I have noticed that after shooting in the same town or city for a long period of time, I begin to get it’s vibe and I start to comprehend it better and better. In order to shoot Street Photography at night though one must make sure that they keep a few things in mind. Of course you can’t hit the streets in the midst of darkness and start shooting using your iPhone! To take awesome Night Street Photos, you need to use a Prime lens with an aperture of at least f2.8. Assuming that you have the gear we mentioned above I will share with you my techniques for shooting awesome Night Street Photos. Shooting with a flash will first of all give you away and second it will make all your photos look artificially lighted and some if not all your subjects will have red eye.
All cameras have little lights that shine straight ahead when they are trying to Autofocus.
When shooting Night Street Photography you will find your self using Manual Focus more often that usual.
Street Photography is meant to be exciting and Street Photographers must have the chance to move fast in case something like that is needed. A good example is a set of black, brown or grey sneakers, jeans and a black, grey, dark blue, dark green or brown t-shirt or top in general.
This is a general rule of Street Photography that must be followed at all times and even more during a Night Street Hunt. I know that a second ago I told you to shoot people that are standing as still as possible, but you could also do the opposite. Try and spot people conversing in front of a shop window that is full of lights and glowing objects. Night Street Photography is not something that all Street Photographers want or even can do. If you are shooting with a lens that is slower than an aperture of 2.8 at night, you are screwed.
There is nothing more frustrating than using a zoom lens at night which has only a maximum aperture of 3.5 or so. Night lights are beautiful, and the illuminations they give off as well as the shadows they project truly make nighttime street photographs special.
Not only that, but if you want to capture static images, shooting with illuminated lights will allow you to capture images with a much faster shutter speed.
Many people are naturally afraid of shooting during the night, due to worries about getting mugged or having their camera stolen. This isn’t absolutely necessary, but it sure helps.  Bring a business card along that states your name, contact details, and the website address where you intend to post the portraits. Now that we’ve gone through some quick tips on how to approach strangers, let’s talk about the project itself. You know… the smile that you’ve smiled a thousand times whenever you’re in front of the camera.  It’s almost always the automatic reaction. As you walk in the streets looking for a subject to photograph, always be aware of where the light is coming from.  This way, when you encounter a subject, you know exactly how to quickly position him to get the best light.
If you’re creating a series of street portraits, the set will be more interesting and meaningful if there’s a unifying factor amongst them. As you might know, every year I visit the Rethymno Carnival here in Crete because it is a rich source of photographic opportunities, surreal moments and amazing characters.
Carnival season is an opportunity for every Street Photographer or aspiring Street Photographer to learn the art of Off Camera Flash Street Photography and Flash Street Photography. On March 11th-13th 2016 we plan to rock the streets of Rethymno hard during the carnival, and anybody that would like to learn how to shoot with a flash, on-camera and off-camera can join us for 3 (three) days of insane shooting experiences that you will remember for the rest of your life!
There is no use meeting in the morning during this workshop because most people (or at least most interesting people) will not be walking in the streets in the morning.
This is Carnival Day and the town is freaking out because this is what everything has been building up to! The cost of the workshop is €400 and it doesn’t include accommodation, travel or dining expenses.
Important: If you book early, before the 31st of December 2015, you are entitled to an early booking discount of 25%! The workshop introduction will start on Friday night from 6pm 11th of March 2016 in the form of an informal get together as mentioned before. In order for us to be able to focus on each and every one of you without making anyone feel left out, the course will not be accepting any more than 12 students.
As mentioned before, the Travel, Accommodation and Dining expenses are not included in the cost of the “Intermediate Flash Street Photography workshop”. You are free to cancel and get a full refund, as long as you give at least 2 week’s notice before you cancel. Street Hunters has the right to cancel a workshop that hasn’t met the minimum requirements of at least 6 students one month before the official date of commencement which is the 11th of February 2016. As mentioned before, if a workshop is cancelled, Street Hunters will not be responsible for any travel or accommodation plans you have made.
