The Street Photography Project Manual

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    The Street Photography Project Manual

    by Eric Kim

    When I first started shooting street photography, I was very much

    focused on single images. Meaning I wanted to make these beautiful

    images (like pearls) that would get a lot of favorites/likes on social media.

    I wanted each photograph to be perfect, and stand on its own.

    However after a while shooting these single-images became a bit boring. I

    felt photography became a way for me to produce one-hit-wonders

    which didnt have that much meaning, soul, and personal significance.

    In trying to find more meaning in my photography I started to study

    photography books, learning from the masters, and how they were able

    to craft stories that had a narrative and personal significance.

    Soon I discovered that I was much more interested in pursuing

    photography projects projects that would often take a long time (several

    years), would require meticulous editing (choosing images) and

    sequencing, and were personal to me.

    I wanted to create this book to be a starting guide and a primer in terms of

    starting your own street photography project. I will try to make this as

    comprehensive as possible, while still being practical. Here is an

    overview of some of the chapters I will like to cover:

    Chapter 1: Why pursue a street photography project?

    Chapter 2: What makes a great photography project?

    Chapter 3: How to come up with a street photography project idea?

    Chapter 4: How to stay motivated when pursuing your photography

    project

    Chapter 5: How to edit/sequence your photography project

    Chapter 6: How to publish your photography project

    Chapter 7: Conclusion

    http://erickimphotography.com/blog/
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    Chapter 1: Why pursue a photography project?

    Of course we are dealing with street photography but there are many

    diff

    erent reasons to pursue a photography project in general:

    Reason 1: Photography projects are more personal

    First of all, one of the main reasons you should pursue a photography

    project is that you can make it more personal. If you really want to

    express yourself as an artist, it is very hard to do so with single-images in

    photography. However when you pursue a photography project, you are

    able to create a narrative and a story, which shows your view of the world

    with others.

    When I first started pursuing to create a body of work, I wanted to work

    on a long-term photography project that I would be proud of when I was

    80 years old a photography project I could exhibit, print as a book, and

    share with joy and pride (rather than just showing people my Facebook or

    Flickr streams).

    I think the main advantage of pursuing a personal photography project is

    that you know your own life better than anybody else. A lot of

    photography projects are outwards looking (documenting the lives and

    communities of others) rather than inwards looking (documenting

    your own life.

    Furthermore, your life is unique and the more personal you make your

    project, the more unique it will be.

    Reason 2: Photography projects give you direction

    Another reason to pursue a photography project is that they give you far

    more direction.

    With crafting single-images, you sometimes go out and you dont know

    what youre looking for.

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    Personally, when I was trying to create strong single-images, I would lose

    motivation. When I was out on the streets looking for decisive

    moments, I would ask myself What does this really mean? Why am I

    out shooting? Am I shooting to get lots of likes/favorites on social media,or am I trying to create something greater?

    Consider a photography project like having a compass on your ship. You

    dont always know where the ship is going to take you, but it takes you in

    a general direction, which gives you a sense of purpose.

    Having a sense of purpose with your photography is one of the best ways

    to stay motivated with your project and will give you more meaning.

    Reason #3: Photography projects last

    While it is true that many strong single-images have lasted through the

    decades (Henri Cartier-Bressons man jumping over the puddle, Steve

    McCurrys Afghan Girl, Elliott Erwitts iconic images of dogs) I think it

    is the photography books and projects which last throughout the ages.

    A photographic print (single image) is nice to look at and frame on the

    wall. But I think ultimately a photography book is a much more robust

    way to preserve your work as a photographer.

    A photography book is durable, can be mass-printed, doesnt require a

    Wi-Fi connection to load, and is a relic that your great-grandchildren

    could look at and admire.

