{"id":22485,"date":"2015-02-06T16:15:26","date_gmt":"2015-02-07T00:15:26","guid":{"rendered":"http:\/\/erickimphotography.com\/blog\/?p=22485"},"modified":"2015-02-06T16:15:26","modified_gmt":"2015-02-07T00:15:26","slug":"the-5-elements-of-effective-street-photography","status":"publish","type":"post","link":"https:\/\/erickimphotography.com\/blog\/2015\/02\/06\/the-5-elements-of-effective-street-photography\/","title":{"rendered":"The 5 Elements of Effective Street Photography"},"content":{"rendered":"
\"Stockholm,
Stockholm, 2014<\/figcaption><\/figure>\n

My friend Todd Hatakeyama recently gave me a superbly refreshing book titled: \u00e2\u20ac\u0153The 5 Elements of Effective Thinking<\/a>\u00e2\u20ac\u009d. It is a basic primer on how to think more effectively when solving problems\u00e2\u20ac\u201c and can help students, teachers, and anyone trying to learn or improve their skills.<\/p>\n

Like always, I took away a lot from the book\u00e2\u20ac\u201c 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:<\/p>\n

 <\/p>\n

<\/p>\n

Introduction<\/h2>\n

Why thinking is important (in photography)<\/h3>\n

Thinking is something that is definitely underrated in street photography. We need to \u00e2\u20ac\u0153think\u00e2\u20ac\u009d effectively\u00e2\u20ac\u201c in order to make better decisions when we are out on the streets.<\/p>\n

There are tons of decisions to make in street photography: we need to decide when to go out and shoot, we need to decide when to click the shutter, we need to decide when (not) to click the shutter, we need to decide how many times we need to click the shutter, we need to decide how to talk to people and interact when them (when necessary), we need to decide how to interact with people when they get upset, we need to decide how to better edit our photos and sequence them, we need to decide how to present and publish our work\u00e2\u20ac\u201c decisions, decisions, decisions.<\/p>\n

On learning<\/h3>\n

I also feel that in order to become better in any sort of artistic (or creative pursuit) \u00e2\u20ac\u201c it is so important to constantly grow, learn, and evolve. I know that personally when I quit learning, I start dying.<\/p>\n

I don\u00e2\u20ac\u2122t think there is anything such as \u00e2\u20ac\u0153talent\u00e2\u20ac\u009d in photography. Nobody jumps out of the womb and suddenly has a \u00e2\u20ac\u0153skill\u00e2\u20ac\u009d to shoot photographs. And definitely nobody has some sort of \u00e2\u20ac\u0153skill\u00e2\u20ac\u009d to shoot street photography (in terms of having some sort of special \u00e2\u20ac\u0153street photography\u00e2\u20ac\u009d gene).<\/p>\n

We need to cultivate our skills through learning, practice, and persistence. Here is a nice quote from Albert Einstein:<\/p>\n

\u00e2\u20ac\u0153I know quite certainly that I myself have no special talent. Curiosity, obsession, and dogged endurance, combined with self-criticism, have brought me to my ideas\u00e2\u20ac\u009d – Albert Einsten<\/p><\/blockquote>\n

So let us jump into the thick of things\u00e2\u20ac\u201c how to be a more effective thinker in your photography.<\/p>\n

Principle 1: Understand deeply<\/h2>\n

So in order to become a better photographer, you need to understand simple ideas deeply, you need to be brutally honest about what you know and what you don\u00e2\u20ac\u2122t know, you need to let go of bias, preconceived notions, and you need to have a rock-solid understanding of the fundamentals.<\/p>\n

a) Master the basics<\/h3>\n

Before you can become Henri Cartier-Bresson, it is essential to master the basics. What are some basic fundamentals you could work on in street photography?<\/p>\n

Technical settings:<\/h4>\n

Generally when I teach introductory street photography workshops, I recommend people to shoot in \u00e2\u20ac\u0153P\u00e2\u20ac\u009d mode and not worry too much about the technical aspects of the camera. This is because the focus of the workshop is primarily overcoming your fear of shooting street photography\u00e2\u20ac\u201c not learning how to master your camera.<\/p>\n

But I do think that if you are comfortable shooting in the streets and really want to master street photography\u00e2\u20ac\u201c you need to master the fundamentals of the technical settings of your camera and use it in a way which works for you.<\/p>\n

For example, you want to have a strong understanding of aperture, shutter-speed, and ISO.<\/p>\n

For aperture<\/strong>, you need to know the importance of having a small aperture (f8-f16) if you want to have maximum depth-of-field (which is preferable in street photography)<\/p>\n

For shutter-speed<\/strong>, you need to know that you generally want a shutter-speed of at least 1\/250th of a second when you\u00e2\u20ac\u2122re shooting (if you don\u00e2\u20ac\u2122t want blurry photos). Even better it is ideal to have the fastest shutter speed possible (if you want really sharp and non-blurry images). Therefore if possible, try to keep your shutter speed at 1\/1000th of a second or faster during the day.<\/p>\n

For ISO<\/strong>, you want to keep it high (I recommend ISO 800\u00e2\u20ac\u201c1600, even during the day). This allows you to have a small aperture (f8) and a fast shutter speed (1\/250\u00e2\u20ac\u201c1000th of a second).<\/p>\n