You will learn everything mentioned in the section “What does this 3 day workshop include” that is located above. The only thing you have to know is how to turn your camera on and off and how to transfer your images from your camera to your laptop. All you need is a camera, either digital or film, a Flash, a Flash Cable or Wireless Triggers, batteries, a laptop or tablet for editing and organising your photos and a notepad for taking notes. Spyros Papaspyropoulos is a passionate Street Photographer that loves to experiment with all sorts of gear and formats.
Having initially begun training as a car designer, Digby then moved towards something more people focused in an International Relations degree, which is where he developed his passion for journalistic photography as a means of visual storytelling. Please click on the Paypal payment button below to make your deposit for the workshop or contact us to arrange a direct deposit. Tuition fee is €400. Dear streettogs, if you want to learn more of how to shoot street portraits, I just put together a 47-minute video lecture for you!
To learn more about street portraits, check out my Chicago Street Portraits POV videos on YouTube. What are some tips you have when it comes to shooting street portraits,  or any questions you might have?
In street photography, one of the popular techniques that photographers employ is “shooting from the hip.” To sum it up, “shooting from the hip” it is holding your camera at wait-level, and shooting upwards without looking through the viewfinder.
Although there are some individuals who are opposed to shooting from the hip and consider it as the “easy way out,” simply disregard their words. Although I do not use shooting from the hip as my primary type of street photography, I will try my best to walk you through how you can effectively shoot from the hip and get amazing candid images of people. Rather, you should use something along the lines of a 17mm lens on a crop-sensor (24-28mm on a full-frame). When you are shooting from the hip, your primary goal is most-likely to capture candid images of people. So when you are walking past people and shooting from the hip, keep your eyes locked forward and also prevent making eye contact with your subjects.
When shooting from the hip, you want to use a small aperture and fast shutter speed to make sure your subject is in-focus and not blurry as well. If you are shooting from the hip, the best way to make sure your images are in-focus is to “pre-focus” your lens before shooting. Shooting from the hip takes a ton of practice, so do not feel disheartened when the majority of your images are out of focus, blurry, of just framed incorrectly.
So I got a question for yall– what tips do you have to the aspiring street photographer on shooting from the hip?
When shooting in a small town, this comprehension might come to me faster, depending of course on the complexity of the people and the architecture in the area. So in the following blog post, I will talk about the right gear for shooting Street Photos at night, I will share some techniques that can help you get better results and I will also provide you with a few tips, stuff that will help you enjoy a better and safer Night Street Photography session. You will need something better than that, something that can really help you produce Night Street Photos fast, discretely and with some average or above quality.
I have managed to shoot night shots with my backup Panasonic Lumix LX7, at f1.4 and ISO 3200 with kind of ok results. You goal is to be as invisible as possible, so a black camera with a black lens, is preferable. Shooting in RAW helps you preserve the image information, even though you can’t see it with your naked eye. Also, the people you capture with a flash in the night will feel that their privacy is very much invaded and they will react.

The reason is that AF doesn’t work in the dark, so camera manufacturers have added these tiny lights to illuminate the target area so your camera can focus.
They can be heard from quite a long way, especially in the dead of night when it is silent.
So, hauling a big tripod with you, setting it up and trying to get a shot, will most probably result in you missing many shots, because it will slow you down, encumber you and make you move in a rhythm that is more suitable for a cityscape photographer, rather than a Night Street Photographer. First of all you will most probably be walking for hours so you should really wear comfortable shoes. For example, when I went out for Night Street Photography one night down to the centre of Athens, I had my best mate with me. If you make eye contact with someone and you are holding a camera, they automatically assume that you have taken their picture.
So, in order to get good sharp photos but at low shutter speeds, you must try and look for subjects that are not moving.
Focus on your surroundings, objects, cars, walls, etc, switch to a slow shutter speed, set your aperture to something around f 5.6 and use a low ISO value.
Automatically your subjects will turn into silhouettes due to the fact that they are so intensely backlit. There were several of you who mentioned an article about how to shoot street photography at night.
