100 Lessons From the Masters of Street Photography-5 (Additional Chapters)

8/15/2019 100 Lessons From the Masters of Street Photography-5 (Additional Chapters)

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Lesson #13: Master Your BodyLanguage

“If you photograph for a long time, you get tounderstand such things as body language. I oftendo not look at people I photograph, especiallyafterwards. Also when I want a photo, I becomesomewhat fearless, and this helps a lot. There willalways be someone who objects to beingphotographed, and when this happens you moveon.” – Martin Parr

As a street photographer, you want to learn how to master your body language. 90% ofcommunication isn't verbal; it is actually through your facial expressions, body position, handgestures in which we communicate.

If you want to shoot more candid street photography and not be noticed, you don't want yourbody language to suggest that you just made an image. Rather, you want to use your bodylanguage to suggest that you took a photo of something behind a person. Martin Parr givesfurther advice:

"I go straight in very close to people and I do thatbecause it’s the only way you can get the picture.You go right up to them. Even now, I don’t find it

easy."Even Martin Parr, who has been shooting street photography for decades, who has balls ofsteel, still finds it difficult to get close to people and get the shot. What is a practical tip that hecan teach us in terms of technique?

On the next page, he shares how he is much more low-key when shooting, by pretending tofocus somewhere else. After taking the shot of the person, he then doesn't look at his subject:



"I don’t announce it. I pretend to be focusingelsewhere. If you take someone’s photograph it isvery difficult not to look at them just after. But it’sthe one thing that gives the game away. I don’t tryand hide what I’m doing – that would be folly."

Eye contact often makes a stronger street photograph, but also it makes it very obvious to yoursubject that you want to photograph them. So if you want to be invisible when shooting streetphotography, avoid eye contact.

However there are also moments where you want to engage your subjects and ask forpermission to take their photograph. In these circumstances, mastering your body language to

show confidence is key. This means standing up straight, speaking in a bold and clear voice,being relaxed, and not hesitating. The less nervous and awkward body language you show, theless nervous and awkward your subjects will feel.

Assignment: Eye contactMaking eye contact with a stranger can be one of the most difficult and awkward things to do.However, the taboo against making eye contact with a stranger is simply a socially-constructedone. What is wrong about directing your eyes to a stranger? The only thing that is "wrong" isthat people might feel that it is a threatening gesture, but in reality, you can always disarm

wrong intentions via making eye contact, and then simply smiling.

Variation #1: Don't make eye contact

For this assignment, go up to a stranger very close (about 1 arm length away), and take aphotograph of them. After you take a photograph, don't drop your camera. Keep it up to yourface, and avoid making eye contact with your subject. Hold up your camera for 15 moreseconds, and then drop it and move on. See how your subject responds.

This assignment will teach you that if you pretend you shot something else (convincingly withyour body language), nobody will assume otherwise.

Variation #2: Make eye contact

For this assignment, walk around the streets and find someone interesting. Stare at them untilthey make eye contact with you. Once they make eye contact with you, smile, wave, and sayhello. Then with a big smile, give them a compliment and ask them to take their photograph.Ultimately, I want you to be comfortable making eye contact; this will make you truly fearless.



Example: Istanbul Metro, 2013

For this image, you can see the powerful effect of having eye contact in your photographs. Tome, the man looks like he is peering straight into your soul; with a death-stare, which isunforgettable to the viewer.

How do you make good street photographers? Tell convincing lies.

The lie in this photograph is that it looks like a candid photograph, where I just took a photo ofhim without permission, and he is about to go up to me, and bash in my face.

In reality? He was the sweetest guy ever.



The story of the shot is this: I was in a crowded metro, and saw this interesting scene of thisman's face and all these arms sticking out of his body (like an octopus). I lifted up my camera totake a photograph, and then he first responded by giving me a huge smile. I

then told him to be serious, and put on a frowny-face myself, to demonstrate. He thencomplied, and the ultimate shot of him staring at me is a lie. I fabricated this image, and it

isn't reality. I crafted my own version of reality, rather than capturing what I saw before me. AndI think it ultimately works better.

You can see how I shot 3 images of the scene, with a flash. The first shot is too obvious, I rarelylike photos of people smiling (it looks too posed). The second shot, you can see how the man istrying to hold in his laughter, and you can also see how all the other passengers in the trainthink it is hilarious that this Asian tourist is taking photos in a crowded subway train.

But by the last shot, he gives me the expression that I want, and then everyone ignores me.

So in this scene, I didn't pretend like I was shooting something else. I was bold and make eyecontact with my subject, and interacted with him. If I had never built up the confidence beingable to make eye contact with strangers, I would have never been able to make this image.

So in your street photography, switch it up. Sometimes interact with your subjects and ask themnot to smile (if you want more serious shots), and other times shoot candid shots. Shootwhatever suits your mood, and know that there isn't one "right" or "wrong" way to shoot. Simplyfollow what feels right for you in a scene, and forget the rest.



Lesson #14: Kill your master

“In those days Henri Cartier-Bresson limited us to

lenses from 35 mm to 90 mm. When I showed himthe photos he said, ‘brilliant René!’ I went outsideand shouted ‘Hah!’ He heard me and said ‘whatwas that?’ I said, ‘nothing, never mind’. The lens Iused was 180 mm – I never told him! At that point

I broke loose from my mentor. I killed my mentor!” - Rene Burri

Ironically enough even though this series on learning from the masters of street photography,there are only so many “lessons” you an learn from the masters before you need to “kill themasters.”