    While it is also true that you can make a photography book of strong

    single-images, I feel that they arent as interesting as projects that have

    an overarching theme and arc. A photography book of just your best of

    images is like a best hits music cd interesting and full of good songs to

    dance to, but lacking a narrative and flow. When I am listening to music

    by artists, I like to listen to the full CD and album as it allows me to get a

    full sense of what a musician is trying to do with the full album.

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    I feel if you make just one strong body of work (and print it as a

    photography book) you have done your job as a photographer.

    I think especially in todays world less is more. I would much prefer tolook at one strong body of work from a photographer, than 1020

    mediocre projects.

    Reason #4: Photography projects flow better

    There is nothing more that I love than watching a film and totally being

    raptured by it. I love falling into the narrative of the story, and totally

    forgetting where I am. I love movies that have a soft and slow beginning,

    action later on, slow parts, and final climaxes. I hate movies that are just

    non-stop action (like a Michael Bay Transformers movie).

    Photography projects (if you decide to sequence and edit them like a

    story) generally flow a lot better than just looking at a bunch of random

    single-images. If you are writing a book or a story, you cant say much

    with just one chapter or one page. You need several chapters (and many

    pages) to tell a full and dramatic story.

    I also feel the best photography projects are the ones that have very

    strong images (and some quieter photos that push the story and narrative

    along). While a weaker image (that is necessary for a project) might not

    get a lot of likes/favorites on social media, it adds a lot of value to a

    project.

    Reason #5: Photography projects are fun

    Remember at the end of the day photography should be fun. If

    photography isnt fun for you why are you doing it?

    I love the process of working on a photography project. I love coming up

    with ideas, coming up with titles, editing and sequencing my work,

    getting feedback and critique from others, and finally publishing it. I

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    think the process of working on a photography project is often more

    exciting and fun than the final result.

    A single-image (on the other hand) is a bit boring. You go out and youshoot a lot, try to edit down to your best strong images, and just post-

    process them and upload them to social media. They feel a bit hollower to

    me.

    So if you want to enjoy more of the process of photography projects are

    for you.

    Chapter 2: What makes a great photography project?

    What makes a great photography project is very subjective. At the end

    of the day, what I find interesting might not be interesting to you.

    For example, if you never went to New York City and saw street

    performers in Times Square for the first time in your life you might

    think it is the most fascinating thing. You might then do a photography

    project on the street performers, and then show it to some photographers

    who live in New York City. I can bet you $100 bucks that the New York City

    photographers will find the project very boring and uninteresting as

    they are used to seeing photos of street performers all the time.

    Another example: lets say you did a photography project of African

    villagers. These photos might be very interesting to suburban white

    people, but very boring if you shared them with (other) African villagers.

    However at the same time, here are some things I think make an

    interesting photography project:

    1. Novelty

    Like I discussed earlier, I think novelty is one thing that makes a great

    and interesting photography project. It is generally true that as human

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    beings we are drawn to the novel. We hate monotony we want to see

    something new.

    So in terms of the photography world (and photography projects ingeneral), everything has been done before. However at the same time

    you can pursue a photography project (that has already been done before)

    in a novel way.

    For example, while there were a lot of photographers that took photos in

    the New York City subway (Walker Evanswith a hidden spy camera in

    black-and-white), there was nobody who did it in color (and with a flash).

    Therefore Bruce Davidsons Subway book was very powerful and

    interesting as nobody saw the New York City subway in color.

    Similarly, while a macro lens and ring flash has been utilized by

    photographers for several decades it was first Martin Parrwho found it

    interesting to use it to photograph strangers candidly (Martin Parr

    actually got this idea from Araki, who photographed flowers with a

    macro lens and ring flash you can see where photographers are always

    inspired by others). Martin Parrthen published his series of street

    photography macro/ring flash shots in his Common sense" book.

    The Roma people (Gypsies) have always been a subject of photographic

    interest (and photographed from the outside, like animals). But it was

    Josef Koudelkawho first treated them like human beings and

    photographed them from the inside (after gaining their trust and

    friendship, and living with them and photographing them for almost 10

    years). You can see his great book: Gypsies for inspiration.