Nowadays digital cameras have amazing high-ISO capabilities, so don’t be afraid to bump up your ISO. If you see the image above by Garry Winograd, he is able to beautifully capture an image of a man with a patch over his face, accompanied by his beautiful companion in his top-down convertible in Los Angeles.
There have even been times in which I accidentally captured motion at night due to a slower shutter speed–but much preferred the outcome.
When first shooting street photography, I used a tripod at night a few times thinking that it would aid my night images.
It makes focusing a hell of a lot easier and has helped me capture images in which I had only a split of a second to focus.
Regardless of what type of autofocusing system your camera has, the technology is still much too slow and inaccurate.
When shooting street photography at night, try to go to urban city-centers, where people are abundant and flashing lights are everywhere. I was fascinated and captivated by his work, and I asked him to write a guest post about how he shoots street portraits.
Often when you see a stranger you want to photograph, you find yourself between a rock and a hard place:  you can’t seem to ask them for their photo, yet you know you just have to.
In fact, the fear I felt when I shot my 7th stranger was exactly the same when I shot my 100th stranger.  Yup, my hands were shaking in both instances, and in most other instances between them. Don’t start with a long explanation of what you want to do and why you’re doing it… this has the potential to intimidate your subject.
This gives the subject a sense of security that their photo is not being taken by a shady character with malicious intent.
Getting a stranger to say ‘yes’ is only half the battle.  Getting a good portrait, and series of good portraits, is the next challenge.
You may want to avoid this because more often than not, the snapshot smile looks contrived. I’ve made the mistake of disregarding the light so many times because I was too excited that the subject said ‘yes’, I ended up with a portrait that should have been better.
It can be as simple as consistent framing or lighting, or as profound as having a general human theme. The viewer needs to feel an instant connection with the subject, and the most effective way is when the viewer feels like the subject is looking intently at him.
Let us know your 2 cents and also give Danny some love below for this great article by leaving a comment below! During the Carnival season, people are very relaxed, very happy and extremely open to almost anything!
I get to roam the streets with my camera in one hand and my off camera flash in the other, absorbing my surroundings and taking advantage of every situation I can. They will be regenerating and gaining their strength for the Night Parade that takes place every Saturday night before Carnival Day, which is always on a Sunday.
We will go and shoot the Night Parade and then follow the people to parties all over town and keep on shooting. If you fail to cancel at least 2 weeks before the official start date of the workshop, we are not in any way obligated to refund you. He is equally passionate about digital and film photography and has a vast knowledge of both mediums.
He believes street photography to be one of the most powerful forms of photojournalism, as it serves as a visual record of the photographer’s contemporary world. One of the reasons why this technique is widely popular is because it allows you to take much more candid images of people, as they do not see you shooting them with your eye through your viewfinder, and assume you aren’t taking images. As you will soon find out, framing while shooting from the hip is very difficult when starting off. Assuming that you have a 1.6x crop DSLR, you are going to have a near-impossible time shooting from the hip with a 50mm. First, this will allow you to get a much wider perspective, which gives you a much higher likelihood of capturing your subject in the scene.
Therefore if you walk around and shoot from the hip while looking directly at your camera, naturally people will be drawn much more to your camera.
In order to do this, stand in front of a wall and judge how close you want to be to people once you shoot from the hip. If your images turn out out-of-focus, change your focus manually and keep adjusting until your images turn out clear. I must admit thought, that after shooting in the same streets for many weeks or even months, a time comes when I feel that I have nothing more to capture. So as far as camera bodies go, anything in these two categories can shoot great Night Street Photography, if equipped with the proper lenses! So, later, in post you can really bring out the image, especially if you choose to make your image black & white.
Another thing that is bound to happen, is that not only the people you shoot will notice you but everyone else around you will notice you too, making you a target. These sounds are clearly added by camera manufacturers for an improved user experience, so novice camera users know that their AF is working and also that they pushed a button successfully in the camera menu. So, you might be trying to take a stealthy shot in the night, but as soon as you lift your camera to press the shutter button, your whole face lights up like you have a flash light pointing at it. The first and easy way is to focus on a target that is at the same distance as the target you will be shooting and hold the shutter button half way down.
