How to think like a street photographer

“What do you take photos of?” is often the question I get asked when I tell people I’m a photographer. My response is often delayed – “I’m a street photographer”. I would once be embarrassed when I would explain what this actually entailed, but now, I have embraced every aspect of this style. The patience waiting for street scenes to develop, the weird looks, the confrontations (although they rarely happen now) - I have enjoyed every moment of learning what it takes to become a street photographer. However, when I go out, I have become accustomed to the fact that, more often than not, I will be unsuccessful with what I capture. In fact, I have become so comfortable with failure, that I come to expect it. I work to the rule that, if I were to take a thousand photos, 10% of these would be usable (I might post them on social media), and 1% of those photos I would be proud of (I might add to my website). I then break this down further, with 0.1% of those photos being used to showcase my style, which I might have printed, or make them available for purchase as a print (an avenue I haven’t really explored yet). That means, that out of a thousand images, there will only be one photo that I would consider as my best work. So what is my style? And how do I now think like a street photographer?

What type of photo would make it into the 0.1% club?

The above breakdown is only an example for my photos, I often take a thousand photos and may not get any snaps that fit into the 0.1%. It comes down to a multitude of reasons, but a few include: 🌞 Being a perfectionist, which I have started to overcome, but I still encounter regularly when taking photos (see my recent post on perfectionism).

📸 A lack of intrigue or a focal point that draws attention.

💡 I can come back at a different time and get a better shot, which makes better use of lighting, or may have a busier atmosphere (linked to being a perfectionist).

My style revolves around silhouettes, vibrant colours, reflections and natural light. As I have become more confident with capturing street scenes, I now wait for the person to make eye contact with my lens before snapping. Eye contact develops the frame, adding more intrigue, whilst drawing the viewer in to the scene.

Some of the classic street photos are usually in black and white (B&W), and although I share some of my portfolio devoid of colour, I do actually prefer capturing colour heavy scenes. I think colour street photography is often more forgiving than B&W, as colour adds another complex layer to the shot, whereas B&W is sapped of this, and usually relies on boosting the contrast.

The most important factor in my 0.1% of photos is personal preference, which is what makes photography so intriguing and elusive, as this preference can change with experience and skillset. For example, a photo I liked ten years ago, I would likely hate now (as my taste and eye for photography has developed in that time).

Where do I look for inspiration?

The way we engage with photographers in 2024 is obviously different to how they would discover photos in the 1800s, often due to the minimal time it takes to create and share an image (gone are the days when photographers would spend hours preparing a copper surface just to print an image onto!?). With this in mind, a host of well-known street photographers (and photographers in general) have served as an inspiration from Instagram. Some of these include:

Craig Whitehead (Sixstreetunder), Josh Jackson (Joshkjack), Ovidiu Șelaru (Ovidiuselaru_), Nils Spiegler (Nils_spiegler), Jack Davison (jackdavisonphoto), Joshua Edgoose (spicy.meatball), Alan Schaller (alan_schaller), Joakim Möller (moller_joakim), Shane Taylor (heroesforsale).

As I started taking photos from a young age, these photographers coincided with my increased Instagram usage, and played an influential role in shaping my style. However, away from social media, I have always appreciated the works of Ansel Adams (although not street photography), Joel Meyerowitz and Robert Frank (but I could list another twenty photographers in this list).

There is a magic in the older street photography, which is a combination of older gear (using film), nostalgia, and a unique vision. Photographer's like Joel Meyerowitz (below) had an ability to flip normal scenes into an artform, with superb detail.

Before going out to snap, I sometimes peruse old photos taken by the giants of street photography for inspiration. Not to copy, but to consider different ways to capture scenes and mould my style (almost like how athletes model their technique on the greats of their sport).

How can you take a street photo?

The motto I live by is that anyone can take a good photo, but only patient people can take a good street photo. The biggest thing I have learnt from street photography is that patience leads to my best results. Think of it this way, unless you have this crazy ability to always be in the right place at the right time (which, is also a skill in itself), then more often than not, the street scene you’re looking for will not be automatically available. I work to the idea that if I can see a good scene devoid of how I want it to look, I will loiter (yes, like a weirdo) until people walk through ‘my’ scene. A few examples of this are below, these were all taken with the scene in mind, before seeing the people.

Alternatively, I might find someone with interesting features, or a colourful piece of clothing (for me, and most street photographers, it tends to be hats) and I will scout around for a scene that matches that person. The three things to consider when looking to take a street photo are: Environment (go where the people are and know when to simplify)

The majority of my best street photos include people (and in my opinion, the best street photos from history do so too). I believe people make for more interesting scenes and can often add intrigue to photos, when the environment is lacking. However, it is also important to consider that not every photo needs a person in them – I learnt this lesson from the street photography master, Edward Weston (below).

This might be controversial, but I think street photography is almost just an umbrella term for the snaps that often don't fit within other categories. I will take photos of buildings or silhouettes, which may not fit within the parameters of a stereotypical 'street photo'.

Before going out, I usually visualise the types of images I want to capture. If I'm visiting a new place, I will research the area, making notes of interesting architecture, busy urban areas, markets, landmarks and events.

Timing is everything

  The biggest learning curve I've undergone within my photography is developing a deeper understanding of timing and its importance in not just street photography, but in photographing sports, weddings and in corporate settings.

As I eluded to earlier, the scene may not always present itself straightaway, which is when I wait. The longest I've ever waited for a snap is thirty minutes (shown below), and I was not rewarded, as the scene didn't fit the vision I had in my head. I usually work to the idea that if the scene doesn't present itself within five minutes, I will come back (my waiting time may increase if I'm in a different country and I know I won't return).

It is often mentioned by street photographers that if you miss the shot the first time, you shouldn't go back and try and capture it again, as the scene is gone. Although I do agree that the scene may differ from your original perception, I do think you should return and try to capture again, as the snap might still be available (although the difficulty increases, as you will be trying to avoid drawing attention).

Gear doesn't matter

Yes, I know I'm saying this whilst using a DSLR, but we ALL have a camera readily available in our pockets. For me, I use a smartphone to document an interesting scene to revisit with my camera, but street scenes can be easily captured on a phone.

I sometimes use my phone instead of my camera, mainly because I haven't yet invested in a wide-angle lens, but also because I know that some phone cameras have amazing resolution, zoom, and Artificial Intelligence capabilities, which can help create an image on the same level as a camera (that's as techy as I'm going to go).

There are also a large number of street photographers using a phone to great effect, with opportunities to edit and share directly online straight from the device. There are also cheap cameras (even disposable) that can offer great results, as shown on this YouTube series from years ago, that I would watch regularly.

Conclusions

Street photography is as much about the process, as it is about the final image. It’s a craft that demands patience and an eye for the wonderful within the mundane. My journey (which has only just started) has been shaped by countless missed shots, changing preferences, and inspiration from some of the greatest photographers of our time.

Ultimately, street photography teaches us to embrace imperfection, savour the process, and view the world with curiosity and wonder. Each failure brings us closer to that rare 0.1% masterpiece that defines who we are.

For more street photos and to follow my journey, please follow my Instagram (link below), where I post regularly and share updates.