An Introduction to Street Photography
by Paul Treacy, July 2011
“Street photography does have a role
It speaks of our time, of society’s soul
Of technology, of fashion, of societal norms
How it conflicts, how if conforms
To notions of decency, taste and behaviour
Of things that disgust, of moments to savour.”
Two boys at London bus stop. © Paul Treacy
I wrote those words in 2009 as a preface to my book, Mixed Messages. They’re enough to sum up what street photography is all about for me and I’m sure many others too.
I’m a street photographer first. An assignment photographer and filmmaker second. Much of the work I make on the streets is while I’m on my way to an assignment, or to the shops, or to pick up my sons from school. All the while I have a camera, I cannot leave home without one.
And it was a dog that started it all.
When I was young I had a dog called Tom. He was an important part of my life but I couldn’t bring him to art school with me so I photographed him. Later I left art school and moved to England to study photography and those photos became more precious. I’ve been photographing dogs and their people ever since.
In ’99 I moved to New York to study at the International Center of Photography under the tutelage of the marvelous Joan Liftin. I found it difficult to loosen up there. I had previously been shooting for the Press Association in London and so had a very particular way of working. But Joan’s husband, the brilliant Charley Harbutt sorted me out. His workshop changed everything. I came to realise that it’s the small moments between the big events that are the most precious.
Walking with balloons in New York City. © Paul Treacy
Street photography is all about making a visual record of our era and I think it does this better than anything else. Television is filtered and polished and often there’s an agenda. So too with newspapers and magazines. But street photography is honest, unposed and speaks volumes of our urban environments, fashions, technology etc., as I suggest in the opening quote.
What’s needed for street photography?
Firstly, you’ve got to get your footwear right. I’m reminded of an old Irish proverb – What good is an umbrella if your shoes are leaking? Street photography often requires hours of standing around or walking for miles and in all weathers, though many just shoot when it’s fine. I like shooting in dull or damp weather too, colours can do amazing things in such conditions. You need sturdy support, go for something air cushioned. This will also allow you to move silently, no point in click clacking around when you’re trying to be unobtrusive.
Next you’ll need a canister of tap water. Don’t drink too much but sip as you need. You’ll think better properly lubricated. But if you drink too much, you’ll need to relieve yourself and that brings me to the next point.
Get to know where the public toilets are in the area where you’ll be shooting. If it’s in London, make sure you have plenty of loose change as many loos charge up to 30p.
Movement is crucial in street photography, you’ll need to keep yourself in good shape. That means eating sensibly and doing some stretching every morning. It doesn’t take long. Touch your toes, twist your torso, stretch your shoulders and neck. Learn to relax your body completely and get in the habit of doing so every day. Being practiced at this will allow you to better react to tricky situations. You’ll be calmer and be able to think clearly. And while interesting things are happening around you, you’ll be able to dance in and out of the shadows making good pictures with confidence.
The Royal Wedding of Prince William to Kate Middleton. Revellers wearing masks of the Queen on the backs of their heads near Trafalgar Square. © Paul Treacy
One of the difficult aspects of street photography that still gets me flustered is where to go. Should I stay right where I am? Should I go left? Should I turn right? Should I go back the way I came? Where are the next shots going to come from? Well, this is where all of your other senses play a part. Smell and sound often lead to interesting situations. Or sometimes you just go with the flow where other dynamics that come into play will lead you somewhere interesting. These are often little understood and it becomes an instinctive part of making work on the streets. The more time you spend on the streets the more of such magical experiences you’ll enjoy. Sometimes when you hit a zone of interesting shot making you’ll snap out of it, through needing the loo or suddenly feeling tired or hungry, and you’ll not be entirely sure how you ended up where you are, or how late it has gotten perhaps. But you’ll find that you’ve made some good pictures and learned something new about humankind and about yourself.
