Street Photography: 10 tips for making perfect shots

The goal of street photography is to reveal small daily events in the life of individuals and society. Contrary to what one would expect, images don't have to contain a road… Instead they can be “stolen” wherever people congregate and have interesting behaviors.

Street photography can give great satisfaction, but it also presents some difficulties. Especially if you are a beginner. Here are 10 tips to improve technique and style, for images that leave their mark.

1 – The equipment

Let's reduce the kit to the bone to be fast and invisible , starting from the camera body. Any camera can give good results if we know it and find it comfortable. The smaller models are more discreet and practical to use hand-held for long periods. We memorize the positions and functions of buttons, dials and menus so we can shoot on the fly.

As for the optics, the fixed focal length lenses on the 35 or 50 mm are small and not at all flashy and have an angle of view similar to that of the human eye (around 40 mm). Also, it's easier to get to know what a fixed lens looks like, which makes focusing and composition more intuitive.

Common fanny packs or sling backpacks are ideal because they are inconspicuous and offer immediate access to the contents. Let's calculate the space for the body and a goal or two. We don't carry accessories that we won't use. At the very least, let's forget the bag and put the memory cards in our pockets.

2 – The great masters

Before putting ourselves to the test, it helps to familiarize yourself with the classic and contemporary paradigms of street photography .

Even if we already know the history of the genre, let's dig a little deeper to understand where our work stands. We study the masters and also try to broaden our skills in the fields of contemporary art and media . References and educated quotations will bear fruit when we are looking for interesting ideas and subjects.

3 – We choose the right place

The most dynamic scenes are not unique to metropolitan areas. Any public place can be perfect if it vibrates with human activity . Consider tourist attractions, museums, markets, beaches… There is often an ideal time to visit each place. One station is crazy   at rush hour, a kiosk is full at lunch, and so on.

In crowded streets, remember to move against the flow of people , so that possible subjects face each other. Let's observe them from a distance and snap when they pass us by.

4 – Street photography: we don't attract attention

Luckily invisibility doesn't require super-powers, just a little attention and common sense. In terms of shooting, a good technique is to look beyond the subjects when we are actually photographing them . If we pretend to be focused on something else, it is very likely that they will not feel alarmed by our presence. When we take pictures of strangers, it's natural for us to feel very conspicuous, but shy people and introverts can also get great results. We try to emanate security . When we look like we're right where we're supposed to be, it's easier to be ignored.

If we feel really too uncomfortable at first, we keep our distance and work on compositions where it makes sense for the subjects to appear small . There are no magic tricks to overcome fear: we keep trying!

5 – We set the shot

Exposure metering systems generally get along very well, but let's not rely completely on automatics. We rather use a semi-automatic mode . We will be in control and cut the setup time in half. If we know our camera has trouble handling high contrast, we set an exposure compensation: +1 if the subject is brighter than the scene average, -1 if it is darker.

In addition to exposure, we need to pay attention to focus . We set the camera to continuous mode (AI Servo on Canon or Continuous on Nikon). In this way the focus will follow moving subjects as long as we keep them in the viewfinder.

Aperture priority

Aperture priority is best for more general scenes. We set the aperture and ISO according to the light conditions. On a bright day, we start at f/8 and ISO 400. We check that the time is faster than 1/200.

Time priority

Time priority is useful for adding motion blur or when light begins to fade. For moving people or vehicles, we start at 1/15th of a second. A longer shutter speed, combined with panning, is ideal for slower subjects.

6 – We capture spontaneous moments

Posed photographs make great portraits, but they don't capture the true essence of a person as much as a candid shot. If subjects are wary, we can try asking general questions about the day or complimenting the way they are dressed – anything that makes them let their guard down.

Some will be there, some won't, we never force the situation. Street photography is humanity and emotions are the key to interest . People change their expression all the time. One moment they smile, the next they frown. The moment we shoot makes a profound difference .

7 – We photograph quickly

Speed is what street photography is all about, but focusing takes time. If we hesitate too much, however, the decisive moment risks being lost.

The zonal focus theory involves setting the lens to manual, focusing at a given distance, and shooting when the subject passes into the sharp zone . It's a useful technique when we're shooting handheld and can't look through the viewfinder. Furthermore, it has the advantage of being invisible and fast .

There are free apps that can help us calculate distances. We search our app store for a depth of field calculator.

Zonal focus

Focusing early allows you to shoot with speed and precision. Older lenses have specific indicators for depth of field extension, which is very easy to calculate anyway. To determine and change it, we need to know the focal length and aperture in use and the distance to the subject.

We set up the camera

Let's start from aperture f/8 of/11. We will be able to change the value if we realize that the results are too dark. A 50mm fixed lens (preferably with focus distance indicators) is the best choice. We set manual focus.

Let's calculate the distances

If the scope offers range indicators, we use those. If not, let's use an app like DoFViewer. We enter the camera model, focal length, aperture and distance to the subject and the app will calculate the closest and furthest points covered by the depth of field.

Let's position ourselves well

Let's stand at a point from which the subject falls within the calculated depth of field. If we want to widen it, we close the diaphragm, but remember to readjust the optics and our shooting position. With moving subjects, we shoot as soon as they enter the sharp area.

8 – We emphasize the details

Do our portraits seem uninspired? If it happens to us, let's get closer and squeeze the scenes to bring attention to interesting details and elements . Street images don't have to explicitly contain people. Artifacts and objects that allude to histories and behaviors are equally powerful social documents.

The narrow cut forces the eye to a specific part of the subject . Why not focus on someone's hands or feet if they have something to say? Just in case, a telephoto lens on the order of 70-200mm works very well.

9 – Street photography clichés

Contrasted black and white
The absence of color can simplify a complex scene, give character and make an interesting light the protagonist. However, color has strong emotional connotations. We don't use rough black and white just to recreate the atmosphere of a classic photo. Rather we shoot in RAW and decide during the conversion.

Buskers
They are easy targets because they stay in one spot and usually have no problem being photographed. If one in particular appeals to us, we show what makes it unique: the style, the moves or maybe the clothes or the tools.

Silhouettes and shadows
Silhouettes make street scenes theatrical, especially when the composition is very simple. We expose for highlights and work in monochrome to see the effect. Framing the subject against a light or bright background emphasizes the use of technique.

Reflexes
Reflective surfaces are common in urban environments. Showcases, metal structures and even puddles offer the perfect tool for creative compositions. Autofocus systems often fail to lock on to reflections if we go manually.

Showcases
The windows are physical barriers that facilitate the capture of truly completely unaware subjects and, moreover, add a new perspective to the images. We shoot from inside or outside - we change position and see what we get. We also include signs, graphics and reflections.

10 – Let's seize the moment

Sunrise and sunset are usually associated with landscapes, but including dynamic natural light has a great impact on street shots as well . A sliver of sunlight or sharp shadow can transform an otherwise drab image. The different hours of the day also bring particular characters into the open , such as night owls returning from a good night out, commuters or night shift workers.