The Art of Street Photography - With Frank Minghella | Frank Minghella | Skillshare

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The Art of Street Photography - With Frank Minghella

teacher avatar Frank Minghella, Perfect Photo Company

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 12m)

    • 2. MODULE 1: Equipment and Retrospective

    • 3. MODULE 2: Walk or Wait

    • 4. MODULE 3: Use the Light

    • 5. MODULE 4: Don't Forget to Look Up

    • 6. MODULE 5: Framing

    • 7. MODULE 6: Reflections

    • 8. Module 7 Street Activities

    • 9. Module 8 Isolation

    • 10. Module 9 Create a Collection

    • 11. And finally...

    • 12. Module 10 The Assignment

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About This Class

Hi everyone and welcome to the Art of Street Photography Class

Street photography is of the most rewarding genres of photography. It is authentic and full of realism, taking real life and pausing it to capture a tiny piece of daily life that will never be repeated. The trick is to stay curious and switched on to what is happening all around you as you will be photographing unplanned chance encounters and random incidences at a decisive moment.


The class is full of inspirational photographs and explanations about the techniques used to capture each of them. Each module will introduce you to new ideas and methods to help you capture amazing street shots. I have included a fabulous assignment to allow you to join in and use the techniques featured in each module. Plus you will have the opportunity to upload and showcase your favourite photographs.

When you are out with your camera you are never in the wrong place and photo opportunities are all around you. Once you get tuned into your environment it is amazing how those shots start to reveal themselves. You need quick responses and have to react intuitively as street photography is completely spontaneous, documenting a tiny piece of social history.

To capture great street images all you need is a camera - and any camera will do. So whether you are using the latest mirrorless camera or a smart phone you have the tools to create amazing photographs.

So welcome to the class and I look forward to helping you become a confident street photographer.

Best wishes, Frank

  • Module 1: Equipment & Retrospective

    Let’s talk equipment, but more importantly why the camera you use is not so important - as any camera is capable of capturing great street photographs. The module finishes with a retrospective look at some of my favourite street photographs to get you in the right zone and ready to move forward and discover methods and techniques to help you capture amazing street shots.
  • Module 2: Walk or Wait

    In this module we will take a look at the physical act of capturing street photographs. You can choose to walk, wait or select a background to react with your subject. I will show you how I employ all three with example photographs and on street video footage showing actual photo capture.

  • Module 3: Use the Light

    Harsh bright sunlight is often a photographers worst nightmare. However for a street photographer is can become a best friend. Bright sunlight creates areas of strong contrast with deep shadows and illuminated highlights which help to create really interesting photographs with a graphic quality. This module features example photographs and on street video footage showing actual photo capture.

  • Module 4: Look Up

    Pointing your camera up in the city will take you into a completely new world full of interesting photo opportunities. Allowing you to capture stunning architecture where buildings react with the sky and much more. In this module we will take a look at some example photographs and on street video footage showing actual photo capture.

  • Module 5: Framing

    Simply find something in the environment that was never intended to be used as a frame and wait for your subject to enter the frame. Framing create a bold statement and draws the attention of the viewer to your subject. Look for bridges, tunnels, doorways, alleyways etc. As always we will take a look at some example photographs and on street video footage showing actual photo capture.

  • Module 6: Reflections

    Using reflections helps to create really unusual street photographs. Look for any reflective surface and wait for your subject to appear in the reflection. Any shiny surface will do, from a body of water to a pane of glass. Sample photographs and on street video footage showing actual photo capture will show you how it is done.

  • Module 7: Street Activities

    Street activities create wonderful photo opportunities allowing you to capture the emotion and atmosphere of the event. Look for any place where people gather to watch or take part in a street activity. It could be street demonstration or street performance so check the listings in your local paper.

  • Module 8: Isolation

    A subject in complete isolation makes a very atmospheric shot. Look for a quiet part of the city or perhaps venture out early in the morning when the streets are empty. In this module we will take a look at some example photographs and on street video footage showing actual photo capture.

  • Module 9: Collections

    Photographs with a similar theme can produce a marvellous collection and look amazing when displayed together. Simply choose a theme and set about capturing shots that have a consistent look. Creating a collection also helps if you are struggling for inspiration. In this module we will look at three collections.

  • Module 10: The Assignment

    Now it’s your turn to shine. I have set 10 photographic tasks that feature methods and techniques that have been shown throughout the class. You can choose to complete all 10 tasks or simply select a task that most interests you. Then upload and showcase your favourites. How marvellous.

Meet Your Teacher

Teacher Profile Image

Frank Minghella

Perfect Photo Company



Hello, I'm Frank, Photographer, media lecturer and obsessive creative. (and part time rock star... : )

Photography is my biggest passion and teaching photography allows me to share my knowledge and enthusiasm with others, which I love to do. Over the years I have taught photography I like to think I have created a whole new generation of creative photographers.


My mission is to unleash your inner creativity by giving you the skills to become confident with your camera. Once you have been shown how to get the best from your camera you will become capable of capturing exciting images and the Auto setting will become a distant memory.


I make learning how to use your camera fun with easy to follow animated explanati... See full profile

