hope to do more writing (doing a new book on the masters of street photography). Lisbon is to have fun with family (I’m excited, it’s my first time!)

    Then off to Amsterdam, Prague, Vienna, Berlin, London, and Stockholm for more workshops!

    There are still a few spots open, don’t miss out! Spots are quickly selling out, and I won’t do workshops in Europe for probably another 2 years (next year is focused on America and Asia).

    You can see my upcoming street photography workshops.

    Thank you

    I’m forever grateful for your love, support, and continued dedication to this blog and the street photography community.

    What else would you like me to work on to help out? Share some ideas thoughts, feedback in the comments below!

  • The Theory of Composition in Street Photography: 7 Lessons from Henri Cartier-Bresson

    The Theory of Composition in Street Photography: 7 Lessons from Henri Cartier-Bresson

    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:

    Learn more about composition >

  • Composition Lesson #14: Square Format

    Composition Lesson #14: Square Format

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    Symmetry in 6×6 photo by Diane Arbus

    You can see all my composition lessons here.

    I have been quite fascinated with the square-format in street photography for a while. My fascination first came about from Jeroen Helmink, a photographer from the Netherlands (you can see a fun video we made on shooting Hasseblads). There was something quite sexy about the 6×6 format– the way that it created perfect balance in the frame, the simplicity, as well as the novelty.

    Of course as Instagram has become insanely popular– the square-format just looks like an “Instagram shot.” I have heard of Instagram as “ruining” the 6×6 format (medium-format film).

    However I don’t think it really matters what camera, format, or aspect ratio you shoot in. Ultimately the most important thing is to create a visually compelling image that speaks to our hearts or souls.

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  • Saigon Diary #4: Leading Lines, Golden Triangle Composition, and Working the Scene

    Saigon Diary #4: Leading Lines, Golden Triangle Composition, and Working the Scene

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    Hey streettogs, thanks for staying tuned in for the “Saigon Diary” series.

    For the sake of getting sleep and having higher quality posts, I’ve decided not to keep a daily diary– but to update every 2-3 days (depending on how interesting my days are).

    Some people are asking me why I’m showing bad photos in these series. So to clarify, I am trying to make this process of taking photos in Saigon as transparent as possible. So I am purposefully putting out bad photos, critiquing my own work, and sharing some of my thought process. My hope is that this is helpful to you!

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  • Introduction to Composition for Street Photography Presentation (Gulf Photo Plus 2014)

    Introduction to Composition for Street Photography Presentation (Gulf Photo Plus 2014)

    Above is the presentation I used as an introduction to composition in street photography. Feel free to use, edit, and distribute the presentation on Slideshare here.

    Learn more about composition in street photography via the lessons below:

    For further learning on composition, I highly recommend checking out Adam Marelli (who taught me everything I know). You can also learn more about design and composition from him on Youtube here.

  • Street Photography Composition Lesson #13: Multiple-Subjects

    Street Photography Composition Lesson #13: Multiple-Subjects

    Click to read more
    © Garry Winogrand

    I think one of the most difficult compositional techniques in street photography is to incorporate multiple subjects in the frame — without it becoming too cluttered or overwhelming. Generally the problem is that most photographers that try to incorporate multiple subjects have some of the following problems:

    • Overlapping subjects
    • Distracting backgrounds
    • No central subject
    • Not enough points of interest

    In this article I will share some of who I think are the finest photographers to have used multiple-subjects in their photos. I will analyze the images, and hopefully provide practical tips to anyone trying to incorporate more multiple subjects in the frame.

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  • Street Photography Composition Lesson #12: Color Theory

    Street Photography Composition Lesson #12: Color Theory

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    Eric Kim, Downtown LA 2012.

    For today’s compositional lesson– I want to talk about color theory— and how you can better utilize colors when it comes to your street photography.

    Personally around 2 years ago, I made the switch from shooting fully black and white — to just shooting color film (Kodak Portra 400).

    Since then, I have learned to see the world in a totally different way. It has been fun, refreshing, and quite exciting.

    However at the same time– shooting in color presented a new bag of worms. Whereas black and white tended to simplify a scene, color could be distracting and take away from a photo (if the colors didn’t add meaning and value).

    So for this lesson we will talk about some color theory — in terms of how we can make colors better work for us. I am certainly not an expert when it comes to working in color, but I will try to share some practical tips of how you can better shoot street photography in color.

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  • Street Photography Composition Lesson #10: Urban Landscapes

    Street Photography Composition Lesson #10: Urban Landscapes

    Click to read more
    © Robert Frank

    For today’s lesson I want to talk about “urban landscapes.” Urban landscapes aren’t really compositions in the specific sense (compared to lines, curves, etc)– but I still feel they are relevant when creating our street photographs.