For example, when Rene Burri started to shoot photography in Magnum, Cartier-Bresson wasone of his mentors and “masters.” He hugely admired Cartier-Bresson’s work, and thereforewould follow his philosophies in not using telephoto lenses, not cropping, and not posing hissubjects.

Ironically enough one of Burri’s most famous images of silhouetted men in Brazil, he shot it witha 180mm (directly contradicting the rules of Cartier-Bresson). By “breaking the rules,” Burri wasable to make one of his most iconic and memorable images.

So know that after learning from the masters, you need to know when to ignore them or when togo against their teachings. Consider the “masters” of street photography simply as mentors orguides. Don’t listen to them blindly, as one day you need to take off your training wheels andlearn to ride on your own.

Assignment: Contradict a “rule”If there is a certain “rule” in photography you normally follow, for a month intentionally try tobreak it, but do so in a creative way.

For example if the rule is “don’t crop,” do the exact opposite by experimenting with radicalcropping. This is what William Klein and Robert Frank did with their images, and it worked forthem. So never take "rules" at face value-- always challenge them and try to contradict them.



Example: Shooting the back of heads

One of the "rules" or guidelines in street photography is to not shoot the back of heads. Whynot? Generally if you can't see someone's face, it is hard to see their facial expression, and geta sense of emotion in the shot. It is also a "rule" that I personally try to follow-- I always preferfaces over the back of heads.

However in this situation for my "Suits" project, I visited the business quarters in Tokyo ataround midnight. There was this arcade that I found on the top floor, and went around takingsome photos with a flash. I saw this old man playing games at the arcade machine, and I tookperhaps or two shots, and simply moved on. For me, the reason I think the shot works isbecause the back of his head is quite interesting: it shows that he is an older "suit", probably inhis 60's or older (because of his balding head). So if the back of someone's head is moreinteresting than their face, just shoot it. Don't be constricted by rules in a negative way.



Lesson #15: Follow your curiosity

“The camera is like my third eye it is an outlet for

my curiosity. I was always curious as a kid and youhave to use your senses. I wanted to meet the biggiants of the 19th century, a sculptor, an artist, adictator a musician and then I would find thepictures would just happen. You don’t capture a

picture you are responding. I respond to situationsand I am very fast – fastest gun in the West – evenat my age.” – Rene Burri

One of the best traits a street photographer can have is curiosity. You can’t fake curiosity in life.Curiosity is the fuel of life. Curiosity is what keeps us hungry to learn more, experience more,and live more.

If you want to become a better photographer, learn how to become more curious in life. Be morelike a child and less like an adult. Once we become adults, we become closed off to new ideas

and ways of thinking. Rather than exploring things for ourselves and following our curiosity werather Google answers.

Jacob Aue Sobol also mentions the importance of being curious about your subjects:

"I also photograph because I am curious. I amcurious about what the person on the other side ofthe street is thinking, how he or she lives, and how

he or she feels. I am always looking for someoneto share a moment with.” - Jacob Aue Sobol

Don’t photograph what you think others might find interesting. Rather. Photograph what you arepersonally interested in. If there is a certain neighborhood or part of your town that you areinterested in, just go there with a camera and take photos. Don’t think too much. Follow andshoot what you’re curious about.



Assignment: Curiosity notebookThis assignment is to help rekindle your sense of curiosity in life and photography. Buy a cheap

notebook and carry it with you in your camera bag. Whenever you have an idea for aphotography project or find something you are curious in, write it down in your “curiositynotebook.”

The goal is that everyday try to write down at least one idea or concept or photography projectyou’re interested or curious about. You can also write down master photographers you areinterested in learning more about. For example, if you’ve heard about William Eggleston anddon’t know his work but are curious about learning more, write it down in your notebook.

You don’t need to explore every idea. But the act of writing down ideas will keep your mindsharp and curious. Write down your ideas, no matter how stupid, silly, or childish they mayseem. This is a private notebook, nobody else will see it.

Example: Entering a bar

I always enter bars or pubs that I am interested in. You never know what characters might dwell.



When I first saw this bar (right next door to my girlfriend Cindy's family restaurant in Tustin) Ifound it looked fascinating. Cindy told me that it was a local "dive bar", and that there were allthese boisterous characters who frequented. I thought to myself, perhaps there might be someinteresting people to photograph inside. So without hesitating, I entered.

When I first entered, I was quite shocked to see all these beautiful bartenders dressed in bikinis.

When I saw them, I really wanted to take their photos, but was too nervous or embarrassed todo so. So what I did instead was hang around, go to the back of the bar, and played somegames (the punching bag game, to see how hard you can hit it).

I played the game, made a big scene, and didn't end up doing so well. One of the bartendersthat I was eyeing came up to me, smiled, and ask how I did. I laughed and told her that I wasreally weak, and that I could do better next time.

I then mustered up the courage and complimented her on her tattoos. She thanked me andblushed a bit. I joked around about one her tattoos which I thought was "Lilo" from the Disneyfilm "Lilo & Stitch" (some weird alien blue animal). She laughed and told me it was something

different. At that moment, I asked, "Oh, excuse me do you mind if I got a quick shot of you andyour tattoos? They look pretty gangster." She said sure, and asked me, "What do you want meto do?" I then responded by saying, "Show me your biceps and point at them!" So I took twoshots with the flash on a digital Ricoh GR, one photo of her looking at me, and another of herlooking at her arm.

You can see in the first shot, it looks more mysterious as we can't see her eyes directly.