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1. INTRODUCTION: Unlike other types of photography, street photography starts with a complete blank canvas, and for me, I think that's what makes it so exciting and such a challenge on one of the most rewarding genres of photography. Now in most other types of photography, I generally have a plan or some sort about what I'm going to be shooting, whereas it's street photography, it's all completely spontaneous. You need to have quick responses and react intuitively as you are shooting unplanned chance encounters and random incidences at a decisive or poignant moments. When you're out with the camera, you're never, ever in the wrong place, and photo opportunities are all around you. Once you get tuned into your environment, it's amazing how those shots starts to reveal themselves. Street photography takes real-life and pauses it, caption a tiny piece of daily life that will never be repeated. The trick is, to stay curious and switch down to what is happening all around you. I like to capture images that make people think more profoundly about the meanings behind the images. Authentic photographs, fully realism, that document a tiny piece of daily social history. Each time I took my camera into the city, I begin a new adventure and no two days are ever the same, and I guess that's what makes street photography such a challenge. Really enjoyed putting the class together, and it's full of inspirational shots, and explanations about the techniques I use to capture each of them. Now each module will introduce you to new ideas and methods, to help you capture amazing street photographs. Of course, the class has a fabulous assignment to allow you to join in and use the techniques featured in each module, plus you have the opportunity to upload and showcase your favorite images. Now I'm super excited to be part of your street photography journey, and I look forward to you joining me in the first module. 2. MODULE 1: Equipment and Retrospective: Throughout the class, I'm going to be introducing you to the many tips and techniques to make you a better street photographer. Of course, at the end of the class, you can join in by taking part in the assignments and upload new favorite photographs because I'd love to see them, and I'm sure other people would too. But I thought it'd be nice to start with a little look at small selection of some of my work just to get you in the right spirit of street photography. But I guess before we jump in, we should address the elephant in the room, which is equipment. What equipment do you need to be a street photographer? Well, of course, you need a camera, but which camera? Now, here's the thing. It doesn't really matter. There's an old saying that says, the best camera to use is the camera that you have with you. It's so true with street photography because street photography is all our composition and not about camera settings. You don't need to get hung up on that. It doesn't really matter. You might have a high-end full-frame mirrorless camera, you might have an entry-level DSLR camera, or you may be using your smartphone. All of them are fine because as I say, it's all about composition. What camera do I use then? Well, I use this Fuji X100V. I like it because it's nice small form factor, and it's got nice retro style, which doesn't make any difference honestly. But it puts me in the right mindset when I grow up with just take some street photographs. It does have this flip up screen. A flip up screen is really, really useful. One of the reasons for that is because you can raise less attention to yourself when you're taking a photograph. I will often use this, a chest height with the screen flipped out and I can look down and compose my photographs that way. It comes in really useful. Now I do use the viewfinder as well. But I find myself more often than not using the screen on the back. A mirrorless camera will allow you to do that. Now if you've got a DSLR camera, an early one or an older one, it may not have a flip out screen. By all means, use the viewfinder. There's no problem doing that. You may have the ability to fit the screen out and put it into live view mode. But just be aware that the focusing is sometimes slow on older cameras when you do it that way. But by all means, have a go. Of course, if you're using your smartphone, it's great, isn't it? Because you can hold it at chest height and compose your photograph that way. That's a major plus for your phone. But I said, I used this X100V. What settings do I use? Now, I don't really want to talk too much about camera settings because it isn't above that. As I said, it's all about composition. But I'm sure some of you guys are interested. Briefly, here's what my settings are. I set the aperture size anywhere between 5.6 and f8. It allows me to get my subject in focus and the majority of the background. That's what that does. Shutter speed, anywhere between 250th of a second and 500th of a second because that freezes the action, which is what I want. I'm not going to get any motion blur from people walking past. Then I let the camera determine the ISO. Now if those three things have confused you, you can pop across to my fundamentals of photography class, and I'll go into all those settings in greater detail. That is what I do. Know other photographers will use different settings. I'm sure they do. It's a personal choice, and it works for me. If you want to try those settings by all means, do that. Now if you're using your smartphone, you don't have to worry about settings. Just switch on the basic camera up and away you go. Now as far as lenses are concerned, because you might be interested in that. This one has a fixed 23 millimeter lens. Now that equates to 35 millimeter in a film camera. Essentially, this is a 35 millimeter lens which is not super wide, but wide enough to get subject matter and the majority of the background in. It's a nice source of standard lens or focal length that street photographers use. Zoom lenses, it's a different thing. If you use a zoom lens for street photography, that's fine. But it's not traditionally what a street photographer would use. It's more for capturing street portraits if you'd like, and that's a different thing. That's what I use. Now in your smartphone, what you're going to have is probably settings where you can adjust the focal length. Generally, a smartphone is quite wide anyway. Again, it makes it ideal for street photography. That gets the equipment out of the way. Let's jump in then and we'll take a look at some photographs. I said just to get you into the spirit of photography and street photography in general. Let's jump in and take a look. I captured this shot in central Liverpool during a street demonstration. Streets events make really great subject matter. This one has a really strong foreground, isn't it? It's interesting subject. It's a bit of social history. But it's also got interesting detail in the background too. You can see the guy with the stripe suits standing on one leg and the gentleman next to a ballet dancer style pose. It's really interesting. Now I've added a bit of a color splash, which very seldom I do that type of thing, but it works really well in this shot. Let's move on to the next one then. I guess this shot shows you that you should always have your camera ready. It's a total fleeting moment. It's the man falling from the sky. Now obviously he's not falling from the sky. He's parkour free runner, and I caught him emits some assault. It does help to know your camera settings. Now I deviated from a normal settings, and obviously used a quicker shutter speed to freeze the action. It's one of those things if you've got your camera with you, then you're halfway there. You just need to have it switched on ready, and you just don't know what is around the corner basically. This shot I captured during my daily walk. Now I live close to the River Nazi in Liverpool, and you can see the city of Liverpool in the background. Now I do love the leading line of the steel rail that runs off into the distance. Her pose is amazing, she just do pan over to read an inscription on the park bench. But it just presents itself as a really unusual shot, doesn't it? The isolation is really good in the shot. It's just her. There's a couple of people in the background with the way off in the distance. She's just taken a moment. I said you've