Regarding whether you should shoot fully-manual, aperture-priority, or even \u00e2\u20ac\u0153P\u00e2\u20ac\u009d mode is personal preference. You just need to know how your camera works and \u00e2\u20ac\u0153thinks\u00e2\u20ac\u009d.<\/p>\n

If you really don\u00e2\u20ac\u2122t have a strong fundamental of technical settings in photography\u00e2\u20ac\u201c I recommend trying to shoot for a month-straight in fully-manual mode. Really get a sense of how all 3 variables (aperture, shutter-speed, and ISO) relate.<\/p>\n

When I first got a film Leica, I was surprised to realize how little I actually knew about the technical aspects of photography. At the time, I had a Canon 5D (original) and mostly shot in aperture-priority or \u00e2\u20ac\u0153P\u00e2\u20ac\u009d mode. This prevented me from building a strong understanding of light, exposure, and technical settings.<\/p>\n

Therefore every time I wanted to take a photograph on my film Leica, I was frightened whether the photograph would come out properly or not. But after training with my film Leica for several months, I started to get a rock-solid fundamental of my technical exposures. I kept my ISO locked to 400, my aperture locked to f\/8, and the only variable I would change is my shutter-speed.<\/p>\n

This also helped me start to really judge light. I was able to better tell (from my eyes) the intensity of the light, so I would know what settings to use on my camera before shooting. I would also better understand the color of the light, and know when the light was good (which would be a good time to shoot).<\/p>\n

Once again, you don\u00e2\u20ac\u2122t have to shoot fully-manual if shooting in aperture-priority or \u00e2\u20ac\u0153P\u00e2\u20ac\u009d mode works for you. For example, I knew that for my Canon 5D, I needed to shoot with an exposure-compensation of \u00e2\u20ac\u201c2\/3 when shooting in the bright sun, and had to shoot with +1 exposure compensation when shooting in the shade. Every camera performs differently, just make sure to master the fundamentals of your own camera to make it do what you want it to do.<\/p>\n

For manual-focusing<\/strong>\u00e2\u20ac\u201c mastering the fundamentals is also critical. If you shoot with a rangefinder or manual mode on your camera, you want to get really good at sensing your distances. Do you know how far 1, 5, and 10 meters is? Can you quickly pre-focus to your subject in the background without bringing your camera to your eye?<\/p>\n

If you shoot with auto-focus<\/strong>, do you how know how your camera behaves? Do you know how good your camera is regards to photographing subjects that are moving? Do you know how good your camera is photographing in the night? Do you have to use center-point autofocus?<\/p>\n

Composition<\/h4>\n

When it comes to making great photographs, how solid are your fundamentals of composition? Do you know how to fill a frame? Do you know how close you have to be to your subjects to make an interesting or engaging image? Do you know how to better incorporate diagonals, curves, and how to create strong figure-to-ground (contrast) in your images? If not, I highly recommend you to read my articles on composition (or watch my YouTube lecture on composition).<\/p>\n

Emotions<\/h4>\n

Another fundamental in street photography is emotion. Before you go off and try to create very complex images, I recommend starting off to simply capture emotions. As a theme next time when you\u00e2\u20ac\u2122re out shooting\u00e2\u20ac\u201c look for emotions in your subjects. Look for feelings of happiness, angst, pain, suffering, and sorrow in your subjects.<\/p>\n

How do you best capture emotions in your subjects? Look for hand gestures and body language.<\/p>\n

Single-subjects<\/h4>\n

To make better photographs is to simplify. When you\u00e2\u20ac\u2122re starting off in street photography, before you can make a super-complex and multi-layered photograph like Alex Webb, you want to focus on the fundamentals of single-subjects.<\/p>\n

So when you\u00e2\u20ac\u2122re out shooting on the streets, just try to focus on one subject at a time. Then as you feel more comfortable with that, branch out and try to photograph 2 subjects, then 3 subjects. Then see how you can add more depth to your images, by figuring out what other elements you can add to your frame to make it more complex.<\/p>\n

So when in doubt with your photography, take things back to the fundamentals and basics. If you find your backgrounds in street photography are cluttered, simplify by just photographing people against simple black or white walls.<\/p>\n

b) Ask: What do you know?<\/h3>\n

Another way to continue to grow and evolve as photographers is to step outside your comfort zone\u00e2\u20ac\u201c and ask yourself, \u00e2\u20ac\u0153What do I not know about street photography, or photography in general?\u00e2\u20ac\u009d<\/p>\n

Identify photographers you might have heard of, but actually don\u00e2\u20ac\u2122t know the work of\u00e2\u20ac\u201c and try to learn more about them.<\/p>\n

In my \u00e2\u20ac\u0153Learn from the Masters\u00e2\u20ac\u009d series\u00e2\u20ac\u201c I started it because I never had an art school education, and didn\u00e2\u20ac\u2122t know anything about these famous photographers. I would hear names like \u00e2\u20ac\u0153William Eggleston\u00e2\u20ac\u009d, \u00e2\u20ac\u0153Lee Friedlander\u00e2\u20ac\u009d, and \u00e2\u20ac\u0153Walker Evans\u00e2\u20ac\u009d and had no idea who these guys were. However like a dunce, I would nod along my head (pretending like I knew who they were), then I would rush home and try to research them.<\/p>\n

