QUICKSTART

STREET
PHOTO
GRAPHY
OLIVIER DUONG

1
 INTRO
DUCTION
Well Hello, Olivier here, I am the co-creator of
Inspired Eye Magazine. I wrote all sorts of articles
on Street Photography for the last 2 years and the
amount of articles to dig out is quite large.

So I created this ebook that aims to guide you

trough the beginning steps of being a street
photographer all the way to some practical tips on
how to shoot Street Photograhy.

Lets dig in shall we?

5
 STREET
CAMERAS
The good news about the gear is that, most likely
you are all set, unlike say lit up portraiture where
you need lightstands and the like, you dont need
much besides a camera.

Granted, street Photography can be done with

any camera you have, but it is highly preferable
if its smaller and fast and allows for manual
focusing (Youll see why later)

6 7
 Ive always been asked
what the best camera is,
where here I will answer
that question in a more
philosophical way instead
of singling out certain
cameras
There is no such
thing as the best
camera
Lets start by being
controversial. I dont
think there is such thing
as the best camera. Ive
owned many cameras
and I continue to review
cameras for this site. If
there is something Ive
learned its that the best
camera doesnt exist.
When someone asks me
for recommendations,
my answer will differ
depending on the
person and their needs.
Sometimes I say go for the
Fuji X100s, sometimes
for the Alpha 6000 or
sometimes something else.
There is not a one size fits
all camera. I remember
when I was raving about
8 9
my Ricoh GRD IV, while
most people were happy
with their purchase, a few
peeps didnt like it at all
and didnt get what all the
rage was about.
The thing is, cameras are
like partners. If you have
a boyfriend/girfriend, they
might be the perfect fit
for you, but for somebody
else, not so much. This
is the same for cameras,
some cameras might fit
you, others might not.
I once asked what the best
film camera was. While
there are a few names
that pop up here and
there, many people chose
cameras that I would never
chose. This is to show there
IS such a thing as the best
camera for YOU. Its all
about finding the camera
you love.
Finding the camera
you love
So, how does one recognize
the one? If you havent
got it yet, rent as many
cameras as you can to
figure out which one is the
one you love most. It could
also be a past camera. If
you always think about
a certain camera you
had, maybe its that one.
I remember when I sold
my GRD III, I couldnt
live without it and I think
within the week I got
another one.
As for the present, the one
you love is the one you miss
when you dont shoot out
with it, the one you trust
the most to make your
images, the one that leaves
the other ones in the dust.
At one point in time I had 4
Ricoh GXRs. And then one
day I bought their little
brother home, the Ricoh
GRD. From then on they
have been gathering dust.
It was evident I found THE
camera and I sold them all
after months of not using
them.
Specifications
schmecifications
The one thing I have found
when trying to hunt down
your best camera its that
comparing specifications
bears no indication on
wether or not you will
enjoy a camera.
Theres a certain minimum
that you might require for
sure (at least a large sensor
for example) but whatever
the case, it doesnt mean
that you will enjoy using
it. The Fuji Xpro was, on
paper, my dream camera,
in practice I didnt like
using it, its too big. But for
other its the best camera
ever.
My Ricoh GRD IV is
outclassed by any new
modern camera that comes
out but I preffer my GRD
IV. Its weird but its not
about the specifications
really, its about the camera
itself. I had a NEX7 and
a Fuji XE1, the first kicks
the second ones butt but I
preffer the XE1. So getting
the better speced camera
has no bearing on whether
you will love it or not. Lets
look at some benefits of
actually finding the one.
Removing the The cure to
middle man spending too much
in gear
There is nothing more
liberating than finding the I used to be a gear addict.
camera you love. Theres Spent 1000s of $$$ in
only one thing that stands
cameras. Looking back, I
between you and the image
should have invested that
you have in your mind: money in a mutual fund
The camera. By finding or something. But lets not
your best camera, you will
go there. I use to buy new
use it more and more and cameras as I sold old ones
surely enough you will
over and over again, and
know it like the back of
its my experience that if
your hands.
you find the camera you
love, you will not have the
Doing so will allow the temptation to buy other
camera to move out of the cameras.
way and free you to make
pictures like you intend
Lets take my Ricoh GRD,
to. Take my Ricoh GRD
its been with me for 4
for example once again,
years. Im still shooting
if I look at the screen and
with it daily. I believed
see if its underexposed, I
it was on its last leg but
know how many clicks
looks like its still has a few
I need to push the back
years or two. Sometimes
lever to the left to adjust
it cant turn on tough but
my aperture.
thats besides the point. I
dont mind only using this
When I have this camera, I camera for life.
dont even see in terms of
fstops any more, only how
much or how little clicks or
wheel turning I need.
 It will make
you a better
photographer
A camera can and cant
make you a better
photographer. Let me
explain. A camera, on
a specification level
cannot make you a better
photographer, it can only
allow you to do new things
that you couldnt before.
For example if you have a
new camera with a macro
feature, it just opened up
the macro world to you.
But in a more real world
perspective, a camera
can make you better. Or
for more clarification,
a camera can make you
WANT to be better. Once
you have the camera you
love, you will want to use
it. Use it more and you will
become better.
Its not really the camera
that makes you better,
its that you get better
the more and more you
use it. I would not be the
