The post dPS Weekly Photo Challenge: My Street appeared first on Digital Photography School. It was authored by Sime.
Thanks to Marjorie over in our Facebook Group, this week we’re having a go at photographing our street “On the street where I live” So earlier, I grabbed my camera and headed to the top of my street and this was the first thing that caught my eye… (Someone that lives around here has done similar on many signs..)
Use the hashtag #dPSInMyStreet if you share your photograph on social media
“Stop Having Kids”
What you choose to photograph in your street is entirely up to you, but it does have to be “on the street where you live” It can be a single image as mine is, or you can make it a triptych perhaps? (Simon, what’s a Triptych!?)
Remember: The aim of our weekly challenge is to get you to pick up your camera and make a new photograph, rather than dig through your archives for a photo you took in 1993 (unless you can’t, and then you can share a photo from 1993, but I’d really rather you went and took a new one)
Now we’re not necessarily looking for ‘Street Photography‘ though that can be what you shoot if you like, but just some element, or set of elements from your street.
Side note! Don’t forget the 5 Day Deal is happening right now, if that’s your thing! But meanwhile, go and take your photograph, share it in the comments below this post, share it on Twitter, share it on Instagram, or even pop across and share it in our private Facebook group.
Last thing before you go! If you want to suggest a topic for a weekly challenge, make sure you leave a comment on THIS POST or leave it with your photo in the comments under this post! Thanks
The post dPS Weekly Photo Challenge: My Street appeared first on Digital Photography School. It was authored by Sime.
The post 50mm Street Photography: What Makes It Great (+ Tips) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
There’s a longstanding debate about whether 50mm street photography is the right way to go, or if wider lenses are a better choice. Most people who practice street photography prefer lenses with a broader field of view like 35m or 28mm, but that doesn’t mean 50mm is useless. Far from it, in fact.
There are many good reasons to choose this focal length when shooting photos out on the street. Shooting with a 50mm lens also unlocks lots of photographic possibilities – along with adding some creative constraints – and the results you get just might be among your all-time favorite pictures.
Reasons to use a 50mm lens for street photography
The first lens I ever purchased for my DSLR was a 50mm f/1.8, and I still use that same lens today. It’s kind of a jack of all trades option, and it lets me get great shots in a variety of situations, especially when shooting with a full-frame camera.
I have since picked up a variety of other lenses but find myself returning to the classic “nifty fifty” time and again, especially for street photography. It has a charm and sense of character to it that other lenses can’t match, and it’s a great option for beginner street photographers who want to step up from their kit zoom lenses.
In other words: There are plenty of reasons to use a 50mm lens for street photography. Not convinced yet? Here are some of my favorite reasons to stick with a 50mm lens when shooting on the street, starting with:
Streets are filled with activity: pedestrians, vehicles, tourists, animals, and much more. Shooting with a wide-angle lens makes it easy to capture an entire scene – but difficult to isolate a single subject.
On the other hand, when you use a 50mm lens, the field of view is constrained, so your subject is often isolated amidst the chaos, hustle, and bustle of daily life.
While you can get a similar effect with a wider lens simply by moving closer to your subject, you may feel like you are imposing on your subject’s personal space. Shooting with a 50mm lens is a great way to make your subject stand out while also maintaining a comfortable distance.
Every lens adjusts the depth of field, but it’s much easier to manipulate DoF on a 50mm lens compared to a wider lens. To get pleasing foreground or background blur on a 28mm or 35mm lens, you need to close the distance between you and your subject or shoot with a very wide aperture, which tends to get expensive.
Moving near to your subjects is fine if you are comfortable getting close to strangers, but lots of street photographers like to leave a bit of distance. Thankfully, the large f/1.8 or f/1.4 aperture on most 50mm lenses lets you get sharp subjects and beautiful background blur even while standing back a bit. This depth of field can be the difference between a decent photo and a great one, and it’s a great tool to have in your back pocket for when you really need it.
Of course, longer focal lengths like 85mm or 105mm give you even more control over depth of field, but these options can isolate your subject a little too much. Whereas 50mm hits the sweet spot; it lets you get enough in the frame while also offering fine control over depth of field.
3. 50mm helps you capture fast action
Some might cry foul on this one, since any lens can capture fast action as long as you can get a quick shutter speed – but once again we find that a 50mm lens hits the sweet spot. As long as you have plenty of light and good autofocus, you can freeze a moment in time with any lens, but if you want to do this in a street setting, 50mm is the way to go.
With a wide f/1.4 or f/1.8 aperture, you can easily get a shutter speed of 1/500s or 1/1000s in most lighting conditions, which is plenty for stopping movement and eliminating motion blur. And the midrange focal length is perfect for honing in on one subject while not interfering with the movement that you are trying to capture.
If you want a bit more reach, you can shoot with a 50mm lens on a crop-sensor camera, which will put you even closer to the action when photographing, say, musicians or street performers. The 50mm focal length is ideal for freezing motion on a single subject and focusing your viewers’ attention, which is tricky when shooting with wider focal lengths.
Here’s one of my favorite aspects of shooting with a 50mm lens:
It’s not really a wide-angle lens, but also not really a telephoto lens. It exists in the gray middle ground between those two extremes, and as such, lets you tap into the power of both. This means you can get up close and personal with subjects on the street without being too close, especially if you shoot with a crop-sensor camera. You can also stand back and give yourself some breathing room while getting near enough to make a personal image.
I’ve shot street photos with a variety of focal lengths and consistently found that 50mm strikes the best balance. Wider lenses capture entire scenes, while telephoto lenses are great for portraits. But 50mm lens lets you capture scenes that also feel personal by bringing you just close enough to your subject, and the results can be amazing.
While some people think the 50mm focal length is boring, I have found the opposite to be true, especially for shooting street photos.
When capturing the image above, I was on top of a three-story parking garage and shooting straight down to get a shot of the pathway light. While I was framing the shot, a pedestrian happened to walk through the image, and I got a picture that wouldn’t work at all with a wider or longer lens.
I frequently come across situations like this with 50mm lenses, where a wider focal length would ruin the shot. It’s this unique perspective that makes 50mm so good for street photography. You get a perspective that takes ordinary scenes and turns them into interesting, creative photo opportunities that can ignite your curiosity and inspire your imagination.
50mm street photography tips
When venturing out with your 50mm lens, it’s important to keep a few tips in mind. While each individual photographer has to find their own style, methods, and approach to photography, here are some lessons I have learned that will help you get better photos, consistently:
Wide-aperture lenses are outstanding photography tools, but when not used carefully, they can cause problems.
It’s tempting to shoot wide open at f/1.8, f/1.4, or even f/1.2 if your 50mm lens has that capability. But while the results can be sublime, there are a lot of reasons to stop down to f/2.8, f/4, or even smaller, especially when doing street photography.
For one, a smaller aperture gives you more wiggle room with depth of field, plus it results in better overall image sharpness. Street photographers often use zone focusing, which is extremely difficult when shooting at very wide apertures, especially on a 50mm lens.
Also, shooting wide open can occasionally give you too much background blur, to the point that it’s distracting or downright ugly. My rule of thumb is to use my 50mm lens one or two stops down from its widest aperture for most street shooting, then open it up all the way for those situations where you really need it.
2. Capture action through panning
Nikon D200 | 50mm f/1.8G | f/13 | 1/15s | ISO 100
If you really want to take your street photography to the next level, try some panning shots. This is a great way to capture motion using long shutter speeds, especially with a 50mm lens.
Start with a small aperture – try f/8 – and a relatively slow shutter speed, such as 1/30s. Then put your camera in continuous high-speed shooting mode, set your autofocus to AF-C instead of AF-S, and fire away as a cyclist, pedestrian, or automobile zooms past.
It might take a few tries to get the shot you want, but with a little practice, you will soon create works of street art that you will be proud to print and hang on the wall or share on social media.
3. Look for light and shadow
Nikon D200 | 50mm f/1.8G | f/4 | 1/800s | ISO 100
This tip isn’t specific to a 50mm lens, but in my experience, it’s easier with one. You see, the constrained field of view at 50mm makes situations of light and shadow easier to find, since it forces your eye to look at a smaller portion of the world compared to a wider lens.
When shooting on the street, look for unique photo opportunities that use light and shadow in creative ways. Try shooting silhouettes or using backlighting to create interesting photo opportunities. Pay attention to the time of day and adjust your shooting accordingly. I really like going out in the early morning or late evening when the sun casts long shadows over everything; you can create amazing photos that you just can’t get at other times.
This is another tip that’s good for any street photography situation, but one that is often enhanced when shooting with a 50mm lens. Try to capture moments in time that display singular elements of humanity: purpose, decisiveness, intention, drive, and so on. Don’t just get shots of people standing around, wandering aimlessly, or sitting and staring at their phones. Look for emotions like love, caring, compassion, happiness, or fear.
Take pictures that tell a story, such as the one above, which I shot on a college campus on Valentine’s Day. A 50mm lens is ideal for these human moments – you can stand back a bit, get your subjects sharp and focused, and create a sense of three-dimensional space through careful use of aperture and depth of field. This elevates your street photos from flat, boring images of random passersby to slices of life that showcase the best of what humans have to offer in this world.
50mm street photography: conclusion
Nikon D200 | 50mm f/1.8G | f/16 | 1/20s | ISO 100
Street photography is all about personal choice and finding a style that works for you. While the 50mm street photography isn’t the first option for many people, it has some distinct advantages and unique qualities that can help you create impressive images and develop your own artistic vision.
If you have never tried shooting street photos with a 50mm lens, give it a try. I think you’ll like what you see!
Now over to you:
What do you think of 50mm street photography? Have you tried it? Do you have any images you’re proud of? Share your thoughts and photos in the comments below!
The post Zone Focusing: How to (Always) Capture Sharp Street Photos appeared first on Digital Photography School. It was authored by James Maher.
Do you struggle to capture consistently sharp, in-focus street photos? You’re not alone.
In street photography, consistently nailing focus, especially if you don’t have the opportunity to look through your camera’s viewfinder, can be insanely difficult (and often seems impossible).
That’s where zone focusing comes in.
You see, zone focusing lets you set your focus in advance. And then, when your subject steps into the frame, snap – you get the shot.
Not every street photographer zone focuses, but the ones who do swear by it. And while I use autofocus when I can, I swear by zone focusing, too.
So what, specifically, is zone focusing? How does it work? And how can you learn to do it for sharp photos?