So whenever someone mentions a name of a photographer I don\u00e2\u20ac\u2122t know that well\u00e2\u20ac\u201c I try to learn more about them. I go on Google and roughly see their images on Google images, I try to find their website, I try to learn about their personal history, I buy their photography books, I try to see who they were influenced by, and I try to fill in the gaps of my knowledge and understanding.<\/p>\n

So rather than falling into complacency\u00e2\u20ac\u201c constantly push yourself in your photography to keep learning things that you don\u00e2\u20ac\u2122t know. Follow your curiosity.<\/p>\n

For example, I am not just fascinated by street photographers\u00e2\u20ac\u201c but I am also fascinated by portrait and fashion photographers (like Richard Avedon and Dan Winters). I don\u00e2\u20ac\u2122t know much about portraiture or fashion photography, but studying their work, life, and philosophies have given me a deeper understanding of things that I didn\u00e2\u20ac\u2122t already know.<\/p>\n

So constantly seek out things that you don\u00e2\u20ac\u2122t know in photography. Seek novelty, challenge, and adventure. See my \u00e2\u20ac\u0153Learn from the Masters\u00e2\u20ac\u009d series\u00e2\u20ac\u201c and learn more about some photographers that you don\u00e2\u20ac\u2122t know about (but are curious about). Seek out other fields outside of photography to augment your creativity.<\/p>\n

Don\u00e2\u20ac\u2122t just stay inside your comfort zone\u00e2\u20ac\u201c break out of the bubble.<\/p>\n

c) Sweat the small stuff<\/h3>\n

I also think if you want to become a really great photographer, you need to \u00e2\u20ac\u0153sweat the small stuff\u00e2\u20ac\u009d \u00e2\u20ac\u201c in terms of the details in your photograph.<\/p>\n

For example, you might have one element of your frame which is a bit distracting or kills the mood of the photograph. You might think, \u00e2\u20ac\u0153Yeah, I know there is that distracting element\u00e2\u20ac\u201c but I still like the photograph.\u00e2\u20ac\u009d While that is okay if you just want to be an average photographer, you have to really become obsessive about the small details (if you want to become a truly great photographer).<\/p>\n

You want every corner and edge of your frame to contain interesting or pertinent information.<\/p>\n

One big tip I have when you\u00e2\u20ac\u2122re shooting street photography is focus on the edges<\/strong>. The general mistake many of us make in photography is that when we\u00e2\u20ac\u2122re shooting, we just try to find the most interesting subject and stick them dead-center in the frame, without any consideration of what is happening in the background or the edges of the frame.<\/p>\n

Remember, it is often the small details or the \u00e2\u20ac\u0153cherry on top\u00e2\u20ac\u009d which makes a great photograph.<\/p>\n

Sweat the small stuff. If you have a pole sticking out of a guy\u00e2\u20ac\u2122s head, you might want to ditch the shot. If you have a distracting background, you might want to ditch the shot. If the expression of your subject isn\u00e2\u20ac\u2122t good, you might want to ditch the shot.<\/p>\n

The more you decide to sweat the small stuff, the stronger images you will make.<\/p>\n

d) Focus on the essential<\/h3>\n

I also feel that when you\u00e2\u20ac\u2122re out shooting street photography\u00e2\u20ac\u201c you should focus on working on one element of your work at a time.<\/p>\n

For example, when you\u00e2\u20ac\u2122re out practicing, don\u00e2\u20ac\u2122t try to learn your technical settings, try to capture decisive moments, try to simplify the background, and also capture emotions at the same time.<\/p>\n

Rather, focus on the essential thing you want to work on.<\/p>\n

For example, one day you might want to focus on getting more skilled at shooting manual-focusing.<\/p>\n

Another day, you might want to focus on capturing emotions and hand-gestures.<\/p>\n

Another day, you might want to focus on just improving seeing colors on the streets.<\/p>\n

Also when you are working on a photography project\u00e2\u20ac\u201c try to just focus on one main theme (and disregard the rest).<\/p>\n

For example, if you\u00e2\u20ac\u2122re doing a photography project on \u00e2\u20ac\u0153America\u00e2\u20ac\u009d \u00e2\u20ac\u201c try to focus on one element or theme. Perhaps your theme can be \u00e2\u20ac\u0153prosperity\u00e2\u20ac\u009d \u00e2\u20ac\u201c then only focus on including images that fit your theme. If you are focusing on \u00e2\u20ac\u0153decay\u00e2\u20ac\u009d \u00e2\u20ac\u201c you only want photos that fit into that theme. Don\u00e2\u20ac\u2122t try to have too many sub-themes within a project, or else you will confuse or disorient your viewer.<\/p>\n

e) Say it like you see it<\/h3>\n

Another way to better analyze and edit your photos is to \u00e2\u20ac\u0153say it like you see it.\u00e2\u20ac\u009d<\/p>\n

Which means this: eliminate any sort of memory or recollection you have of a certain photograph.<\/p>\n