photographer I am today
without having made the
10
jump to compacts. Why?
Because I had a Pentax
K20D, one of the best
cameras I used, but the
problem was that it was
BULKY.
I never wanted to go out
and shoot with it. Even
when I was home I never
wanted to pull it out, just
doing so felt like work. All
of this changed when I got
my Ricoh GXR, its like the
world opened up to me and
I really WANTED to shoot
everything. And I did. And
I got better. MUCH better.
There is nothing my GXR
could do that my K20D
couldnt do. The difference
was that I wanted to use
on of them and not the
other. Thats why, even
if I dont have a problem
with DSLRs I preach
for everyone to have a
compact.
Youll take it
everywhere
Chase Jarvis popularized
the quote The best
camera is the one thats
whit you. And to a large
extent I agree, but I think
the underlying principle
is still the best camera
is the one you love.
Simply put you will use
what you love and love
what you use. I tried
that mobile photography
thing, the phone being
the camera thats always
with you, and it just didnt
work.
I hate using my phone as
a camera. Fidling with a
screen to interact with the
image is not my thing. But
again for others its the
best thing ever. I think the
limits of what Chase said
comes from the fact that
you will probably not want
to use something you dont
like.
Ive let many images
pass just because I didnt
want to pull out what I
had in my pocket or bag.
Alternatively I got many
images because the camera
I love is always in front of
me. My wife got angry at
me because I didnt take
pictures of her of the kids
and it was true, but it was Conclusion
because I REALLY didnt
want to take my camera
Photography is about
sling bag everywhere I
relationships, the
went and pull out my large
relationship between you
DSLR for some family
and your images, but also
images.
your relationship with
your camera. If you can
When I got my pocket one that you love, it will
camera, I got the nickname liberate your photography,
Paparazzi. Youll take not only you will want
the camera you love to take it everywhere,
everywhere. If you like it you will also get better
enough youll probably as a consequence. My
start wearing Baggy pants photography took a serious
just to slip it in your pocket. turn when I found mine.
A positive circle
That being said...
Like I said above, the heres the cameras
camera you love will make I recommend....
you love what you use
and use what you love.
It will alternate between
the pleasure of using a
camera you like, making
some killer images with it,
making you liking it more,
and what to shoot it more.
Its feeding positive energy
into your photography.
11
 If there is one camera designed ONLY
with the street photographer in mind, its
the Ricoh GR. It has a fixed fast 28mm
f2.8, is one of the smallest APSC sensor
cameras, and has a feature that you will
not be able to live without: Full press
snap. The Ricoh GR can focus like any
other camera by half pressing the shutter
but if you set up full press snap, if you
squeeze the shutter release (without half
pressing it) it will set the focus at 1m (or
1.5m, 2m) and make the shot.
It allows you to have access to either
normal autofocus or hyperfocal depend-
ing on how you press the shutter re-
lease. This feature is NOT available on
any other camera. Sure you can preset
your focus on other cameras but that
Full press snap is Ricoh only and the
handling is quite excellent. The biggest
drawback of this camera is that its prone
to dust entering the camera.
12
If 28mm is not your fancy and is too
wide, the Fuji X100 might fit your bill.
The camera looks and operates like one
of those old rangefinders, crazy cool Op-
tical viewfinder / Electronic viewfinder
included.
Its quite the looker and has a less wide,
middle-of-the-road focal lenght of 35mm
at f2. Its better suited for street portrai-
ture in that sense. There is a focusing
scale in camera so you can preset your
focus and simply go on shooting.
The versatility of the X100 comes when
you get the 28 mm adapter or the 50mm
adapter.
If street photography is only one side of
your photography, the Panasonic LX100
is in my opinion the best deal in cameras.
It has about a 4/3 sensor, has a view-
finder integrated and killer 24mm-75mm
f1.7 to 2.8. Amazing lens for such a pack-
age. This camera is great for landscapes,
portraits, events, street, etc thanks to
that versatile lens. It evens does amazing
videos in 4k, has wifi and does timelapse,
etc.
That versatility unfortunately comes
at a price, it does not have a focusing
scale, meaning you dont know if you
are focused at 1m or whatever distance.
It does have focus peaking, so you can
eyeball how much of the world is in
focus as it becomes more and more
highlighted. The transition from a Fuji
is painless at it handles pretty much the
same way with a dial on top and even has
click stop aperture ring.
I personally sold everything (save my
Ricoh GRD!) for this camera as I wanted
to simplify my gear and not have to deal
with lenses.
Most of my recommendations above are
best reserved for a small bag (save the
Ricoh GRs). If pocketability is a MUST,
look no further than the Sony RX100,
great for right about anything you throw
at it with a 24-70mm f1.8-2.8, also has
4k video and a viewfinder!
Is amazing how much they crammed
into this thing. The drawbacks are a
smaller sensor then the LX100 (it has a
1inch sensor but much more portable)
and also lacks any manual focusing scale
but has focus peaking. All I can say, to
everyone I recommend this, they some-
how ended up selling their old cameras,
my Dad got rid of his Olympus PEN and
an uncle gladly sold his DSLR.
Just a heads up, some users are experi-
encing some issues about it, its not been
my experience or those that I know, so
please do your research on it!
13
 STREET
SETTINGS
You can use the settings that are most
comfortable for you, but in the next few pages I
will share what most street photographers use
as settings.