got your camera with you, and this was just taken during my daily walk. It's amazing what you can find. In this next shot, I positioned myself in an alleyway between two buildings and waited. As we move through the class, you'll learn that one of the options you have is to wait. In this case, I did awaited at the end of the alley. Now with no real idea of who was going to walk past, and I was lucky that this guy walk past and he's obviously a blind gentleman and he has his white stick. The chances of that happening, obviously quite rare. But they call it serendipity. If you don't put yourself in that position, then you'll never know. It's a blind man at the end of a blind alley. This shot just captures a small piece of daily life, doesn't it? He's facing one way, she's facing the other. They both have their heads in their hands. There's no arguments. What are they discussing? We'll never know. It's almost cinematic, isn't it? It raises that emotion and that curiosity. It's an interesting shot, isn't it? As I said, it's a small slice of daily life. This shot is a rare shot that I captured with a longer lens. Now we don't often do this. In fact, very rarely. It's a 300 milli lens. It's the look in the lady's face on the right-hand side. It's the flipped up sunglasses, and it's just got a certain quality and emotions to the shot, isn't it? They could be talking about anything, could be having a gossip or maybe they're talking about family matters. Who knows? It's just the looks on the faces, isn't it? One is in mid conversation and the other one is really taking everything in. Then there's this shot which I took using my iPhone very early in the morning, which is one of the benefits of going into the city early because there's less people around. I like to think in this shot there's more than one person because we have the gentleman walking up the stairs, but we also have the shop and we use the mannequins in the window. It's like they're all together in this empty city. On a site, all taken with an iPhone. What I'm going to do now is play a little selection of random street shots. Hopefully, they'll get you into the flavor and the spirit of street photography. In the next module, we're going to start looking at techniques. I'll catch up with you then. 3. MODULE 2: Walk or Wait: The physical act of taking history photograph can be broken down into three methods. You can choose to walk with your camera and just stay observance, and your camera switched on, settings ready, and just capture photographs as you walk. You can choose to stay in one location so you can wait and wait for the action to come to you, or you can choose a background and wait for your subject to come into frame, and then your subjects should complement or react with the background. For me, they are the three methods. Now we're going to jump in and take a look at some examples and also some clips of me actually caption photographs just to give you an idea. Let's jump in then and look at some shots. In this first shot, I remember walking into a really crowded area by the riverside and I could see this lady coming towards me. She was doing her best to get the whole ice cream into her mouth, and it did make me laugh. Of course, because my camera switched on and the settings are correct, I just simply fire the shutter release button at the right time. It was a case of seeing the photo opportunity ready to take the shot. The same thing here with the two gentlemen waiting at the bus stop as I walk past. I was taken by the fact there is a huge advertising and poster sandwiched in between the two gentlemen advertising a mayonnaise sandwich. It just works as a photograph, doesn't it? It's nicely balanced. As I say, walking with your camera and you observe these things, and you've just got to be ready to take the shot. This shot is a typical street shot. You're working with your camera and people are walking towards you, and they can make really interesting subjects. This is a smartly dressed, trendy if you like, older lady and all of that confident look she's given to the camera. Now, of course, you can always stop with your camera, which is what I did here. Now, I took a number of shots to this gentleman just taking a break, and this is the one I liked. It took a little bit longer with this one, and I love the way the bricks sweep around. I took my time to take that shot. Although more you can still stop if you see something that really takes your eye which this shot did. Let's take a look at some clips of me walking with the camera. Now just to fill you in, I have my camera on the wrist strap and it's generally by my side or by chest height, and I'm ready to take the shot. I have the screen flipped out and I just photograph as I walk. In the clips, you're going to see, I might look a bit awkward, and that's because I'm actually carrying this 360 camera as well. I'm walking around like this, so I could film myself. If I do look a bit odd, that's what that is. Let me just take this camera off. But you'll get the idea. Let's jump in and take a look at those clips. Here I'm then, I'm walking through the city center and I could see a guy with an Afghan coat to my left-hand side, so I just quickly reframe the shot and took it. It was a bit of a surprise for me to see somebody wearing an Afghan coat in 2022. Quick shot as I walk and then carry on walking. Always looking to see your next photo opportunity. Now here I could see a young lady on a telephone having a cigarette break, and again, just quickly capture the shot. I liked the look she's given to camera. I like the architecture in the background and the shot as well. Then as I say, you walk on and look for your next photo opportunity, constantly looking all the time and aware of your surroundings. Now here I could see a guy proudly sitting by his mobility scooter. You can take the time, compose a shot, and then walk on. As I said, ready for your next shot. Always look in all the time. This last one, I could see a lady on a telephone having a coffee, sitting with a dog, and it's all these shots are just small pieces of daily life, aren't they? All very simple to do. You just have to see the shot and react to it as quickly as you can. Save your cameras on, sun arise, or you using your cell phone, your mobile phone, it doesn't matter. You've just got to be aware of your situation all the time. Now worry about then waiting in one location, and this can be really good. You can find a location, stand and wait, lean against the wall, sit down, doesn't really matter. Works best if it's a congested area because of it's a source of isolated area. Not many people and you could be waiting for a long time for something you have a photo opportunity to also materialize. However, if you go in for that type of thing, isolation, that's okay. If it's an empty area, empty parts of the city you might just happen, may perhaps want that one person to come into the shot. Well, that's okay. But generally works better in a source of area where there's a lot of foot traffic. Let's jump in then, and I'll show you some clips then. Here I have waited by this art installation, and I think they have similar installations in other cities and surely do with the umbrellas at high level. All I needed to do was get a shot of the street, but I needed the subject matter at the front, just something a bit interesting. I waited five, 10 minutes and eventually this gentleman walks into the shot and he's looking down the street towards the umbrellas, and that's what makes it work. As a said, just by waiting in that one location and this was an easy one to capture because the guy in blue, he wasn't going to go anywhere. He was a street performer and his role was to stay still. All I needed was just someone to walk past with a reaction, and that's exactly what I've got here with the gentleman in the background with the mic on. The way he is glancing over his shoulder and it works really well, doesn't it? Again, five-minutes wait just to get that shot. In this shot I could see a group of children with their parents. It was obvious to me that they were going to start to run or walk through the water, and that's what this little boy did. He was absolutely soaking wet and it was freezing. But yet, if you see something that's about to happen on your walk, you can stop and just wait, and that's exactly what I did, so waiting is a really good option. In this clip I actually