All will be revealed in this article! Let’s get started.
Canon 5D Mark II | 17mm | f/11 | 1/320s | ISO 1800
What is zone focusing?
Zone focusing is a technique where you manually prefocus your lens to a certain distance and adjust your aperture for a deep depth of field. Then, when you’re confronted by an interesting subject, you don’t need to focus through your viewfinder; instead, you wait for your subject to enter your acceptable zone of focus and capture the photo.
Note that zone focusing is very flexible. If you like to shoot intimate portraits, you can zone focus just a few feet in front of your lens. And if you prefer wider shots with more distant elements, you can zone focus 10+ feet away.
Why is zone focusing so useful?
Zone focusing works to varying degrees in plenty of photography genres, but it’s most commonly used by street photographers for two major reasons:
When shooting on the streets, the world happens fast. Gorgeous photo opportunities slide by in the blink of an eye. If you take the time to focus, you’ll often miss the shot.
In street photography, putting a camera to your eye often makes your subject (and you) uncomfortable. So if you can focus without looking, you’ll be able to keep discomfort to a minimum while capturing more honest scenes.
In other words, if you’re a street photographer, zone focusing is an easy way to increase your keeper rate while keeping your photos perfectly candid.
Zone focusing and depth of field (dof)
Canon 5D Mark II | 28mm | f/4 | 1/250s | ISO 3200
Before I explain how to zone focus, it’s important that you understand the factors that go into creating a zone of sharp focus, also known as a deep depth of field.
As you may already be aware, depth of field refers to the zone of acceptable sharpness in a scene. So when you focus on a subject and you create a deep depth of field (more on how to do that in a moment!), your subject will turn out sharp – but so will a certain area in front of and behind your subject.
For instance, if you focus on a subject that’s 10 feet away, a deep depth of field would ensure sharp focus from around 8 feet to 14 feet, depending on your specific camera settings. Keep in mind that the area behind your subject that is acceptably sharp will always be greater than the area in front of your subject, and in many cases, it will be much greater.
What affects your depth of field? Three simple factors:
Aperture. The smaller your aperture, the greater the depth of field. So if you’re shooting at f/16, you’ll have far more in focus than if you shoot at f/2.8.
Focal length. Wider focal lengths create a deeper depth of field. So if you are shooting at 28mm, much more of your scene will be in focus than if you are shooting at 100mm. (This is why I rarely zone focus with lenses longer than 35mm.)
Distance to the subject (or point of focus). The further away you focus, the more depth of field there will be in a scene. So if you focus on a person 10 feet away, then you’ll have a deeper depth of field than if you focus on a person 3 feet away.
If you want to test out these different factors and see how they affect the depth of field in real life, check out this website, which offers a handy depth of field calculator.
How to zone focus: step by step
Canon 5D Mark II | 17mm | f/8 | 1/400s | ISO 1600
You can zone focus in three simple steps:
Adjust your camera settings for a deep depth of field
Prefocus your lens in the right area
Hit the shutter button when your subject moves into range
Let’s take a look at each step in greater depth:
Step 1: Adjust your camera settings for a deep depth of field
When zone focusing, you want the range of sharpness (i.e., the depth of field) as large as possible. That way, you have the most room for error, and you’ll end up with the most keepers. Plus, a deep depth of field will allow you to keep multiple subjects sharp, which is useful if you’re capturing a more complex, layered shot.
First, you’ll need to choose a wide-angle lens, such as 24mm, 28mm, or 35mm. My personal go-to focal length is 28mm, but any of these options work for zone focusing. Unfortunately, if you zoom any closer (50mm, for example), you’ll struggle to get a usable depth of field range.
Next, make sure your camera is set to Manual mode, and dial in a narrow aperture. I’d recommend working at f/8 and beyond – so depending on the light levels, you might use f/8, f/11, f/13, or even f/16.
Because zone focusing is often done with moving subjects (and you might be moving, too!), make sure your shutter is at least 1/250s, though higher is better, if you can afford it. And adjust your ISO to keep your exposure sufficiently bright.
Really, it’s the combination of the wide focal length and narrow aperture that’ll give you the deep depth of field you need, but it’s important not to neglect your other settings.
Step 2: Prefocus your lens in the right area
Now that you have your camera settings dialed in, it’s time to determine where you want to focus your lens.
Part of this should be personal preference and may depend on the context. For instance, if you prefer more intimate street portraits, you’ll want to focus a few feet in front of you. Or if you’re shooting in an environment where people are passing at a distance, you’ll want to focus farther away.
But it’s not just about artistry. Recalling the discussion of depth of field, you know that a closer point of focus decreases the range of acceptable sharpness. So if you want to maximize the chances of a sharp shot, it’s a good idea to focus far off in the distance.
Regardless of where you plan to focus, a lens with a manual focus display is a huge benefit here. I’m talking about something like this:
That way, you know exactly where your lens is focused (and you can consistently prefocus in the same spot).
If your lens doesn’t include a manual focus display, that’s okay, but you’ll need to spend extra time learning to estimate distances.
Step 3: Hit the shutter button when your subject moves into range
You’ve got the right settings, and you’re prefocused in the right spot.
Which means that all you need to do is take the photo.
Keep an eye out for interesting photo opportunities. Estimate your range of focus.
Then, when something interesting happens, wait until the subject comes into your focusing zone, then take a photo. The closer your subject gets to the center of your range of focus, the better (and don’t be afraid to capture multiple photos to maximize your chances of nailing a sharp shot).
A zone focusing tip: learn to guess distances
Zone focusing works really well, and if you’re shooting in bright light with a narrow aperture, you’ll have a lot of leeway.
But if you’re like me, then you often do street photography in less than ideal lighting, such as on the subway. And thanks to the poor light, you’ll need to widen your aperture – to f/2.8 and beyond.
What does this mean? Well, even with a wide-angle lens and a relatively distant subject, you’ll need to be very careful; your range of sharpness will be quite small.
Fujifilm X100 | 35mm | f/2 | 1/250s | ISO 3200
For this reason, you must learn to estimate the distances away from your camera’s lens, all the way up to around 12 feet. I suggest using a tape measure and measuring out the distances. Then just go out and practice.
Find different objects and try to guess their distance. Then, before you head out to shoot, pick an object at a known distance, focus on it, and use it as a sort of “calibrator” for all your future photos.
The other reason to get good at guessing distances? People move and scenes develop. You might want to capture a person walking toward you at 10 feet, then again at 5 feet. To nail both those shots, you’ll need to have one hand on the focusing ring, and practice manually focusing back and forth, from 10 feet to 8 feet to 6 feet and so on.
Eventually, you’ll be able to capture someone walking toward you at both 10 feet and 6 feet, without even having to look through the viewfinder. It’s an incredibly effective technique, and you can use it for some gorgeous results.
Canon 5D Mark II | 28mm | f/5 | ISO 1600
How to zone focus: final words
Now that you’ve finished this article, you should be a capable zone focuser – though I certainly recommend you spend some time really getting to know different distances (and how to accurately prefocus at those distances, too).
So head out with your camera. Have some fun with zone focusing. You’ll love the results!
Now over to you:
Have you tried zone focusing? What do you think? Do you like it? Share your thoughts in the comments below!
Table of contents
Street Photography
GENERAL
10 Tips for the Aspiring Street Photographer
7 Street Photography Rules That Should Be Broken
How to Approach Street Photography in 12 Easy Steps
50 Things I Try to Avoid in Street Photography
5 Questions to Ask Yourself to Help Improve Your People Photography
5 Exercises to Improve Your Street Photography
PREPARATION
7 Steps to Get Over Your Fear of Street Photography
How to Plan a Street Photography Shoot When Traveling
SETTINGS
Zone Focusing: How to (Always) Capture Sharp Street Photos
What is zone focusing?
Why is zone focusing so useful?
Zone focusing and depth of field (dof)
How to zone focus: step by step
Step 1: Adjust your camera settings for a deep depth of field
Step 2: Prefocus your lens in the right area
Step 3: Hit the shutter button when your subject moves into range
A zone focusing tip: learn to guess distances
How to zone focus: final words
What is zone focusing?
Why is zone focusing so useful?
Zone focusing and depth of field (dof)
How to zone focus: step by step
Step 1: Adjust your camera settings for a deep depth of field
Step 2: Prefocus your lens in the right area
Step 3: Hit the shutter button when your subject moves into range
A zone focusing tip: learn to guess distances
How to zone focus: final words
What are the Best Street Photography Camera Settings and Why
LIGHTING
There is No Bad Light for Street Photography
Make the Most of High Contrast Lighting for Dramatic Street Photos
COMPOSITION
The Importance of Capturing Gesture and Emotion in Street Photography
Seeing and Street Photography
13 Great Subjects for Urban Night Photography
How to Avoid Distracting Backgrounds in Street Photography
How the Square Format Can Enhance Your Street Photography
Tips for Minimalist Photography in an Urban Environment
How to Improve the Impact of Your Urban Images Using Lines
How to Use Framing in an Urban Environment
GEAR
5 Reasons Why Shooting With a Rangefinder Will Make You a Better Street Photographer
Pros and Cons of a Telephoto Lens for Street Photography?
The Five Key Features on any Street Photography Camera
Which Street Photography Lens is Right for You?
6 Reasons Why You Should Use a Standard Lens for Street Photography
A Look at the Fujifilm X100V in Action for Street Photography (video)
How to Use a Wide-Angle Lens for People Photography
Street Photography with $ 10 Ilford HP5 Film Camera
ADVANCED GUIDES
8 Advanced Street Photography Tips to Get You to the Next Level
Getting Close and Personal: 11 Tips for Close-up Candid Street Photography
7 Tips for a More Anonymous Approach to Street Photography
A Cowards Guide to Street Photography
6 Tips for Aiming Low and Going Unnoticed in Street Photography
9 Tips for Creating Great Street Portraits
Street Portraits vs Street Photography: What is the Difference?
17 Tips for Shooting Better Urban Portraits
What Makes A Great Street Photograph and How Do We Create Them
How to Tell a Story With Your Street Photography
In the Dark: 10 Tips for Street Night Photography
7 Tips for Urban Landscape Photography
A Street Photographer’s Guide to New York City
Urban Exploration Photography – Urbex
7 Tips for Capturing the Decisive Moment in Street Photography
A Common Misconception About Street Photography – Just Take Photos of People Walking
What do I look for on a Photo Walk? Part 1 – City Walk
8 Things You Should Know if You are Dating a Street Photographer
7 Ways to Become More Spontaneous with Your Street Photography
5 Essential Shots You Need to Get for Street Market Photography
Using Humor In Street Photography
Watch a Street Photographer Going about a Shoot [VIDEO]
Using Street Photography to See Beyond the Ordinary
CREATIVE TECHNIQUES
5 Tips for Shooting Glass to Enhance Your Street Photographs
Window Street Photography ~ Try Something New And Grow!
