Tell me about your stealth street shooting technique

[dfoo]

Gregory, those are some outstanding shots.

As for myself, I don't hide. Just point and click. If someone doesn't like that I took their picture, I smile and apologize. No need to get confrontational or angry. If they kept it up, I'd just walk away; of course, that is theoretical since its never happened to me.



L1001329 by mjnewhook, on Flickr

Sometimes I shoot from the hip too, but its more for the perspective than to hide myself.


L1001659 by mjnewhook, on Flickr

 

[ebino]

the idea of subject object is interesting, because HCB used people like neat objects for perfect composition of a decisive moment, but people like Cohen and Gilden give full attention and dedicate the full canvas to a single individual.

 

[israel_alanis]

I think stealth tech is been interpreting like hide yourself and I think it's going to be more cautious not to be seen to hide behind a bush, when I take pictures of someone in front of me, I do not get behind a tree, I took the picture in front but I have caution of they do not feel that I'm raising my camera to not change their stance, if they do not detect me and the time does not change, I have not troubled her life and I have a healthier picture.

And I think it is not necessary to invade the space of a person to take a picture, I have a photographer friend who uses a SLR and 300mm for street shot, and his photos are very good and by far not getting into trouble.

I think no one is hiding to take a picture, do you think??
Greetings.

 

[Arjay]

Thank you ebino for the link to the Mark Cohen video.

Interesting, in the video, Cohen also talks about the personal comfort zone (sometimes, its advantageous to understand German 😉 ). Sure, this zone is somewhat dependent upon the situation (think elevator or crowded metro), and what one perceives as one's personal comfort zone is important in feeling at ease as a photographer.

What I personally am interested however is in other people's perception of that zone. To me, there is absolutely no doubt, that there's also a cultural component to it: I have talked to many people about this topic, and they all agree - even without any consideration of a photographer's influence - that there are indeed cultural differences.

I have experienced this when travelling from Germany to Italy or Spain. If you talk to people on the street, people in these countries are much more likely to grab your arm or to touch you in a discussion than e.g. in France or Germany. This effect was even more drastic in India - I recall, that their comfort zone is even tighter than in southern Europe.

The thing about this comfort zone is something very peculiar: If you as a photographer are caught photographing while outside this zone, you might get a strange look, but mostly without further consequences. OTOH, if you're inside that zone, people might feel offended. But then - pictures from inside the comfort zone are much more dramatic or telling in terms of expression than if you had been outside.

To someone who doesn't know Cohen's photography, this kind of picture-taking could appear voyeuristic, while I don't feel that when I look at his pictures.

Gilden, however appears to be very offensive in the videos I've seen of him, but I love the emotional bluntness of his pictures. Yet, I think he can only practice this type of photography in NYC - I guess he would have gotten himself into serious trouble, if he'd do that in the streets of any German city.

 

[israel_alanis]

You are right Arjay, Cohen is a very fine technique of photography, while Gilden is very aggressive, and I agree with you about culture place, here in Mexico if you met some people and talk with, they hugh you, smile etc, then you can photograph them every you want, If you try it in Colombia that could be a big problem in some zones.

Culture is a determinant of technique you can use or even take or not photos.

Regards.

 

[Nikkor AIS]

Thank guys.

I agree that there are many different ways to work on the street.

There is no right or wrong. It's interesting that some feel that there is a moral aspect to getting a picture one way or another. Over the last 20 years or so, I've used just about every tech described at one time or another.

So I'm certainly not going to point a finger and take the high moral ground. I'm better because ... 🙄.

I will say that people have a sixth sense when it comes to being watched/noticed. And you can have the longest lens and shoot from a position of concealment. People can sense they are being observed.

I don't think it's a bad thing; it's a thing. And noticing the "thing" in a small way changes the thing.

I've even gone so far as to use wide lenses without looking at what I'm shooting.

There is so much to see in this world, and people are very interesting subjects to me. I never tire of people watching. The fact that I have a camera is incidental rather than essential for me.



Some of my older work.









A few from yesterday.

Nikkor 80-200 2.8 ED AIS on D3

 

[zenlibra]

My street technique is to have the camera around my neck and holding it in my hand up under my chin/against my chest. I feel it is best to be open about what you're doing. I prefocus 3 metres and a minimum of f/8, adjusting shutter speed if necessary. I much prefer to have an external viewfinder on my camera so framing is super quick.

 

[johannielscom]

Can't stress this enough (and I did before): have a look at Garry winogrand. In the YouTube clip, he is shown shooting street from 3:00 minutes onwards.

