When we get better at photography, particularly street photography, what is the core skill that we are actually building? Certainly, we need to learn how to use the photographer’s tools: the camera, the lens, lighting, the usage of film or application of digital editing, and so on. And of course, the exact tools of the trade vary. What is crucial for one photographer is useless for another. However, I would argue there is one universal skill that comprises the foundation of photography: perception. The fundamental aspect of what we do is simply put as seeing. It is this ability which we need to learn, to improve, and to sharpen in order to get better at photography.
I am always mesmerized by distorted reflections on cars.
I was captivated by the form of the handles against the glow of the frosted glass.
What is Seeing?
First and foremost, street photography happens in the mind, not in the camera. By seeing, I’m referring to your ability to look at the world and make sense of it through geometry, color, semiotics, and narrative. Through these, and other, aspects we all make different interpretations of what we experience and encounter in life. For a photographer, seeing is more than a passive experience of reality—it becomes a deliberate activity. We must pay attention to details that are not relevant to most people. Examples range from how light plays on a surface in a particular way, to how certain surfaces reflect their surroundings, to a chance meeting of form and color, or a peculiar gesture or expression made by a passerby. All of the mundane minutiae of our reality become profound and impactful when viewed with intent.
We can learn and train this skill, which is a skill of the intellect, much like meditation or logic. It requires nothing more than your mind, your eyes, and something to look at. Essentially, it is not unlike mindfulness meditation. Just as in meditation, in street photography we want to let thoughts flow freely without latching onto them. However, instead of fixating our attention on breathing or another internal process, we focus our attention on what we see: light, geometry, human interaction, emotion, narrative.
A spec of red in a mostly grayscale scene.
The first step to building this skill is to practice deliberate observation. When you’re out shooting, eliminate distractions such as your phone, music, and even the camera. The tool should never be a distraction from the work: the act of seeing. With that in mind, observe and take in your reality without bias. When a particular phenomenon captivates you, allow it to consume your attention and try to perceive it wholly. Soak it in. If your interest wanes, move on, but keep you mind open for the next thing.
Over time, you will develop a greater sense of what interests you, and your attention will naturally gravitate to those things. They will jump out at you without your conscious input. Personally, I have lots of things that preoccupy me: pipes, textures, light gradients, bicycles, vivid colors, and many more. When I happen upon these subjects, they instantly grab my attention. It’s not always the case, but when I am at my best, I employ clarity of mind, and my focus is total.
Stairs and umbrellas descending amidst tones of violet.
Practicing Perception in Street Photography
So far, I’ve covered the general concept of perception in photography. However, when it comes to most street photography there is an additional complication—moments are fleeting. To deal with the ephemeral nature of street photography there is a useful technique for both learning and actually getting the shot: pre-visualization.
I could not be sure that eventually a subject worthy of the scene would arrive—I could only hope.
Be Predictive, Not Reactive
When you come across a dynamic scene, one that is evolving rather than static, try predicting how the scene will change over time. By making predictions you can be better prepared to capture an ideal moment. This also entails composing your scene as you approach, which is aided by having intimate knowledge of your camera and the focal length you are working with. The core of pre-visualization is to try to see the photo in your mind prior to it manifesting in reality. You see the elements and the framing, and you can imagine the subject entering your frame. You can visualize the instance when you would ideally press the shutter release and capture the moment. This will not work every time, but it is an idealized approach that is rooted in the mindful seeing that I have already described. In order strengthen your ability to pre-visualize, it’s important to already have a good understanding of how to see in the present moment.
I did not actually see the bus until I got home. It was a failure of my perception.
This moment was an educational accident.
Learning from Failure
We’ve all failed at street photography—I know I have failed countless times. Luckily, failure is an essential part of learning. (As the saying goes: the master has failed more times than the novice has tried.) To make the most of failure in street I employ post-visualization. When out shooting, in a mode of deliberate seeing, my aim is always to capture the moments that interest me. But if I miss my chance, I can still use this as a learning opportunity. After the opportunity passes, I often take the photo anyway, as though the moment still existed. I frame my shot while imaging the scene that I just witnessed but did not capture. Essentially, it is not much different than pre-visualization. The only difference is that the scene being visualized is pulled from memory rather than from imagination. In this way, I can train my mind to see the image more quickly and more decisively when the next opportunity arises.
Over the years I realized I love photographing utility poles.
Growth as a Photographer
The ability to see photographically is best practiced in the field, but it can also be learned through study. Of course, it’s a good idea to look at the work of other photographers and learn by emulating the style or concepts present in their work. However, to develop your own unique way of seeing and crystallize your own style, I recommend looking back at your own previous work. Look for patterns in your photography. What subjects or elements seem to interest you again and again? Can you identify concepts that worked in specific circumstances that can be generalized? Do certain photos work well together in pairings or an ensemble?
Utility poles inspired my ‘Urban Organics’ project, with so many specimens that they warrant their own gallery.
It can be dangerous to revisit old work too much, as it can distract from the constant forward movement of artistic creation. However, searching through old work can lead to unexpected avenues of creativity. It helps to keep your photography organized so that you can easily rummage through your archive and classify photos into collections and projects.
In the best case scenario, by working on your ability to see past work from fresh perspectives you can discover the foundations of projects. This newfound knowledge can serve you well in the field. By having an awareness of these ‘project seeds’ you can inspire yourself to pursue certain subjects when out shooting. This bolsters your ability to see photographically when you are in the field, leading to more and better work as a result. As you develop a project, your sight becomes stronger, your vision becomes clearer, which ultimately leads back again to better work. It’s a self-sustaining cycle of creativity. It’s challenging to begin, but once the momentum is there, it can actually be difficult to stop and pull yourself away from projects. But that’s another topic.