The Pros and Cons of Black and White Versus Color for Street and Travel Photography
4 Ways to Add a Sense of Motion to Your Urban Photography
7 Steps to Create Street Photography Silhouettes
POST-PROCESSING
How to Enhance Urban Night Photographs Using Luminosity Masks in Photoshop
13 Steps for Editing Street Photography in Lightroom from Start to Finish
How to Turn Day to Night Using Photoshop for Urban Landscapes
BUSINESS
Model Releases: Working with People on the Streets
INSPIRATION
20 Beautiful Examples of Urban Decay Photography
30 Street Photography Images to Inspire You
33 Gritty Photos of Graffiti Street Art
28 Diverse Images That Showcase People Photography
39 Street Photography Images That Have Common Threads
Focus on Thomas Leuthard – Street Photographer
Focus on Street Photographer Eric Kim ~ In your face with a smile!
Focus on Chris Porsz ~ It’s All About The People
Focus on Scott Frederick – Urban Explorer
OPINION
The Uncomfortable Truth About Street Photography
Street Photography: Exploitative vs Respect
To be or not to be a Street Photographer
Consent in Photography – What to Think About When Photographing People
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The post Zone Focusing: How to (Always) Capture Sharp Street Photos appeared first on Digital Photography School. It was authored by James Maher.
The post The dPS Weekly Photography Challenge – The Street appeared first on Digital Photography School. It was authored by Sime.
This is a pretty broad theme, I’m sure you’ll agree! “The Street” or #dPSTheStreet has but one goal and that is to get you, at some stage in this next week to take your camera with you when you leave the house and head down the street. Find a scene and make it interesting. This photo is of my friend Elly who owns a coffee shop around the corner from my house, we’re all back in lockdown here in Melbourne, but a cafe can operate and so I head around to support them and grab my morning coffee. Today I took my camera with me (A Sony a7RMk3 and a 35mm lens) with the goal of making a frame for this challenge. I was going to go with the front window cakes (We have to order through the door and stay outside) display, but when I brought the camera up to my eye and half-pressed my shutter to focus, the camera had other ideas! My focus point was set to single and was slightly off the middle and just caught Elly in the frame and the photo was made. I like the image, despite it being a little less sharp than I’d have liked, because of the various elements in the frame, kinda takes me on a bit of a journey.
Anyways! Find a street scene and make it interesting! Looking forward to seeing what this week’s images have in store.
Find your photograph and share it with us in the comments under this post, or share it to social media and tag us!
“Stillman Street”
Carry your camera everywhere and make some photographs!
As ever, some help with sharing your photo in the comments below (don’t click on this photo to upload your photo, scroll down to the Disqus section, log in, THEN click on the little camera icon in the comments)
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them.
The post The dPS Weekly Photography Challenge – The Street appeared first on Digital Photography School. It was authored by Sime.
The post A Beginner’s Guide to Long Exposure Street Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.
You may have done some long exposure photos and perhaps a bit of street photography. But have you combined these two genres for long exposure street photography?
Consider this: Photographs are frozen slices of time, and your camera is a time machine capable of freezing or stretching a moment. A short shutter speed can freeze things that happen far too fast to see. With a long shutter duration, motion is blurred, stretching time. When photographing in busy urban environments where people, vehicles, and other things are on the move, long exposures can create a sense of motion in a static photograph.
Late in the day when the light was fading, by dropping the ISO to 50 and stopping down to f/22, I was able to get a 1.3-second shutter speed, enough to blur this subject walking past the camera. Note the degree to which he is blurred compared to other people farther away in the shot.
I’d never before considered this quote from the movie Ferris Bueller’s Day Off to have photography implications, but considering what we’ll explore here, I like what it says:
“Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.”
Ferris Bueller
Taking photos is one way we “stop and look around.” It’s also a way we share what we see with others. But a limitation of still photographs is they are a 2D, static representation of a 3D, moving world. So how can we better communicate motion in a still photo? A long exposure that leaves the shutter open for an extended period will cause moving images to be rendered as blurs. That look communicates motion to the viewer.
So let’s talk about the mechanics of how to do long exposure street photography.
Midday and in full sun; even at the minimal ISO of 50 and an aperture of f/22, I had to use a variable ND filter to cut the light for a 1-second shutter speed. Note the difference in blur between the moving subjects and those seated.
Where to go for the best long exposure street photography
If you’re going to depict motion, you want to go somewhere where things are moving. Busy locations where people, vehicles, and other things are on the move will work well. A busy city street or intersection might be a perfect spot. You could also try a sporting event where the participants are in motion.
For long exposure night photography (which we’ll discuss in greater depth), locations with moving lights and illuminated vehicles work well. Also, consider the interesting looks that can be created when your photograph combines static and dynamic elements. One person standing still in a crowd of moving people can make for an impactful image using the long exposure technique.
When people walk, their feet are temporarily still – just for a moment – with each step. Even with a 2-second shutter speed, as in the photo above, while the bodies blur, the steps are visible. Low evening light, a low ISO, and a small aperture allowed for the 2-second shutter (no ND filter was needed).
A still camera in a moving world
You likely want the motion in your photos to be created by the movement of your subjects, not by the movement of your camera. Handholding your camera and keeping it still during a multi-second exposure will be very difficult, so a tripod is a good idea.
(Though consider if you will be able to use a tripod on a busy city sidewalk or other crowded environments. Creating a hazard where someone could trip over a tripod leg is not something you want to do.)
There is also the “attraction of attention factor.” I will confess: I have not done a lot of street photography because of my personal trepidation about having to engage with strangers who want to know why I’m taking their photo on a street corner. Should I decide street photography is something I want to pursue further, that’s something I’ll need to get past.
A high vantage point off a pier assured no one was paying much attention to me as the photographer. A 6-stop ND filter, a low ISO of 50, and a small aperture of f/18 were all needed to deal with the bright sun and get this 8-second exposure.
That said, I guarantee that you will attract even more attention and possible questions if you set up a tripod and a professional-looking camera on a busy street corner and start taking photos of passersby. Perhaps you could find other ways to brace your camera aside from a tripod. Maybe even figure out how to do long exposures with your cell phone to reduce the attention factor.
(If this isn’t a concern for you, more power to you; you’ve already dealt with a major barrier to being a great street photographer.)
What is a long exposure?
Your objective here is to make “long exposures” so that your subjects move during the shot. So how do we define long exposure photography?
An object will render as blurred in a photograph if it changes position from the time the shutter opens until the time it closes. Two factors will determine the amount of blur:
The speed of the moving object relative to the duration the shutter is open
The relative distance the subject moves during the exposure.
Let’s use a moving car as an example. Say you have a shutter speed of 1/30s. You are taking a photo of a car moving at 40 mph. If the car is relatively close to the camera, it could move completely across the frame and thus be rendered as a complete blur. But if the same car, still traveling at 40 mph, was in the distance and relatively small in the frame, it would only move a relatively short distance across the frame in that same 1/30s – and thus wouldn’t show as much blur.
The car in this shot was moving quite slowly, so I needed to drop the shutter speed to 0.6 seconds for some noticeable blur.
This car moved perpendicular to the camera, stayed fairly close, and moved completely across the frame during my 1-second exposure, thus rendering as nothing but a blur.
So to simplify, the distance an object moves across the frame during the exposure is what will determine its blurriness. Even relatively slow-moving objects can be blurred if the exposure time is long enough. Take a close-up of a snail with a 5-minute exposure, and you could quite possibly have it appear motion blurred, too!
It’s that exposure triangle thing again
I hope you know what I mean when I speak of the “exposure triangle” – the relationship between ISO, shutter speed, and aperture when making a properly exposed photograph. If you’re not completely familiar, I’d recommend you stop what you’re doing and read all about it here.
Now, if you’re going to make long exposures that are well exposed, you’ll need full control over your shutter speed. There are two basic modes you can use to achieve this: Shutter Priority mode (Tv on Canon cameras, S on Nikons and some other cameras), or full Manual (M) mode.
In either case, you will be able to pick a shutter speed and lock it in. (We’ll talk about choosing a shutter speed in a minute.)
1/60s isn’t what we’d normally consider a “long exposure,” but panning the camera with a fast-moving subject blurs the background while keeping the subject sharp.
Let’s assume you decide to make a 2-second exposure. Let’s also assume you are in Shutter Priority mode.
When you meter the scene, your shutter speed will be 2 seconds. Your aperture and ISO (if you are using Auto ISO), will “float,” automatically switching to a setting for a proper exposure. Depending on the ambient light, you might get something like 2 seconds at f/11 and ISO 1000. Locking the shutter speed and letting the camera determine aperture and ISO will allow you to get a proper exposure at the shutter duration you choose.
Using Manual mode can give you even greater creative control. Say you set your shutter speed for the same 2 seconds but stop down to f/16 for some additional depth of field. Your ISO can be adjusted to maintain the right exposure, and you’ll get the same 2-second exposure but at f/16 and ISO 2000.
If you are in Manual mode, you get to do all the adjustments yourself. Assuming you want the same 2-second shutter speed, you dial that in. Then you can adjust either the aperture, ISO, or both to center the exposure bar indicator and get a proper exposure. Should you decide to capture multiple shots from the same spot and the light remains constant, you shouldn’t need to make any additional adjustments.
Two important factors
How you choose your long exposure street photography settings will depend on two important factors:
Your desired shutter speed
Ambient light in your scene
So ask yourself:
What shutter speed do I want? Like so much of photography, the answer here is probably “it depends.” How much are the subjects in your shot moving? How fast? How close are they to the camera? What is your desired look? On a crowded street with lots of pedestrians scurrying about, you might be able to make everyone completely disappear in your photo if you use a several-minute exposure. Is that the look you want? Experimentation is the best way to learn the perfect shutter speed for this kind of photography. Try different things, “chimp” your shots, adjust and try again. You will get a feel for what you like and what works best in different situations.