Lesson #16: Leave your photos open tointerpretation

“I leave it to others to say what [my photos] mean.You know my photos, you published them, youexhibited them, and so you can say whether theyhave meaning or not.” - Josef Koudelka

One of the common mistakes photographers make is that they don't leave their photos open tointerpretation. They use fancy titles which explain what they want the viewer to take out of the

photograph. Take the opposite approach: leave your photos open to interpretation to theviewer. The more open to interpretation you make your photos, the more engaging they will beto your viewer.

A key way to do this is to leave out key information, or to add mystery or ambiguity to yourphotos. Intentionally cut off heads, limbs, or obscure the background. Kill the sense of context ofthe scene. Make the viewer work hard to interpret what is going on in the scene. A good jokeshouldn't need to be "explained" by the joke teller. Similarly a good street photograph shouldn'tneed a detailed backstory in the caption of a photograph.

Similarly, movies are always the best when they end in an ambiguous way, in which the viewermakes up their own ending. When the director ends a film without a clear ending, the film isunforgettable. Photographer Joel Sternfeld shares how when the photographer makes animage, he or she is interpreting the world:

"Photography has always been capable ofmanipulation. Anytime you put a frame to theworld, it’s an interpretation. I could get my cameraand point it at two people and not point it at the

homeless third person to the right of the frame, ornot include the murder that’s going on to the leftof the frame." - Joel Sternfeld



Richard Kalvar, a master Magnum photographer, also shares the importance of having mysterybehind your shots and not explaining them:

“It’s tempting to satisfy people’s curiosity as to

what was “really going on” in a scene, but italways leaves a bad taste in my mouth. If there’s amystery, the viewer should try to unravel it for him-or herself, subjectively, through intelligence,imagination and association. I want people tokeep looking, not just move on to the next thing." -

Richard Kalvar

One of the biggest takeaways we can get from Richard Kalvar? Don't make the mystery ordrama too obvious to your viewer. Let them follow their curiosity, by analyzing your images, andtrying to unfold the mystery themselves.

Assignment: Make an open-ended

photoTry to make a photograph without a clear explanation. Intentionally try to use blur, out of focuseffects, a flash, high contrast black and white, or cut out limbs or body parts. Make an imagedifficult to interpret, and ask your friends or viewers to come up with their own story. Or try tocapture people with strong body gestures or emotions, and don't make it clear what exactly isgoing on. Make a mystery out of your photos, in which the viewer has to be the detective.

Counter-point: Leaving a photo closed

to interpretationSometimes when you're doing documentary or photojournalism photography, you don't yourphotos open to interpretation. You want it to share a specific viewpoint. In this case, you want adetailed description or caption, for the viewer not to be misled. But street photography ismore about creating your own interpretation of the world, rather than trying to capturesome "objective" reality. Don't forget that the more ambiguous or open-ended you make yourimages, the more fun and engaging it will be for the viewer.



Lesson #17: Separate yourself fromyour photos (kill your ego)

"I wouldn’t talk about the photographs. No, I tryto separate myself completely from what I do. I tryto step back to look at them as somebody who hasnothing to do with them." - Josef Koudelka

Sometimes we can let our ego get in the way of our photography. We think our photos are likeour children, and we become too emotionally attached to them (even if they are bad photos).

Personally I have a difficult time overcoming my attachments to my photos. When peoplecritique my photos, I feel like they're critiquing me as a human being.

But remember: you are not your photos. When people critique or criticize your photos, theyaren't criticizing you. They're just judging your photos.

One of the best ways to overcome this is to detach your ego from your photos. By detachingyour ego from your photos, you can judge them more honestly and objectively. When you wantfeedback on your photos, ask people, "Please be straightforward and give the photos a brutallyhonest critique." Also when critiquing your own work, imagine that they were shot by someoneelse.

Another master photographer, Sebastiao Salgado mirrors this sentiment. He dedicates makingimages for others to make a positive impact in the world, instead of boosting his own self-ego:

"The biggest danger for a photographer is if theystart thinking they are important." - SebastiaoSalgado

Edit ruthlessly, and detach your ego from the process.



Assignment: They're not your photosUltimately the photo we take don't belong to us. They are for society and our viewers tointerpret, consume, and analyze.

To overcome having your ego attached to your photos try this assignment: For a year, don'trefer to the photos you take as "my" photos. Rather, refer to them as "the" photos.

After youtake the photos, take a step back, and let them tell their own story, and exist on their own.

Example: Not knowing your best shots

This is one of the favoritephotographs I have ever taken.

I was in New York City,teaching a workshop, and sawthis amazing woman in thestreets. I approached her, toldher that she looked absolutelybeautiful, and I asked if I couldmake a portrait of her. She wasquite humbled, and accepted.

I ended up shooting around 25photos of her in total, and I gotthis image on shot #19.

The interesting thing is that atfirst, I didn't think thephotograph was all thatinteresting. However once Ishowed it to some of thestudents in the class, they allthought it was great. I endedup sharing the image online,and it has been one of my mostpopular images since.

Sometimes you don't knowwhat your best shots are; thatis why it is always good to geta second opinion. Furthermore,sometimes you think yourworst shots are your bestshots. Therefore always makesure to have someone give youhonest feedback and criticism.



Lesson #18: Photograph what you love

"It’s not normal to feel that you have to do

something, that you love to do something. If that’shappening you have to pay attention so you don’tlose it." - Josef Koudelka

You can't fake love and passion in what you do in life, and what you photograph. People aregood bullshit detectors; they can smell "fakeness" from a mile away.

