Why?Because the deeper you go, the more likely you are to make a good shot
The change of background, the eye contact of the characters, and even the difference of a gesture make ** produce subtle differences in details.
Or you can draw an analogy to batting, the more times you swing the bat, the more likely you are to hit a home run.
A common mistake I have seen many street photographers take one or two shots in the scene and walk away, whether they are shy and scared or impatient.
In other words, you should shoot more than one scene, and 10-20 shots is not too much.
Why?Because the deeper you go, the more likely you are to make a good shot
The change of background, the eye contact of the characters, and even the difference of a gesture make ** produce subtle differences in details. Or you can draw an analogy to batting, the more times you swing the bat, the more likely you are to hit a home run.
Choose 1 out of 13.
If you're a bit inert and don't always shoot in good light conditions (after sunrise and before sunset), use glitter to make your subject "stand out" in the background at noon, in a large backlight, or indoors.
So when the light is strong, you happen to shoot in the backlight, or stay in a low-light room and turn on the camera flash. However, it is still recommended to use flash light during the day (people don't pay too much attention to it), and try to avoid it at night (it is blind and easy to scare others).
It is said that "the eyes are the windows of the soul", which can reflect eye contact and communication, and the audience will also feel that they are more connected with the **, just like the characters in the picture directly look at the audience.
Generally speaking, the deeper the eye contact, the stronger the emotional transmission and the more impressive it will be.
But do you know how to get a good eye gaze in a shoot?
It is advisable to keep shooting when approaching people until they spot you, their eyes are on you and the camera is in contact with you, and the moment they look directly at you, your shutter will not miss.
Many people are accustomed to shooting from a head-up angle of life, and the disadvantages are also obvious, and the observation angle is no different from the usual one, which looks boring and ordinary. So lower the angle to break this convention.
Crouching down to get a low-angle upward shot, the figure looks taller than usual, and the background content at the edge of the frame will be more exaggerated because of the angle, and the perspective will be more impactful.
And squatting down makes you look shorter, which can give a less offensive feeling.
Choose one out of 36. It's a fun thing to say "decisive moments" all day long, but it's even more unexpected to capture the moments when people are "defenseless" and they turn their attention away from you and don't realize that you're still shooting.
I like to consult first and then shoot, but if I want to avoid the person staring at you all the time, I will only pose a V-shaped hand, how can I shoot a defenseless moment?
You can start with the "What are you going to do today?".Are you a ** person?When people start to "chatter mode", you are likely to go beyond posing and photograph the real demeanor.
Choose one out of 12. If you can get people's permission to shoot, remember that you can also guide them during the shoot. Usually ask them to move to a more concise background and try to get them to make interesting gestures.
How to guide it?Talk about their styling accessories, such as sunglasses, hairstyles, watches, and then ask them "where did you buy them", and when they open up the conversation, it will naturally bring hand movements, and that's when it's time for you to shoot. You can even do some physical contact to let your guard down and find better opportunities to shoot.
Do you think it is contrary to the "realistic" attribute in street photography?But street photography should be about creating your own unique vision, not just trying to be objective (leave that to journalists and documentary photographers).
Choose one out of 26. Sometimes, if you observe some interesting poses, movements or movements but don't capture them in the first place, you can politely ask, "Can you do it again?"”
For example, when filming this man, his girlfriend just wiped his sweat, and the action was very interesting, and he stepped forward to ask: "Can you do it again", she did it, so that she could shoot the ideal **.
Pay attention to polite inquiries, and don't force others if you don't want to.
Choose one out of 35. It can be said that the most classic trick of street photography techniques: find the potential background and wait for the subject to enter the frame in front. Trap-style pre-framed shots, willing to fish.
The chosen background (this can be a curtain wall, billboard, etc.) is parallel to it, waiting for a character or other suitable subject to pass in between.
Why do you call it a "fishing" technique, thinking that it's the same as fishing, and it's possible to put a long line and wait for an hour without getting a catch, but you can also catch a lot. You can never guess, and the only secret is patience.
Another misconception is that many photographers do not want to shoot the front of the person, they prefer to shoot from the side.
But if you want to make the core of the work more appealing and powerful, don't hesitate to shoot head-on. You're likely to crash into the crowd during a shoot, but it's especially necessary for wide-angle banners. The wide-angle front makes the audience feel more immersed, as if they were on the scene in person.
On the premise of ensuring safety and access, stand on the pedestrian street to the road**, wait for the crowd to come towards you, take a picture head-on, and then change positions to continue the next head-on encounter.
To make the content more intriguing and intriguing, try to organize the foreground elements.
It is recommended to manually select the focus point, control the distance, pre-focus towards the background, and then bring in the elements of people and objects in the space to create a foreground, middle ground, and background level.
If you are not interested in photographing people, you can try to play with conceptual street photography and pay attention to the best strips, styles, and materials.
You can play to the theme of "cityscape", aiming at old buildings and old districts to find elements, so that your work has more emotional qualities.
Sometimes it's not bad to start with minimalism, and the use of blank space in ** provides "breathing" space for the theme, but also allows the audience to focus on a single subject.
When should I use white space?It's very intuitive, as long as you feel that the picture is crowded, you can use the framing to try for white space.
On this basis, it is actually possible to add more variations to the white space, such as using shadows as a component of the white space. For example, when shooting sunrise and sunset, control ** moderate underexposure, increase the proportion of dark parts of the picture, and use the sun and illuminated scenery more prominently.
This is a near-level technique, compared to the above-mentioned use of shadows as white space, here is the opposite, the subject is close to the light source, after metering, do 1-3 stops of light reduction treatment, control the illuminated part. In the strong contrast between light and dark, the subject is highlighted as if illuminated by a spotlight.
Elements of line can be seen everywhere indoors and outdoors, in the streets, in the electric light fence, in the parkway.
With the previous "fishing" shooting method, find the right angle in front of the background of ** elements and wait for the subject to enter the camera.
One final note: deciding what to move out of the frame is more critical than deciding what to put in the frame.
When shooting, there should be a consciousness in the mind: what is superfluous in the picture, is there anything in it that is distracting?What to stay and what to go?
Keep removing the elements from the frame until you can't reduce them anymore, and what remains is where your ** soul is.
A good film is not made at one time.
A good film is not something that can be achieved according to one rule.
Shoot more and try more. Break the rules and open up a new world of street photography.
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