Why Street Photography Is The Best (From Somebody Who Isn’t A Street Photographer)
If you're familiar with my work it's okay to be slightly confused with the first half of this title, especially when my first pinned post on Instagram is a landscape inspired shot of Mount Fuji. Nevertheless that's simply the result of being inspired by and adapting to the environment which I'm in at any given time, and often the environment I'm most often comfortable happens to be one of an urban nature - after all not taking a picture of the mountain is like turning up to a theme park and not going on any of the rides. In a sense then it it's easy to see why photographs can serve as a reflection of the individual behind the camera, as despite originally being inspired by the typical 'banger' shots of Balinese beaches and Icelandic waterfalls, the fact that I've grown up neither on the coast nor in the countryside has often led to a sense of confusion and lack of connection with the subject when shooting in such places.
After taking the past year or so to analyse my own style then, the most prominent realisation has been that street photography and street photographers have had the biggest influence on me in this time, transcending simply the locations in which I shoot, but moreso impacting the approach, mindset, and general relationship I have with the art form. In this blog post I'll be breaking down the stand-out principles of street photography, and how any photographer regardless of their niche can use them to not only improve their own skills, but perhaps even have a healthier and happier creative journey.
Street photography is the best type of photography - and here's why...
The Nature of Street Photography
Before tackling street photography as an art it's important to first analyse the creative process behind it, at least in the context of explaining why the genre is so impactful. Personally, one of the biggest draws is that 90% of the time no real planning has to take place in regard to the images you'll be getting. Yes you'll have to pick a certain location, which most likely will be defined by a prior knowledge of the environment or vibe, but going forward there's an excitement stemming from the uncertainty and spontaneity of the shoot. That's not to say planning isn't advantageous, as naturally there will always be those envisaged shots that can only be nailed by getting the time, place, and lighting conditions just right, with a sense of achievement felt afterwards knowing you've completed the task from start to finish. Nevertheless, and admittedly this is a subjective matter, it's the pre-existing expectations of other forms of photography that can add pressure to the whole creative process, therefore making it less enjoyable at times - especially when you're unable to capture the frame the whole shoot is centred around.
Expanding upon this discussion comes the topic of street photography's fluidity in terms of definition, although admittedly this may prompt calls of ‘cheating’ when making my argument, or perhaps raising my own misunderstandings of the genre. Despite this, for me street photography is more about the spontaneous, explorative mindset of the person behind the camera than it is the components that may spring to mind when we first hear the words (streets, buildings, modernity etc). Although rather pretentious, I see the word 'street' in this context to simply serve as a call to get out of the house and onto the streets to capture whatever exists or is happening in the world around us.
An example of the malleability of street photography as an art form as well as a creative approach can be demonstrated with these photos (below) I took in Hoi An, Vietnam. The first appears straight away to be a product of an interest in the genre, literally taken on the streets with someone caught in motion in front of an aesthetic but at the same time unremarkable backdrop. Arguably apparent though is the fact that this shot actually took roughly half an hour to get, waiting in the same spot taking hundreds of shots in the hope that one would have the subject centre frame without any others appearing in it. On the contrary the second image would appear to not be a result of street photography at all, taken in the rice fields with a minimalist look defined by the green and blue contrast. Interestingly however I was able to utilise the principles of immersing oneself in the environment and adapting to what's happening in order to capture a profound yet unplanned image. I would have been happy with the shot anyway, but as mentioned the lack of expectations made both the result and the creative process that extra bit sweeter.
Henceforth there's the, admittedly niche, advantage that travelling can be made to be a far more enjoyable experience knowing you can truly explore a location as your non-photographer friends may do, rather than centring your whole time away on securing the best possible photo of certain landmarks - check out my previous post on 'spots' for more on this issue. On the other hand while at home, this approach to photography can easily allow someone starting out to put in the hours that will advance their skillset and connection with the craft, as opposed to waiting for the next excursion far away in order to spark their creativity. Believe me I know what that's like because I was that person. In a sense therefore street photography doesn't just exist as an art form and an approach, but arguably also a tool to hone one's skills regardless of their overall style.
Street Photography as a Tool
Building upon the point just made is the ability street photography has, or rather the mindset it instils, to elevate one's ability with a camera. Apt then is it that the first thing worth elaborating upon in this section is the relationship the genre has with camera equipment in general, or specifically how it negates the need for the latest and greatest on the market. Film or digital, new or second-hand, state of the art or an earlier model, the genre's focus on real moments and uniqueness in the shot places emphasis on context instead of necessarily being visually striking - at least in terms of objective picture quality. Of course the ideal scenario would be to capture the former with some of the best bodies and lenses out there, however this ignores the sense of achievement that can be felt when knowing you've produced a great image thanks to your own creativity and despite the potential limits of any equipment.
Canary Wharf Station (London) - Taken on my old Sony a6300 with a Tamron 17-28mm lens
This therefore is just one example of how street photography, as alluded to, can be seen not just as a niche but also a tool for photographers to hone their skills with. Whereas fields such as landscape photography will have us believe that the only times in which to shoot are with the golden light of sunrise or sunset, the concentration on reality (despite how cinematic your final edit and image may be) promotes taking photos at any time of the day. This makes the practise once again more accessible, while simultaneously teaching how to deal with a wide variety of lighting conditions and environments. For example although mid-day may not be the best for any photographer, the ability of buildings to cut and shape strong light to subsequently produce interesting compositions represents a style that strongly works with the elements rather than one which may submit to them.
Armed with this knowledge as well as a skill-set developed through consistent and accessible practice, photographers can get the best of both worlds. A consistent relationship with the craft heightens one's awareness to all the potential compositions around us based on lights and lines of sight; beneficial to those who seek to shoot while they explore as discussed, or those who prefer to scout around and eventually return to a particular location at the right time to bring to life the image they have in mind.