For example, let\u00e2\u20ac\u2122s say you took a portrait of a guy on the streets. He might have told you his entire life story\u00e2\u20ac\u201c how he hitchhiked around America, how he used to be in the military, and how he decided to change his life for the better.<\/p>\n

You might take a portrait of him and become fooled into thinking that it is a good photograph\u00e2\u20ac\u201c and that his entire life story shows through the photograph.<\/p>\n

But that isn\u00e2\u20ac\u2122t the reality\u00e2\u20ac\u201c it is just a photograph of a guy.<\/p>\n

So try to divorce yourself from the memory of the photos you take. Sometimes we are fooled into thinking a certain photograph is good \u00e2\u20ac\u201c because we are too emotionally invested in the back-story of the photograph.<\/p>\n

What I try to do is this: I let my photos \u00e2\u20ac\u0153marinate\u00e2\u20ac\u009d for a long time before I look at them. I currently shoot most of my work on film, and I just recently got 164 rolls of film processed (after a year). When I finally get my film processed and scanned to a CD (and I look at them for the first time after about a year)\u00e2\u20ac\u201c I totally forget having taken half the photos. This allows me to be a lot more objective when it comes to editing and \u00e2\u20ac\u0153killing my babies\u00e2\u20ac\u009d.<\/p>\n

So to get back to the topic at hand\u00e2\u20ac\u201c when you are analyzing your photographs, \u00e2\u20ac\u0153say it like you see it.\u00e2\u20ac\u009d What is actually going on in your photograph?<\/p>\n

So rather than looking at a photograph and saying: \u00e2\u20ac\u0153This is a man in angst and sorrow\u00e2\u20ac\u009d, you might rather say, \u00e2\u20ac\u0153This is a photo of a man in black and white, who is hunched over in a park bench, and has his hands covering his face.\u00e2\u20ac\u009d<\/p>\n

Instead of saying a photograph shows \u00e2\u20ac\u0153the meaning of life\u00e2\u20ac\u009d \u00e2\u20ac\u201c you might say that photograph is literally of a man and baby holding hands and walking to the sunset.<\/p>\n

So essentially what I am trying to say is this: don\u00e2\u20ac\u2122t interpret your photos based on some meaning that you have in your head. See the details of your photograph, what is going on, and let your viewers come up with their own interpretation of the image.<\/p>\n

f) Try on an alternative perspective<\/h3>\n

Another way to be a better judge of your images is to \u00e2\u20ac\u0153try on alternatives\u00e2\u20ac\u009d \u00e2\u20ac\u201c meaning, take on another view.<\/p>\n

So if you have a photograph you really really love, pretend for a second to be a critic. Assume the mindset that it is actually a really bad photograph\u00e2\u20ac\u201c and critique your own photograph. This technique will help you find the flaws in your image.<\/p>\n

When looking at your street photographs, perhaps imagine seeing your images from a perspective of a landscape photographer. How could you analyze your street photograph in terms of the foreground, middle ground, background, and the light of your photograph?<\/p>\n

Or perhaps you can judge your photograph from the perspective of a painter. How would a painter critique and judge your photograph?<\/p>\n

One of the best ways to get an alternative view of your photography is to have your work critiqued by others. When you are getting critiqued from others, don\u00e2\u20ac\u2122t feel the need to defend yourself. Rather, be open to the view of others in a non-judgemental way.<\/p>\n

g) Look for what is missing<\/h3>\n

I think in street photography we should always strive to make better photographs. What I am personally aiming for is \u00e2\u20ac\u0153perfection\u00e2\u20ac\u009d in my street photos\u00e2\u20ac\u201c in which these is no part of the frame which is wasted, in which there is strong emotion, and in which the photograph will last the test of time.<\/p>\n

Of course there is no objective way to achieve \u00e2\u20ac\u0153perfection\u00e2\u20ac\u009d in any photograph (especially in street photography, when reality is quite messy).<\/p>\n

However if you want to make better street photographs, try to find what is missing.<\/p>\n

Which means\u00e2\u20ac\u201c always tell yourself, \u00e2\u20ac\u0153What else can I add to my photos which will make them better?\u00e2\u20ac\u009d<\/p>\n

I mentioned the idea of a \u00e2\u20ac\u0153cherry on top\u00e2\u20ac\u009d in photography. If you want to fight complacency in your work, think about what is missing from your photos \u00e2\u20ac\u201c and how you can make your photos better.<\/p>\n

For example, let\u00e2\u20ac\u2122s say you took a photo of a guy walking by you. What is missing? Perhaps we\u00e2\u20ac\u2122re missing a hand gesture. Perhaps we\u00e2\u20ac\u2122re missing an interesting facial expression. Perhaps we\u00e2\u20ac\u2122re missing an interesting background.<\/p>\n

Always look for what is missing in your photos.<\/p>\n

Summary of Principle #1: \u00e2\u20ac\u0153Understanding deeply\u00e2\u20ac\u009d<\/h3>\n

If you want to really improve your street photography, you need to master the fundamentals. Without a strong base, you can never build up a castle. Could you build up a castle on a base of sand? No\u00e2\u20ac\u201c you want to build your fundamentals like a stone foundation.<\/p>\n