decided to sit on a small concrete wall, and with my camera I could turn left or right depending on where the subject matter was going to be. I have no idea when you wait you don't know what's going to happen, anything can come into shot. While I was waiting, a group of children jumped up onto the wall. I honestly thought, well, this is going to spoil the shot. However, things changed when they started walking towards me and I'm looking through the viewfinder and I thought this can be a really good shot. I took a number of shots, but this one was the one that I liked the best. It's great as you know, you've got that youth coming towards you. I've also got the very famous live or building on this shot as well. It's a nicely balanced shot. Now it could've been anyone that come into frame, and that's the beauty of waiting because you just don't know. Enjoying my daily walk, lead by the river mercy, so enjoying my daily walk, I just decided to sit on a park bench. This gentleman walked into the frame and I was taken with the clothes he was wearing, to be honest, very untypical of the North of England, but he looked quite trendy, quite different, and of course, I captured him and I've got that Liverpool famous, Liverpool's skyline in the background. That's just on my daily walk and just sitting down on a park bench. As I said, when you wait for shots you just don't know what's going to come into the frame. It's an exciting thing to do rarely. The other thing you can do then is choose a background. Now, choose a background that is going to react with the subject matter. Let me show you what I mean. In the shot, I've chosen the Family Amusement Arcade and it's closed for the winter. I stood in front of the Amusement Arcade and I just waited for the subject matter to come into shot. It could have been anything. It could have been an old lady or an old man, it could be a lady pushing a pram. In this case it was a little girl that is running into the shot and she glanced over at the Amusement Arcade and is if she was given a memories of the summer, happy day she spent in the Amusement Arcade. Now she's glancing straight towards the advertisement or the poster for the crane that they have inside that picks up the teddy bears, and probably remembering as I say, days during the summer when she's been in there. I'll put a little color splash in. It didn't need it. As I say, I've mentioned this before, very rarely do that but it does work in the shot. As I say, choose a background that your subject can react to, so there's a reaction between the two. In this shot, I sat in front of a very famous record store in Liverpool, and again just waiting to see who would walk past. In this case, it was this really stylish lady with her oversize boots on, on a leopard skin bag. I love the way she's looking up and have no idea what she's looking at, but it makes the shot all that more interesting, doesn't it? Again, chose the background, and there's a bit of a reaction there. Outside of my local cinema in the window, there's some posters of people wearing 3D glasses and I thought if I can get something interesting walk in past that could be quite a good shot, and there would be that reaction between the background and the subject matter. I sat on a wall as you can see and people walk and past, and I'm just waiting for the right moment or the right subject to come into the frame. This was the shot that I liked. Now, full disclosure, I took this on a different day which brings me to the next point, you can go back to the same location whenever you like. There's nothing wrong in doing that. It was worth it in this case because the guy with the flat cap and the source of attitude on his face is rarely balanced with the people in the window, if you'd like, with the 3D glasses on, where were all smiling and happy, and it works, doesn't it? There's a reaction between the subject matter and the background. Lastly, in this shot, I chose this background with the huge anchor, the architecture in the background and the handrail assassin in front of the anchor, and I'm waiting for the right source of subject matter to come in. Eventually, a little girl comes to shot on a scooter, and I just waited for the right moment and took the shot. It's quite a busy shot, isn't. But you've got the new architecture of the pool, the old architecture of the pool. But what I like is you've got the anchor and the angle of the anchor lead you directly to other little girls, and the angle of the handrail as well for the steps, all takes you to where she is. We've seen three things then, you can walk with your camera, which I loved to do. But you've got to be really super observant and ready to take the shot. The second one is to stay in one location and wait, wait for the action to come to you, and that's really cool thing to do as well. On the third one is choose a background and make sure your subject is complimenting or reacting with the background. Now I'd like you to take a photograph using all three methods and have fun doing it. I must admit my favorite one is to walk around with the camera, but again honestly when you do that you find yourself stopping because you've found an interesting location. I'll see you in the next module. 4. MODULE 3: Use the Light: In most other types of photography, harsh light can be your enemy, so really bright, sunny day, because it's going to create shadows. That's the same most types of photography that is going to spoil things. Whereas street photography is completely different because harsh shadows and areas of strong contrast can look really good. Let's jump in and I'll show you some examples. I'm going to start with this photograph. It's interesting because there's no harsh light in this photograph. But I'm going to show you for a specific reason. These are steps in Liverpool where people sit and just have their lunch, or have a break or wherever it is. This is sort of mid day and there's no particular harsh shadows there, but on a different time of day it can look completely different. I'm going to show you a shot that I took early in the morning, and you can see what the light has done. It's created shadows. The handrail on the left-hand side of the photograph has cast diagonal shadows which have met the horizontal lines of the steps. It's quite interesting, isn't it? The moral of this tale is that, if you find a location that you really like, then you have to discover when the light is going to be at its best to give you the best results. It's a little bit of research that you have to do, but it's worth it if you liked this type of shot. Now the inclusion of the person at the top of the steps really helps this shot. It gives you that sense of scale, isn't it? But I guess it would still look a pretty good shot without that person in it, but it's much better for having the person in it. It's an early morning shot, which again, that was when I knew the light was going to create those harsh shadows. Let's take a look at another shot then. I captured this shot at Anfield stadium which is Liverpool's football ground. I could see that when anybody walked up the steps, they would cast this exceptionally long shadow. You can see the shadow from the gentleman. It's actually touched every single step and also gone beyond that, and of course, the bright shiny light that's coming and is hitting the white tiles as well. It looks really effective, doesn't it? I think this type of shot looks much better in black and white as well. But have a lot of experiments and see what you like the best. Now in this shot, you really have that light and shade. The young lady on the left-hand side is in the lighter area. You can see the way the sun has landed in her hair and illuminated her hair and of course the tree in the background as well. Then the gentleman on the right-hand side, he sought of walking out of the shadows. You have that strong diagonal line, which is the shadow of the building, just out of shot on the right-hand side, and she's glancing across. There's that tale of two halves, isn't it? It's only the harsh light that is going to give you that result. let's take a look at some more. This shot has a bit of atmosphere to it, doesn't it? Is a very simple shot. It's just a gentleman walking down the road on his mobile phone. But the shadow that is being cast from the sun, it just helps that shot. Now without the shadows, it wouldn't be as effective. Like