Street photography: how to start, and how to stop being scared of it
The hardest part of street photography is not the camera. It is the fear of being seen pointing it. Here is how I got past it.
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Notes on photography, travel, and the difficulty of looking.
The hardest part of street photography is not the camera. It is the fear of being seen pointing it. Here is how I got past it.
Read →A pop-up flash flattens everything it touches. Here is how to keep the mood of a dim room and still come home with a sharp frame.
Read →There are only three kinds of blur. Once you can tell them apart, every one of them is fixable.
Read →Not a secret formula — a sane starting point you can set in ten seconds and adjust from there.
Read →ISO, aperture, shutter speed — three dials that share one job. Explained the way I wish someone had explained it to me.
Read →The one camera setting worth understanding first, explained without the jargon — and why the numbers run backwards.
Read →The first composition rule everyone learns, why it works, and the day you should start breaking it on purpose.
Read →Stiff portraits are stiff for a reason you can fix. Five things that have nothing to do with the camera.
Read →Why the hour after sunrise and before sunset flatters almost everything, and how to actually use it instead of just standing in it.
Read →A file is a promise. The print is the thing kept. Why I do not consider a photograph finished until it exists on paper.
Read →Color is information. A portrait is usually about one thing, and most of the time the color is telling you about something else.
Read →The picture is decided in the thirty seconds before the camera comes up. Most of those seconds have nothing to do with photography.
Read →Twenty years in and I am still only photographing one thing. Not faces. Light, and what it does to a face when no one is arranging it.
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