    If you guys have read my prior lessons on composition– I have thought a lot about what a “composition” really is. For me at the end of the day– a composition can really be anything. The dictionary’s definition to composition is as follows:

    Composition: The combining of distinct parts or elements to form a whole.

    So when it comes to street photography, whatever elements we capture in the background make an image.

    I am not exactly sure what direction these “composition lessons” are heading– but thank you for your support. Let us continue to ride the wave– and see where it follows:

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  • Street Photography Composition Lesson #8: Curves

    Street Photography Composition Lesson #8: Curves

    Click to read more
    © Henri Cartier-Bresson / Magnum Photos. France, 1932.

    All photos in this article are copyrighted by their respective photographers.

    For today’s compositional lesson– I want to talk about curves.

    To start off, why curves? Well– curves are some of the most dynamic lines that exist.

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  • Street Photography Composition Lesson #7: Perspective

    Street Photography Composition Lesson #7: Perspective

    Click to read more
    © Bruce Gilden / Magnum Photos

    All photographs in this article are copyrighted by their respective photographers.

    For today’s compositional lesson I want to talk about perspective.

    Google defines “perspective” as the following:

    The art of drawing solid objects on a two-dimensional surface so as to give the right impression of their height, width, depth, and position in relation to each other when viewed from a particular point.

    In street photography utilizing unique perspectives or vantage points make images have different impressions and feelings. I often find that street photographers don’t utilize interesting perspectives enough– most photos are just from eye-to-eye level.

    To make more edgy and interesting photos, try embracing more unique perspectives (shooting from a really low angle, or getting on top of a roof and shooting from a high vantage point).

    I wanted to show some great examples of how some master street photographers used low and high perspectives to make more interesting photographs.

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  • Street Photography Composition Lesson #6: Framing

    Street Photography Composition Lesson #6: Framing

    Click to read more
    © Alex Webb / Magnum Photos

    All photos included in this article are copyrighted by their respective photographers.

    For today’s street photography lesson, I want to talk about framing. Framing itself is a pretty basic compositional technique, something I am sure we all learned when we first started. But let us delve deeper into framing. Let us see examples from the masters– and how they framed their images to retain focus, energy, and depth in their images.

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  • Street Photography Composition Lesson #5: Depth

    Street Photography Composition Lesson #5: Depth

    Click to read more
    © William Klein

    All of the photos in this article are copyrighted by their respective photographers.

    For today’s composition lesson I want to focus on a compositional technique that is more utilized by intermediate/advanced photographers. It is the idea of depth.

    What exactly is “depth” anyways? Well, the Merrian-Webster dictionary provides this definition (which we generally think of when it comes to spatial relationships):

    • a: the perpendicular measurement downward from a surface
    • b: the direct linear measurement from front to back

    For the purposes of photography and composition, we will use b (the direct linear measurement from front to back).

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  • Street Photography Composition Lesson #4: Leading Lines

    Street Photography Composition Lesson #4: Leading Lines

    Click to read more
    © Henri Cartier-Bresson / Magnum Photos. FRANCE. 1932. Marseille. The Allée du Prado.

    All photos in this article are copyrighted by their respective photographers.

    For today’s street photography composition lesson– I would like to discuss leading lines.

    Leading lines are one of the most basic photography compositional techniques– I am sure you have all heard of it before. But it is a technique that we often don’t listen to or follow. For example, it is easy to have a leading line in the background (for example, a background) that leads your eyes away from the main subject, rather to the main subject.

    Whenever I look at a photograph, the first question I ask myself is: who is the subject?

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  • Street Photography Composition Lesson #3: Diagonals

    Street Photography Composition Lesson #3: Diagonals

    Click to read more
    © Henri Cartier-Bresson / Magnum Photos. ROMANIA. 1975. In a train.

    For today’s street photography composition lesson, we will discuss a compositional rule that is simple enough: the diagonal. Credit goes to Adam Marelli for teaching me about this important design element which can help street photographers all around the globe.

    Diagonals are one of the strongest and most fundamental compositional elements– something that we all know quite well.

    There are 3 types of main lines: the horizontal, vertical, and diagonal line. They also go in degrees of intensity (the horizontal line being the least dynamic and the diagonal line as the most dynamic).

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  • Street Photography Composition Lesson #2: Figure-to-ground

    Street Photography Composition Lesson #2: Figure-to-ground

    Click to read more
    © Josef Koudelka / Magnum Photos / FRANCE. Hauts-de-Seine. Parc de Sceaux. 1987.