What are the ambient light conditions? You might decide you’d like a 30-second exposure but are out shooting in the middle of the day in bright sunshine. Even stopping down to f/22 and ISO 50, a 30-second exposure might not be possible without drastically overexposing the image. Long exposure night images, taken when you don’t have much ambient light to deal with, are much easier. At night, instead of lowering the ISO, you might need to raise it. The same 30-second night image might be something like 30 seconds at f/4 and ISO 1600.
The amount of light you have to work with will impact what you can do. Long exposures in low light are usually easier, as you can always open up your aperture to its widest setting and crank up the ISO (noise is still a consideration but less so thanks to improved sensor technology). But how do you make a long exposure when there’s too much light and the smallest aperture and lowest ISO won’t get you the shutter speed you want?
A cloudy day, an ISO of 50, and an aperture of f/32 coupled with panning the camera along with the action enabled me to get this impressionistic image of kids playing soccer.
Reach for the “sunglasses”
On a bright, sunny day when the light becomes too intense for our eyes, we’ll often reach for a pair of sunglasses to reduce the brightness. We can do the same for our cameras with neutral density filters (ND filters), which offer different levels of darkness. We can use ND filters to reduce the light hitting the camera sensor, and thus get long shutter durations even in bright conditions.
Here’s an example: You meter the scene, and at your smallest aperture of f/22 and an ISO of 50, the slowest shutter speed you could use and still get a proper exposure is 0.8 seconds. So grab your 6-stop ND filter, add it to the front of your lens, and you’ll be able to use an 8-second exposure. (A 10-stop ND filter could take you all the way to a 2-minute exposure!)
Even with a minimal ISO of 50 and an f/10 aperture, a variable ND was needed to reduce the midday sun and get a 1/8s shutter speed, not a particularly “long” exposure.
Using ND filters and calculating exposures takes a little study and practice, but the advantage is being able to take long exposures in bright conditions where it would otherwise not be possible. (A nice app to have on your cellphone is an ND filter exposure calculator like this one from Lee, a filter manufacturer: for Android/for iOS).
Lights at night
We’re very accustomed to seeing nighttime long exposures, and light trails caused by moving vehicles are quite easy to photograph, so long as you have a tripod or way to stabilize your camera.
Decide how long you want your exposure to last. Then in Shutter Priority mode, pick an aperture. If you’re set to use Auto ISO, the camera should pick the ISO setting for you. Of course, if you’re in Manual mode, you get to pick all three settings.
Again, determine your desired shutter speed, pick an aperture, and then adjust the ISO to a setting where you get a proper exposure. It could take some trial and error, but once you get everything dialed in, you will be able to make repeated shots without too much need for further adjustment.
I made a lot of shots to get the look I was after with this image of rush-hour traffic in Boise, Idaho. During the “blue hour” with limited light, I was able to keep the ISO at 100, the aperture at f/13, and a 15-second shutter speed. Nighttime long exposure is often easier than daylight long exposure (as you now know, too much light requires the use of neutral density filters).
A different way to create some motion: Put the camera on a tripod in the back seat of your vehicle. Strap it down (or bring an assistant). ISO 100 helps keep down the noise and f/7.1 is a good sharp spot, at least for my Tamron lens. Take a downtown drive and trigger the camera with a 6-second exposure. Try different shutter speeds and take lots of shots. You might get one you like!
Freeway traffic with a 2.5-second shutter speed…
I then stopped down to f/22 and tried a 15-second shutter speed. You will find it beneficial when doing long exposure images to experiment with different shutter durations. You will get different looks depending on the speed of your subject, proximity to the camera, and various other factors.
A passing car adds some additional interest to this 10-second exposure of the Idaho Capitol building in Boise.
Beyond the mechanics
Working out the camera mechanics when making long exposures is a matter of determining how to get a long exposure in any given lighting conditions. The rest of making an interesting image is no different than with other kinds of photography. Determine if there’s a “story” you want to tell. Decide how to compose your shot. Use compositional guidelines, vary your perspective, and try different shutter speeds to create different looks.
For street photos of people, it can be interesting to go out with a model, someone who will work with you and pose as needed. Put them in a busy location, but instruct them to stay still while you make your shot. They will remain sharp in the shot while the moving passersby will blur. The contrast of static and dynamic between your frozen model and the people moving and blurring can create some dramatic looks.
The woman on the corner was not my model, but this illustrates the concept. She remained relatively still during the 0.6 second exposure, while the other people walked across the crosswalk. It’s a good example of the static/dynamic image you can make, particularly if you take a model with you.
Add a flash
Here’s something else you can try:
Put a speedlight on your camera and set it up for second-curtain sync. (If you’re unfamiliar with the technique, make sure to read up on it!)
What you’re after is a long exposure that will motion-blur moving people or objects – but then, just before the shutter closes, the flash will fire. Moving elements will have a blur of motion behind them but be frozen by the burst of flash, like this:
Here, 1/8s was long enough to blur the action. A pop of flash using second-curtain sync was enough to freeze a part of the image. The final result is both dynamic and static at the same time.
Just be aware that, if you thought shooting with a tripod on a busy city street might attract attention, firing a flash will make it clear you’re taking photos. What’s nice about having a model with you is that people will assume you’re making photos of the model and not be as concerned about you making photos of them. You’ll even get lots of apologies from people who say, “Sorry, I got in your shot,” not knowing that was your intent all along.
In early evening without much light, I reduced the ISO to 50 and stopped down to f/16. With a 1.6-second shutter speed, you might get a look like this. The camera was mounted on a tripod, and I tripped the shutter nonchalantly as these people walked by.
Go hit the streets
Learning the mechanics of long exposure street photography is the easy part. Getting out on the streets and making photos, particularly with people in them, is the bigger challenge, especially if you haven’t done much street photography before.
If you pride yourself on being a people person, that will come in handy in this genre of photography. The rest, as they say, is practice. Best wishes!
Now over to you:
Do you have any favorite tips or techniques for long exposure street photography?And do you have any long exposure images you’re proud of? Share them in the comments below!
The post A Beginner’s Guide to Long Exposure Street Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.
The post 11 Street Photography Ideas to Spark Your Creativity appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Coming up with fresh, interesting street photography ideas can be a challenge – especially if you’re first starting to explore the genre.
But don’t worry. Because in this article, I share 11 ideas for beautiful photos, all designed to help you get excited about street photography.
Some ideas are a little more abstract than others; some may suit your tastes and others may not. But don’t only consider the ideas you feel comfortable with. Step outside your comfort zone and try something new. It’ll help you grow as a photographer, and it’ll add a richer dynamic to your portfolio of images!
Instead of photographing individuals or groups of individuals, look for people interacting with each other. Aim to capture their relationship. This may be as simple as the exchange that takes place when someone buys a newspaper or street food.
I photographed the ladies below in a street market in Myanmar. The place was packed, and busy, too, with people coming and going. The two women met in the middle of the street and had a good catch-up. I have no idea what they were talking about, but it seemed like they had not seen each other for a while.
Standing close to them, I took a series of photos. They were engrossed in their conversation and quite oblivious to my presence.
2. Bicycles
I think you’ll find bicycles in most cities, towns, and villages, no matter your location. And they make wonderful photography subjects! You can photograph people riding bicycles, or bicycles that have been parked, bicycles with their owners, and bicycles without.
Look at the shapes and lines. Emphasize the wheels, handlebars, or seat. Come in close and consider the details. All bikes are unique and have some special features that you can focus on.
I’ve been photographing bicycles since I got my first camera. By now I have a pretty good collection of bike images.
This idea is a little more abstract, and it’s all about looking for interesting shadows and reflections to photograph.
Note that you can find shadows and reflections made by pretty much anything. And it’s not about the item itself, just the effect of it interacting with the light.
Dark shadows on a bright, sunny day are created by interestingly shaped items. Bikes make wonderful shadows. Trees do, too. Use your imagination when the sun’s out, or at night when passing under a street light.
(Also, think long and hard about whether you want to photograph just the shadow, or whether you want to include the item making the shadow, too.)
Reflections are all around you: In shop windows, the chrome of a classic car, puddles on the pavement after rain. Once you begin to look, you’ll start to see them everywhere.
Look for locations where you are above the action. Capturing a bird’s-eye view of a street scene offers a perspective most people won’t otherwise experience.
After all, a view from above shows the world differently from how most of us see it.
So how can you achieve the bird’s-eye view perspective? Search for a footbridge or an overpass. Balconies, second-floor windows, and mezzanine floors are also all great places to shoot from above.
How are people getting around? What are they using to carry their stuff from one place to another? Look for unusual and interesting modes of transport to photograph.
You might find an old person pulling a cart or an entrepreneur with a vehicle crafted to fit their specific needs. Maybe you’ll see a business person in a suit on a scooter or skateboard.
Many cities have public transportation that may seem common to their inhabitants – but it’s unique to the location and very unusual outside of those places.
Morning and evening are often considered the best time to take photographs because the light is richer and more flattering. But whatever time of day you can get out and about with your camera, always try to determine where the light is best.
In street photography, you need to study your locations and decide where to position yourself to make the most of the light. You can’t change the light, so you must do what you can to manage it well.
When you can’t get out in the morning, late afternoon, or evening, you’ll need to try harder to find the best light. It’s not impossible, just challenging. Look for where the light reflects and plays off surfaces in an interesting way. Position yourself and wait.
Shoot in the same location, over and over again. For a week, a month, or a year. Commit to spending time at the same location regularly – for longer than you think you will need to.
By sticking with a single location, you’ll be forced to push yourself creatively.
Consider what makes the place unique or special. Aim to capture its character. What do you observe happening each time you’re there? Visit at different times of the day and night. How does the light vary? Shoot from as many different angles as possible.
Sure, it’ll seem hard, especially at first. But it’ll be great for developing your eye and your creativity.
Find people doing what they’re good at. Ask permission and offer free prints of your best photos.
When someone’s engrossed in what they’re good at, it’s easy to capture expression and feeling. You may be surprised at what you can photograph just from walking down the street.
Once you’ve found a person to photograph, observe them carefully. Look for peak moments in their activity. Watch for repetition. Capture the most significant aspects of their tasks with the aim of telling a story about what they are doing.
Working in black and white is a classic – and somewhat cliché – street photography idea, but I feel compelled to include it. Black and white is easy to overlook. But it’s a great way to produce powerful photos.
Some photos are simply stronger in black and white. Some subjects and lighting conditions just lend themselves to monochrome.
