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| Knowing your subjects |
Usually, sports photographers are frequently players of the game themselves. Imagine a non-soccer fan asked to cover a soccer match - he would not be able to predict the moves of the players, nor understand that a corner kick will result in a possible goal. A soccer-fan photographer understands the rules of the game, and the movement of the players. Through his understanding, he is able to predict the possible moves that a player will make, and thus adjusts his equipment to suit the situation. He might be able to pre-focus his lens more accurately, or set up his shots more carefully to exclude obstructions.
Particular subjects have particular forms of social behaviour, usually due to certain factors such as age, situation or culture. For example, wedding photographers usually know the standard wedding ceremonies, and they will position themselves at the best location to capture certain shots (e.g. cake cutting or exchange of vows). Because they understand the behaviour of the subjects, they have the advantage of taking better shots. |
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| Concealing your camera |
Not everybody loves having his picture taken, regardless of the purpose. And if you are after candid images, you’d not want the subject to know it either. In these cases, it is best to conceal your camera.
For starters, you can hide the camera away from the view of the subject, pre-focus the lens by estimating the subject's distance (so that the camera takes less time to focus), and keep your camera in automated mode (either program, shutter-priority or aperture priority). When you sense that the time is right, just lift your camera up and shoot. Try not to look at the subject too intensely while waiting for the perfect moment, because people can sense that someone is watching them if you do it too obviously.
If you are using compact cameras, you can just hold it in your palm and shoot away by pressing the shutter release button. Just point the lens in the direction and gauge the composition, and fire away. Such "blind" shooting will probably not raise the suspicion of the subject, and you are usually surprised by the final images because it is the first time you're looking at the image.
Another trick is the "get-lost-I'm-shooting-something-behind-you" method. This is one of my favorite tricks, because it usually works. It goes like this -
You are shooting this stranger smoking a cigarette. He happens to turn around and see you. You continue focusing, and pretend to check your settings, then continue focusing again, pretending that you are photographing the background behind him. He turns to his background and wonders what you're shooting. After a short while, you look satisfied that you have the shot, and walk off. And he will be left wondering what the hell you are shooting! But this trick only works if there is something in the background that you might possibly want to photograph. |
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| Spending more time on the streets |
First of all, spending more time on the streets will allow you to know the subjects and understand their behaviours and action better, leading to better photographs.
In addition, street photography is not a scheduled performance. Photographic opportunities happen randomly at various places, so spending more time on the street will increase your chances of success. Edison said that success is 95% perspiration and 5 percent inspiration. For street photography, I'd say that it is 99% perspiration and 1% inspiration!
Know that not every trip will result in great images. Sometimes, you can roam the streets for hours at a stretch and return home with nothing significant, while other days just seem to overflow with photographic opportunities. Street photography's magic lie in the unpredictability of the subjects, and you will learn to enjoy the surprises if you are able to control your impatience. |
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| Safety and precautions |
| Even as you are photographing, you should be aware of your environment and surroundings. Some places are more hostile than others, and you should always be on the alert for changes around you. For example, it is dangerous to venture around in some cities after dark. Especially in foreign places, it is tempting to discover the night-life without regard to your personal safety. Always err to the side of prudence - if you are not sure of the safety level, don't go. No photograph is worth your life - as Robert Capa would testify. |
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| The Decisive Moment |
Henri-Cartier Bresson was probably the most famous photojournalist that ever lived. He was famous for coining the term "the decisive moment". Bresson believed that for most actions, there is a single defining moment that sums up the entire action of the performer, and capturing the decisive moment will convey the story to the reader with the most impact, reducing the need for wordy explanations.
Bresson's images captured the peak of the action, and in one glance the viewer is transported to the scene itself and all seems self-explanatory. The peak of the action does not refer to running or jumping, but rather the essence of the action that the actor is performing. One really needs to take a look at his images to conceptualize the decisive moment.
Learning to capture the decisive moment is not easy to accomplish, even for established photographers. However, it does not mean that one should not try altogether. We may not be able to reach the standards of Henri-Cartier Bresson, or even come close. But attempting to capture the decisive moment will be an exercise to focus your observation skills and train the photographic eye. |
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| Anticipation |
Above all, the decisive moment is about anticipation. How do you gather that this is the decisive moment, not before nor after? It requires that you have prior experience about human behaviour and you are able to anticipate the unfolding of events with reasonable accuracy. By actively engaging with your subjects, you are attempting to put yourself into their shoes and anticipate their behaviour. This requires some active thinking and deliberation. Anticipation, with patience and knowledge, will help you capture that decisive moment.
You should have a rough gauge of how people respond to various situations, through observations of everyday interactions. By anticipating responses, you are able to wait for the best moment to occur, and capture it when it finally happens. |
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| Attitudes and ethics |
Because street photography frequently entails photographing unsuspecting or unwilling subjects, it is crucial to think about attitudes and ethics. Although it is perfectly legal to photograph in the streets (unless it shows the person in bad light or the image hints that someone is involved in something he's not), ethical consideration may prevent us from shooting in certain conditions.
Some people will like to have some privacy, and may turn hostile when the lens is pointed at them. It is perfectly understandable, and you should back off when faced in such a situation. Arguing that it is legal to take a picture of them will probably not help, and may lead to physical violence. Many times, legal boundaries may exceed ethical boundaries, and we should be respectful of the privacy needs of others. As a photographer, you have to draw the line yourself, and you are answerable to your own conscience.
On the other hand, some rules are more overt. For example, some Islamic nations forbid the women from being photographed. Not respecting such cultural rules may not only cause you to be unwelcome, you might even get into some real trouble with the authorities. And you should also take note of the differences in law when you photograph in the streets of another nation, since what is allowed in your country might not be legal in other places. For example, in many countries it is illegal to photograph bridges and certain buildings and installations. Being aware of such restrictions may save you from a lot of problems with the authorities.
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