On the other hand, enthusiasm is contagious. If you shoot your subject matter with love,

compassion, and honesty, this will show in your photos. The viewer will feel the same feelingsyou did.

With love also comes fascination. Koudelka shares how he has always been in love oflandscapes, but never was able to capture the soul of landscapes, until he picked up apanoramic camera. He shares his experience below:

"I ran around Paris; I had to photographeverything. I realized that with this camera I could

do something I’d never done before. Thepanoramic camera helped me go to another stagein my career, in my work. It helped me to remaininterested in photography, to be fascinated withphotography."

It is hard to fall in love with your subject matter, project, and to remain fascinated. But having an

intense love and fascination of what you're interested in photographing will help you get to anew stage in your career.

Once you are no longer interested or fascinated with the world, you lose your artistic vision andinsights. In fact, Koudelka mentions how even Henri Cartier-Bresson lost his interest inphotography:



"I’m going to be seventy-seven. When I metCartier-Bresson, he was sixty-two. I’m 15 yearsolder than Cartier-Bresson was then. And at thattime Cartier-Bresson was stopping his work withphotography."

Koudelka

continues in another interview:

"Many photographers like Robert Frank andCartier Bresson stopped photographing after 70

years because they felt that they had nothing moreto say. In my case I still wake up and want to goand take photographs more than ever before."

When your photography no longer fascinates you, or when you are no longer having any fun, itis a good chance for you to reassess yourself as a photographer. Why are you no longerinterested? Why do you feel bored? Do you feel like you're just continuing to do the same thing?

Avoid boredom at all costs.

Remain fascinated. If you consider yourself a "street photographer" yet you no longer find thestreets interesting, switch things up. Try shooting landscapes like Koudelka or pursue a differentproject. Pursue a project that you're afraid of. Sometimes our best growth opportunities comefrom what we're frightened to pursue.

As a photographer don't dry up, wither and die. Keep your artistic eye and seed well watered.Do this by reading interviews with photographers and artists you admire, by investing inphotography books, classes and workshops, through traveling, and by meeting new people.



Assignment: What do you love?If you have no idea what kind of photography project to pursue, write down a list of things in lifeyou love. Is it music, coffee, dance, theater, films, cafes, night clubs, or books? Brainstorm as

many ideas as you possibly can.

Then ask yourself: "How can I photograph what I love?"

By starting off with your other interests outside of photography, you can channel your camera toshow that love and interest you have in it. If you love what you photograph, it will never feel likea chore.

Example: Chase what you're drawn to

I have always been drawn to badasses, characters, and tattoos. Partly because I grew up notbeing confident in my own masculinity, so whenever I see those who I think are tough, I amnaturally drawn to them. I saw this man in Downtown LA, and I was absolutely frightened toapproach and photograph him. However I mustered up the courage to approach him, and ask tomake a few portraits of him. Surprisingly, he was extremely friendly and consented. I shot twowith a flash at night, and I am glad that I followed my gut and intuition in asking him for the shot.



Lesson #19: Every photograph youtake is a self-portrait

"Photograph who you are!" - Bruce Gilden

One of the most polarizing street photographers is Bruce Gilden. Love him or hate him, he istrue to who he is. He was born and raised in the concrete jungle of New York City, and heprofesses that his father was a "gangster type." Bruce has an attitude, shoots up close andpersonal with a flash and 28mm, and is unapologetic about how he shoots or his work.

A lot of people criticize him for exploiting his subjects, or being an asshole. Personally I've methim and I would say that he stays true to who he is: a rough, tough, no bullshit human being.But at the same time, he has a lot of empathy for the people he photographs:

"I love the people I photograph. I mean, they'remy friends. I've never met most of them or I don'tknow them at all, yet through my images I live withthem. At the same time, they are symbols. Thepeople in my pictures aren't Mr. Jones or Mr.

Smith or whatever; they're someone that crossedmy path or I've crossed their path, and through themedium of photography I've been able to make agood picture of that encounter. They have a life oftheir own, but they are also are symbols. I wouldsay that I respect the viewer, but I don't want totell him everything."

Also when Bruce Gilden is choosing his subjects, he tries to engage the viewer:



"Hopefully, there's an element of mystery involved.I like him to look at a picture and say "Well, thatthat reminds me of someone," and make up a littlestory in his head, make him smile, brighten up hisday. I think this is what I'm trying to achieve withmy photographs."

I'm a very social person, but when I started shooting street photography, I tried to imitate HenriCartier-Bresson (who was a complete introvert and hated being noticed in the streets). I wouldlook for interesting backgrounds and compositions, and just wait for the right person to enter thescene before clicking the shutter.

But the problem is that I wasn't being true to myself. I didn't photograph who I was. I wasimitating a photographer whose personality and worldview was completely different from mine.

Over the past several years I discovered my style in street photography reflected who I was as ahuman being: social, chatty, and engaging with others. Ultimately I prefer engaging with mysubjects when photographing them (as Bruce Gilden often does), and I prefer to shoot closelyand prefer physical intimacy through proximity.

There is no "right" or "wrong" way to shoot street photography. You need to shoot who you are.What makes your personality unique? If you prefer not to interact with your subjects, shoot froma distance and be candid. If you're extroverted and like conversation, don't be afraid to talk with

your subjects.

The ancient Greeks said: "Know thyself ." Similarly, know thyself in street photography, andshoot what suits your personality, mood, and temperament.