Are you struggling with inspiration? Thinking and photographing in black and white can be the perfect way to get your creativity flowing!
Strip away the color. Pay careful attention to the light and tone. Look to present more feeling in your photos.
Get bold. Take some street portraits. And if possible, get your subject to pose with a prop.
Why? Props help people feel more comfortable. Plus, when a person’s holding something interesting, their attention will be a little distracted. They won’t be totally focused on you and your camera.
Ask the people you photograph some questions about their prop. Show that you are interested. This can also bring up valuable information, which can then lead to other street portrait ideas.
Look for birds, dogs, and cats in the street to photograph. Capture them as they sleep and as they eat.
Find a cat who owns the space it lives in. Look for a dog that wants attention from everyone who passes. Capture birds as they clean up crumbs left on an outdoor cafe table.
You’ll end up with some wonderfully intimate street shots!
Hopefully, you’re now feeling far more motivated – and you have plenty of ideas worth photographing.
So choose one or two items that resonate with you. If none of the above work, check out the list below, where I’ve included some additional options. Work on a few to see which ones stick. Then go with the flow, and you’ll soon find you don’t want to put your camera down!
My list of additional street photography ideas:
Environmental portraits
People and signs
Minimalism
Empty streets
Current issues
Hands
Close-up portraits
Silhouettes
Slow shutter speed
Decisive moment
Street art
One color
Shapes (squares, circles, triangles)
Looking through things (frame within a frame)
Worm’s-eye view
Reflections
Photograph from inside
One lens
Street photography idea FAQs
What makes a good street photo?
It captures the essence of a place as you perceive it.
How do I start street photography?
Pick up your camera and head out the door. It’s as simple as that!
What are the rules for street photography?
I know of no rules for street photography. But here are a few suggestions: Photograph what you’re interested in. Be polite and stay safe. Make good art.
Is street photography legal?
In most countries, you are allowed to photograph whatever you like so long as you are on public property.
The post 11 Street Photography Ideas to Spark Your Creativity appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post The Best Lens for Street Photography: Top 11 Picks (in 2021) appeared first on Digital Photography School. It was authored by Simon Bond.
What’s the best lens for street photography on the market today?
In this article, I’ll share my favorite street photography lenses, including options for all budgets and camera brands. I’ll also explain how you can pick the perfect street lens for your needs – by taking into account important factors such as focal length, sharpness, and low-light performance.
So if you like street photography and you’re looking to buy a new lens to improve your photos, then read on.
Which direction will you go with your street photography? Canon 5D Mark II | Canon 50mm f/1.2L | f/8 | 1/800s | ISO 320
1. Canon EF 50mm f/1.2L USM
If you’re prepared to pay the price, then the Canon 50mm f/1.2L is one of the best lenses for street photography available today. The large aperture lets you photograph in low-light conditions without needing to boost the ISO, and the optics and build quality are outstanding. The 50mm f/1.2 works well for both street photography and street portraits (i.e., posed portraits with people on the streets), and the standard focal length offers enough reach for intimate compositions.
Low-light performance: Stellar; not many lenses have an aperture as large as f/1.2
Quality: Excellent build, just what you’d expect from a flagship Canon lens
Price: On the expensive side ($ 1399 USD)
Weight: Pretty heavy, thanks to the solid build quality and wide maximum aperture
2. Canon EF 50mm f/1.8 STM
Like the 50mm f/1.2, above, the Canon 50mm f/1.8 STM is a great lens to have in your street photography bag – in fact, there are plenty of reasons to buy it over the f/1.2 version. For one, the cheaper price is going to be much more appealing, especially if you’re new to photography and not yet ready to commit to more expensive gear. And the 50mm f/1.8 is also much smaller and lighter than its bulky f/1.2 sibling. While low-light performance isn’t on par with other lenses on this list, you can still count on the 50mm f/1.8 in the shade and at night.
Low-light performance: Pretty good, thanks to a relatively large maximum aperture
Quality: Good, but not as solid as the f/1.2 version (above)
Price: You can pick up this lens for just over $ 100 USD – it’s just about the cheapest lens you can buy
Weight: The size and weight of this lens make it easy to carry around
3. Canon EF 135mm f/2L USM
Those looking for a longer street photography lens could do a lot worse than the Canon 135mm f/2L. At 135mm, you’ll be able to photograph your street scenes from a distance, though the size of the 135mm f/2 makes discreet shooting difficult. It’s a great lens for separating your main subject from a busy background – you can use that extra focal length to compress the scene, and the f/2 aperture helps achieve outstanding background bokeh. And while the 135mm f/2 isn’t as forgiving as a 50mm lens, you can use it in low light, especially at f/2.
Low-light performance: Good for the longer 135mm focal length
Quality: A great build that’s usable in all weather conditions
Price: Reasonable ($ 999 USD) for a high-level lens
Weight: Relatively heavy, but much lighter than a 70-200mm f/2.8
4. Nikon AF-S 50mm f/1.8G
Nikon users looking for an affordable street photography lens should consider the 50mm f/1.8G. It offers good quality with an aperture that’s large enough for most situations, plus the 50mm focal length is a street photography classic. Nice build, weight, and size make it a great option for any Nikon street photographer.
Low-light performance: Good for most situations
Quality: Well built
Price: The most affordable lens for Nikon street photographers (that offers a decent maximum aperture)
Weight: The slightly smaller aperture means less lens glass, which means it’s easy to carry
5. Nikon 24-85mm f/2.8-4D
Thanks to its zoom range, the Nikon 24-85mm offers a little more flexibility than other options on this list – and it can double as a general-purpose lens, too. It’s a step up from a kit lens and offers you an aperture of f/2.8 on the wide end. This lens covers the 50mm focal distance that many consider optimal for street photography, and you’ll be able to zoom in and out, a major advantage if you want to frame a photo quickly without needing to move. The major downside is the 24-85mm’s low-light capabilities; the f/2.8 to f/4 maximum aperture just won’t be enough for some situations.
Low-light performance: Decent, but not what you get with a prime lens
Quality: Good overall quality for street photography
Price: In the midrange price bracket (around $ 750 USD). You’re paying for a zoom lens with a large maximum aperture.
Weight: The lens is heavier than a prime lens (a compromise for more focal length flexibility)
6. Sony 35mm f/2.8 Sonnar T FE ZA
While 35mm is on the wider side for street photography, the Sony 35mm f/2.8 is great for those with an APS-C sensor who want to photograph with a 50mm field of view. Build quality is good, so you can shoot in most conditions. And while the f/2.8 aperture isn’t ideal for nighttime outings, it’s more than enough for daytime and twilight street photography.
Low-light performance: It’s going to be more of a challenge to use this lens in dim light, though the wide focal length means you can handhold at a slightly slower shutter speed.
Quality: It’s a nice lens, and its compact size is a definite plus for street photography
Price: In the midrange price bracket ($ 799 USD)
Weight: Coming in at just 4.2 oz (119g), this lens isn’t heavy
7. Sony E 50mm f/1.8 OSS
If you’re just getting into street photography, you’re a Sony APS-C user, and you want an affordable option, then the Sony 50mm f/1.8 could be the lens for you. The sleek, compact design makes it ideal for the street photographer, and its fast focusing is important for nailing the perfect shot. You get a 75mm effective focal length, which is a bit tight for some photographers – but if you like the narrower field of view, then the 50mm f/1.8 is a perfect choice.
Low-light performance: The larger maximum aperture is good for most low-light situations
Quality: Well built; ideal for both beginners and more experienced photographers
Price: Offers great value (around $ 350 USD)
Weight: Standard primes aren’t usually heavy, and this lens weighs just over 7 oz (200 g)
8. Fujinon XF 35mm f/1.4 R
The Fujinon 35mm f/1.4 is a great lens for any Fujifilm camera user, whether you’re interested in street photography, portraits, or simply creating abstract bokeh. The lens is sharp, has decent focus speeds, and offers an f/1.4 for nice blurred-out backgrounds and nighttime photography. The bokeh effect is especially good (and can produce very nice street photography backgrounds).
Low-light performance: With a 35mm focal length and a maximum aperture of f/1.4, this lens is ideal for low-light shooting.
Quality: A solid, dependable lens; will keep up with the fast pace of street photography
Price: Midrange ($ 599 USD), thanks to the wide maximum aperture
Weight: Decent to carry around for a day on the street
9. Fujinon XF 56mm f/1.2 R
The Fujinon 56mm f/1.2 offers a wide maximum aperture, one that’s perfect for low-light street photography, plus it can generate beautiful backgrounds. The focal length is on the long side – on Fujifilm APS-C cameras, it’s an effective 84mm – but you can use it for close-ups, tighter scenics, and intimate street portraits. And for an f/1.2 lens, the price is pretty reasonable!
Low-light performance: You’re not going to get a better lens than this for low-light scenes
Quality: This is a great piece of glass that produces excellent images
Price: Quality lenses cost a lot; this lens will set you back around $ 1000 USD
Weight: It’s heavier than most of the primes on this list, but that’s one of the tradeoffs for such a wide maximum aperture
10. Sigma 35mm f/1.4 ART DG HSM
Sigma has been making excellent lenses with its ART series, and the 35mm f/1.4 is no exception. The lens comes in mounts for all the major camera manufacturers, including Nikon, Canon, and Sony, and while it’s a third-party lens, it does well against the other glass on this list. The large aperture and medium-wide focal length make this an ideal lens for any street photographer, whether shooting in the day or at night. It really is one of the best lenses for street photography available today, and it’s cheaper than the high-end lenses offered by other major manufacturers.
Low-light performance: Strong. This is a fast lens that allows for great images in tricky lighting
Quality: Very nice; Sigma is one of the best third-party manufacturers, and the ART series is top-notch
Price: For around $ 700 USD, you’re picking up excellent glass at a midrange price.
Weight: The Sigma 35mm f/1.4 is on the heavier end of the scale
11. Tamron 24-70mm f/2.8 Di VC USD G2
Looking for a versatile street photography lens? The Tamron 24-70mm offers a similar focal range to a kit lens but with a fast f/2.8 aperture. You get significant flexibility thanks to the wide-to-telephoto zoom capabilities, so you can easily capture street photos that require rapid changes in composition. The downside is this lens’s size and weight (f/2.8 zoom lenses are always on the heavier side). For a zoom lens, the f/2.8 aperture is impressive and will let you blur out backgrounds, though you might prefer a larger-apertured prime lens in low light. Bottom line: The 24-70mm is a good daytime street photography lens, and it’s also perfect for other types of photography, such as travel.