I say, harsh light can be your friend. Let's take a look on another one. Here I've waited at the bottom of a set of stone steps. I'm waiting for somebody to walk into the light at the top. Remember in an earlier module I said you walk or you wait. Well, this is a typical example where you would wait, and say, I waited at the bottom of the stone steps. This lady has walked to the top. She's perfectly illuminated at the top of the steps, and of course the walls either side and the steps are in total darkness. You have that strong contrast, and you even have the light and the spectacles as well. Now she's also framed at the top. Of course that's another method that you can use in street photography framing. But in this case it's all about that light at the top. Now, I really love the symmetry in the shot. We have two gentlemen, both looking out across the river through binoculars. Both casting identical shadows. They both have a cup of coffee either side of them. It's a really nice shot. You can see that light coming down from above. You can see almost shafts of light, and the shadows are really harsh. Now without those shadows, it would still be a good shot I think. But the shadows really help. As I say, on a bright sunny day, that is what you're going to get. In this next one, it's an early morning shot in the Central Liverpool. The harsh shadows from the bicycle rack and the shine from the glaze and on the right-hand side, it's really effective, isn't it? As I said, that's what you're going to get with bright sunlight. You can see at the top of the Liverpool museum, the sky is just completely white, and that's obviously where the sun is. Now in this shot, I included just a lone person who happened to be walking past. It's quite architectural, isn't it, quite graphic? That's the sort of thing you can get with the harsh light. This shot is an alleyway that leads up to the town hall in Liverpool. I was just taken by the shaft of light that was coming through from the square just in front of the town hall. It would've been nice if there would have been a person in that shot, but I thought I'd include it anyway because it's such a nice shot, and does really show you what the harsh light can do. Let me show you a clip then of me capturing a shot using harsh light. I was in Liverpool close to the river, and I made my way towards a very famous doorway. I knew it would be in darkness. I could also include the light as well, which is what I'm doing here, so we can see the doorway. What I'm doing is I'm waiting for people to come into shot. There's going to be the right person to give me the right source of results. I waited and eventually I captured this shot. It's worked really well, isn't it? You can see the dark area on the left-hand side where the big doors are. Then you have the right-hand side, which is a complete opposite where the light is. As I say, the right person came into the shot. That's what you do you just kind of find the area that's going to give you that nice effect. As I say, if you can include a person in the shot as well, then that's going to really work for you. As you can see, harsh light can create some really dramatic photographs. As part of the assignment, I would like you to capture some shots where you've used the harsh light to create shadows and areas of contrast. Catch up with you in the next module. 5. MODULE 4: Don't Forget to Look Up: Don't forget to look up with your camera. Pointing your camera upwards can produce some amazing shots, some great architectural shots. Doesn't always have to be architecture, but architecture works really well. Let's jump in, I'll show you some examples, and then I'll show you some clips of me capturing some photographs. In this first shot, I captured this for a client in Manchester, and where the buildings converge and come together, it's really interesting, isn't it?. I love the inclusion of the jet trail, and I was just lucky that a jet was flying past as I took the shot. I like the lights in the windows in the bottom right-hand corner as well. Now, interesting shot just captured by pointing the camera upwards, so try it and you'll be amazed. Let's take a look at some more examples then. This is a very famous sculpture in the Central Liverpool. Of course, I could have taken a wide shot to show you the sculpture in place, but instead, I got closer to it, and just lifted the camera, and put it at an angle. I love the light in that shot, the way the light is source of touching the top of each source of sphere, and the architecture in the background. That's what you do, look for something interesting, and point your camera up. Trust me, you'll get some really interesting shots. Let's take a look at some more then. This is a donut truck, and in the background, we have the famous live buildings, and what I decided to do was just to capture the top of the truck. Of course, I could have got all the truck in, but for me, it was more interesting just to get the top of the truck. There's just an idea of what you could purchase from the truck just at the very bottom of the image. But you've got the donut sign, and then you've got the buildings, so you've got the new buildings in Liverpool, the angular shapes, and then you've got the old architecture. You've also got the master of a ship as well coming into you. What looks like bar wire roll across the shots, are actually colored lights. It's just an electrical wire, but it looks like bar buyer, doesn't it? It's a really interesting shot. Now, all sorts of by pointing your camera upwards, that's all you need to do. Let's take a look then at a clip of me capturing some photographs. I went into the business area, Liverpool, and just simply pointed my camera upwards just to capture the buildings where they converge together, and this was one of the shots that I took that particular day. It's great, isn't it? Now, where the clouds source will reflect in the windows of the buildings can look really interesting. You could always go on another day when the sky is clear, and you get a completely different shot. Now while I was there, what you do is you walk round and you try different angles because you just don't know what you're going to get. That's what I did, took me time, and just shot from a number of different angles. This is another shot that I captured while I was there. Again, you can see the clouds working with the reflections in the windows. Also, I notice that there are architectural panes of glass that protrude from the building, and there's no real reason for those panes of glass to be there other than to look pretty, and I thought, what could I do? What unusual shot could I capture and include those panes of glass. I walked towards the very base of the building and simply pointed my camera upwards. I was amazed with the results, and it just shows you, you take your time and point your camera honestly upwards, and this is what it did, and this was the shot that I captured, and it's amazing, isn't it? If I hadn't showed you those clips of me capturing that photograph, you probably perhaps have no idea what that photograph was, what the subject matter was. Of course, it's those architectural panes of glass also being reflected in the building. Now you can go back to that location a number of times in different times of the year, and the sky be different, and it'll be a different photograph every time, just depending on the source of the cloud positions or whether there was any clouds. As you can see, point your camera upwards, you can get some really amazing shots. Of course, as part of the assignment, I want you to take some photographs where you've pointed your camera upwards, and I'd love to see your results. I'll see you in the next module. 