Assignment: Role playFor this assignment, find a street photographer whose personality, style, and images youadmire. Intentionally try to imitate them through "role playing." Imitation is one of the best waysto kick start your photographic journey. The best Renaissance painters all started off as

apprentices (copying their masters), before they broke the umbilical cord and started heading offin their own direction.

Another version of the assignment: "role play" another photographer who is completely differentfrom you. This will help expand your mind, push you outside of your comfort zone, andchallenge you. And through this assignment, you will learn more about your own style.

Discovering what you don't like to shoot is a better way to discover your voice than knowingwhat you like to shoot.



Example: My experiences copying themasters of street photography

When I started shooting street photography, I copied the work of Henri Cartier-Bresson bytaking "decisive moment" photos of people walking by interesting billboards. However after 2years of shooting this way, it started to bore me to death, and I decided I wanted to move on.

Seeking inspiration, I searched "street photography" on YouTube and I was shocked to seeBruce Gilden shooting the streets of NYC up-and-close with a 28mm and film Leica, and using aflash directly in people's faces.

At first I was shocked to see that he didn't get punched in the face. He seemed like a total prickand asshole, but when I saw his images, I was blown away. His work had so much vigor, somuch energy, and so much soul (compared to the work of Cartier-Bresson). I was converted.

I was very timid in street photography, so I had no idea how I would just go around takingphotos of strangers with a flash. But I decided I wanted to try and experiment.

At the time, I had a Ricoh GRD 3, and I just walked around 3rd street in Santa Monica and tookphotos of strangers with the little pop-up flash which is integrated in the camera. I took half a



dozen photos of strangers, and I was shocked to see that nobody noticed me taking their photo.Below is one of the first photos I shot with a flash that I was quite proud of:



I then decided that I wanted to take things further. I saw Bruce Gilden shooting with an off-camera flash, and I decided to try to experiment using my Canon 5D in the streets of Hollywoodwith a 24mm lens.

The surprising thing is that when you shoot street photography with a flash (during the day),nobody really notices or cares. In-fact, you look more like a stupid tourist, and people end up

taking you less seriously.

This is one of my favorite older shots (2011) which Iwas quite proud of. I saw this amazing woman withthis lovely hat crossing the street, and I croucheddown, got close, and was ready to take a photograph.

Once shenoticed me,she gave me

a "jazz hands"gesture, andthen I took theshot. Shesmiled,amused, andsimply walkedon.



So if there is an approach, style, or technique which interests you in street photography, beshameless. Copy the master you admire and play "role play." Try to emulate their work as bestas you can, and once you are able to nail down a similar working style, then you can decide tomove on and discover your own style.

I then continued shooting in a similar style to Bruce Gilden for about another 2 years, picking up

a digital Leica M9, a 35mm lens, and an external flash. I shot off-camera for a while with aremote trigger, experimenting what effect the flash had on my subjects. I loved the "edginess" itadded to my images, and how it would help the subjects pop from the background.

Similar to Bruce Gilden, I also would crouch down very low when taking photos of strangers.This unique low-angle perspective made my subjects look larger-than-life, further accentuatingtheir power and "badassery."

Eventually I started tonaturally change and

evolve in my streetphotography. I no longerwas interested in blackand white, I wanted toexperiment with color. Iditched the M9, pickedup a film Leica, andcontinued shooting flashbut now with color film.



Moving on, shooting street photography with color film (Kodak Portra 400) on a film Leica nolonger interested me. I wanted to experiment a more contemplative style of photography, andthat is when I discovered the work of William Eggleston and Stephen Shore, who are famous fortheir color urban landscapes. What is unique about their work is that they are able to find greatcolor-combinations in the most boring of places, and make the images interesting.



When I started to shoot more urban landscapes, I also started to notice interesting "still life"photos (also inspired by Eggleston). At the time I was living in Michigan (the photos on the priorpage are both shot in Detroit), and I had a big epiphany in photography: you didn't alwayshave to have people in the shot to make the photo interesting. Sure there are a lot ofpeople who don't call it "street photography", but who cares what type of photography it is? Aslong as you make a statement through the photos that can resonate with your viewers.

For example, I was in a supermarket in East Lansing in Michigan, and I just had a simple point-and-shoot film Ricoh GR1s in my pocket. I noticed this interesting scene: an "online employmentapplication" machine, yet it had an "OUT OF ORDER" sign attached to it.

At the time when I was living in Michigan, it was one of the places that were worst hit during theeconomic depression in America (circa 2012-2013). There were lots of debates in politics thatthe unemployed were just "lazy bums" and needed to work hard and get jobs.

But what I wanted to highlight through this photograph was the irony of the situation: eventhough people wanted to get new jobs, they literally couldn't.

Regardless if this message communicates to the viewer or not, it still evokes a strong emotionalresponse from myself; which I feel is the most important thing in photography (rather than howmany "likes" you get on social media).



I am still not done evolving and changing. I am constantly studying the work of the masters, andcurrently am most influenced by Richard Avedon and his stark portraits of strangers in thestreets. This is currently the direction I am trying to take (as of this in 2015): shooting streetportraits in color and digital with a Ricoh GR. I think ultimately at the end of the day, I ammost drawn to people and faces. In terms of my personality, I love people. I love talking topeople, I love hearing their life stories, and I love connecting with them on a deeper level.

Never forget to enjoy the process and the journey in photography. It takes a lifetime todiscover what your vision and "style" is as a photographer. Don't worry if other people criticizeyou for simply "copying" others. Pursue the type of photography that interests and draws you,and follow your heart.