Low-light performance: Not the best; you’ll primarily use this lens in the daytime
Quality: Good quality, with image stabilization compensating for the smaller aperture
Price: On the pricier side ($ 1200 USD), though it is multifunctional thanks to its range of focal lengths
Weight: Pretty heavy, but the zoom range lets you carry one lens rather than several
Factors to consider before buying a street photography lens
All the lenses on this list are great, but the final decision is up to you – and should depend on your shooting style and preferred type of street photography.
So here are the key items to consider when looking for the perfect street photography lens:
Focal length
Many photographers say the best focal length for street photography is 50mm, and 50mm lenses do offer a great perspective (plus, this field of view has been popularized by many famous street photographers). Those who like the 50mm focal length but use crop sensors should go for a 35mm lens.
That said, you don’t need to feel constrained by what has come before, and wider focal lengths are becoming more popular among street photographers.
Nighttime street photography needs a larger aperture or a high ISO. Canon 5D Mark II | Canon 50mm f/1.2L | f/2 | 1/400s | ISO 500
Low-light performance
For moody and dramatic street photos, you’ll often need to shoot in low light. You might find yourself doing street photography in a dingy indoor market, at twilight, or at night – and in all of those situations, a lens with a large aperture provides a major advantage. Yes, modern cameras perform well at high ISOs, which negates the need for a high aperture to some extent. However, a large aperture is still required if you want beautiful bokeh lights in the background of your low-light photos.
Size and weight
To get great street photos, you’ll need to be out walking for much of the day. This means a smaller, lighter setup is a big help. Try to pick just one lens and keep it as light as possible.
Autofocus speed
Street photography is often done in fast-paced and dynamic environments, so if your lens is too slow to focus, you’ll miss a lot of shots. You need a lens that focuses almost instantly, especially if you hope to capture action-oriented street images.
Sharpness
Pretty much all forms of photography require sharpness, and street photography is no exception. Look for a lens that gives you crisp, clear, detailed photos. Some street photographers do like a softer, grainier look, but you can add this in post-processing. Generally speaking, the sharper the lens, the better.
Canon 5D Mark II | Canon 50mm f/1.2L | f/2 | 1/60s | ISO 1000
Time to choose the best lens for street photography
Now that you’ve finished this article, you should be ready to choose the right street photography lens for your needs.
Remember: the best street photography lens is the one that matches the aesthetic you want to create. So don’t think too much about the popularity of different lenses; instead, ask yourself how they’ll work with your interests and style.
Now over to you:
Which of these lenses is your favorite? Is there one in particular that appeals to you for street shooting? Share your thoughts in the comments below!
The best lens for street photography will allow you to get close to the action! Canon 5D Mark II | Canon 17-40mm f/4L | 24mm | f/4 | 1/60s | ISO 2500
The post The Best Lens for Street Photography: Top 11 Picks (in 2021) appeared first on Digital Photography School. It was authored by Simon Bond.
The post 35mm Street Photography Pros and Cons (+ Tips) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
With a 35mm prime lens on a full-frame camera, you’ll capture a field of view a little broader than what you see. This is what makes 35mm street photography so attractive.
Street photography is most impactful when it is realistic – but with a twist. That twist is the photographer’s creative influence. Rather than relying on tricky post-processing, extra long or wide lenses, or any other gear to make an image stand out, a good street photographer will aim to capture life on the highways and byways as they experience it.
In this article, I’ll take a look at some of the pros and cons of 35mm street photography and offer some easy-to-follow tips!
5 reasons to use a 35mm lens for street photography
Wondering whether a 35mm lens will work for your street shooting? In this section, I share five reasons to love the 35mm focal length, starting with:
1. It’s how we naturally see (almost)
A 35mm lens on a full-frame camera provides a field of view a little wider than the field of view offered by our eyes. So it takes photos with a natural look.
With wider lenses or longer lenses, distortion can creep into your compositions. Wider lenses tend to distance elements in a composition. Longer lenses have the effect of compressing whatever appears in the frame.
2. A 35mm lens is wide, but not too wide
For street photography, a 35mm lens is wide, but not too wide. It allows you to back away and capture a broader perspective. Generally, it does not introduce distortion.
The very popular 50mm prime can be too tight for a lot of street photography. It narrows your field of view, which can make it harder to capture the full scene.
My first camera, a Nikkormat FTN, came with a 50mm f/1.4 lens. It was a great lens, and I continued using it for 27 years until it would not focus anymore. Then I replaced it with a 35mm f/1.4. I loved the f/1.4 feature on my 50mm, but it never gave me a wide-enough perspective.
A 35mm prime can be a relatively small, compact lens. My 35mm f/1.4 is not so small, but it’s also not too big compared to many popular zoom lenses.
And using a less obvious camera and lens for street photography can often help. You and the people you’re photographing can feel more confident because bigger gear can be intimidating. For instance, you may not feel so comfortable with a full-frame body and a 24-70mm f/2.8 zoom lens.
With mirrorless cameras and pancake lenses, you have an even greater advantage. The gear is so much smaller and less conspicuous!
4. You have to “zoom with your feet”
Photographers who love their zoom lenses can scoff at the notion of having to zoom with your feet. But being forced to move often helps me see my subject in more creative ways than if my feet were to remain in one place. This is another positive aspect of using a 35mm prime lens for street photography.
When you have to move, you’ll see the world from different points of view. This will show you more angles, and you’ll see how the light plays differently off your subject depending on your position.
Did I already mention that I love my 35mm f/1.4? Using the widest aperture setting for street photography is not always practical. Focusing is more challenging. But when you want the loveliness of a very shallow depth of field, an f/1.4 lens is perfect.
Many street photographers prefer to work with a narrower aperture setting. I often do. But when I want that background blur, I open up my aperture and maybe get in a little closer.
5 reasons to avoid a 35mm lens for street photography
While 35mm lenses are great, there are some important drawbacks worth considering. For instance:
1. They’re too standard
As I pointed out earlier, a 35mm lens on a full-frame camera produces a very natural field of view.
But this may not be to your liking.
A wider lens will capture more of a scene. When you can’t back up any farther, it becomes necessary to attach a wider lens to your camera. And a longer lens will get you closer to the action (it may keep you safer, too).
2. You can’t zoom with a prime
Zooming in or out is often the quickest and easiest way to recompose a photo. With a prime 35mm lens, recomposing takes longer because you have to physically move.
A zoom lens is sometimes much more convenient because it lets you stay where you are and keep taking photos.
With a 35mm prime lens, you can’t always capture those perfect street photography moments. You may find yourself needing a longer lens to get you closer to the action or to remain inconspicuous.
4. The focal length is long on an APS-C camera
A 35mm lens on a crop-sensor camera is about 50mm. This is restrictive and not so flexible to work with – it’s often just too tight for street scenes.
5. f/1.4 is expensive
A 35mm f/1.4 lens is a serious commitment; it is not cheap.
When I needed to upgrade from my 50mm lens, the price difference between replacing it with another 50mm or buying the 35mm was significant. In the end, though, the 35mm f/1.4 was well worth the investment.
Now that you’re familiar with the pros and cons of 35mm street photography, it’s time for some quick-and-easy street photography tips!
1. Know your lens characteristics well
If you work with a lens long enough, you’ll get used to its characteristics. You’ll become intimately familiar with its capabilities.
You’ll get to know intuitively how much depth of field you’ll have in a scene, given your f-stop and distance from the subject. This is a great advantage when capturing images that require a deep depth of field and you need to work quickly.
Don’t be shy about getting close to your subject when using a 35mm lens for street photography. With a 35mm lens, street photography can be more personal. Getting in close allows you to produce photos with a greater sense of intimacy.
Here’s a fun little exercise to try:
Photograph the same scene with a 35mm lens and a 200mm lens. The photos taken with the 35mm lens will have a different, more intimate feel – simply because you’re closer to your subject when you hit the shutter button.
A 35mm lens helps you truly connect with your subjects. You can be close enough to have a natural conversation. If you are farther back with a long lens on your camera, you will not be conversing from a position that you’d naturally have a conversation in.
Also, a 35mm lens is lovely for street portraits and is not so wide that it produces distortion on your subject’s face.
Whatever style of street photography you love, if you haven’t yet tried a 35mm lens, I highly recommend it.
Even if you often work with a standard zoom, I suggest you go out a few times, set your zoom to 35mm, and don’t change it. You may even learn to appreciate this restriction.
35mm street photography may not suit everyone’s style, but I certainly love it.
Now over to you:
What’s your favorite street photography focal length? Do you use a 35mm lens for street shooting? Share your thoughts in the comments below!
The post 35mm Street Photography Pros and Cons (+ Tips) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Choosing the best camera for street photography doesn’t have to be difficult, but it can take some time to weigh the options. Fortunately, with all the cameras available today, it’s tough to make a bad choice!
That said, there are some street photography cameras that stand out among their peers – thanks to a unique combination of features.
Fujifilm X100F | f/16 | 1/30s | ISO 200
While street photography can be done with almost any camera, from mobile phones to medium format, there are a few characteristics to look for when choosing your gear. A small size, easy-to-use manual controls, a quiet shutter, and a fast response time are all very much appreciated when capturing slices of life in public spaces.
Other features like a tilting screen, a built-in ND filter, a bright viewfinder, and weather sealing are nice, but not deal-breakers for most photographers. Ultimately, you’ll need to decide what’s important to you and choose accordingly, but if you’re not sure where to start, this list will hopefully be of use.
(Note: In terms of ranking, the top three picks are ranked in order; after that, every camera is about equally good, followed by four honorable mentions that don’t quite make the cut.)
1. Fujifilm X100V
Back in 2010, Fujifilm released the original X100, which featured a groundbreaking set of features including a hybrid optical/electronic viewfinder and an APS-C sensor. It quickly became a runaway hit.
The X100V is the fifth iteration of this camera, and over the years Fujifilm has steadily refined it for street photography. Aperture, shutter speed, ISO, and exposure compensation each have their own control dials, which makes them dead simple to adjust on the fly. The hybrid viewfinder lets you shoot with an old-school rangefinder or an ultra-modern mirrorless, and the flip-out touchscreen makes it easy to compose from low angles.