That's why getting into the mindset of the street photographer has been so beneficial to my own creative growth, and why I feel it could be for many others out there. Theory however can only take you so far though, so it's about time we actually discussed the photos themselves.
Street Photography as an Art Form
As just mentioned, the issues presented so far have mainly been based around the act of photography rather than photographs themselves, yet it would be silly not to put forward the argument in support of the end result too. That being said it has to be clarified that this is the most subjective aspect of the whole post, and naturally could affect all the other points raised thus far within it. For instance if you're naturally drawn more to stunning landscapes both as a photographer and admirer of photography, then of course you'll be more inclined to go about the less spontaneous route of rigorously planning a shoot to ensure the best composition and conditions possible. Nevertheless there are still several logical reasons, at least in my opinion, as to why street photography comes out on top.
The concepts of reality and 'normality' have already been discussed in regards to how street photography is accessible for most, but it's also these elements that make images so alluring in the end (or first place) also. Although a central theme of the genre, the ambiguity surrounding normality subsequently opens up a spectrum of ways in which this can be interpreted and presented by the photographer, which in turn adds to its appeal. Some take an almost objective approach; capturing whatever's in front of their camera to document a time, place, or culture, accompanied by a barebones editing process that aptly enhances the rawness of the image - putting almost all of the emphasis on its context. Others embrace a challenge within street photography; presenting scenes otherwise considered ordinary in an extraordinary fashion through a combination of lighting, effective composition, and editing techniques suited to that photographer. Whilst I have no real connection with the former, its the second camp with which my photos align while simultaneously drawing from other styles for inspiration.
Dissecting physical components of these photos however would only ever serve the purpose of educating someone looking to explore this niche, and in fact I'd go as far to say its redundant and destructive to the art, at least in the context of the discussion we're having. Instead what's worth noting are the effects these elements can produce - the most prominent being a sense of meaning and storytelling. Despite being a freeze frame, street photography often allows the viewer to immerse themselves in what they see either through mood, movement, or most often a point of connection such as people or a distinct environment. The latter in fact is arguably most relevant to my own work, which for the mostpart focuses on the travel niche while using street photography principles to celebrate the location in which I'm in and its culture. It's already been mentioned as to how the spontaneity of street photography actually makes travelling more enjoyable, but it also often creates more profound images that capture daily life, details, and unique scenes that represent the 'boots on the ground' experience rather than your brochure-esque photos.
At times a curiosity can be evoked as to what is both happening in the photo and the reasons behind it, sparking the imagination and arguably adding a deeper layer to the visual experience separate from the original image. The concept of stories isn't just confined to the photo and the viewer however, instead becoming more meaningful with the context and creative process attached to the creator. An example of this is found in the comparison of the two pictures below both taken in Tokyo; naturally you'll be drawn to whichever aligns most with your taste, however for the reasons I'm about to explain the street photo will always come out on top. That's because it takes me back to a morning in which I was creatively burned out in Japan's capital, resulting in a casual walk around the Akihabara district with no compositions or expectations burdening my imagination. Subsequently, as discussed, I had a heightened awareness to the world around me that was both pleasurable and enabled me to capture moments such as this one. In contrast, impressive as the skyline of the city is and not to trash on my own work, the other has no real context behind it - unless you count taking the metro, buying a ticket to the Sky Tree, and waiting for the sun to set. Once again I'm proud of both photos, but the added layer of story to the street inspired image just makes it that bit more special - even if those viewing it have no clue.
The point has been stressed so far that personally any photo I make is more than just about the visual presentation, for example the process that goes into it, but even after sharing it's always more pleasing to be able to use it as a catalyst to discuss the wider experience in that moment and the memories it may bring back. That's not to say all street photography has to be profound (producing a visually impressive picture is more than fine), but in most cases it's been my street-inspired images that have this element to them.
It's therefore the combination of a focus on reality and the magic of drawing something extraordinary from it that leads conveniently to the last point on street photography's appeal - that imperfections will always be a part of, and can even boost, the end result. As someone who's a fan of symmetry and leading lines, an ideal world would be one in which every element of the photo aligned perfectly be it composition-wise or focus, however the connection to the 'real world' can often negate this and even distract the viewer. Sticking to the example as before, usually the squares of light would be a disappointment as they don't neatly centre the subject, however the accompanying elements of said subject mid stride, the buildings providing a disguised yet effective frame, and the garbage truck just creeping in to give the moment some context make this 'error' secondary or, at best, forgettable.
The same can be said for this photo I took in Hong Kong. Whether it's the distinct red taxis arriving to the scene, the Hanzi lettering, or the bright neon signs it's emblazoned on, odds are your eye will have been drawn to plenty other aspects before noticing the woman on the right's foot slightly out of focus due to a slower shutter speed. The reason for this are the low light conditions, but the reason it's insignificant is because like most other street photographs it represents less of a science focused on technical perfection, and more of an art based on tone, emotion, and meaning.
A FEW LAST WORDS…
Although this piece has been framed as one that’s put forward an argument, if anything it’s just been a selfish ode to the style I most enjoy. If it’s inspired anyone to take on board some of the points made and to head out on to the streets (or wherever but with the genre’s principles in mind) then great, however not so great if it’s caused any doubt or confusion within you. One of the biggest challenges in the space right now is the pressure to niche down for the sake of a personal brand, yet as stated at the very beginning, photography (or any art form for that matter) should be a reflection of the person making it and what makes them happy from the creative process to the end result. Naturally that will always be a changing and varied answer.
If you’ve read all this and still want to wake up at 4am to shoot sunrise across rolling hills, then good for you and who knows, I might even join you. I’m not actually a street photographer, after all.