The man was a great street shooter, but he looks like a dork, test driving a camera. People passing by are not sure on taking him seriously or not.

Lotsa things have changed, but still nobody takes a weird acting guy with an old and obsolete camera serious. It's a great way to start and build confidence, and you might even keep on doing it!

 

[ebino]

Arjay:

There are so many reasons, most of them completely rational, not to take photos on the street. You could also limit yourself by saying, well, I only shoot film or I shoot medium format, digital, wide angle, telephoto, respect people's personal space and privacy etc... Theoretically there is no reason to do street photography, but something else forces one to risk it and go out in the world and take pictures. To me this contradictory nature of photography reaffirms the suspicion that photography is a purely emotional and irrational activity and hence anytime you begin to think rationally about it, you lose your way.

Its not so much the culture and people of where you wish to photograph, but how badly you want to photograph that eventually leads you to success or failure... New York during 50s was a pretty tough and violent place, but it did not stop any of the photographers from going out and risking it. All those photographers badly wanted to say something and they went out and did it. Robert frank took his family all around US and photographed, not only risking himself but his family. But the result was well worth it.


It seems you have an idea of taking close and dramatic shots. From a technical perspective that means using a wideangle lens, probably 21-24mm. With that wide focal length you can get really close and still photograph while most of the time people will think you're taking pictures of something else while they're in the frame. People don't know about focal lengths. if the camera is not pointed at them, they think you're not interested. Watch the video of Winogrand linked below carefully. Watch how he shoots people right opposite them but since his movement is so fast and strange people are confused... when a guy is looking at him, he keeps looking at the guy and shooting, because he knows if he turned back the guy might think he got afraid. His using an axillary viewfinder to make framing move very fast. he peeks, shoots and reloads so fast it looks like his fiddling with the camera.

http://www.youtube.com/watch?v=eitfGxc6vbw

By the way, I'm not saying that i have a technique or i do very well on the street. its just that i have been through that phase where i over-thought the whole thing and it was only when I let go of my own preconceived ideas and notions that i felt comfortable on the street. now i look forward to go and shoot while before it was a feeling of anxiety and insecurity.

 

[israel_alanis]

There are many expressions too, Im addicted to them and as Gregory said there are much to see in world.

regards.

 

[Arjay]

It seems you have an idea of taking close and dramatic shots. From a technical perspective that means using a wideangle lens, probably 21-24mm. With that wide focal length you can get really close and still photograph while most of the time people will think you're taking pictures of something else while they're in the frame.

That's pretty much my idea. However, I prefer slightly longer focal lengths for less distortions and a more natural perspective. Focal lengths of 21 to 24mm would actually mean I'd virtually have to touch the people I want to photograph. That may indeed be a challenge, but IMHO also a recipe of how to get yourself in trouble. 😉

I am using (35mm film equivalent) focal lengths of 28mm and 35mm. See my gallery for examples.

 

[atlcruiser]

One thin I did was to move down in lenses or wider....depends on how you look at it 🙂

I started to really shoot street shots with a 50. It worked pretty well and I had a "distance" I could work with. As I got more comfortable interacting with people I dropped to a 40 or 35. I would get closer to them as I was used to the framing on the 50 and more comfortable around the prople. Not too long after that I moved into 28/21 and found I got even closer 🙂

Reciently I have been using 2 m bodies both ith 35s on them or 1 m with a 28. I have yet to try a 28/21 2 body combo but i will soon.

 

[ebino]

That's pretty much my idea. However, I prefer slightly longer focal lengths for less distortions and a more natural perspective. Focal lengths of 21 to 24mm would actually mean I'd virtually have to touch the people I want to photograph. That may indeed be a challenge, but IMHO also a recipe of how to get yourself in trouble. 😉

I am using (35mm film equivalent) focal lengths of 28mm and 35mm. See my gallery for examples.

great photos and 28/35mm are the classic lenses to work with but since you want dramatic close shots then its actually the inherent distortion of the wideangel lenses that can generate that feeling of drama. you have nothing to lose by trying many types of lenses and focal lengths. also it helps to separate the photos which you like and want more of that way you really begin to see what you want and focus on that type of shots. edit as you shoot and try to work in a project sort of setup, that way your focus will be much better.

you can practice with a really wideangle with family or friends or people you know to see how you like it.