Other benefits for street photographers include a 23mm fixed lens mated to an APS-C sensor, which results in a 35mm equivalent field of view – perfect for street photography. The lens is sharp and bright with a maximum aperture of f/2, so you can take pictures with ease and never worry about missing a shot due to poor light. The built-in leaf shutter makes photography virtually silent, which is great if you value discretion.
The X100V is small but not exactly pocketable, and it has a full suite of customizable buttons and dials to suit your style. If you want a virtually no-compromises camera designed from the ground up for street shooters, the Fuji X100V is a fantastic option; it is, in my opinion, the best camera for street photography today.
Pros:
Stellar image quality
Easy-to-use controls
Hybrid optical/electronic rangefinder-style viewfinder (the only one of its kind among all the cameras on this list)
Beautiful JPEG files with a wide variety of available film simulations
Cons:
Weather sealing requires the purchase of an adapter ring for the front of the lens
Autofocus isn’t as fast as some of its peers
Expensive, especially for casual photographers
No image stabilization
2. Ricoh GR III
The Ricoh GR line of cameras has been a favorite of street photographers for years, and with good reason. The third iteration of this venerable camera series continues the tradition of being small in size but packing quite a punch, and it offers nearly everything a street photographer could want.
An 18mm lens mated to the APS-C sensor results in a 28mm field of view; this is a bit wider than the Fujifilm X100V, and more like what you might see on a mobile phone. Some people like the wider angle, but I find the 35mm field of view much more pleasing and versatile. Image quality is outstanding, and high-ISO shots look great. Lots of photographers swear by the Ricoh black and white JPEGs, so if you like to shoot in monochrome, this might be a good option.
The Ricoh GR III has plenty of buttons but not as many dedicated controls as the Fujifilm X100V and other cameras on this list. It’s not quite as easy to rapidly change settings, but many custom functions can be mapped to specific buttons to make things easier. The maximum f/2.8 aperture isn’t as bright as the Fuji X100V, but the camera compensates with built-in image stabilization; this makes low-light photography a bit more practical as long as you are shooting still subjects. A non-tilting touchscreen makes composing shots a cinch, but the lack of a dedicated viewfinder is certainly something to consider if you prefer composing your shots by bringing the camera up to your eye.
Pros:
Small size makes it easy to carry in a pocket or handbag
Much more affordable than the Fuji X100V and some other options on this list
Excellent image quality
Built-in image stabilization
Cons:
f/2.8 lens is not as bright as the Fujifilm X100V
The lack of a built-in viewfinder means photos must be composed using the rear LCD screen
Battery life isn’t great, so you might consider carrying a spare
3. Sony RX100 VII
The Sony RX100 line has been around for many years and has gone through myriad iterations to adapt to the demands of photographers. The most dramatic change in recent years is the lens, which used to have a much smaller focal range but now goes all the way from 24mm to 200mm (in equivalent 35mm measurements). This makes the RX100 VII an outstanding camera for many genres, including street photography.
While the lens isn’t nearly as bright as the Fuji X100V’s or Ricoh GR III’s, its maximum f/2.8 aperture on the wide end is great for daytime street photography. This quickly shrinks to a maximum f/4.5 aperture as you zoom in, but most street photographers typically shoot wide as opposed to telephoto.
The 1″ sensor in the Sony RX100 VII is what enables this camera to have such a versatile lens. And while it’s no match for its APS-C and full-frame siblings’ image quality and high-ISO performance, Sony makes up for it in terms of sheer technological prowess.
The RX100 VII camera is packed to the gills with features normally found on high-end mirrorless cameras costing thousands of dollars. Autofocus is snappy and reliable and includes subject tracking and eye AF, video recording is outstanding, and the pop-up viewfinder is a boon for street photographers. A rear touchscreen, a relatively robust set of manual controls, and several customizable buttons mean you can set the camera to shoot how you want to get the street photos you might otherwise miss. At the end of the day, the reason this camera earns a spot on my list is due to its unique combination of features and size; no other camera offers so much in so small a body.
Pros:
Very small size makes the camera extremely portable and pocketable
Incredible technology, from 4K video to fast, reliable autofocus
Versatile lens with a 200mm focal length at the long end
Optical stabilization helps you get clear shots of still subjects in low light
Cons:
f/2.8 aperture is only available at the widest end of the focal range
The small image sensor results in less depth of field and inferior high-ISO performance compared to other cameras
The pop-up viewfinder isn’t instantly accessible
4. Panasonic Lumix LX100 II
While the Panasonic Lumix LX100 II isn’t as feature-packed as other cameras on the list, it nonetheless acquits itself nicely in the world of street photography. It’s easy to use and packs fast autofocus and responsive controls, including dedicated dials for shutter speed and exposure compensation. The built-in 24-75mm (35mm equivalent) lens is great for wide-angle shots as well as tighter crops, and the bright f/1.7 aperture is perfect for low-light photography, though it does shrink to f/2.8 when zoomed to 75mm. Street photographers will love the small size of this camera, though the lens does stick out from the body enough to cause problems in a pocket or handbag.
Panasonic packs a lot of technology into its cameras, and the Lumix LX100 II has a range of high-tech features that make it well suited to street photographers. The autofocus points cover nearly the entire frame so you can focus almost anywhere, and built-in crop modes let you frame your shots in a variety of different aspect ratios.
The touchscreen makes focusing a breeze, which can be useful for on-the-spot candids, and the electronic viewfinder is great for thoughtfully composing your photos. Street photographers will also appreciate the aperture ring, which gives you full control over the aperture without requiring a trip to the camera menus.
Pros
Manual control dials for shutter speed and aperture
Built-in zoom lens covers a useful focal range for street photography
Small size
Cons
Image quality isn’t as good at higher ISO values
f/1.7 aperture is only available at the widest end of the focal length range
The viewfinder isn’t as sharp and crisp as others on this list, which makes composing some shots a little frustrating
5. Canon G1 X Mark III
The Canon G1 X Mark III combines the best of compact cameras and their larger-sensor DSLR/mirrorless brethren; the result is an imaging tool that is quite well suited to many types of street photography.
The G1 X Mark III’s overall appeal is a bit hampered by its size as well as some limitations of the built-in lens, but anyone after a street photography camera would be wise to consider it. The huge APS-C image sensor on the G1 X III makes for superb shots in a variety of lighting conditions, and a long list of impressive technical specifications makes this camera great for street shots.
Composing is simple with the rear LCD, and Canon goes one step further than most by offering a fully articulating touchscreen. Autofocus isn’t particularly noteworthy, especially when tracking moving subjects, but that’s usually not a primary concern for street photographers.
The 24-72mm (35mm equivalent) focal range of the zoom lens means you can get wide shots and street portraits, but the aperture range on the lens is definitely less than ideal. The f/2.8 maximum aperture (when zoomed out) is respectable, but the f/5.6 aperture when zoomed in severely limits this camera’s functionality in low light.
However, high-ISO shots look great, and street photographers will love the abundance of control dials and function buttons to access commonly used settings. The electronic viewfinder is crisp and sharp, and while not as nice as Canon’s high-end cameras, it’s certainly good enough for street photography.
Pros:
Excellent image quality, especially compared to some cameras on this list with much smaller sensors
Leaf shutter lets you use very fast internal flash sync speeds
Built-in neutral density filter lets you explore more creative possibilities
Cons:
Small maximum aperture limits the usefulness of the built-in lens, especially when zoomed in
Battery life is not great
The lens isn’t as sharp as others on this list
6. Nikon Z5
The inclusion of the Nikon Z5 on this list might seem a bit strange, but hear me out. The Nikon Z5 isn’t specifically designed for street photography like the Ricoh GR III or Fuji X100V, and it’s larger and heavier than the Canon G1 X Mark III. You also need to attach a lens because it doesn’t include one like the Panasonic LX100 II and others.
But it has one standout quality for street photography: it is currently the cheapest full-frame mirrorless camera on the market. So for street photographers who value image quality above all else, the Nikon Z5 is definitely worth a look.
In addition to a full-frame sensor, the Nikon Z5 has plenty of other features to make street photographers sit up and take notice. Its flip-out touchscreen lets you shoot from up high and down low, and it has more than enough manual controls and customizable settings. It features a bright viewfinder, fast autofocus, built-in image stabilization, and an (optional) fully electronic shutter for discreet shooting.
The Nikon Z5 can be paired with Nikon’s Z lenses, many of which are outstanding for street photography. Bear in mind that the Z5 is expensive, heavy, and downright cumbersome next to its nimble, pocketable counterparts. But for full-frame street shooters, it’s one of the best options available.
Pros:
Exquisite image quality and autofocus performance
Dual memory card slots
Built-in image stabilization helps you get great shots with slower shutter speeds
Cons:
Larger than almost every camera on this list; it will not fit in a pocket
Very few small Z-mount lenses available, which limits its appeal for street photography
7. Olympus PEN E-PL10
The Olympus PEN series has long been beloved by street photographers, and while not up to the standards of some of its peers, the PEN E-PL10 definitely holds its own in key areas. It sports a Micro Four Thirds sensor, which sits comfortably between the 1″ sensor of the RX100 series and the APS-C sensors offered by cameras such as the G1 X Mark III and Fuji X100V. It strikes a nice balance between size and capability, with features that appeal to many street photographers.
Like the Nikon Z5, the PEN E-PL10 requires a separate lens, but Micro Four Thirds lenses are much smaller than their Nikon/Canon/Sony counterparts. For example, the 14-42mm lens (28-84mm equivalent) shown in the photo above makes the E-PL10 about the same size as the Fuji X100V when the lens is zoomed out to 14mm. And there’s a huge variety of MFT lenses, many of which are great for casual street shooting.
The PEN E-PL10 isn’t as feature-rich as some of its more pro-oriented siblings like the OM-D E-M1 Mark III, but it has a full complement of manual controls so you can get precisely the shot you’re after. Some street photographers might lament the lack of a dedicated viewfinder, but the articulating rear touchscreen makes composing photos easy and enjoyable.
The E-PL10 also stands out thanks to built-in image stabilization and fast, reliable autofocus. And the PEN E-PL10 is much less expensive than other cameras on this list, which makes it a great option for people wanting to get started with street photography.
Pros:
One of the smallest interchangeable lens cameras on the market
Excellent manual controls and built-in image stabilization
Inexpensive, even when factoring in the cost of a lens
Cons:
A Micro Four Thirds sensor means high-ISO shots aren’t top-notch
No dedicated viewfinder
Serious street shooters might outgrow the feature set of the camera rather quickly
Honorable mentions
The cameras listed below are all well-suited to street photography, but I generally consider them outliers in this type of discussion. While they are all worth considering, each is limited by some important factors, and I would generally recommend one of the initial cameras on this list over one of the honorable mentions.