Lesson #20: Don't repeat yourself

"When I went out of Czechoslovakia I experienced

two changes: The first one is that there wasn’t thissituation any longer. I didn’t need wide-anglelenses. And I had understood the technique verywell, I was repeating myself, and I’m not interestedin repetition, I wanted to change. I took a 50mm/

35mm Leica.The second change was that I startedto travel the world. I had this possibility and I hada look at this world.” - Josef Koudelka

There is always a fine line between repetition and variety as a photographer and artist. On onehand you want repetition and consistency in your work to give you a certain style or voice. Onthe other hand, you want variety in your work to prevent yourself (and viewer) from gettingbored.

When Josef Koudelka worked on his "Gypsies" project, he traveled and lived with the Roma

people for around ten years. He shot it all on an slr and a 25mm lens. This helped him shoot incramped quarters, and create an intimate document of the life of the Roma people.

However when he was done with the project, he realized that he no longer needed to repeathimself. Therefore he just ended up exploring and traveling the world with a 35mm/50mm Leica.He wanted to also switch up the subject matter that he photographed.

Koudelka explains more in another interview:

“I am not interested in repetition. I don’t want to

reach the point from where I wouldn’t know how togo further. It’s good to set limits for oneself, butthere comes a moment when we must destroy whatwe have constructed."



There is a concept or "creative destruction" in art. The idea is that you need a framework tokeep you inspired and creative in your artwork. But at a certain stage, this framework canbecome more of a cage. Once this happens, you must break out of your cage.

Assignment : Repetition and VarietyThe fine line we always need to balance is repetition and variety.So for this assignment, choose a certain theme, like "old people", "hands", or "couples." Stayfocused on this theme, and repeat it.

But on the other hand, try to find variety in the assignment. So for example if your assignment is"old people", try to find old people doing a variety of different things. Shopping, having a cup ofcoffee at a cafe, or walking their grandchildren in the park.

If your theme is "hands", you can repeat the same type of framing and distance. But you cancreate variety by choosing different types of hands (old hands, young hands, dark hands and

light hands, hands with fingernails, and hands with cigarettes).

Example: Disorient your viewer

Don't always shoot from the same perspective; try to confuse your viewer. Which way is up?



Lesson #21: Ask for permission

“I carried this little album of my work. I have three

choices. If I see someone in this beautiful mood, I'llgo up to them and ask them, I’d like to take apicture of that mood. If they say yes, I ask if theycan get back into that mood. Not everyone can dothat. Or, if the said no, then I took out the album

and they saw the work. Or I took it, and ran likehell. I had those three choices in the subway." - Bruce Davidson

Bruce Davidson is a street photographer who isn't afraid to ask for permission. He is a streetphotographer who has deep empathy for his subjects, and tries to make imagery that connectswith them.

His first big body of work was "East 100th Street," when he did a documentary series of peoplein the impoverished neighborhood in NYC with uncompromising sincerity with his large format

camera and black and white. He later moved on working in the gritty subways of NYC in color,using an SLR and a flash.

If you see Davidson's images in his "Subway" book, most of them look candid and withoutpermission. But in reality, Davidson asked a lot of his subjects for permission. He carried aroundhis portfolio of images, and would often ask his subjects to recreate the mood he first saw themin.

Davidson did this for several reasons. First of all, shooting in a subway can be very tricky, asyou can't run away after taking someone's photo. Secondly, when you use a flash, you canshock and surprise people.

So Davidson would approach people openly, and even offer to give them a print afterwards.

But the problem with this approach is if the subject said no,

"...it was no forever."



However at times, Davidson didn't always ask for permission. But shooting candidly wouldsometimes draw unnecessary attention. He explains below:

"Sometimes, I’d take the picture, then apologize,

explaining that the mood was so stunning Icouldn’t break it, and hoped they didn’t mind.There were times I would take the pictures withoutsaying anything at all. But even with this lastapproach, my flash made my presence known.When it went off, everyone in the car knew that an

event was taking place– the spotlight was onsomeone."

Therefore know that there is no reason you should be afraid of asking for permission. The worstcase scenario is that someone will say "no" upon you asking them.

Zoe Strauss, a contemporary Magnum Photographer also has to deal with a lot of rejection inher work when asking for permission:

“I’ve stopped hundreds of people and asked tomake their photo. If it’s an up-close portrait, Ialways ask the person if I can take the photo.Often the answer is “no”.”

So realize that asking for permission is incredibly difficult. You make yourself vulnerable torejection, which is scary and intimidating.

But at the same time, the wonderful thing about asking for permission is that the image-makingprocess becomes more a collaboration between two individuals, rather than the photographersimply "stealing" an image from the subject.

Therefore if you are afraid of approaching strangers and shooting their photo withoutpermission, start off by asking. The more you ask and the more you get rejected, the moreconfidence you will build. Not only that, but you will improve your people skills when people doeventually say "yes."



Assignment: The 10 "yes", 10 "no"challengeIf you want to quickly break out of your shell in street photography, start off by asking forpermission. The goal is by the end of the day, you want 10 people to say "yes" beingphotographed, and 10 people saying "no" to being photographed.

In terms of approach, tell your subject that your assignment is to make portraits of strangers.Also if you tell them you're a photography student, people are more sympathetic and willing.Even though you might not be enrolled in a photography school, the truth is you are still aphotography student.

Another tip: offer to email your subject the photograph afterwards. Better yet: carry a smallInstax wifi printer and give them a small print afterwards.

You can also show your subject your LCD screen after taking their photo, to show them whatyou're trying to achieve. You can also ask your subject which photo of them they prefer. Thisengages your subject, and makes them more comfortable being photographed.