6. MODULE 5: Framing: Framing your subject can look really, really interesting in street photography. We use framing in all types of photography. But as I say, it can add that little extra piece of interest to your street photographs. What you're looking for is anything in your environment that was never intended to be used as a frame for your photograph. That could be a tunnel, a bridge, a doorway, a corridor, an alleyway, you name it. If you get your subject framed inside that particular open, it can look really interesting. Let's jump in then, I'll show you some examples and then some clips of me taking some photographs. In this first one, it's of a very famous ice cream truck in Liverpool. I framed the owner in the opening in the ice cream van. It works really well, doesn't it? Now the thing is, it also works well as a bit social history because as the years go on and you look back at this photograph, the products that are on sale and the prices they will be off their time. It just adds that bit of extra interest. But in this particular case anyway, the owner of the ice cream van is standing very proudly, and he's framed by the opening in his ice cream truck. Let's move on to the next one then. In this next shot of a really good friend of mine and fellow photographer, I have him standing in this huge doorway, and the doorway, it's massive, isn't it? I love the graffiti on the doorway too, and the lighting is really nice. As I say, a simple doorway can just add so much to your composition. So look for big doorways and opening that leads somewhere and just frame your subject inside that particular frame. Let's move on then and I'll show you some clips of me capturing some photographs. Close to where I live, there's a Victorian shelter that has cast iron columns. I decided to sit on a park bench and wait for the subject matter to walk past. The idea was to frame them in-between the cast iron columns, and a number of people went past and I just simply took the shots. This is the one that I liked the best. Now, I love the light in this shot and love the way the light has caught her face and the front of the body. Of course she's a silhouette, and that's because I'm sitting in a darker area and I'm pointing the camera to where the light is. That will automatically give you a silhouette-type effect. But in this shot it works really well, doesn't it? The two columns perfectly frame the subject matter. That's simple shot to do. As you can see, you can pretty much use anything to frame your subject as long as it creates an interesting image. Now in this next shot, I found an alleyway in the central Liverpool and positioned myself in the alley. I'm just waiting for something interesting to walk past. I took a number of shots. Eventually this school girl walked past, and the lights just caught her perfect. It's great that she is glancing towards me. It just makes a more interesting photograph, doesn't it? She's perfectly framed in the end of the alleyway. Now, I've used photography license here. What I've done is I've flipped the image, so there's two identical images and one's just flipped, which you're allowed to do as a photographer. But as a standalone image, it worked anyway, but I just thought that I add something a bit different where she's walking towards herself as a reflection, if you like. You don't have to do that. But the main thing is that this alleyway and the light and just waiting for the right person to pass, it can just create a really, really interesting photograph. So keep your eye out for things that you can use as frames and just get your subject to stand, sit, walk, whatever it is, in that frame, and as I say, it produces a really interesting shot. This will be part of the assignment and I'd like you to catch your photograph and use something in your environment, like I said, that was never intended to be a frame, and create an interesting shot. I'd love to see your results. I'll see you in the next module. 7. MODULE 6: Reflections: Reflections make great subject matter in street photography, so what you're looking for is any reflective surface. That could be a pool of water, it could be a body of water, it could be a pane of glass and I just say anything that gives you that nice reflection. Let's jump in and I'll show you some examples. In this first shot, I captured in Madrid. You can see the people have been perfectly reflected into the water as well as the building. It's like a mirror image almost. You'd be surprised to know that the depth of that water was probably about 15 millimeters less than an inch deep. What it was where the street cleaners have been spraying the pavements and cleaning it. It left this pool of water. For shot like this or any shot where you use a body water or a portal, what you need is nice calm weather, because if there's movement in the water, then you're not going to get that fantastic reflection. You need nice calm weather. Wind spoils the shot. But it was a lovely day in Madrid. As you can see, lovely clear sky and the reflection works perfect. Let's look at some more shots then. Just before I do, I'll just show you this shot here just to show you how deep that portal was. There is a friend of mine and he's taking shots and you can see how deep that water is. It's basically just a pool of water. Now I know some photographers take a bottle of water out on location and basically pour it on the floor in the right spot to get reflection. That's a little tip that you can use as well. Let's look at some more stuff then. This one I used the reflection in a window. We have the famous Liver Building. I've walked across the road and I'm standing by a building called the India Building. I could see perfect reflection of the Liver Building. Now I've used a fisheye lens for this, but any lens would've worked, to be honest, it's all about the reflection. Very early in the morning, there's not many people around and it looks great. Use windows. Windows can make great reflections. Let's take a look then at a little clip of me capturing this particular shot here. I've actually used a mirror that is in a shop window. I've waited for the right subject to come into shot. Let me just show you how I did that then. Here I am in front of the shop window and I'm just basically pointing the camera towards the mirror and just waiting for the right subject matter to come in. In this case, this gentleman arrived. Of course he's looking at me curiously because he's no idea what I'm doing. He doesn't know I'm taking this photograph. The inclusion of the words as well made up with your makeup really works in the shot, especially with the look on his face. It's quite amusing shot. Look for those reflections, as I said, it can be anywhere. In this case it was in the mirror. Of course there's always the obvious place where there's a reflection and that's in a huge body of water. In this case in the canal in Liverpool, so I just position myself in front of a pedestrian bridge across the canal. I just waited for people to come across the bridge. In this case there was two walkers and a cyclist. Now getting back to our city before, it is always better if the body of water is nice and calm, so wind or bad weather can spoil your shot. This shot just about works because the reflections are not as crisp as I'd like them to be. But it still works as a photograph, and it's still a reflection so for me it still works. That's reflections and as part of the whole class, I would like you to capture some photographs that include reflections. Remember it's any shiny surface, it doesn't matter. It could even be a reflection on a car, a car window, source of rearview mirror in the car, it can be anything where you can capture your subject and include a reflection. Or indeed the whole photograph can just be the reflection. I'll leave it up to you and I'll catch up with you in the next module. 