If you are using a MILC or Compact with an EVF (Electronic View Finder) or if you are looking into your LCD screen, because you don’t have a Viewfinder, make sure you have turned on Focus Peaking (if supported by your camera).
A bad example of Night Street Photography dress code is a bright orange t-shit, with a white pair of trousers and white sneakers. Secondly, if the push comes to the shove and you have to make a run for it, a pair of sneakers might make a huge difference.
In the background, you can see another car whizzing by, which gives you a dynamic feel of the image. This allows your camera to collect much more available light during the night, which will allow you to get quicker shutter speeds. Sure you can shoot at night with a zoom lens with an aperture of 2.8, but zoom lenses like that are often too bulky and heavy to shoot street photography with anyways.
However, I do not discount the merits of focusing manually when shooting street photography, especially when shooting from the hip.
Switch your camera to focusing manually, and you will have far more control over focusing and will be able to focus much quicker in general. Take for example this great post on The Online Photographer in which Corinne Vionnet stacked hundreds of images of tourists who took photos in the same spot. Let your curiosity lead you and capture amazing images. But I guarantee you; the struggle to shoot through the fear will all be worth it as you start acquiring one keeper shot after another.
One of the best things about shooting street portraits is getting positive feedback from the subjects after they saw your site. You can either ask them not to smile… or if you really want that smile, make them laugh and capture the moment. So, as you can very well understand, my little town of Rethymno is transformed into a hive of ecstatic, drunk (and dare I say drugged) party animals from all over the world.
During that period I tend to shoot loads more photos than I usually do and for good reason.

It is all about the intensity and the direction of the light that gives a photograph that amazing “underground” or “hard core” look as I like to call it. So, we will meet at lunch time, grab a bite in a local restaurant, enjoy some lovely Greek Dishes and local wine and Raki and get ready to walk off that food. Be prepared to get pretty tired and worn out, so take advantage of that free morning and catch some Zzzzzs. People in costumes head out into the streets to meet up with their carnival parade teammates so they can all jump into the Carnival Parade of insanity!
If you wish to cancel at the last minute, this will affect all the members of the workshop, so we hope you understand. If a large number of students back out at the last minute, the workshop will have to be cancelled. Spyros has contributed with more than 200 blog posts about Street Photography related subjects. Most of all, he feels it makes the best use the camera’s greatest asset – its ability to easily and instantaneously record and document a moment of life, warts and all. Another thing is that when shooting from the hip, you often get a much more interesting perspective as you shoot from a much lower perspective.
For every 100 shots you take shooting from the hip, you will probably only get 5-10 or so “decently” framed images. Not only that, but shooting with a wide-angle allows the viewer to feel as they are “part of the scene,” as wide-angle lenses give that effect.
Once you have measured that distance you are comfortable with, focus your lens manually on that wall and keep it there. Take hundreds upon hundreds of photos when shooting from the hip, and experiment with different techniques. I feel that I have explored every corner, that I know every way the light shines in each street and sometimes I even know which people to expect during specific times of the day. A park that is packed with people during the day, could be empty when darkness comes, or even better it could host a few shady characters that might be very interesting to capture. The more you increase your ISO the more noise you will see in your captures but that is ok, because in Night Street Photography, noise is allowed because the important thing is to take the picture and preserve the moment, not to take a technically perfect shot. Then, when your subject walks into your viewfinder, all you have to do is press down and you take the photo.
This feature, creates coloured outlines around the areas of an image that are in perfect focus. You are a Night Street Photographer, a creature of night and darkness and you must be constantly on the move, slipping in and out of the shadows. These photos are very often liked a lot by Street Photographers and Street Photography Enthusiasts. Equip your self with the proper gear, take a friend with you and head out at night to have some fun, but be safe and be sensible. I love shooting at night, because I feel that is when you can capture the true soul of the urban jungle–when street lights illuminate and people are on the prowl.