14 15
 With every single new
camera released, it seems
AF (Autofocus) gets closer
and closer to being almost
instantaneous.
Certain cameras are
so good in focusing
automatically, you really
do not need to know what
I am about to say about
focusing, if AF works
for you go ahead! But if
youve always found your
shots blurry because you
missed your focus, read
on. Please note its quite a
bit technical, and cannot
be any other way!
But ever wondered how
those of the MF (Manual
Focus) days did it? I
mean, these guys only had
manual cameras!! Well
they had something even
faster than autofocus, pre
focusing. I mean whats
faster than autofocus than
simply not focusing at all?
Basically what they
did, and many street
photographers still do,
is set up their camera so
that a certain part of the
imageis always in focus,
16
so that all they need
to worry about is the
subject(s) to be within
that area and they will be
in focus.
Now since your area that
is in focus gets greater and
greater as you close down
your lens (higher fstop
number), most shots are
made with apertures from
about f8 on.
Sounds like spaceship
engineering but it isnt:
Hyperfocal distance is the
distance that, if you focus
on it, everything between
half that distance to in-
finity will be acceptably
sharp. (To optics nazis
who dont like my expla-
nation: Bite me!).
That distance is not al-
ways the same, it depends
on sensor size, focal
length, etc.
Thats pretty much it for
that explanation, I per-
sonally cant stand the sci-
ence behind photography
too much, makes my head
spin, so its Illustration
time!
3 things should pop to
mind when looking at
this: First of all, its a
pretty darn cool illustra-
tion (yep, love me some
pixel art!), second this guy
probably needs to get off
the streets, a car is com-
ing! and finally third.
how do I know the dis-
tance that is the hyperfo-
cal one?
Well thats where you
head to Depth of Field
master (Google it!), put in
your numbers and camera
and it
your camera model but
will crunch it for you. Put in an aperture, use
be warned, it does NOT
Theres also some nice the actual focal length (for
know the focal length of
apps for Android and iOS cropped sensors) forget
the camera if it has a fixed
that do that too! In depth about subject distance (we
lens.
of field master, put in are looking for the hyper-
focal, remember?) and
look at the results you get:
The alternative approach
is to check out these set-
tings, they are a bit cookie
cutter (same circle of con-
fusion for cameras) but so
far have not failed me.
17
 Common Settings
28mm
1/1.7 sensor @f5.6: 1 meter
mu 43 sensor @f5.6: 9.4 meters
APSC sensor@f5.6: 7.4 meters
Fullframe @f5.6: 4.9 meters
1/1.7 sensor @f8: 0.76 meters
mu 43 sensor @f8: 6.6 meters
APSC sensor@f8: 5.5 meters
Fullframe @f8: 3.4
18
35mm
mu 43 sensor @f5.6: 14.6 meters
APSC sensor@f5.6: 11.5 meters
Fullframe @f5.6: 7.6 meters
mu 43 sensor @f8: 10.2 meters
APSC sensor@f8: 8.5 meters
Fullframe @f8: 5.3 meters
Or lastly.you can always focus at say 1
meter or 2 meters and make test shots
from 5.6 on and see what aperture you
are ok with. Its completely unscientific
but I use it all the time. I just make sure I
test beforehand.
But now that you know what the dis-
tance you should focus on, doesnt mean
you know where it is, this is where digi-
tal fails us. Most modern cameras and
lenses do not have a distance scale (those
distance markings on a lens) nor do they
even have a digital one (in camera sche-
matic telling you that you are focused at
X distance).
Knowing the distance
you are focused at
So whats someone to do?
Heres what my partner
Don does and Im passing
it on to you, its brilliant.
Search your phone for a
distance measuring app
on your iPhone or An-
droid.
Download the app and
simply stay in front of a
street sign or something
and calculate the distance
from you and the object.
Go closer or further de-
pending on what your
settings are.
So if you need to be at 1
meter, go back and forth
until the app says that you
are at that distance. When
you hit the distance you
are supposed to be in, take
your camera and focus on
the object, congrats you markings to indicate your
are in hyperfocal! zone of focus, because if
it doesnt or you camera
Zone focusing doesnt have a digital scale
like below.well you have
Alternatively to hyperfocal no idea what your dis-
you can use zone focusing, tances are!
so instead of maximiz-
ing your depth of field,
you focus only on certain
predetermined broad
zones, say from 1meter to
20meter or from 20 meter
to infinity.
As you encounter differ-
ent situations, you focus
on the different zones.
The zones are entirely up
to you and your shooting Pray focusing
style. See above.
It just so happens while
This kind of focusing is you where changing your
useful when you cant use lens or whatever reason
too small apertures for an image just appeared
hyperfocal (say when the in front of you. Time for
light is dropping) but its prayer focusing. Heres
better if your lens has the how it goes:
19
 - #@$@%%!! Please G_d
let me make this shot,
pleeease
- (Make a few shots)
Please please please
lemme get this shot
- Look at the screen for
(un) answered prayer
And no I am not joking,
prayer focusing works
sometimes. Its better to
try to get the shot than let
it get away.
While you are trying to
make the shot, you can
also bracket the focus, say
making 3-4 shots with
varying focus hoping to
land on the subject.
Focus peaking
If I know my settings, I
would use Hyperfocal,
but sometimes I have a
camera and I have no
idea what the settings are.
Right now for example I
have a camera that has a
zoom lens and not only
there is no way to know
what distance I am fo-
20
cused on, I do not know
the settings for the long
zoom range.
So what I do is I turn on
focus peaking (most mod-
ern cameras have this).
I crouch on the ground
and focus on the ground
and play around with my
aperture and focus until I
see most of the ground as
far as I can see is sharp.
I then stand up, make a
test shot, rinse and repeat
until satisfied.
Shutter speed consid-
eration
In normal, relaxed set-
tings, you can probably
make a nice shot hand-
held at 1/30th of a second
and have the stuff in the
image sharp. But in street
photography where not
only things in the frames
but most likely you are
moving, Id keep around
1/125th of a second.
21
 STREET
LAWS
Street Photography is awesome....but you gotta
stay safe. So depending on where you live you
need to know what the laws are so that you can
cover your butt.