Sometimes I find that the faster I walk, the more the world seems to slow down. When this happens I find I can process everything in front of my eyes right into the corners, I don’t miss anything. I become super-sensitive to everything that’s going on, almost as if the world in working in slow motion. On the occasions that I can achieve this level of awareness, I will make good pictures. It’s like the sensation of seeing a glass about to fall off the edge of a table but being paralysed to doing anything about it crashing to the floor except that I feel like I can catch it in time. And as I get older this ability gets stronger. Sometimes I can achieve this zone like concentration just standing still and letting the world come at me instead of going after it. You’ll soon become aware of your particular abilities.
Perhaps I could suggest that you learn to process what your peripheral vision is seeing. I learned to do this quite deliberately when training to ride a motorcycle where I needed to figure out a way to be aware of my surroundings more acutely while compromised under a safety helmet.
Black cat hanging by its front paw from a window frame in South East London. © Paul Treacy
A few points on the photographic aspects…
Shoot manually. Many suggest shooting in aperture priority but I think that’s a mistake. If you’re about to shoot a picture of someone interesting but a white van zooms past and catches a ray of sunlight while it’s at it, your picture will be ruined in auto mode, for example. There are many white vans about the place. Get into the habit of tweaking your settings as you walk into the shade or bright sun. It becomes second nature over time. Also, get to know your most common exposure settings for a range of light conditions. This is important. I don’t need a meter. I know what the settings are wherever I am and for whatever takes priority within the frame. You’ll get super quick at doing this with practice.
To minimise the amount of time the camera is at your face, learn to prefocus. Develop your ability to approximate distance. Is that person 6 feet or 10 feet in front of you? How wide do you think that road is approximately? That kind of thing. Then you simply need to slightly tweak the lens rather than go searching for your subject which could draw attention or take too long such that the moment will have passed. Another way to look at this is, shoot first, focus second. At least then you’ll have the moment and you’ll likely be pin sharp when considering depth of field anyway. If the situation is still interesting after that first shot, you can be more critical with the focusing. Your exposure will already have been spot on.
A lone figure with a briefcase walking along Central Park South in Manhattan. © Paul Treacy
Let me add something from my colleagues at the UK Street Collective – Justin Sainsbury says “Take the picture – wonder if it has depth and breath later on.” He also suggests mixing it up. “Do high streets, parks, events, bridges and country fares. Look out for any small deviations in commonplace behaviour and then time your approach to capture gestures or actions.”
Richard Baker says, “It takes stamina and a confidence looking for street pictures. One should remain alert and ready for just about any surreality that presents itself around the next corner.”
A worker fixes a piece to a poster that creates something of an optical illusion. © Paul Treacy
Finally, let me talk about the language of photography. It’s all wrong. It’s aggressive. It’s all about taking. Shooting. Shots. Firing frames. I don’t like it. The public doesn’t like it.
When I’m confronted by the public and asked why I’m “taking” pictures, I say I’m not taking anything from anybody. I’m merely MAKING images, or photographs. I might add, “Would you mind if I make a picture of you?” Often people will switch from wariness to friendliness immediately. It’s a creative process after all. Nothing is being taken. Images are being created. Simple as that. Tell it like it is, I say.
Good luck.
Paul Treacy is a street photographer whose clients have included the New York Times Magazine, Irish Times, Guardian and the Independent. He is a founding member of the UK Street Collective, a gathering of three street photographers established in March 2011.
(18 votes, average: 4.06 out of 5)
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What is your favorite lense for street work or do you take a few?
ShelaghMeant to give this article 5 stars – accidentally pressed 3! Very informative and practical article backed up by interesting images. I am keen to know more about the reasons for using manual rather than aperture control and to have some more detail regarding the use of the manual settings.
VeeTake an authoritive written overview of photographers rights with you (which you have read beforehand of course). Also, the non-emergency phone No of the local police station if possible. The statement will help to let jobsworths, security bully-boys, & any over-zealous police officers, know that you are aware of your rights. The phone No will show that you are prepared to contact more-considered law-enforcers, to be allowed to exercise those rights.
A practical item to take is the smallest possible camera / lens that gives acceptable results: even a small camera can get unbearably heavy after several hours of walking around. Also, a small bean-bag, which helps prevent blurred images.
