Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Street Photography 101: An Introduction to Street Photography


Published on

If you've ever wanted to learn more about the fundamentals, practical tips and guidance in street photography, I hope you enjoy this "Street Photography 101" presentation I shared!

Published in: Art & Photos
  • Login to see the comments

Street Photography 101: An Introduction to Street Photography

  1. 1. STREET PHOTOGRAPHY 101 Eric Kim / 4-20-2015
  2. 2. What is street photography? SF, 2014
  3. 3. Why shoot street photography? SF, 2015
  4. 4. How to shoot street photography? Downtown LA, 2014
  5. 5. 1. Work the scene SF, 2014
  6. 6. 2. Don’t hesitate Lansing, Michigan, 2013
  7. 7. Martin Parr / GB. England. New Brighton. From 'The Last Resort'.1985.
  8. 8. 3. Ask for permission Tucson, Arizona, 2013
  9. 9. Eric Kim / Tucson, 2013
  10. 10. Eric Kim / Tucson, 2013
  11. 11. Eric Kim / Tucson, 2013
  12. 12. Eric Kim / Tucson, 2013
  13. 13. Eric Kim / Tucson, 2013
  14. 14. Eric Kim / Tucson, 2013
  15. 15. 4. Ask your subjects not to smile Istanbul, 2013
  16. 16. Eric Kim / Istanbul, 2013
  17. 17. Eric Kim / Istanbul, 2013
  18. 18. Eric Kim / Istanbul, 2013
  19. 19. Eric Kim / Istanbul, 2013
  20. 20. 5. Pretend you’re shooting something behind your subject NYC, 2014
  21. 21. 3 Traits of Great Street Photographers
  22. 22. 1. Think long-term Josef Koudelka / CZECHOSLOVAKIA. Slovakia. Zehra. 1967. Gypsies.
  23. 23. “For 17 years I never paid any rent [laughs]. Even the Gypsies were sorry for me because they thought I was poorer than them. At night they were in their caravans and I was the guy who was sleeping outside beneath the sky.” - Josef Koudelka
  24. 24. Josef Koudelka / CZECHOSLOVAKIA. Slovakia. Rakusy. 1966. Gypsy.
  25. 25. “I’m willing to show my photos, not so much my contact prints. I often work on small prints. I look at them frequently, and for a long time. I put them up on the wall, and compare them, to make sure of my choice.” - Josef Koudelka
  26. 26. Josef Koudelka / CZECHOSLOVAKIA. Slovakia. Kendice. 1966. Gypsies.
  27. 27. “When I wake up in the morning, and I feel good, I tell myself: ‘Today may be the last day of my life.’ That is my sense of urgency. But I keep wondering about what you just said, that I am a conscience. People have told me that. People much younger than myself have told me: ‘I would like to work as you do.’” - Josef Koudelka
  28. 28. Josef Koudelka / ROMANIA. 1968.
  29. 29. “I am not interested in repetition. I don’t want to reach the point from where I wouldn’t know how to go further. It’s good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.” - Josef Koudelka
  30. 30. Josef Koudelka / CZECHOSLOVAKIA. Slovakia. Zehra. 1967. Gypsies.
  31. 31. “I don’t care what people think, I know well enough who I am. I refuse to become a slave to their ideas. When you stay in the same place for a certain time, people put you in a box and expect you to stay there.” - Josef Koudelka
  32. 32. “I always photographed with the idea that no one would be interested in my photos, that no one would pay me, that if I did something I only did it for myself.” - Josef Koudelka
  33. 33. “I photograph only something that has to do with me, and I never did anything that I did not want to do. I do not do editorial and I never do advertising. No, my freedom is something I do not give away easily.”- Josef Koudelka
  34. 34. 2. Don’t settle Trent Parke / AUSTRALIA. Sydney. Martin Place, Moving bus. 2002
  35. 35. “I went each evening, for about 15 minutes, when the light came in between two buildings. It happens only at a certain time of the year: you’ve just got that little window of opportunity. I was relying so much on chance – on the number of people coming out of the offices, on the sun being in the right spot, and on a bus coming along at the right time to get that long, blurred streak of movement. If I didn’t get the picture, then I was back again the next day. I stood there probably three or four times a week for about a month. I used an old Nikon press camera that you could pull the top off and look straight down into, because I was shooting from a tiny tripod that was only about 8cm high. I had tried to lie on the ground, but people wouldn’t stand anywhere near me. I finally got this picture after about three or four attempts. I shot a hundred rolls of film, but once I’d got that image I just couldn’t get anywhere near it again. That’s always a good sign: you know you’ve got something special.” - Trent Parke