22 23
 Keeping Safe
Street Photography is
fun and exiting. But
like everything there
is a darkside to it, are
you making these street
photography safety
mistakes?
Let me start first by
saying that there IS a
good chance that you will
be (even more) fearful of
the streets, dont be. This
article is not to make you
fear the streets but to be
prepared.
Its like seatbelts, you wish
to never use them but you
are glad they are there
when you need them.
With that out of the way,
lets get into the mistakes
you might be making.
You are not watch-
ing where you are
going
This is the most basic
advice but trust me it
24
must be said We all know
we must not cross when
the crossing light is red
but the problem is that
once you get into the flow
of the images, you tend
to forget about the rules
of the road and might be
tempted to cross without
looking.
If you are not careful,
youll follow the crowd was advised to stay in the
jaywalking, putting
yourself in danger without
knowing. Be extremely
attentive when it comes
to crossing the streets, I
find that many times I was
about to cross without
looking because an image
was waiting for me on the
other side.
because its one of the
Youre going into in the country. I get
shady areas
As simple as it is, avoid
going certain areas. If you
go somewhere and your
gut tells you to scram the
other way, do so. Your
camera might be a vehicle
of self expression but to
others its their next meal
and they will try to take it
from you.
So watch out. If you are
visiting a new contry
make your research first
into the areas you are
going (like B.D Colen who
where veryone pulls out
car). Not that something
MUSt happen to you if
you go shady places..I
had some folks I know
who went to film to Haiti.
They told me they went to
Cite Soleil. I asked them
if they were crazy
most dangerous places
chills just passing by the
entrance!!!! (Ignorance is
bliss I guess.)
You dont need to be a
genius to figure out if
a place is shady or not.
Trust your intuition, if
You are oblivious
your gut tells you you are are taking your picture.
in shady place, chances They would act innocent of whats happen-
are, you are! and you would lose your
ing
camera.
Youre hanging
Your camera
out in tourist traps You might be a nice guy
brings too much
or gal with a camera, but
attention
The opposite of going to for others who are doing
shady areas is to hang out something illegal you
in tourist traps. Granted might be the police. Be
it looks more secure than Some cameras bring more aware of what you are
the shady streets but its attention than others. I pointing your camera
like blood to a shark. only have small cameras at. If two characters are
What I mean is it attracts partly because people in a dark street corner, I
pick pockets because its dismiss me! Theres some wouldnt point my camera
cameras that will fetch at them. Imagine they are
their shiny toys! way more if the are stolen, dealing, how do you think
if you have such cameras they will view you?
Have a handstrap and (they either have a red
hold your camera (a dot or are black, large and I had an instance where I
neckstrap is fine but dont have a huge lens), it might was at a corner shooting
be wise to have a second
recommend it because if because there was a nice
and cheaper body for
the camera is too heavy light. One guy came up to
certain outings.
it will mess you up).Put me and asked me what I
your bag in front of you was doing. The reason was
and you should be fine. This of course depends because he was selling
When someone asks you on where you are, some fake bags (I believe that
to take a picture of you in places have higher can lead to prison).
front of a monument or theft rate than others.
somethhing, careful. If your gear is REALLY I wasnt even aware they
expensive, you might want were there! The thing
Theres a scam out to buy a cheap phone with is people do not know
there where they have GPS and leave it in your how wide your lens is so
camera bag to track it.
accomplices that would even if they are far and
run into them and snatch they are doing something
your camera while they they shouldnt.they
25
 Keeping Safe
might suspect you of
photographing them. So
dont point your camera addicts.
at anything that seems
shady.
You are ignorant
of who you are
pointing your
camera at
Theres all kinds of their energy and body
people in the streets,
most of them are ok to
make portraits of. But
there is a group you
should probably avoid
making pictures of,
and thats drug addicts.
Drugs make you high and
happy, but they also make
you paranoid, REALLY
paranoid. What you want
might be a caring portrait,
but what a junky thinks
you are is maybe an alien
who came to abduct him
with a camera looking
device.
Ok, maybe not that
paranoid but you
26
will probably be
misunderstood by drug
be applied to everyone
But besides that, theres
some people whom you
should probably avoid
in general. They may
have a nasty character
or are just itching to lash
out at someone so be
attentive and try to read
language.
Its always good to have
some business cards at
hand to show people
that you are not in fact
stay safe while doing
a plain weirdo but a
photographer working.
Conclusion
At the end of the day,
street photography is
only as dangerous as the
streets themselves. Street
Photography itself is not,
but its good to follow
your good judgment and
simply avoid certain
The Law
areas or people. While Before you head out,
some of the tips can you must research
the legalities of street
like dont flaunt your photography in your
jewelry or something, country. Usually street
the photographer must photography in public
be aware that people do places are ok, but again,
not know how wide their you must do your own
camera is, and if someone research. For example, as
is doing something shady, I understand it, where I
they might become live (Korea) people have
suspicious. the right to their image,
how it is used.
Again, the point of the
article is safety, not So if I make a shot that
fear. These are things to they deem dishonors
know just in case they them, I can be in trouble.
present themselves. What In France, again, how I
about you, how do you understand it, you need
the written consent of
street photography. Be everyone in a picture
yourself, stay focused to publish it. Im not a
and keep on shooting. lawyer so this isnt legal
Street Photography is advice, do your own
fun and exiting. But research and find out for
like everything there yourself!
is a darkside to it, are
you making these street
For street photography,
photography safety
there IS such a thing
mistakes?
as pre and post 9/11
for western countries. I
wanted to make a shot
inside a bus station, I saw
a shot and simply wanted Photography laws
to make it, but the officer (Canada)
there asked me not to
because after the attacks
Australian photography
people are edgy about
laws (Australia)
these things.
Unlawful photography
Read more (external
in public spaces (New
links)
Zealand)
Nussenzweig v. DiCorcia
(Lawsuit)
Photography, the law and
rights (USA)
Photographers legal
handbook (USA)
French privacy laws
(France)
Korean photo law and you
(Korea)
Photographers rights
guide (UK)
UK Photographers rights
(UK)
27
 GETTING RID
OF FEAR
Fear hinders your street photography greatly,
heres how to get rid of it the simplest
way possible.