One thing not to bring is a confrontational attitude, especially when dealing with the police.
Rob BolerI took up street photography this week after a 20 year gap. The advice on here is very good indeed and well worth following. Thanks Paul. And I agree, ‘photographs are made, shots come out of guns’.
James Mansell ReadWriting this article was an interesting exercise for me for all sorts of reasons. Thank you Natalie and the WexBlog crew.
Should anyone be interested I tweet at http://twitter.com/photohumourist and our collective tweets are at http://twitter.com/UKStreetPhoto
Many thanks and good shooting to all.
Paul Treacy
Paul TreacyAs an article it is both interesting and a challenge. The challenge is to return to what I used to do with a very simple camera and film – use your eyes and experience!
Denis O'DonovanI have just read the background on Street Photography which I found quite interesting.
Ron BeamanI do similar things by going on the Steam Railways,specially the 1940’s War on the Line.I am usually at one of these events for two days and I take over 100 shots on each occasion of people and different situations which is akin to S Photography but in another way.People and places are fascinating and I try and go to many of these where possible.It is another avenue and very rewarding.Try it you will be quite suprised.
Shelagh,
Right now I use a FujiFilm X100 which approximates to a 35mm lens. Before that I used a Nikon D200 with a 24mm f2.8 lens which also approximates to a 35mm lens on that camera.
I’ve used all sorts of cameras over the years.
The X100 however, though quirky to use, is superb. It’s very similar to the old Konica Hexar fixed lens I used back in the 90s.
Rob,
The D200 is an extremely fast camera and it gives lovely files. It also makes for a terrific defensive weapon where the X100 doesn’t but I’ve never had hassel. I’ve had plenty of hassel on assignment over the years but that has been in situations I was paid to be in reporting on difficult stories. On the streets I’ve never felt threatened nor have I had much trouble with police or security. Common sense should prevail at all times. Be polite and confident and you’ll not have trouble.
In the UK I’ve had to remind security and police officers that we are in an open democracy and on a public highway and what I’m doing is actually none of their concern. If, however, I happen to be on private property I plead innocence, apologize and move on. It has happened sometimes but it was never a hassle. Rather it was a conversation. It doesn’t need to be difficult.
http://ukstreetcollective.blogspot.com
Paul TreacyI found this a very interesting article. I’ve not tried street photography before, but I shall definitely give it a go now.
Tony BennettI found this a fascinating article full of valuable tips and insights. Street photography is something I love to do, and gradually I feel that I am getting better at it. I use a variety of cameras. I find the light and brilliant Olympus OM 1 is a good camera for streets. It looks unthreatening and produces very sharp results on colour film, which then convert well to mono.
Kenneth HyamIt is great to read how you go out and make photographs. The word make is a huge difference from shooting. I sometimes go up and ask people if it is OK and sometimes get into the zone so that it just feels OK to photograph. Also, you get a sense when it is somehow not OK. Thanks Paul for sharing your great skill and experience. I’m going to google Joan Liftin!
Lover the article Paul…..I am a big fan of your work, every success with sales of the new ebook keep it up……….
brian fitzgibbonFound some interesting bits, and found some bits a bit over the top to be honest, would of been nice to know what he shoots with ie compact, or dslr, lens etc.
robGood luck, Tony. Keep your wits about you.
Kenneth, make sure you google Charles Harbutt as well. They are both two of the finest teachers in documentary photography. Mind you, they’ll likely come up together in a search.
Paul.
Paul TreacyInteresting article. I tend to shy away from street photography – I guess the way society distrusts ‘blokes with cameras’ puts me off this art form. Maybe I should get some confidence by going back to a point-and-shoot camera…
Martyn ReasonMight I just add that I always shoot at ISO 200. It’s the best daytime setting. In the sunlight I recommend 1/500th shutter speed at f8 with a prefocus setting on a 35mm equivalent lens of 3 metres or 10 feet. As you approach a situation worth photographing you’ll be all set with those parameters to make your image in an instant. The camera should be at your eye the but the briefest of moments.