    All photos in this article are copyrighted by their respective photographers.

    To continue my street photography composition lessons, I want to now move onto the topic of “figure-to-ground”.

    What I learned from Adam Marelli is that one of the most important things in a photo is if it “reads” well. Meaning– if you look at a photo, can you tell what is going on– and see all the subjects clearly?

    One of the most important principles is if a photo has strong “figure to ground.” Pretty much what figure-to-ground is having strong contrast between your subject and the background. For example, having a light subject against a dark subject, or a dark subject against a light background.

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  • Street Photography Composition Lesson #1: Triangles

    Street Photography Composition Lesson #1: Triangles

    Click to read more
    © Josef Koudelka / Magnum Photos / CZECHOSLOVAKIA. Slovakia. Zehra. 1967. Gypsies.

    All photos in this article copyrighted by their respective photographers.

    One of the things I don’t talk much about is composition on my blog when it comes to street photography. To be quite honest, I am not as interested in composition of photographers when it comes to their philosophies when it comes to photography. However it is still something important to consider. Therefore I want to start a series inspired by Adam Marelli on how you can improve your compositions in street photography. Some of these lessons may be new, others familiar– and I will use the best examples in the history of street photography to illustrate the compositional techniques (while throwing in a few of my own).

    Triangles are one of the best compositional techniques you can use in your street photography to fill your frame, add balance, and add movement in your images. (Thanks also to Patrick Bryan for the inspiration for doing this article).

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  • What Street Photographers Can Learn About Design and Composition from Classical Art

    Adam Marelli, a talented photographer and artist that I have taught two workshops with recently gave a superb lecture at the B&H Photo space in NYC on design/composition. The talk is about an hour and a half, and worth every minute. I highly recommend every street photographer who wants to better understand how to compose their photos better to watch it. More description of the talk below:

    We will look at how many of the design problems that photographers face have been addressed by classical artists. Bridging the gap of classical art and street photography, Henri Cartier-Bresson combined the two practices and set the world of photography on a new course. We will look at how he and his followers at Magnum, converted the lessons from classical artists into the photojournalism, street photography, and portraiture. We will introduce the visual language, examining its basic grammar and the ways in which photographers can build up each element in their own work. They will be given specific examples from master painters who were proto-street photographers.

    Attendees will walk away with a completely new way of viewing the design accomplishments of classical art. Museums and galleries will breathe with new life as the geometry of art and design is decoded specifically for photographers. You will be given a list of “common compositional mistakes” that many photographers make because the they are only taught to artists. We will also reveal where the “Rule of Thirds” comes from and look at additional techniques to use with a 35mm format.

    If you want to learn more, make sure to also check out Adam’s upcoming workshops here.

  • Discover the Streets of Calcutta, India: Week-long Introduction to Design/Composition Workshop with Eric Kim and Adam Marelli (12/10-12/14)

    Discover the Streets of Calcutta, India: Week-long Introduction to Design/Composition Workshop with Eric Kim and Adam Marelli (12/10-12/14)

    Join Eric Kim and Adam Marelli…

    Street Photography Workshop: Introduction to Design/Composition

    Calcutta [INDIA] – December 10th-14th

    Eric’s Note: I am excited to announce that I will be teaching another unique 5-day workshop in Calcutta, India with NYC  photographer and master composition teacher Adam Marelli. Adam Marelli has a keen eye for design, composition, and capturing “the decisive moment”. He holds a degree in Sculpture and Photography from New York University and studied at the Barnstone Studios. If you are serious about your street photography, and wanting to take it to the next level – check out this unique workshop opportunity! 

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  • 5 Tips How Photographers Can Build Their Online Social Media Presence

    5 Tips How Photographers Can Build Their Online Social Media Presence

    Note: Recently New York Street Photographer James Maher got in contact with me asking for some points and tips regarding building his online social media presence. He noticed that I had a great community backing me up (you guys), and he was curious how I did it. I thought about it long and hard, and came up with this blog post. Hope you guys enjoy!

    The modern-day photographer is more blessed than ever having a wide-array of online social media networking tools at his/her fingertips. Sites such as Facebook, Twitter, Flickr, DeviantART, and online Forums/Blogs allow photographers not only to build up their own online social media presence, but also to connect to the rest of the photographic community. The benefits of having a strong online social media presence are numerous. One of the most apparent benefits is that photographers are able to get more comments & critique on their work, which help them develop their own style and composition.

    However for an aspiring photographer with no experience with online social media, building a presence can be difficult. In this blog post, I will give you a small summary of my experiences, and hopefully give you information which can help you in the long-run as well.

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