28 29
 Fear is most likely the
number 1 factor that keeps
people for doing street
photography. So if you are
afraid of even getting you
feet wet, you are not alone
and I was in the same spot
as you. Heck, I was so
afraid, so shy of people I
couldnt even look at my
own brother in the eyes!
But being afraid doesnt
mean there is reason
to beremember Fear
means FALSE EVIDENCE
APPEARING REAL.
Heres something that
happened to meso here
I was chilling in my room,
and because the window
was opened.a huge,
black, six-legged monsters
appeared.
Well ok, Im probably
the monster in this story
because I am talking
about a cockroach but
still. Look, I HATE
cockroaches and I was
afraid of it, there I said it,
I was afraid.
But then something
happened, I realized
how foolish it was
30
for something that is
probably 500 times
bigger than a cockroach
to be afraid of it. So I
just killed it and laughed
at myself. Many people
fear not so much street
photography but fear
pointing their camera at
people. While people are
not cockroaches, what you
will realize is that people
are cooler than youd
to getting rid of your fear
expect.
by proving that there
And the kicker is that you
may end up enjoying it.
I couldnt stand the taste
of bell peppers as a kid,
I would barf, now I eat
them stuffed like there is
no tomorrow! Likewise Go out without your
just because you are afraid
to point your camera at
people now doesnt mean Hi to someone, wave or
you wont enjoy it later!
smile.
Exposure therapy
I conquered my fear of
cockroaches and people
by going cold turkey, but
there is a more gentle
way to go at it. Exposure
therapy should help
plenty, the premise is, the
more you are exposed to
the thing you fear, the less
you will fear it (because
you will eventually realize
there is no reason to fear
it in the first place).
Kids who were dead afraid
of dogs ended up playing
with them trough this type
of therapy. So if you fear
street photography, heres
3 steps for you designed
of street photography
is nothing to fear from
people:
Step 1
camera, go in the streets
and from time to time, say
nod approvingly all with a
Step 2
When you get comfortable
with this, do the same
again, but this time with
your camera in your hand
but do not make any shots
even if you want to.
Step 3
When you are comfortable
with this, you can finally
start making images, but
still, smile, nod and wave
afterward.
The funny thing is, once
you see that people are
cool (1), and that most
people are cool with the
camera (2) youll WANT
to shoot by step 3.
Inside absolutely
everyones heart is one
thing and one thing only:
The longing to matter. It
drives everything we do.
Take everyone you see in
the streets and what do
you do when you say hi?
You tell that person, hey I
notice YOU.
You can Literally alter
someones day by saying
Hi with a smile. The
science behind it is that it
fires mirror neurons, we
smile when we are smiled
at, we mirror what we see!
Now imagine that person
was having a random day,
youve just brightened it
with a smile. The camera
does essentially the same
thing: it acknowledges The people around you
people. reflect you in a weird
way. Be negative and
people are negative, be
In the movie One hour
positive and people are
photo, Robin Williams
positive. Not only because
gives voice to the people
of mirror neurons, but
in a photograph, he says:
also because negativity
breathes negativity
And if these pictures and positivity breathes
have anything important positivity.
to say to future
generations, its this: I
In other words, the way
was here. I existed. I was
you are in the streets will
young, I was happy, and
determine how the streets
someone cared enough
respond to you. How
about me in this world to
would you feel if someone
take my picture.
that reeks shadiness
takes your portrait? You
This is by far the best intuitively do not trust
way I have ever seen put that person and you are
it. By making pictures immediately negative.
of strangers, you make
people feel special. Give
Inversely what if someone
yourself time, your heart
if highly likable, smiley
rate will go up when you
and rose his camera to
this for the first time, but
make a shot of you. Youd
you will come to a time
wonder why for a second
where it will become
but you are still cool and
second nature, remember
even flattered that they
the brain adapts quickly.
would do such a thing,
no?
Making vs taking
images
31
 Now being likeable and
smiley are EXTERNAL
factors, but its what
inside you that genuinely
determines how you will
act, you can only fake it
so much. What you think
determines you actions.