Example: Don't just take 1 shot andmove on



I think the common mistake that a lot of street photographers make is this: they ask forpermission from a stranger, the stranger says "yes", then the street photographer only takes 1shots, politely thanks the stranger, and then moves on.

The problem of this shot is that very rarely do you get a good image in just 1 shot. If you studythe work of the masters in the book, "Magnum Contact Sheets", you can see how many photos

that the master street photographers had to take to get just 1 decent shot.

For the shot on the previous page, I really "worked the scene" to get that one decent image, asyou can see in my contact sheet below. In total, I shot 78 photos. The best shot was frame #20.

The story behind the shot is that I saw this interesting character outside of a hipster hotel inToronto. He looked like a badass from the "rock and roll" generation, and me and my friend Neilstarted to chat him up.

I complimented him on his outfit, and asked if he could light up his cigarette and stand upagainst a simple background. He compiled, and I just started to shoot like mad on my Ricoh GR.I shot these all in macro mode, some with flash, some without. Some images vertical, somehorizontal. I took close-ups of his face, his hands, his watch, and of him moving and of himstanding still.

Therefore as a practical tip, when you get permission from someone to take their portrait, takeas many photos as humanly possible. The trick is to take as many different variations whileyou're "working the scene", and then when you're back home in front of your computer, you canselect what you think is the strongest image.



Lesson #22: Don't hesitate

“Despite my fantasies of being a hunter stalking a

wild animal, I was still afraid. It was hard for me toapproach even a little old lady. There’s a barrierbetween people riding the subway – eyes areaverted, a wall is set up. To break through thispainful tension I had to act quickly on impulse, for

if I hesitated, my subject might get off at the nextstation and be lost forever." - Bruce Davidson

There is a phrase which directly applies to street photographers: "paralysis by analysis ."Sometimes thinking too much whether you want to take a shot or not leads to hesitation. Andwith hesitation, you become nervous and self conscious and end up not taking the photograph.

The secret is to know that if you hesitate to make a photograph of someone, you will regret it forthe rest of your life (or at least when you go to sleep that night). Live life without regrets. It isbetter to take the shot and deal with the consequences, rather than not to take the photographat all.

Don't get me wrong, I've missed thousands of potential good street photographs because Ihesitated. This was due to self consciousness, fear of getting yelled at (or hit), or of makingpeople feel uncomfortable.

But know as a street photographer, you have a higher calling. Your task in life is to make themost beautiful street photographs, to inspire people and contribute to society. So keep that inmind before you hesitate taking a shot.

Assignment: when in doubt, clickA phrase I picked up from my friend Charlie Kirk is this: "When in doubt, click."

Keep that phrase embedded in your mind. Whenever you have even a tiny doubt whether theshot will be good or not, just take the shot. Don't hesitate. Don't worry too much about theframing or composition. Just take the shot. And after taking the first shot you can better "workthe scene" and make some other better shots. Break through that barrier. Shoot withoutregrets.



Example: Shoot first, ask questionslater

For this shot, I was in a hotel in San Diego, and saw this amazing gentleman just chilling out. At

first I was a bit nervous to approach him; after all, I didn't want to disturb or offend him.

However I thought he looked too cool, so I first started to take some photos of him while smilingat him. He sat still, and seemed to enjoy the attention.

After taking several shots of him, I asked him what he was up to. He told me, "I own this hotel!" Ichatted with him for a bit, and he was quite happy to be photographed. The lesson that I learnedis this: people who look badass love the attention of being photographed. So in thesecases, just shoot and compliment them afterwards, and hope for the best (yet expect the worst).



Lesson #23: Don't becomepigeonholed by definitions

“Oh people you’re a documentary photographer.I don’t even know what that means. Oh people sayyou are a photojournalist. I’m rarely published injournals. Oh then yore a fine art photographer.Then I say I’m not. I aspire to be a fine

photographer." - Bruce DavidsonEven though this book is focused on street photography, know that if you want to truly become agreat photographer, you don’t want to become pigeon-holed by definitions. Most of the “streetphotographers” profiled in this book never call themselves “street photographers.” They just seethemselves as photographers, and they simply photograph what they are interested orpassionate about.

Similarly, the way that Bruce Davidson shoots crosses definitions and boundaries inphotography. Some of his work is “documentary” in the sense that he spends a lot of time withthe same subjects. Some of his work is “street photography” in the sense that he shoots photos

of subjects candidly, in public spaces.

Ultimately, it is better to say that you are a “photographer” rather than trying to define yourself.Let your photos define you, not any sort of classifications or external definitions.

Once you shed external definitions, this opens up your view to the world. No longer do you notshoot certain subject matter because it isn’t “street photography.” Simply photograph anythingthat interests you.

Don’t aim to be a “street photographer”, aim to be a great photographer. And don’t ask peoplewhether they think some of your photos are “street photography” or not. Simply ask themwhether they are great photos or not.

People like to define others, because it makes life more comfortable and easy for them. Peopleare uncomfortable with unambiguity, and they always want to see where they are in comparisonto you.

I often get ridiculed that I am not a “street photographer.” Rather than arguing with them, I justresort to self-deprecating humor by saying, “You’re right, I’m not a street photographer. I’m justan Asian tourist with a camera.”



At the end of the day, you don’t even need to define yourself as a “photographer.” Just seeyourself as a human being interested in others and in life, and you happen to make photos ofwhat you’re passionate about.