Should you wander into the shade, simply drop the shutter speed to 250th and the aperture to f5.6 or f4. Perhaps a quick check of the light meter would help your confidence. On occasion 125th may be required. However, you’ll quickly become sensitive to the light such that you’ll begin to know instinctively what the settings ought to be.
Always shoot raw. That way you’ll have plenty of latitude in post production to adjust your exposure but you’ll rarely have to.
Good luck.
Paul TreacyPaul Treacy
That should have been, “for but the briefest of moments”. No way to edit a comment. Sorry for typo.
Paul TreacyMartyn, point and shoot cameras are not very good for street photography in my view. Not unless you can find one that responds immediately and facilitates manual control. I suggest shooting on the street with as large a sensor as possible. For me it’s a balance between how big the sensor is, how big the camera is and how big the noise of the shutter activation is. In terms of sensor, camera and sound, go for large, small and quiet. But the thing must be very responsive.
Paul TreacyGood hunting.
Great article Paul. Like a few other of the comments above, I struggle to wave my DLSR around in people’s faces! It takes a fair amount of balls to do this.
Peter CurnoI’m a recent convert to the the street, currently using my iphone to capture a few candids. I must say it is quite addictive! But the quality is a bit hit & miss.
Now moved on to an old Rollei 35 and Ilford XP2 after trying my trusty Nikon FE2 which was a bit noisy.
Digital point & shoots are just not fast enough. Well the ones I can afford are not.
I have been involved in street photography for about 5 years. If, at any time, the subject has seen me pointing my camera then I have failed totally. I have taken photos of passengers sitting opposite me on the Underground train without them having a clue that I was taking their picture. The camera is on my knee using auto focus and pre set for the lighting. Market shots, cafe shots general street shots are the essence of my street photos. You must NOT be seen by your subjects.There is no special recipe. Eyes open and shoot that’s the way to do it. TJ.
terryHi….
Mike ClarkGreat article, do you need model release and property release of people in your photographs?
Regards
Mike Clark.
Hi Mike
No. For editorial purposes no releases are required. I never get releases. That would just interfere with the process of making good street photography.
Paul.
Paul TreacyVery interesting and all great advice especially knowing the locations of all the (clean! ) toilets.How is the shutter lag on the X100?. I use the D200 also and find its a fine camera for SP but would sometimes wish for something a little more discreet. and affordable.
Philip WardI really like when you write: “It’s like the sensation of seeing a glass about to fall off the edge of a table but being paralysed to doing anything about it crashing to the floor except that I feel like I can catch it in time.”
Even more when you say “I find I can process everything in front of my eyes right into the corners, I don’t miss anything. I become super-sensitive to everything that’s going on, almost as if the world is working in slow motion”. It happens often to me, usually after half an hour of walk: it is like I need to warm up and than the world opens to me (and I open to it). It is an exciting experience, a sort of nirvana, but I must say also extremely tiring: in the long run I get visually drunk and unfortunately I need to stop.
A question: do you review your shots right after having taken them or do you prefer to wait? And if so, how long? Personally I do not have a preference, but I notice several times that it is good to wait and than review more than once a picture, in different moments (of your life). It is like with the wine…
Best Regards,
Nico
Nico ChiapperiniThanks Paul.
JasonVery practical and useful advice. I’ve just bought the x100 and it takes amazing images. Funny enough I’ve just posted a thread about whether to stay in automatic. I’ve just started out on this journey and have missed several moments due to bad settings. I would obviously prefer my image to be as close to perfect right off the bat- but maybe I have to accept that until the settings do become second nature I am going to miss a few.
Best
J
It has been a while since I checked comments here. A gathering of street photographers last evening here in London prompted me to come back here and have another read. I hope that some of the people I met last night will read this.
I’m seriously considering expanding the thoughts expressed in this article into a book and perhaps a workshop. I would lean more towards developing a personal vision in photography rather than just street photography.
I’ll check back later should there be any more questions about the piece.
Thanks.
Paul Treacy.
Paul Treacyhttp://twitter.com/photohumourist