What makes a person

shady or confident is
simply how they view
what they are doing in
the streets. If they think
they are there to take
pictures, to steal in other
words they will act as
thieves would. But if their
intent is to make images,
they know what they
are doing is not merely
taking images but making
images, the posture and
action changes.

So you can be a
photographer that takes
or a person that makes.
The way you see yourself
will determine how you
act and how you act will
determine the streets will
react to you. How do YOU
see yourself in the streets?

32 33
 UNDERSTANDING
STREET

34 35
 Street Photography being
such a broad genre, there
is much to discuss and
way above the scope of a
beginner level discussion.
But I only had 5 minutes
to give the best tip, it
would be this.
Photography is essentially
a transfer of feeling. Its
a transfer between the
streets and you, the image
you make and the person
looking at it.
A successful image then
is your inner response to
what is in front of your
lens, and being able to
transfer that onto an
image that is able to
produce that same feeling
into a viewer.
of you, you make the
image. The image has the
potential bit its not there
yet, its your raw material.
You go home and fire up
the computer, you bring
the image to what you felt
when you shot it, then you
show it off to others in
order to feel the same way
you did.
So, yes I firmly believe
that photographers deal
mainly in feelings, they
are there to replicate
into others what they
felt trough the medium
of images. So its not
really about the images
as images you see, its
about how you felt when
you shot it. The more you
that are in the images, the
better they are.
Yeah, thats the motto of
Inspired Eye, now you
know why, the site seeks
to develop all 3 aspects of
the photographer.
If youve ever seen an
image that is for all
intents pretty nice but
doesnt move you, its
missing some heart.
If youve ever seen an
image that is nice but
has bothersome details
like blown highlights,
its missing the technical
aspect. Lastly, if youve
ever seen an image that
is emotional but doesnt
quite cut it because theres
not enough emphasis, its
lacking composition.

Sorry for the fancy

schmancy wording, its
the best words I could
find, but heres what I
mean: So youre in the
streets, focus on what you
are Seeing, observe, look
at everything.
Something will produce
an inner feeling inside
Transferring a state
of feeling is not easy
tough, it has 3 legs it
stands on, a photograph
has 3 elements: The
compositional, the
emotional and the
technical. Seek all 3 in the
images you make, its the
Eye, the Heart and the
Mind.

36 37
 WHAT TO
SHOOT

38 39
 Writing What to shoot than their best, after all
irks me a bit. The reason
is simple, I think you
should focus on what YOU
want to shoot and not
have any preconceived
notions along the lines of
Shoot this, not that. Im
not here to tell you WHAT
to shoot because only
YOU know what you want
to shoot. Yeah, I know it
flies in the face of people
who offer photo recipes.
My humble advice is this:
shoot everything, dont
think about it. Then look
back at your work and
look for patterns, you will
invariably see what you
are drawn to and you can
start focusing on whatever
that is more.
In that sense the recurring
themes would come
straight from you and
not from any kind of
recipe. Way too many self
proclaimed photography
gurus out there want to
make clones out of you, I
(and my partner Don) are
opposed to this stuff.
I believe people shouldnt
settle for anything else
40
youre born an original,
dont die a copy.
That being said, theres
certain principles to watch
out for that might provide
to expect, especially where
some starting point. Street
Photography is all about
being open about what
comes your way.
But especially for
beginners, it might be
hard knowing what
is possible. So here I
outline what it possible
when certain conditions
are met. Make sure to
read the article on the 7
conditions (see link at the
end of this section).
Watch your light
While I am all being
open about what comes
you way, its sometimes
useful to know what is
coming your way, so
before going out its useful
check what the weather is
going to be like and check
out the photographers
ephemeris. Its a desktop
and Android/iOS app
designed for landscape
shooters but I use it for
my street photography.
It tells me when to rise
up ( I get up at nautical
twilight) and where I can
expect the sun to be at
any point. I let things flow
during the day but like I
said I like knowing what
to go to get some nice
shadows.
Sunrise/Sunset
Look for color contrasts
as some parts can be blue
and others red, look for
soft shadows (great for
portraits) and patches of
light
Harsh sun
Either put the sun in
your back for some harsh
contrasts, on your side
for some nice side lights,
include it in the frame or dont have a groove yet, brainpower. Example, encountered anything
find something to block they are useful pointers. think about horses, they like that before, hence
it and find silhouettes. can be black brown, black, the interest. You can also
Alternatively, look for the they are usually tall etc. create the same thing in
Seek the Punctum
shade for softer shadows If you pass one by you your street images, by
and Studium wont give them too much looking for the Punctum
Rainy attention because in a of the scene.
Protect your camera and Lets talk about the brain sense they are already
its a good time to look a bit. Its VERY powerful, known.
In the image above
for reflections and moody but since the conscious
we see a Nicaraguan
shots of people with can be overloaded very
Now imagine with me police officer, usually
umbrellas quickly, what it does
you see a Pegasus, a (wrongfully) associated
is look for patterns
horse with wings. It will with sternness and
and file them into the
Again, all of this is not immediately gain your rigidness with a lollipop in
subconscious in order not
really to create cookie attention, why? Because his mouth.
to be bothered with using
cutter results, but if you your brain doesnt know
the limited conscious
what to do with it, it never
41
 These two fancy words
were coined by Rolands
Barthes and to put it
simply, the studium is
everything in the image,
the punctum is that
THING, usually a detail
that makes the image.