When shooting during the day, I often even add grain to my images to give it a more urban feel. Without that motion blur, the image may have felt much too static and wouldn’t have had the same effect. If you shoot aperture-dependent mode or automatic mode, try using an ISO of 200-400 to capture motion. But when using auto-focus or using manual-focus are both options you have when shooting during the day (and light is plentiful). Shooting street photography at night allows for much more mysterious scenes and images than shooting during the day.
It won’t make it easy, but it may give you the push to start creating your own set of portraits of strangers. Before you know it, you’ll be back in your feet looking for your next keeper.  You need to accept the fact that rejection is an inevitable part of this whole process.
This Carnival Digby and myself will be shooting a couple more Street Hunts as is the usual, but we would also like to invite you to join us in our first Intermediate Flash Street Photography workshop!
The Carnival Parade usually starts at noon (12:00 pm) and it then goes on until just before sundown.
He has had a camera around his neck all of his life, documenting it on a daily basis most of the time.
Digby works mainly in digital colour photography at the moment owing to his background in graphic design, but would one day like to graduate to working in monochrome. If your images are a bit dark, I would boost the ISO to 800 or 1600 (when it starts to get really dark). Then once you are walking by people and shooting from the hip, your subjects should be in focus. When this happens to me, there is always one thing that I do that excites me and makes me feel a new interest for my town. Because you have set it to a slow shutter speed, your camera shutter will remain open for quite a while, letting in light.
Not only that, but it slowed me down and prevented me from capturing the decisive moments I wanted to at night.
But the exhilarating feeling of getting a series of keepers will more than make up for all the rejections you will get.
If you want to get a general idea of what goes on during these days, you can take a look at the following videos from 2014 and 2015. Shoot with your camera dangling by your side in a vertical format, and shoot from your hip when passing people who are sitting down. So, the other way to do this is to switch to manual focus, focus on a target that is at the same distance as the target you will be shooting and you are set. As time goes by and you become more experienced with Manual Focusing, you will perform this task very fast. If someone feels that you are suspicious, they might even contact the police to investigate.
There is a possibility that if the mood dictates otherwise we will continue photographing all the way into the night, but this isn’t set in stone.
He has been pushing his boundaries trying to reach new levels of expertise in Street Photography by experimentation and constant trial and error. The possibilities are endless and after much practice, you will master shooting from the hip. You have prefocused for that distance and when your subject enters your viewfinder, all you have to do is click.
If you are using a Rangefinder camera, you will have a different visual aid to help you manually focus perfectly.
Because it is dark and your subjects are moving though, the photos background will be sharp but the your subjects will be blurred.
This first night out will serve as an icebreaker, like a jump start to your Flash Street Photography course. At that time we will meet at a designated spot to grab a quick beer, maybe even a quick bite, nothing too much or we will waste precious time and then we will split up into pairs again, this time different pairs. This hands on experience has given him the ability to easily work through issues that most new Street Photographers face.
This motion blur can prove most useful when shooting Night Street Photography, because it adds character and a sense of motion to a photo. The goal of this first night is to feel comfortable with flash in hand and with flashing people in the streets. Our next meeting will be at Sundown on the Rethymno beach where the organisers of the Carnival burn a huge bonfire signalling the end of the Carnival for 2016!
Most of his body of work is from Crete, where he lives and from Athens, the capital of Greece which he visits on occasion to Photograph.
Once that ends, we will have another quick snack and some refreshments and keep on going, capturing more surreal moments, adding amazing photos to our portfolios and having the times of our lives! He has had his work published in local newspapers of Crete, in the Camerapixo magazine and numerous blogs. During these long hours of shooting, Digby and myself will be hooking up with all pairs, sharing tips and reminders from the previous day’s lessons. The next morning after the carnival people will all be with their families, most visitors will have left and the town will again be peaceful, until the next Carnival arrives a year later.

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