Furthermore, you want to not become prejudiced to your own work. We all look at our photos as being perfect\u00e2\u20ac\u201c as our babies. But if we really want to improve, we have to \u00e2\u20ac\u0153say it how it is\u00e2\u20ac\u009d \u00e2\u20ac\u201c and try to work hard to uncover the hidden weaknesses of our photos. Not only that, but we should strive to uncover what is missing\u00e2\u20ac\u201c in order to make our photos even stronger.<\/p>\n

As the authors say in the book:<\/p>\n

\u00e2\u20ac\u0153Clear away the distractions, see what\u00e2\u20ac\u2122s actually there, and make the invisible visible.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

Principle #2: Fail to succeed<\/h2>\n

\u00e2\u20ac\u0153Success is the ability to go from one failure to another with no loss of enthusiasm\u00e2\u20ac\u009d – William Churchill<\/p><\/blockquote>\n

Alex Webb once said something like, \u00e2\u20ac\u0153Street photography is 99% failure\u00e2\u20ac\u009d. Street photography is one of the most difficult forms of photography\u00e2\u20ac\u201c and there is so much hard work, chance, and luck involved.<\/p>\n

Street photography is full of failure. We need to fail a lot in order to make a couple of memorable images. We have so little control\u00e2\u20ac\u201c we can\u00e2\u20ac\u2122t control what people look like, the background, the light, and other variables. We can only control how to position ourselves, and when to click the shutter.<\/p>\n

So don\u00e2\u20ac\u2122t become discouraged from failure in street photography. Everytime you make a photograph and you fail\u00e2\u20ac\u201c try your best to \u00e2\u20ac\u0153fail forward\u00e2\u20ac\u009d \u00e2\u20ac\u201c meaning, every failed photo you make is a step closer to a success.<\/p>\n

I talk about the importance of \u00e2\u20ac\u0153working the scene\u00e2\u20ac\u009d in street photography\u00e2\u20ac\u201c meaning, if you see a good scene, try to shoot 10, 15, or even 20 photos of the same scene. You sometimes need to \u00e2\u20ac\u0153fail\u00e2\u20ac\u009d 20 times in order to make at least one good photograph.<\/p>\n

a) Fail 9 times<\/h3>\n

One strategy the authors mention in the book is to purposefully try to fail 9 times (before you get 1 success).<\/p>\n

So you can do this many ways in street photography.<\/p>\n

If you want to build your confidence in street photography, you can try this assignment: approach a bunch of strangers and ask for permission to take their portrait. But the catch is this: you need to try to get rejected 9 times in a course of a day<\/strong>.<\/p>\n

This will therefore push you outside of your comfort zone. If you get 9 \u00e2\u20ac\u0153no\u00e2\u20ac\u2122s\u00e2\u20ac\u009d and \u00e2\u20ac\u0153failed attempts\u00e2\u20ac\u009d \u00e2\u20ac\u201c you are bound to get 1 person to say \u00e2\u20ac\u0153yes\u00e2\u20ac\u009d and therefore gain a \u00e2\u20ac\u0153success\u00e2\u20ac\u009d.<\/p>\n

Sometimes our fear of failure is worse than the fear itself. I know this is a fear that many of us have (who are perfectionists). But know that even the greatest fail.<\/p>\n

\u00e2\u20ac\u0153I\u00e2\u20ac\u2122ve missed more than 9,000 shots in my career. I\u00e2\u20ac\u2122ve lost almost 300 games. 26 times, I\u00e2\u20ac\u2122ve been trusted to take the game winning shot and missed. I\u00e2\u20ac\u2122ve failed over and over and over again in my life. And that is why I succeed\u00e2\u20ac\u009d – Michael Jordan<\/p><\/blockquote>\n

Know that even the greatest artists and athletes fail all the time in order to get a few successes. In academia, getting a 60% on a test is a failing grade. But if you were a baseball player and hit the ball with 60% accuracy, you would be an elite athlete.<\/p>\n

So in street photography, know that you will need a lot of failed attempts to make a couple of good shots.<\/p>\n

The next time you see an interesting scene, think to yourself, \u00e2\u20ac\u0153I need to fail 9 times and make 9 bad photos before I take at least 1 interesting photo of this scene<\/strong>.\u00e2\u20ac\u009d<\/p>\n

b) Let errors be your guide<\/h3>\n

Trial-and-error is one of the best ways to gain knowledge and insights about the world. Whenever you make a mistake or an error, don\u00e2\u20ac\u2122t be discouraged. Every error you make is just another step forward. Because with every error, you learn one way that something doesn\u00e2\u20ac\u2122t work.<\/p>\n

Thomas Edison once said (when inventing the lightbulb), \u00e2\u20ac\u0153I haven\u00e2\u20ac\u2122t failed. I\u00e2\u20ac\u2122ve just found 10,000 ways that don\u00e2\u20ac\u2122t work.\u00e2\u20ac\u009d<\/p>\n

So in street photography, embrace your errors and use it a way to learn. When you\u00e2\u20ac\u2122re out shooting for an entire day, you can write a little journal at the end of the day. Write some errors and mistakes you made (used wrong technical settings, photos are out-of-focus, and blurry, or the light isn\u00e2\u20ac\u2122t good). Then based on that information, you can figure out what not<\/em> to do next time.<\/p>\n