    Therefore know that while it is true that novelty is what makes a great

    photography project you can take an old idea and spin it (to make a new

    idea).

    If you are going to pursue a photography project, dont do it exactly how it

    has been done before. See how you can remix it and make something new.

    http://www.amazon.com/gp/product/1597111775/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1597111775&linkCode=as2&tag=erikimstrpho-20&linkId=QQBCFYA6TDS6JJQJhttp://erickimphotography.com/blog/2013/03/28/10-lessons-josef-koudelka-has-taught-me-about-street-photography/http://www.amazon.com/gp/product/1899235078/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1899235078&linkCode=as2&tag=erikimstrpho-20&linkId=O2PLEHOOYAK266HMhttp://erickimphotography.com/blog/2012/03/26/10-things-martin-parr-can-teach-you-about-street-photography/http://erickimphotography.com/blog/2012/03/26/10-things-martin-parr-can-teach-you-about-street-photography/http://www.amazon.com/gp/product/1597111945/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1597111945&linkCode=as2&tag=erikimstrpho-20&linkId=MWBN2DJSMESJJ5GThttp://erickimphotography.com/blog/2012/10/09/15-lessons-bruce-davidson-can-teach-you-about-street-photography/http://erickimphotography.com/blog/2013/09/05/17-lessons-walker-evans-has-taught-me-about-street-photography/
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    2. Emotion

    I feel the greatest and most memorable photography projects are the ones

    that are emotional.

    This is the biggest reason why I am actually interested in street

    photography (as opposed to landscapes and flowers). I find myself being

    able to empathize more with other human beings (in photographs) than

    with animals or nature.

    The photography books that I most connect to are the ones that are

    emotional and connect my heart and soul to the subjects in the

    photographs.

    For example, Love on the Left Bank by Ed van der Elsken is memorable

    because the intimacy and closeness he got with his subjects.

    The photographs of Jacob Aue Sobolin his I, Tokyo book are so

    powerful because he got really close to his subjects (physically and

    emotionally), and you can see how he felt when he was photographing in

    Tokyo (lost, confused, and lonely).

    While it is true that you can create very strong emotions in single images

    I think that if you have projects with re-occurring themes and emotions,

    the viewer can better get a sense of that emotion.

    For example, if you have a Flickr stream of street photographs (some

    funny, some depressing, some weird) there isnt a sense of consistency a

    viewer can follow.

    However when you are working on a photography project or a book, you

    can much better string images with similar emotions together.

    So know that if you want to make a memorable body of work put your

    heart and soul to it. Dont just be a callous observer, be an active

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    participant. Street photography is all about documenting people and

    humanity.

    Also as a tip, if you want to make more emotional photographs, tryshooting with a wider-angle lens. While not always true I generally find

    that with physical proximity comes emotional proximity. Which means

    if you shoot with a 200mm lens (from a block away), you can never get the

    true emotions, feelings, and expressions of your subject. But if you are

    within breathing-distance from your subject with a 28mm or a 35mm

    lens, you will make yourself vulnerable with your subject, which can lead

    to stronger emotions in the image-making process.

    3. Edit and sequencing

    I greatly admire photography books that have tight edits (not too many

    images, most of them strong) and photography books that have great

    sequencing (a flow of images, that keep you moving along).

    When it comes to an edit in a book I dont like books that are redundant

    and simply show the same photograph over and over again. While I do

    like consistency in photographs, I also enjoy variety. So consistency can

    be shooting all the same film, focal length, and in black and white but

    variety can be shooting different subject matter (portraits, landscapes,

    and details of things in the street).

    So when you are working on your photography project, I recommend

    trying to stay consistent with your gear, and whether you shoot it all in

    black and white or all in color. This is a hotly debated point (I have seen

    projects in which they mix m...