Like my partner Don

says, the punctum is the
punchline to a joke. A
good example would be
something like traditional
buddhist monks with
sunglasses or a DSLR, its
not something you would
normally expect with
the way culture presents
them.

Contrasts and jux-

taposition

Juxtaposition is one of
those fancy words that
mean side by side. One
object once photographed
can be perfectly normal
but once but side by side
with another, things take
another turn, usually to
show similarity, contrast
or other. Heres an
example:

42 43
 Mind your back- So While walking the
ground streets, its good to look
at the large vectors
(the big lines that will
force your eyes to look
A good shot is made and at somewhere) like the
not taken, its something vanishing point (where
thats good to ponder I the buildings on right and
think. The difference is left seem to converge),
design, intent! people looking at
something, body posture,
etc.
When you have your
subject that you want to
frame, right after noticing It might not come
it, remember to take a naturally at first but if you
look at the background squint, you can have an
and work it. A background idea of the broad strokes
can either pull your that your brain will see
attention to or from your first before processing the
subject. details like textures, etc.
44
Since things happen fast
in the street, always keep
your background in the
back burner, when a shot
comes your way, you will
know how to frame it in
order to attract the eye to
your subject and not from
it.
Looking for the him. Just made that up, mans camera got powers?
interesting, no? The the etc.
story and the mys-
thing is, this story BEGS
tery
to be explored but its
Its tried and true that in
done. Its you who read it
Heres my try at a one cinema the best scenes
that has questions and let
paragraph story: He are implied, never shown,
your mind wander.
couldnt breathe once he the director shows you
the moment before,
realized the man in the
photograph blinked at What does it mean? Is it the moment after, your
a miracle? A ghost? The brain does the rest. The
45
 same is possible in street
photography, if not even
more because where else
can you find such wealth
of different characters but
in the streets?
All it takes is a little
imagination as finding
stories is tied to
mystery. Its good to find a humorous photo is to
mysterious images, the
story part comes from the
mind of the viewer.
I personally have a whole
series on mystery but
you dont have to take just focus on humor in
everything that far, as
long as an image poses
more questions than
it answers, theres the heres what I believe is my
mystery to hook viewers
into a story:
You can always find
stories by looking at the
relationship between two
people in the frame, but
also by taking cues from
popular culture, so a
hooded man can become
46
the grim reaper for
example:
Humor
This is pretty
straightforward but oh
so hard to do. Its great
to find the funny side of
the streets, funny looks,
funny actions, etc. One of
the easiest ways to make
simply juxtapose someone
with a funny banner or
a banner taken out of
context.
Some people successfully
the streets and get a very
nice body of work. Im
not the funny shooter, but
FUNNIEST image:
That sign on the right, gay
street (as in joyful) and
that guys priceless face!
Gets me every time.
47
 STREET
MINDSET

48 49
 Remember when I said
way above that Street
Photography was an
umbrella term?
Well most of the guide
talks about going out, but
since street photography
is about life and you are
still living, I think its best
seen as a mindset.
I believe you can either
have a compartmentalized
view of street photography
where you are, like an
IT worker and you are
a street photographer
only on Saturdays and
Sundays. Or you can have
a symbiotic view where
you are always a street
photographer.
I only started to make
killer images of my family
after I became a street
photographer. Before the
shots of my family were
tied to the fact that they
were my family, but now
as a street photographer,
50
now I think the shots photography, and because
stand on their own and you are required to be
derive their value from IN the present moment,
being nice photos on their Street photography quire
own. frankly helped me change
for the better.
When I am hired for
From that whole thing
an event, I still carry
about nodding and
the street mindset with
smiling or people in
me and shoot it like I
the streets, to loving to
would the streets. Its
photograph my family,
when you start shooting
street photography can
everything with a street
have a greater impact on
photography mindset that
you as a person, beyond
youll probably see that
the initial intended
the better term for street
aspects.
photography is (your) life
photography.
Street photography has
never been about the
streets per say but life,
and life happens, in and
outside the streets. Thats
my feelings at least.
Beyond photography
Because of the heightened
sense of observation
needed for street
51
 STREET
RESSOURCES
Here I have collected all the ressources I found
beneficial for Street Photographers. Please note
that some of the documentaries are on a legal
grey area, if you found value in them, please
throw a bone at the producers.