So if your photos are blurry and out-of-focus, perhaps next time you can shoot with a higher-ISO (3200) and use manual focusing (at f\/8) and use a fast shutter-speed. Learn from your mistakes.<\/p>\n

\u00e2\u20ac\u0153A man\u00e2\u20ac\u2122s errors are his portals of discovery.\u00e2\u20ac\u009d – James Joyce<\/p><\/blockquote>\n

Writers know the secret to writing great books is to write a lot of shitty first-drafts. Sometimes writers fall into \u00e2\u20ac\u0153writer\u00e2\u20ac\u2122s block\u00e2\u20ac\u009d \u00e2\u20ac\u201c because they have unrealistic expectations that their first draft should be perfect. But rather focusing on making a lot of bad drafts, and constantly revising, you will make enough mistakes and errors that lead you in the right direction. You just need to make sure not to make the same error twice.<\/p>\n

Sometimes it is hard for us to identify what makes a great street photograph, but we are pretty good at identifying what makes bad photographs. So a good way to improve your photography is to look at the work of others, and see what you don\u00e2\u20ac\u2122t like about their work. Then simply try to not make the errors they make.<\/p>\n

When you are trying to come up with photography project ideas, don\u00e2\u20ac\u2122t try to make a list of amazing ideas. Rather, make a list of 20 really bad photography ideas, and just try to continue writing that list. Once you get into the flow of writing ideas (even bad ideas) \u00e2\u20ac\u201c eventually some good ideas will pop into your head.<\/p>\n

The more you go out and shoot \u00e2\u20ac\u0153bad street photographs\u00e2\u20ac\u009d \u00e2\u20ac\u201c the more likely you are to make a few good photographs.<\/p>\n

Sometimes failure can be a bit discouraging\u00e2\u20ac\u201c especially if you shoot digital and you look at your photos at the end of everyday and think to yourself, \u00e2\u20ac\u0153Oh man, all the photos I took today are shit.\u00e2\u20ac\u009d<\/p>\n

But to not become discouraged by your errors\u00e2\u20ac\u201c look at your failed photographs and ask yourself, \u00e2\u20ac\u0153I\u00e2\u20ac\u2122ve failed in this photograph. It is a bad photograph. But what have I learned from this experience\u00e2\u20ac\u201c that I can make a better photograph next time?\u00e2\u20ac\u009d<\/p>\n

\u00e2\u20ac\u0153A ship in port is safe, but that\u00e2\u20ac\u2122s not what ships are built for.\u00e2\u20ac\u009d – Admiral Grace Murray Hopper<\/p><\/blockquote>\n

Let us not be afraid of failures in street photography. Rather, let us embrace them. All of the great innovations and breakthroughs have been through failure. In silicon valley, there is a saying: \u00e2\u20ac\u0153Fail often, and fail fast.\u00e2\u20ac\u009d The more you fail, the quicker you fail, the more you learn.<\/p>\n

Summary for Principle #2: Fail to succeed<\/h3>\n

The key thing is this: you want to learn from your errors, mistakes, and failures<\/strong>. Sometimes we learn more from our mistakes than our successes.<\/p>\n

Failure is progress.<\/p>\n

Principle #3: Question yourself<\/h3>\n

\u00e2\u20ac\u0153The unexamined life is not worth living.\u00e2\u20ac\u009d – Socrates<\/p><\/blockquote>\n

I think one of the best ways to learn anything is to always be curious\u00e2\u20ac\u201c and always be asking questions.<\/p>\n

So when you\u00e2\u20ac\u2122re having your photos critiqued, don\u00e2\u20ac\u2122t simply ask if people like your shot or don\u00e2\u20ac\u2122t like your shot. Ask them questions. Ask them why<\/em> they like your shot, or why<\/em> they don\u00e2\u20ac\u2122t like your shot. Ask them to be specific, and to be brutally honest.<\/p>\n

Another way you can question yourself, \u00e2\u20ac\u0153What works in this photo, and what doesn\u00e2\u20ac\u2122t work in this photo?\u00e2\u20ac\u009d Pretend like you\u00e2\u20ac\u2122re talking to yourself as an outside observer. Also when you\u00e2\u20ac\u2122re critiquing your own work, pretend that you\u00e2\u20ac\u2122re critiquing the work of somebody else.<\/p>\n

By constantly questioning your work and challenging yourself, you avoid self-bias, identify weak-points in your images, and also consider an alternative perspective.<\/p>\n

a) \u00e2\u20ac\u0153What if\u00e2\u20ac\u009d questions<\/h3>\n

One good way to delve deeper into questions is by asking yourself, \u00e2\u20ac\u0153What if?\u00e2\u20ac\u009d<\/p>\n

So when you\u00e2\u20ac\u2122re looking at your shots\u00e2\u20ac\u201c you can ask yourself some of these questions:<\/p>\n