However, if money, size, or access to the latest technology are not your primary concerns, then by all means, look at the models listed below.
8. Leica Q2
The Leica Q2 is a no-compromise street photographer’s dream. Everything about this camera is ideally suited to street photography, from its full-frame sensor to its exquisitely sharp 28mm f/1.8 lens to the brilliant optical viewfinder, durable construction, and weather sealing.
While you could buy several Fujifilm X100Vs and a Ricoh GR III for the same price as a Leica Q2, you would be making some compromises and tradeoffs in the process that you simply don’t have to think about with the Leica. So if money is no object and you don’t mind a massive lens protruding from the camera body, the Leica Q2 is my top recommendation.
9. Sony RX1R II
If you’re searching for an ideal street photography camera but can’t afford the Leica Q2, then the Sony RX1R II should sit at the top of your list. It’s similar to the Leica in many ways, with specs that surpass almost every camera at the top of this list, even if it doesn’t quite reach the same soaring heights as its German-made counterpart.
If the Q2 sits at the top of the podium, the RX1R is a very close second place. It’s expensive, but not quite as much as the Q2. It has a 35mm f/2 lens that isn’t quite as wide or bright as the Q2. It has a viewfinder, but it pops out like a periscope instead of being elegantly embedded in the camera body. While the rear screen flips out for greater versatility, the camera sacrifices weather sealing as a result.
In short, the Sony RX1R II is an outstanding camera for good reasons, but generally not one I would recommend for most casual street shooters.
10. Sony a6100
The Sony a6100 isn’t designed for street photography, but don’t overlook it. It’s a small, well-rounded, highly capable camera that also happens to serve the needs of street photographers quite well.
The Sony a6100 is a full-featured APS-C camera that accepts all of Sony’s E-mount lenses, and it packs some impressive technology to help you capture the images you’re after. Everything you would expect in a proper camera is here: manual controls, a bright viewfinder, great autofocus, and a flip-out rear screen. It’s small enough to tote around but not as pocketable as the Ricoh GR III or Sony RX100 VII. I would recommend pairing it with the 20mm (30mm equivalent) f/2.8 pancake lens, which essentially transforms this camera into a Fujifilm X100V.
Strictly from a street photography perspective, I prefer the X100V – but some might appreciate the technology and the ability to change lenses offered by the a6100.
11. Fujifilm X-E4
It almost doesn’t seem fair to relegate the Fujifilm X-E4 to the bottom of the honorable mentions category. In many ways, it seems like one of the best cameras for street photography you can buy! But while this camera has an extensive list of features that appeal to street photographers, I can’t recommend it over the Fuji X100V.
The X-E4 and the Fujifilm X100V share many common elements, from sensor size to flip-out screen to manual controls and even an integrated viewfinder. But while the X-E4 is newer and less expensive, it doesn’t come with a lens, and by the time you add one that is suited to street photography, the price is almost the same as an X100V.
And the X100V has a wide-aperture lens, better manual controls, and a hybrid optical/electronic viewfinder that will appeal to a lot of street photographers. As a small, capable, interchangeable lens camera, the X-E4 is great. But for street photography, the X100V is the better choice.
Fuji X100F | f/2 | 1/600s | ISO 200
The best camera for street photography: final words
Street photography is all about capturing the candid everyday moments that make up the world around us. And almost every camera is capable of getting those shots – mobile phones, pocket cameras, and even DSLRs with big lenses.
There’s no rule that says the camera you already have isn’t going to be well suited to street photography. And your only inherent limitations are the ones you set for yourself. But if you’re looking for the best camera for street photography, I hope this list was helpful and gave you a few things to think about!
Street photography camera FAQs
Can I use my mobile phone for street photography?
Mobile phones are great for street photography, as long as you have plenty of light. When the lights go down, photo quality decreases dramatically, especially if you are shooting moving subjects. (Night Mode on mobile phones almost always requires your subjects to be very still.)
What focal range is best for street photography?
This one is largely a matter of personal taste, but anything between 25mm and 35mm is generally ideal for street photography. Much wider than 25mm and people start to look a bit distorted. Much narrower than 35mm, and you will have trouble fitting everything into the frame.
Can I use a DSLR for street photography?
While traditional DSLRs can certainly be used for street photography, I don’t recommend them when there are so many excellent mirrorless options available. DSLRs are large and conspicuous, and Live View shooting often uses contrast-detection autofocus (which is highly unreliable for dynamic street photography settings).
Do I need weather sealing on my camera?
Unless you are shooting in extreme weather conditions, you probably don’t need weather sealing. It’s nice to have for peace of mind and I wouldn’t recommend against it, but as long as you’re careful not to let your camera get soaked with rain or covered in dust, you’ll probably be fine.
Do I need to focus manually when shooting street photos?
Many street photographers enjoy shooting manually, which is very simple thanks to focus peaking on modern mirrorless cameras. However, autofocus works perfectly fine, and there is nothing wrong with using it for street photography.
The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
The post 12 Tips for Stunning Black and White Street Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Black and white street photography is classic and timeless. Stripping away color renders a rawness and an alternate reality to street life.
But merely removing the color will not make a compelling street shot. If you want to create strong street images with no color, you need to be intentional. And that’s what this article is all about.
I’m going to give you 12 tips for capturing beautiful black and white street photos. And by the time you’re done, your classic street photography will be much improved.
Why is black and white great for street photography?
Choosing monochrome for street photography can make for great images. That’s because black and white photos often appear more emotional or mysterious. There’s something missing, so we automatically have a sense of wonder.
Whether you are out in the streets or working on the highway, your street photos will convey a different mood in black and white. If you’re intentional about creating this feeling from the start, you can make your photos more compelling.
So how do you take beautiful black and white street photographs?
Here are my 12 best tips:
1. Start well
Pay attention to your camera settings so you can capture in-focus and well-exposed images.
When you nail your settings, you’ll get image files you can work with in post-production.
For instance, you’ll be able to manipulate a well-exposed image without risking quality degradation. Even with the simplicity of black and white, you need to be careful to maintain image structure.
So know the look you want to capture, then choose the camera settings that will achieve it.
Digital photography means it’s easy to capture images in color and later decide to render them in black and white. This will sometimes create good monochrome photos, but not always.
Thinking in black and white and intentionally shooting without color is best.
Despite the amount of control that’s available when converting color photos to grayscale, pictures deliberately taken for black and white editing are often stronger.
3. Look at light and tone contrasts
Without color, you must rely more on tone and light to shape your images.
When you compose your photos, look for where light and dark meet. How do these tones relate to each other? What graphic impact do they have on your composition?
Tone is largely dictated by light. If you are out in the street on a sunny versus a cloudy day, this will affect the style and mood of the photos you’ll be able to take.
Think about how the light looks in black and white – and work with it because you cannot change it.
Figure-to-ground photography is when the main subject sits in stark contrast to the background. This means your subject is most prominent in your photo, even if it only occupies a small portion of the frame.
You can create this look when your subject is in the sun and the background is in the shade:
Or when your subject is in the shade and you have a very bright background. (A silhouette is another example of figure-to-ground photography.)
5. Find a good background
Finding a good background is important for color or black and white street photography. However, when working in monochrome, your background choice is influenced more by lighting.
Will a background that’s completely in the sun or in the shade suit your subject best? Will the type of images you want to create be stronger if there’s more or less tonal contrast in the background?
Once you find a good background, be patient. Wait for some interesting activity to occur – and when it does, take a photo.
6. Be comfortable with what you’re doing
The more comfortable and confident you are when you are out taking photos, the better your images will be.
So if you’re not comfortable in one location, move somewhere else, because worrying about your situation will distract you from being creative.
When you are comfortable, you’ll be able to think more clearly and visualize the scene in black and white. Focus your thoughts on how the parts of your image will look. Observe the colors and imagine how they will look when converted to grayscale.
Don’t get consumed with worries about how other people will notice you and what they might think.
Be aware of everything you include in your frame. Make sure to only shoot what’s relevant to the main subject and to the style of photograph you want to create.
If you are capturing too much and it’s not making your photo stronger, move closer or change your focal length.
Look at the light and shadow and use these intentionally as compositional elements. Include strong shadows to help shape your images. Frame your subject with light and dark areas.
Don’t only focus on capturing a moving subject at the decisive moment; make sure to include it meaningfully in your composition.
Filling your frame does not mean it needs to be cluttered. When it’s intentional, negative space in your black and white street photography can be used very effectively.
When space is left in a photograph without purpose, it weakens the image. But deliberately including empty space will often create a more compelling image.
Think about the lighting and tone in the empty space. Is it going to take away from the main subject? Or will it help the main subject stand out?
Being in control of how your camera autofocuses and exposes your photos means you can be more precise and more creative.
I prefer to use single-point focus as it allows me to focus on the part of my composition I want sharp. If your camera has touchscreen focusing, you can do precise focusing very quickly and easily.
Manual mode and semi-automatic exposure modes put you in charge of which tones in your image will be well exposed. Sometimes, you may want shadows to render black. Other times, you may want highlights to completely blow out while you capture shadow detail. You can manage all of this in Manual mode.
Black and white street photography looks classic. But capturing images with the intention of rendering them in monochrome requires that you think carefully about the light and tones in your compositions.
So before you head out with your camera, take a look at some black and white street photography from the masters. Check out Bruce Davidson, William Klein, and Robert Doisneau, for starters. Look for the secrets of style in their work and let it inspire you.
And remember the tips I’ve shared today!
Now over to you:
What’s your favorite tip from this article? Which tip are you going to implement immediately in your work? Share your thoughts (and your black and white street photos) in the comments below!
How do you change a street photo to black and white?
All image-editing software allows you to convert images to black and white. Desaturating is the simplest way to make a color photo black and white, but it will not bring out the best in the image. You will see better results by controlling the conversion.
Should I shoot in black and white or convert later?
You can adjust your LCD so it shows you a black and white image. On cameras with electronic viewfinders, you can also do this with the display. When you capture a RAW image, it’ll be in color; by converting to black and white from a RAW file, you’ll get the highest-quality results.
What does black and white do to an image?
Black and white can make an image look timeless!
The post 12 Tips for Stunning Black and White Street Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
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