So what is Davidson ultimately interested in? He explains below:

“I’m just a humanist. I just photograph the humancondition as I find it. It can be serious. It can alsobe ironic or humorous. I’m political, but not in anovert way."

Even Garry Winogrand hated the term "street photographer." In one interview he joked thatwhen people asked him what kind of photographer he was, he would just that that he was a

"zoo photographer."

Assignment: Try shooting anothergenreIf there is a genre of photography that you don’t understand, appreciate, or “get,” try it out andtry to understand why others may be interested in it.

For example, let’s say you hate HDR photography. Ask yourself: “Why do others like this type ofphotography?” Then genuinely try to understand and connect with that genre of photography. Orperhaps you can try out macro, landscape, or studio photography.

Even within the genre of “street photography”, there are many different approaches. Somepeople prefer shooting candidly, others prefer asking for permission, and some like to keep adistance, others like to get up close and personal.

So try an opposite approach of what you are comfortable with. This will help open up your mind,not care as much about definitions, and help you realize that at the end of the day, no matterwhat kind of photographs we make, we are all unified with this love of making images.

Example: Strange juxtapositionsI don't even know what to call this style of photography in which you just photograph strange

juxtapositions. But regardless, I started to make images of scenes which I just thought wereweird and odd. They were certainly a lot different from the normal "street photography" I shot ofpeople. But I ended up enjoying flexing some of my creative muscles and trying something alittle different.



Ultimately I don't know if these photos "mean" anything, but I quite enjoy how they helped mestep outside of my comfort zone from shooting the same old street photographs I've alwaysshot.

So whenever you findyourself pigeonholedby any sort ofdefinitions, just drop allcategorizations. Don'tcall yourself a "streetphotographer". Don'teven call yourself a"photographer." Justcall yourself a human

being who is interestedin making photos ofwhatever you findinteresting.

Liberate yourself fromconcepts, and don'tforget to have fun whileyou're at it.



Lesson #24: Don't stop your projectstoo soon

“I find that young people tend to stop too soon.They mimic something they’ve seen, but they don’tstay long enough. If you’re going to photographanything, you have to spend a long time with it soyour subconscious has a chance to bubble to the

surface." - Bruce DavidsonOne of the problems that many photographers starting off is that they stop their photographyprojects too soon. They quickly get bored before really delving deep into their subject matter,theme, or concepts.

A truly great photography project require time, depth, consideration, hard work, sweat, passion,and endurance.

For example for Davidson's "Subway" project, he rode the subway nearly every single day (atrandom hours in the day) for two years straight. By spending so much time in the subway, he

became part of the subway. He learned the nuances of the subway, was able to capturedifferent types of subject matter, and a variety of images.

But the problem with modern day society is that we often suffer from photographic "ADD"; wecan't concentrate on one project, vision, or subject matter. We quickly flit from one fashionabletype of photography to another.

An analogy I like is that you should imagine your photography projects and style like a seed. Ittakes a long time for a seed to sprout into a great tree. But if you remove the seed from theground prematurely it will never grow.

Similarly, when you're cooking a fish, you don't want to poke it too much. You want to let it cook

a bit on its own before moving it around.

But how do you find a photographic project that is interesting? Davidson gives great advice foraspiring photographers starting off:



"If I were a student right now and I had a teacherlike me I’d say, ‘You have to carry your cameraeveryday and take a picture everyday. And by theend of the week you should have 36 picturesexposed. And then suddenly you’ll latch ontosomeone, maybe a street vendor- oh he or she isvery interesting I might have to be with him or her.So things open up visually."

Dorothea Lange, the famous photographer of "migrant mother" also shares the philosophy ofworking your theme until exhaustion, and not giving up too soon:

“Pick a theme and work it to exhaustion… thesubject must be something you truly love or trulyhate.” – Dorothea Lange

Lange expands in another interview:

“Photographers stop photographing a subject toosoon before they have exhausted the possibilities."

So when you're working on a project, don't stop too soon. Keep working your theme over a longperiod of time. The more depth you have with your project, the more unique and meaningful youwill make it.

Assignment : One square blockAn assignment I was given in Downtown LA by the Think Tank Gallery was this: for an entiremonth you could only shoot once square block in the Fashion district in Downtown LA (bothsides for street), and I had to edit down to my best 3 shots for an exhibition.

It was a daunting task at first because I know myself: I am prone to boredom, and I have a hardtime sticking around to one location.



In the beginning the assignment was frustrating. I felt annoyed that I couldn't wander off todifferent parts of the city. I craved more variety in terms of the scene.

But as time went on, I became to enjoy the meditative pace of slowly walking in the sameneighborhood. Soon the vendors began to recognize me and say hello. Every time I circled theblock, I noticed one thing that I didn't notice before. I started to pick up small differences and

nuances. The square block soon became my own home. And at the end of the month I endedup making 3 of my strongest shots, 2 of which entered my portfolio (fingernails and a guyblowing his nose).

So regardless of how boring your neighborhood or street is, there is always somethinginteresting to photograph, as long as you try hard enough.

So give yourself a creative restriction in terms of location. Find a place you want to photograph,and you're only allowed to shoot that one square block (both sides) for a month. Then edit downto your 3 best shots. I can guarantee you they will be damn good.

If you are even more ambitious, try to slowly expand that location by a block or two. Then try toshoot that one neighborhood for a year, and then do an exhibition of your best 12-15 photos.Invite people from the neighborhood to attend, and have a great party.

100 Lessons From the Masters of Street Photography-5 (Additional Chapters)

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