  36. 36. Trent Parke / AUSTRALIA. Sydney. Dream/Life series. 2001.
  37. 37. “If I can’t go 100 per cent at something, it’s over. I need to live what I do from the moment I get up to the moment I fall asleep (and then to dream about it some more). I didn’t play sport to be average I played to be the best that I could be. It’s not about winning or losing, it’s about making sure you are giving it your best shot with the abilities you have been granted…” - Trent Parke
  38. 38. Trent Parke / AUSTRALIA. Sydney. Dream Life/series. 2001.
  39. 39. “There’s definitely that point where you know you’ve got something special, but it’s when [you’re doing something such as] using the camera with movement or where you take a chance on something. You think, “that’s a great picture, but how do I make an even greater picture?” Often it’ll be something that I’ve been trying for maybe weeks before, that I’ll be working up to in technique, that might all of a sudden come to fruition in that particular picture. But I’ll push something, and push something and push something, until I get it.” - Trent Parke
  40. 40. Trent Parke / AUSTRALIA. Sydney. From Dream/Life series. 1998.
  41. 41. “It’s not enough for me just to be out on the street and shooting people – I need to be trying to push medium of photography as well. I want to create new and interesting pictures rather than stuff that has been seen before. It’s a multi-layered thing. I don’t feel I’m clever enough to be able to set images up. I’d rather see them happening around me, grab them and let chance play a part in it … And when the photograph works it has a kind of epic quality.” - Trent Parke
  42. 42. 3. Draw inspiration from other fields Sebastiao Salgado / Greater Burhan oilfields, Kuwait. 1991
  43. 43. “My pictures gave me 10 times more pleasure than the reports I was working on. To be a photographer was, for me, an incredible way to express myself, an incredible way to the see the world from another point.” - Sebastião Salgado
  44. 44. Sebastiao Salgado / Serra Pelada gold mine, Brazil, 1986
  45. 45. “You should have a good knowledge of history, of geopolitics, of sociology and anthropology to understand the society that we’re part of and to understand yourself and where you’re from in order to make choices. A lack of this knowledge will be much more limiting than any technical ability.” - Sebastião Salgado
  46. 46. Sebastiao Salgado / Korem camp. Ethiopia . 1984
  47. 47. “Photography is not objective. It is deeply subjective – my photography is consistent ideologically and ethically with the person I am.” – Sebastião Salgado
  48. 48. Sebastiao Salgado / A malnourished, dehydrated woman in the hospital in Gourma Rharous. Mali . 1985
  49. 49. “I don’t believe a person has a style. What people have is a way of photographing what is inside them. What is there comes out.” - Sebastião Salgado
  50. 50. Sebastiao Salgado / Worker resting, Covered in oil, Oil wells, Kuwait, 1991
  51. 51. “I very much like to work on long-term projects. There is time for the photographer and the people in front of the camera to understand each other. There is time to go to a place and understand what is happening there. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.” - Sebastião Salgado
  52. 52. 3 Street Photography Assignments
  53. 53. 1. Compliment everybody for a day Downtown LA, 2013
  54. 54. 2. The 5 Yes/5 No Challenge San Diego, 2014
  55. 55. 3. The .7 Meter Challenge Downtown LA, 2015
  56. 56. Questions & Answers
  57. 57. Let’s connect • erickimphotography • Twitter/Instagram: @erickimphoto • /blog