8. Module 7 Street Activities: Streets activities make really interested in subject matter. The sort of thing you're looking for is perhaps an outdoor street market, street performance, some sporting event, maybe a street demonstration, so anywhere people gather to watch or take part in a particular street activity. Let's jump in and I'll show you some examples then. In this first photograph, we have a limbo dancer about to go underneath the flame. What I decided to do is to stand behind the limbo dancer just to photograph the reactions of the people watching. As we look at the people in the background, we can see the lady on the left-hand side. She can't bear to watch and then the young girl on the right-hand side sort of bending over to get a better look. It's really captured the emotion of that street event, hasn't it? That's what you're looking for, people gathered to watch a street event, and you can just record all the reactions that are taking place. Let's look at another example then. In the central Liverpool, in the summer, they erect table tennis tables, and I've captured this guy playing table tennis. He looks the most unsporty person you can imagine with his big beard and he's taken his spectacles off and popped them down the front of his t-shirt. But it's a really nice shot, isn't it? Of course, you can see the activity going on around. Like I say, an outdoor sporting event where the public take part can make for really great street photograph. I was lucky enough to catch the ball in mid-flight in this shot as well. Now, I captured this shot in Barcelona in front of the Sagrada Familia. It was an easy shot to take. I knew the guy was going to create a big ball and sweep it around this young woman and all I had to do was wait to capture the shot. Now I really liked the inclusion of a friend in the bottom left-hand corner, who was also taking the shot. As I said, the street performers or something that is obvious that is going to happen, in this case, it was, and with the previous shot as well. It was obvious what the limbo dancer was going to do. Just be ready with your camera and you can get some great shots. Let's take a look at another one then. Skateboarders and skaters. They make great subject matter. In this shot, he almost looks like he's going to come off the skateboard, doesn't he? The clothes he's wearing are really unusual. They're very 1979, although it's quite a recent shot, with his bright green hair. But yeah, so look for gatherings of skateboarders and skaters, and as I said, they make really great shots. This is a shot of tourists in Liverpool. Now, I guess it's not a street activity as such, but it's a gathering of people all doing the same thing, and it's quite interesting, isn't it? I just decided to capture that shot and record them as they were recording some piece of architecture in Liverpool, perhaps. Look, as a said, for gatherings of people. If they are taking part in something or doing something interesting, then be ready with the camera, like I say. Here I am in Liverpool by the riverfront and it was fantastic weather when I captured this shot. It's a lovely silhouette. Remember I said earlier, if you are sort of pointing your camera towards where the light is, that silhouette effect automatically happens. I love the light on her face. It's even sort of illuminating her earring, which looks really unique, doesn't it? As I say, street performers, skaters, any gathering of people basically makes for really great subject matter. Just keep an eye, perhaps in your local paper to see if there's any listings for a local event and just take your camera there and you can get some really interesting shots. As part of the assignment, capturing a bit of street activity will be featured and I would love to see your results. Catch up you in the next module. 9. Module 8 Isolation: Street photographs where you isolate your subject can look really atmospheric. What you're looking for is a deserted street or a deserted part of the city that just has a lone figure or perhaps two figures and then they're isolated and as I say it almost gives you a cinematic style look. Let's jump in. I'll show you some examples. In this first shot two elderly people sitting on a park bench. I love that leading line of the benches that sneaks off into the distance. The loan bird that has flown into the shot really helps as well. They're sitting there and they're contemplating life perhaps but the isolation just helps to raise the atmosphere, doesn't it? That's what you're looking for. People in an isolated area. Let's look at some more then. I captured this shot in my local park when it was snowing and I could see this lady when she was in her 80s because I spoke to her later on and I gave her a copy of the photograph as well the next time I saw her but I just thought it was a great photo opportunity and it was very early in the morning and she's just having a walk in the snow. It just presented itself as a great photo opportunity and the isolation works really well, doesn't it? Of course there's other photographic techniques used in the shots such as rule of thirds because she is being positioned on the right-hand side of the shot. Now, the shot was bigger than that because I had a lake in as well but this is the thing that you can do when you get your photographs onto the computer. You can always edit your shots and I've cropped in a little bit just to emphasize and put the detail into the lady on the bench. In this next shot, which I captured in Spain of an elderly gentleman with a magnifying glass and I have no idea what he's reading but it just makes for a really interesting shot. Now, I really like the tree on the right hand side. Now, it has no place in the shot really but there's just something about it. It's as if he's stolen a little moment and he's found a little place where he can sit and no one's going to bother him. The isolation is fabulous in that shot, isn't it? This next shot I captured in the central Liverpool and it's just a lady who's stopped to have a cigarette. The isolation again works really well because it's thoughtful, isn't it? It makes you think perhaps about what they're thinking about. I think it works really well. Let's take a look then at some clips of me caption some photographs then. Here I could see the gentleman reading a book, sitting on a park bench and I thought he would make a great subject matter. Now, there are other people in the shot but I've used a slightly bigger aperture just to give it a bit depth of field. I waited until the right moment to take the shot and he locked up and this was the result on the shot. I love it because it just captured a certain mood as in the look in his face. Plus we've got the Merseyside sign source of above his head as well which puts him in a particular place at a particular time. Now there are other people in the shot but I would say he is isolated on that bench. Let's take a look at another clip then. Here I waited just by the sea front and there's a set of steps that take you up to the seawall. I waited here and people would be up and down the stairs. What I'm looking for is to isolate someone at the top of the steps. Eventually this little boy walked into shot and this is the shot that I captured. Now I love it because there's a great sense of scale to it as well having an isolation. There's that sense of scale with the lighthouse and the cranes across the river. As I said it works really well, doesn't it? That's the thing you're looking for. That bit of isolation. Isolate your subject and as I say you can create a really atmospheric shot. Again, as part of the assignment I want you to create a shot that includes isolation. I'll see you in the next module. 10. Module 9 Create a Collection: Creating a collection can be really interesting. Now it can be a collection of shots, they have a similar theme. The theme can be absolutely anything you want. It could be a collection of street performers. It could be a collection of people standing in a doorway. It could be a collection of people standing by a famous road sign. It could be a famous road sign. Collection, it can be anything you want as long as the theme is similar. Let's jump in then and I'll give you some examples. I decided to create a collection of photographs that included hairdressers or barbers. It was quite a big collection. I'm only going to show you a number of shots. This one I really like, and it's in Madrid. I love the juxtaposition of what is going on in that shot. You have the lady with the huge hair, then you have the guy in the barbers and he's going the opposite way and getting all his hair removed. That combination works really well. That was part of my collection. Let's take a look at another one then. In this shot which was captured in Barcelona, it's a lady having her hair done and again, shooting through the window as I walk past. What happened to us? There was a gentleman walking in the opposite direction and he looked into the window to see what I was photographing. His reflection has been caught on the back of the lady's head. It's quite unusual, isn't it? I really liked that and I wasn't particularly going for that, but that's what happened. Second image in my collection. Then lastly is this one, which is the complete outside of a barber shop. Again, you can see the theme running through. I like this one, I like the two barbers with the huge beards. The actual composition though, is really nice, isn't it? Now it has framing again, because I've used the door frame to frame what's going on inside the barbers. It's actually going a bit dark as well. That really added to the shot, because that