52 53
 Magazine, Ebooks
E-Magazine: Inspired Eye Magazine (Thats our own)
Ebook: Essentials of Street Photography (19.95)
Ebook: Portrait tips and techniques (19.95)
Ebook: Timeless portraits (14.95)
Ebook: DAAN: Essence of the streets (free)
Ebook: What Street Photography means to me (free)
Ebook: Creating impact (free)
Books on Street Photography
[Amazon] Bystander: A History of Street Photography
[Amazon] Michael Freeman Photo School Street
[Amazon] Street Photography Now
[Amazon] World Atlas Street Photography
[Amazon] From Atget to Henri Cartier Bresson
[Amazon] Doing documentary work
[Amazon] Untold: The story behind the photographs
[Amazon] National Geographic: Trough the lens
[Amazon] National Geographic the photographs
[Amazon] National Geographic portraits
[Amazon] Magnum stories
[Amazon] Magnum contact sheets
[Amazon] The contact sheet
[Amazon] Hollywood frame by frame
Photobooks and Zines
[Amazon] Robert Frank: The americans
[Amazon] Dream Street: Eugene Smith Pittsburg project
[Amazon] Friedlander (MoMa)
54
[Amazon] Daido Moriama Monograph
[Amazon] Slightly out of focus
[Amazon] Workers by Sebastiao Salgado
[Amazon] Vivian Maiers Street Photographer
[Zine] Month-Day-Year by Michael Penn
[Zine] Walking and watching
[Zine] Observations
Photography Documentaries
[Independent] Everybody street documentary ($13)
[Netflix] How to make a book with Steidl (The americans publisher)
[Netflix] Time Zero: the Polaroid story
[Netflix] The mexican suitcase
[Youtube] Atget & Berenice Abbott
[Youtube] Born into brothels
[Youtube] Annie Leibowitz documentary
[Youtube] In Harms way: Zoriah & alissa
[Youtube] Masters of photography: Diane Arbus
[Youtube] Eugne Smith: photography made difficult
[Youtube] American Masters: Alfred Steiglitz
[Youtube] American Masters: Richard Avedon
[Youtube] Magnum Photos: The changing of the myth
[Youtube] Masters of photography: Andre Kertesz
[Youtube] Masters of Photography: Ansel Adams
[Youtube] Masters of Photography: Bill Brandt
[Youtube] Masters of Photography Edward Steichen
[Youtube] Ansel Adams Master photographer
55
 [Youtube] A portrait of Robert Frank
[Youtube] The colorful Mr Enggleston
[Youtube] Enggleston in the real world
[Youtube] Garry Winnogrand Q&A at MIT
[Youtube] Visions and images: Garry Winnogrand
[Youtube] Visions and images: Horst P. Host
[Youtube] Visions and images: Harry Callahan
[Youtube] Visions and images: Joel Meyerowitz
[Youtube] Visions and Images: Cornell Capa
[Youtube] Visions and images: Elliot Erwitt
[Youtube] Visions and images: Duane Michals
[Youtube] Visions and images: Barbara Morgan
[Youtube] Visions and images: Arnold Newman
[Youtube] Visions and images: Frederick Sommers
[Youtube] Imagine: Don Mc Cullin
[Youtube] Henri Cartier Bresson: Just plain love
[Youtube] Henri Cartier Bresson: Pen, Brush and Camera
[Youtube] Henri Cartier Bresson interview
[Youtube] Near Equal Daido Moriama
[Youtube] Frames from the Edge: Helmut Newton
[Youtube] Robert Kapa: In love and war
[Youtube] War photographer James Natchwey
[Youtube] The many lives of William Klein
[Youtube] Joel Meyerowitz Photographer
[Youtube] Strand: Under a dark cloth
56
[Youtube] Shoot from the hip: The LOMO Story
[Youtube] The adventure of Photography
[Youtube] [NSFW] Duffy: The man who shot the sixties
[Youtube] Sam Abell: Art of simplicity
[Youtube] Sam Abell: My journey in photography
[Vimeo] Reely and truly: A short film on photography
[Vimeo] Markus Andersen: In the belly of the beast
Movies related to Photography
I love movies. I love when movies use photography or photographers as their
subject or their main character.
[Netflix] Photographing Fairies
[Amazon] One hour photo (The best movie about photography IMHO)
[Amazon] Shutter (The GOOD asian version)
[Amazon] Shutter (The stupid american remake)
[Amazon] Under Fire
[Amazon] Fur: An imaginary portrait of Diane Arbus
[Amazon] Harrisons Flowers
57
 YOUR TURN
Thats it for the beginners guide, you have
learned about the basics of Street Photography,
there is much to explore, so see you in the streets!

58 59