    \n
  • What if the subject was more interesting?<\/li>\n
  • What if the light was better?<\/li>\n
  • What if the subject wasn\u00e2\u20ac\u2122t looking at me?<\/li>\n
  • What if the subject was looking at me?<\/li>\n
  • What if I shot this photo in black and white?<\/li>\n
  • What if I wasn\u00e2\u20ac\u2122t too afraid to get closer?<\/li>\n<\/ul>\n

    b) On \u00e2\u20ac\u0153stupid\u00e2\u20ac\u009d questions<\/h3>\n

    Whenever you\u00e2\u20ac\u2122re interacting with other photographers, don\u00e2\u20ac\u2122t be afraid to ask \u00e2\u20ac\u0153stupid\u00e2\u20ac\u009d questions.<\/p>\n

    For example, if a photographer brings up the name of another photographer (you might not know of) \u00e2\u20ac\u201c don\u00e2\u20ac\u2122t worry about looking stupid. Rather, be honest and tell them you don\u00e2\u20ac\u2122t know.<\/p>\n

    If you\u00e2\u20ac\u2122re at a photography talk and you want the photographer to answer a basic question, don\u00e2\u20ac\u2122t be afraid of asking a basic or a \u00e2\u20ac\u0153stupid\u00e2\u20ac\u009d question. Because in reality, there might be a lot of other photographers who might be thinking the same question (but are too worried about being judged in a negative way).<\/p>\n

    For example, a basic question you can ask a photographer you admire is, \u00e2\u20ac\u0153Why do you photograph?\u00e2\u20ac\u009d It is a very basic question\u00e2\u20ac\u201c but it actually a very complex question that challenges people to challenge their own intentions in photography.<\/p>\n

    Another example is this: if you look at a famous photograph and you don\u00e2\u20ac\u2122t understand why it is a good photograph, you can simply ask: \u00e2\u20ac\u0153Why do you think this is a good photograph?\u00e2\u20ac\u009d Asking these fundamental questions helps build your understanding, and will continue to help you grow and mature as a photographer.<\/p>\n

    c) Overcoming your own self-bias<\/h3>\n

    Sometimes we think we already know everything. But challenge your own thinking with questions.<\/p>\n

    You can ask yourself the question, \u00e2\u20ac\u0153Do I really know?\u00e2\u20ac\u009d to challenge your assumptions.<\/p>\n

    Don\u00e2\u20ac\u2122t accept your own views of the world blindly. Constantly question yourself\u00e2\u20ac\u201c everybody, your teachers, and things you read on the internet (challenge this article).<\/p>\n

    Don\u00e2\u20ac\u2122t be intimidated\u00e2\u20ac\u201c ask questions you might need to overcome your blind spots.<\/p>\n

    d) Teach to learn<\/h3>\n

    Another good way to learn photography better is to teach it. No matter how inexperienced you as a photographer, there is always someone out there who is eager to learn photography (and less experienced than you).<\/p>\n

    I have personally found that when I am forced to teach something, I better understand and comprehend it.<\/p>\n

    So you can do this as an exercise: bring a bunch of photographs that you think are great photographs to your student, and ask them, \u00e2\u20ac\u0153Why do you think these photos are great?\u00e2\u20ac\u009d By challenging them to answer\u00e2\u20ac\u201c you make them much more engaged, which fosters learning. Don\u00e2\u20ac\u2122t simply tell them the answer\u00e2\u20ac\u201c ask questions to make your students come up with the answers themselves.<\/p>\n

    e) Questions as curiosity<\/h3>\n

    I think one of the best ways to thrive creatively is to always be curious. And to be curious is to have lots of questions about the world.<\/p>\n

    For example when I started street photography, I had a ton of questions: How can I overcome my fear of shooting street photography? What makes a great photograph? What can I learn from the masters?<\/p>\n

    I always start with these questions\u00e2\u20ac\u201c which lead me down interesting paths. And I never fully get to a final conclusion or a final answer. The learning process is the most valuable thing, which can only be pursued by asking the right questions.<\/p>\n

    f) Ask questions when looking at photos<\/h3>\n

    Another tip is to always ask questions when looking at photos. I do this when I look through photography books. Some questions I ask:<\/p>\n

      \n
    • Why did this photographer choose this image as a leading image?<\/li>\n
    • Why did the photographer sequence the book the way he did?<\/li>\n
    • Why did this photographer think this image was a good one (when I don\u00e2\u20ac\u2122t). Is there something I am missing?<\/li>\n
    • Why did the photographer print the book this size?<\/li>\n<\/ul>\n

      Also when you\u00e2\u20ac\u2122re looking at individual images, ask yourself what makes the photograph great. Ask yourself the following questions for single-images:<\/p>\n

        \n
      • What works in terms of the composition?<\/li>\n
      • What is happening in the background?<\/li>\n
      • Is the subject interesting?<\/li>\n
      • Does this photograph work as a color (or black and white) image\u00e2\u20ac\u201c why and why not?<\/li>\n
      • What are the emotions of this photograph?<\/li>\n
      • How could this photograph be better?<\/li>\n<\/ul>\n

        g) Why do you photograph?<\/h3>\n

        An important question to ask yourself is why you photograph.<\/p>\n

        Sometimes people spend their entire lives as photographers asking the wrong questions. Some of the wrong questions might be:<\/p>\n