 

[ebino]

One thin I did was to move down in lenses or wider....depends on how you look at it 🙂

I started to really shoot street shots with a 50. It worked pretty well and I had a "distance" I could work with. As I got more comfortable interacting with people I dropped to a 40 or 35. I would get closer to them as I was used to the framing on the 50 and more comfortable around the prople. Not too long after that I moved into 28/21 and found I got even closer 🙂

Reciently I have been using 2 m bodies both ith 35s on them or 1 m with a 28. I have yet to try a 28/21 2 body combo but i will soon.

the wider you go the more focus leeway you have, so you can set to zone or hyperfocal focus and really work the situation still maintaining high shutter speed.

 

[ebino]

speaking of wideangle dramatic shots. there is a great example in today NY picture of the day segment. the first picture, i assume its shot somewhere between 18 and 24mm, you could see the distortion on the fence at the right, but the picture is great.

http://lens.blogs.nytimes.com/2010/09/30/pictures-of-the-day-ecuador-and-elsewhere/?hp

 

[israel_alanis]

if only exist 28 or 24mm for my Robot Royal III :s

 

[andredossantos]

Here are a couple techniques I use here in NYC:

-With a 35mm or similar camera that you have to bring to your eye I act like a tourist. Point it up at the buildings right before bringing it down to press the shutter. Or, looked dazed and pretend you're shooting behind people. If confronted I simply say that how on earth can one take photos of NYC and not get people in the frame. You can also quickly frame then bring the camera slightly away from the eye when you click the shutter. People assume you are waiting for a shot, or something.

-Second method is use my TLR's in which case no special technique is needed since everyone assumes you are some sap fiddling with a dumb old antique.

 

[Nikkor AIS]

This has been a great thread. I have so much respect for many of the contributors to this thread. There is really some excellent information to glean.
Taking a different approach today, I went a-walking with the my Nikkor 300 2.0 IF-ED AIS and my D3. Of course I also had my Leica MP around my neck, ready to go. I only got a couple that were worth showing.

The thing about using telephotos for street shooting is you have to look ahead and be aware that swinging a large lens up from your side can draw unwanted attention from your subject. So I try to make my motions smooth and measured. Which is also a must when toting a 20-pound lens and 5-pound camera hand held 😉. I really can't heft it very long so I time my lift and focus pull to as short a time as possible.

While it would be easier on the left wrist to use a monopod, the stealth of the long pole (monopod) makes it unacceptable for me to use on the street.

Saying that, I'm not opposed to using natural and manmade supports whenever possible. And if they happen to shield me from sight, all the better.

Many animals use cover and camouflage and street shooters with telephotos are no different.

I don't consider it cheating to use long lenses as it's not so much about the sneakiness of using a long lens at a distance as the "look" and spontaneity you get when you use a long, fast lens.


















Nikkor 300 2.0 IF-ED AIS

Photos of me shooting by Kat.



Nikkor 800 5.6 IF-ED AIS on D3





















Some of my early work with the Nikkor 300 2.8 IF-ED AIS and F2AS

There are moments that can only be captured with a telephoto.

 

[intense]

I use my telephoto lens (80-300mm equivalent) for street shooting also. It is priceless for portraits, because when shooting you can be far away from your subjects and you are not bothering them.

 

[Thebes]

I normally don't shoot stealth but I have a couple techniques for when I do.

If I am not otherwise shooting I will normally use my Dslr and a manual focus lens. I like my old manual Nikon lenses for this, they have distance markings and so are pretty easy to zone focus at the hip. I then shoot from the hip with the camera on my strap- it looks like I am fiddling with a camera I am not shooting. About 1/4 of the shots turn out well, presuming I am using a fairly wide aperture (f2 to f5.6). I can check results and it still looks like I am fiddling with my gizmo and not shooting. I hold it like its a box, I think of it that way, the plane of the film and the bottom edge and their orientation to the horizon. With a dslr I can take a lot of exposures so this works out great. I commonly use this technique if I am shooting at a gallery opening or something like that, which I am sometimes asked to do.

The other time I shoot "stealth" is if I have a small rf and my "real" camera at a photoshoot. I shoot a lot of fetish stuff for my wife and the company she works with and I like to get candids. I find that no one pays jack - attention to a small chrome and leather rangefinder most of the time. They instantly pose for a slr or even a pocket digicam, but they pretty much ignore the rangefinder- it probably helps that I use a 7sii for this and its really really quiet. I can get a true candid, without the subject noticing, most of the time. Sometimes I shoot from the hip with this one too, mostly in bars and such though where I use tables and such for stealth support in low light.

Speeds- I can shoot my aps-c dslr from the hip at 1/30th with a 50mm prime and 1/15th with a 35mm. It pulling on the strap and being held in both hands helps vs having it up to my face. The 7sii I have some nice hip shots on the strap at 1/15th and I've used bulb with it resting on tables and such for exposures over a second.