whole sensor part of the image is illuminated. That was part of my little collection of hairdressers and barber shops. Let's take a look at another collection then. This collection of fit to shops and shop fronts and anything to do with clothing shops basically. This shot, I really like of this lady walking past this shop in Barcelona. She's quite stylish with a bright orange pants on. I love the colors in this shot. Let's take a look at another shot in this collection then. This shop features mannequins, on the left-hand side they're naked and on the right-hand side, the mannequins were in a Big Mac and the shopkeeper, you can see him in the background. I like the two shots put together. Let's say because it's a collection, you can do that type of thing. Let's take a look at another one then, as part of this shop theme. This one is the repair shop. Now again, this is in Barcelona. When you buy a pair of jeans, this young lady will fix them or pin them or whatever she does. But it forms part of my little collection of clothes shops. One more collection to show you then, and it's just a couple from my restaurant collection. This first one then is really unusual, isn't it? It's a lady probably waiting for a friend sitting in the restaurant and etched into the window are three letters. I think they spell out sol, I'm not sure. But if they do, the middle letter is perfectly framing the lady's face. Now again, it's serendipity, isn't it? I didn't expect to take that shot. But that happened and as I say, those letters were etched into the window. It gives me this really unusual shot. Again, rule of thirds in the shot, everything is to the right-hand side. You could say, why not crop it, but it works for me anyway, I really like it. Let's take a look at the next shot then. We have this gentlemen sitting in the restaurant and he's probably ordered his food and he's reading his newspaper waiting for his order to be brought across to him. As I say, it's great because you can stuff stand outside a restaurant, and wait for something interesting, or hopefully there will be something interesting in the window that takes your eye, say it's a collection, it's a nice thing to do. Last shot, in this collection is this one where we have two young people sitting in the window having a conversation. I love the lights hanging down in this shot and just loved the fun in that shot they're obviously really enjoying each other's company and it works really well, doesn't it? Nicely framed. As you can see, collections can be really interesting, especially if you venture out you're coming, you're not too sure what you're going to capture that day. You may just decide to do a collection and just stick with that one subject matter that has the same theme running through it. Have a little go, a caption, a collection, come up with a suitable theme. Then as I say, create a number of shots that all feature that similar theme, it's a really interesting thing to do. I'll catch up with you. Before I do, don't forget to include some shots recollection in your assignments. If you're going to sort or upload some photographs, I'd love to see what you come up with. I'll catch-up with you in the next module. 11. And finally...: Hi. Now before you jump is the final lesson. I would like to ask if you can leave a review when you've completed the class. Now you can simply choose one of the four options provided by Skillshare. Or perhaps if you've got the time, maybe you could leave a short review. Now, either would be really appreciated because your inputs rarely will help others have the confidence to take the class. Okay, Thanks, Best wishes. Now let's go back to the class. 12. Module 10 The Assignment: Time to look at the assignment, and I've set you 10 photographic tasks. Now you can complete them in any audio like or you can just simply choose a particular task that interests you the most. Either way it's up to you, but I would love to see your work, so don't forget when you've completed the tasks and you're happy with your photographs simply upload your favorites. Now you can also download the assignment sheet, that's entirely up to you. You can take mental notes of each task as I go through it or you can simply download this PDF. Let's jump in then. Task Number 1, capture a photograph while walking with your camera. Just simply walk around, super observant, and quick to react to anything you see that is of interest. If you remember back to the module where I did that, I just simply had the screen flipped out and that's what I did. I just looked for interesting things and you have a second and we were really quick to react. That is task Number 1. Task Number 2, wait at one location to capture a number of interesting shots. Simply wait at one location and wait for the action to come to you. Now it works best if it's a congested area or there's a lot for traffic, unless you go for that isolated type of look. As I just wait, and honestly you'll be amazed, you'll start seeing interesting things, so that's task Number 2. Task Number 3, capture a shot where the background reacts with your subject. Choose a suitable background and your subjects should compliment that background, or even better react with the background to create an interesting shot. Task Number 4, capture a photograph that includes street activities. Look for any street activity. It could be a street sporting event. It could be a street performance. It could be a demonstration. It could be an outdoor market. I say look in your local paper and see if there are any sorts of activities that are going to be taking place because they make great photographs. Task Number 5, in harsh light capture a shot with strong contrast and shadows. Take your camera out on a really bright day and capture shots that have high contrast, so areas of great brightness and dark shadows. As I say, they make really graphic and pleasing shots. It's always better obviously if it's really bright sunny day. Hunter, hopefully, you live somewhere where there's some sun. Task Number 6, point your camera upwards and capture an interesting shot. Take yourself off into the city and simply point your camera upwards and you'll be amazed. Obviously, it works better with architecture, but if you think back to the module where I covered this subject, there are other ideas that you can consider as well. Task Number 7, find a suitable frame in your environment to frame your subject. In this module, I'm looking for you to find something in the environment that was never intended to be a frame. You've got many options, it could be a doorway. It could be a bridge [inaudible] the corridor, an alleyway, and as sages way for your subject to come into that frame and see what you come up with. Task Number 8, capture a photograph where your subject is in isolation. Early morning is the best time to capture a shot like this unless you find an isolated part of the city, and you're looking for that complete isolation where you just have one person in the shot. As I say, it creates that tension and atmosphere. Task Number 9, find a reflective surface and capture an interesting reflection. Look for a reflective surface, and the obvious one is a body or walls; or isn't it? But it could be a pool of water. It could be the reflection in the window. It could be the reflection in a mirror. I'll leave it up to you, but as I say, just look for that reflective surface. Finally, task Number 10, crazy collection with a similar theme. There are many themes, too many to list. I'm sure you'll come up with a good theme, but you want a source of consistent group of photographs that all have that similar theme. It's a really interesting thing to do and it gets you thinking about things as well. It gives you a bit of inspiration. Whether you choose to do all the tasks or just simply dip your toe in and just do one or two, it's entirely up to you. But the main thing is I would love to see your photographs, so don't forget to upload them. As I said, you can download this assignment sheet if you think it's going to help you. What you can do is you can pop it into your camera bag and just refer to it as you're out with your camera. I really hope you've enjoyed the class. I've enjoyed talking to you, and I hope it really improves your street photography. I'm sure it will. As I say, I've love to see your work. Take care of yourselves. Thanks for watching, and I'll see you in the next class.