          \n
        • How do I become more famous as a photographer?<\/li>\n
        • How do I earn more money as a photographer?<\/li>\n
        • How do I get exhibited in prestigious galleries?<\/li>\n
        • How can I gain more social media followers, likes, and favorites?<\/li>\n<\/ul>\n

          Perhaps some of the better questions you can ask are:<\/p>\n

            \n
          • How can I make my photographs more emotional?<\/li>\n
          • How can I help other photographers more?<\/li>\n
          • How does photography make me happy in life?<\/li>\n
          • How does photography help me grow and mature as a person?<\/li>\n
          • How can I improve my photography?<\/li>\n<\/ul>\n

            If you want to become a \u00e2\u20ac\u0153successful\u00e2\u20ac\u009d photographer\u00e2\u20ac\u201c you might have to ask yourself the question to define \u00e2\u20ac\u0153success\u00e2\u20ac\u009d for yourself. Does success mean making a lot of money? Does success mean being personally fulfilled with your work? Does success mean helping inspire other people? You need to define \u00e2\u20ac\u0153success\u00e2\u20ac\u009d for yourself if you want to strive towards it.<\/p>\n

            h) On asking specific questions<\/h3>\n

            If you want to become a better photographer, you shouldn\u00e2\u20ac\u2122t ask yourself vague questions. You might want to ask yourself more specific questions.<\/p>\n

            For example, rather than saying \u00e2\u20ac\u0153How do I become a better photographer\u00e2\u20ac\u009d \u00e2\u20ac\u201c you might ask: \u00e2\u20ac\u0153How can I find another hour everyday to go out and shoot?\u00e2\u20ac\u009d<\/p>\n

            Instead of saying, \u00e2\u20ac\u0153How can I become a famous photographer?\u00e2\u20ac\u009d\u00e2\u20ac\u201c you might ask yourself, \u00e2\u20ac\u0153How can I make 12 strong photos this year and have an exhibition at a local cafe?\u00e2\u20ac\u009d<\/p>\n

            Summary for Principle #3: Question yourself<\/h3>\n

            \u00e2\u20ac\u0153There is nothing so useless as doing efficiently that which should not be done at all.\u00e2\u20ac\u009d – Peter Drucker<\/p><\/blockquote>\n

            Many of us walk throughout life without a clear goal or a purpose. Sometimes this happens because we blindly follow certain paths others say we should.<\/p>\n

            But to fall out of that trap, always be questioning. Sometimes asking the right questions helps you uncover clarity in your life. Ask yourself the right questions as a photographer\u00e2\u20ac\u201c and try to define what makes you personally happy.<\/p>\n

            Principle #4: Go with the flow<\/h2>\n

            \u00e2\u20ac\u0153To improve the golden moment of opportunity, and catch the good that is within our reach, is the great art of life.\u00e2\u20ac\u009d – Samuel Johnson<\/p><\/blockquote>\n

            As a street photographer, you also want to embrace this idea of \u00e2\u20ac\u0153going with the flow\u00e2\u20ac\u009d. When you\u00e2\u20ac\u2122re out shooting in the streets, you should imagine yourself as a jazz musician\u00e2\u20ac\u201c constantly improvising, switching things up, and not falling into rigidity or pre-arranged performances.<\/p>\n

            Going with the flow in street photography means making small and gradual improvements (positive iterations). Rather than thinking you need to make huge jumps and leaps in your photography\u00e2\u20ac\u201c imagine your photography as a stream. You just need to slowly flow as a stream, and with enough years, you can wear down even the toughest rocks.<\/p>\n

            \u00e2\u20ac\u0153I begin with an idea and then it becomes something else.\u00e2\u20ac\u009d – Pablo Picasso<\/p><\/blockquote>\n

            When you\u00e2\u20ac\u2122re working on photography projects, be flexible with the direction you want to take it. Don\u00e2\u20ac\u2122t make your idea too rigid. Sometimes ideas change and flow in different ways. Keep an open-mind and \u00e2\u20ac\u0153go with the flow.\u00e2\u20ac\u009d<\/p>\n

            a) Keep moving forward<\/h3>\n

            When you\u00e2\u20ac\u2122re \u00e2\u20ac\u0153going with the flow\u00e2\u20ac\u009d \u00e2\u20ac\u201c you should always try to move forward. Don\u00e2\u20ac\u2122t just constantly repeat yourself\u00e2\u20ac\u201c see how you can continue to build upon your strengths, and how you can continue to grow and evolve.<\/p>\n

            A stream (the further it goes down-stream) often picks up speed, gets bigger, and becomes stronger. A tiny little stream at the top of the mountain can turn into a thundering river towards the very end.<\/p>\n

            So constantly challenge yourself and your assumptions about photography and work. While your photography right now could be good\u00e2\u20ac\u201c ask yourself, \u00e2\u20ac\u0153How can I make my work even better?\u00e2\u20ac\u009d<\/p>\n

            Challenge your limits\u00e2\u20ac\u201c as there are no limits to your creativity and abilities.<\/p>\n

            b) What\u00e2\u20ac\u2122s next?<\/h3>\n

            I think that goals are good ways to keep moving forward creatively. Some goals can include:<\/p>\n