5 PRICELESS STREET PHOTOGRAPHY TIPS FROM A PRO!

just really quickly want to thank you guys for clicking on this video if you guys want more videos on improving your photography and your videography I have a playlist full of guides linked right up here or find it in the description box below as much as I love teaching photography and videography I am NOT the master of all genres so from time to time I do have to bring in an expert to talk about specific matters and I am incredibly honored to have this new friend share some of his stories on my youtube channel so here are five prices street photography tips from a professional take it away professor Heinz so I am Kenneth Hans jr. many people know me as Professor Heinz so some of the tips that I have as far as shooting Street my first one is prime lenses the reason I love using prime lenses is because the image quality that you get with the prime lenses they force you to move your body that is a very big point you have to get low you have to move to this site move to that side come in closer it makes your image look different it changes the story that's being told and then I also love it for the faster apertures now a lot of people use wide aperture lenses and use them wide open the entire time that's not always great for everything that you shoot and this is a prime example of this two of the same images but one is shot at F 1.8 the other is at F 6 point 3 look at the differences between these two images you can't tell what's in the background on the first image yes my focus it's on the locks that are on the fence but you can't see like where am i what is that in the background it you totally lose the story there whereas the other images stops down the six-point-three it's very subtle it adds to the image you kind of see where you are you see that there's buildings back there but then it adds to your actual focus of the locks on the screen sparsh street photography what are some of the lenses that I utilize and that would be my 25 millimeter f2 I love my 40 millimeter close focus and my 85 millimeter 1.8 zeiss batis lenses so with the 85 millimeter 1.8 it's a lens that I'm very very comfortable with and what I love about it is that being a spy photographer that I am it gives me that distance between the subject that I'm capturing and also giving me that nice focal length to where I still get what's around in the background based on where my distance is to my subject while also still having you know that not really losing that that Street quality that people look for it you know people typically look at thirty five or fifty millimeter lenses but the 85 is really my Michael two limbs for doing street photography so the second thing is on camera settings one reason that I shoot aperture priority is because of anytime that I'm in situations where there's varying light on the street if I'm photographing something that se is very well lit but then I might turn around to some someplace where it might be in a darker area I don't want to have spent a lot of time on adjusting my my settings adjusting my camera because I would have missed the shot that I just saw so if I'm just worried about my depth of field in my image then I don't have to worry about adjusting for the lighting changes I usually have my client so status that a branch to where if I go through those differences in highlights and shadows I don't have an issue of getting the exposure perfectly right for that specific image so this is one that has kind of tricked a lot of people a photo that I love from Grand Central where I saw this guy just on his phone with his briefcase beside him had oblivious to everything that's around him and many people assume that I use a tripod I do not shoot street photography with a tripod so I use you know if I'm near like walls or barriers I will use that if I can prop my camera on something and so in this instance I was using the 55 1.8 I saw this guy and I knew that's that's my subject and so I just wanted to slow the shutter down to really show like the hustle and bustle that's going around him but he's like no clue as to who's passing him what's going on that's what I love to kind of focus on so on a photo like this people wonder well how do you select your subject there's so many people how do you focus on just one person and I analyze people I just look through the crowd and see who looks interesting who should I focus on and sometimes I might just you know in Grand Central they have the stairs with the platforms so I'll just go up there I kind of scan the whole floor and see what looks fascinating to me to where I pick out you know people that I think are gonna be interested so my third thing is look at your surroundings so analyze the weather analyze what people are doing anticipate four things look at nearby objects and reflections so there are times where I will see the perfect photo but my subject is not where I want to take the photo so I just get in position if they are still coming the same direction I just get my camera ready and I'm like once they're in that spot boom I take the photo if they just somehow you know go a different direction okay so what I missed the photo but I knew what I wanted so even though they went a different way if I just took the photo when they weren't in the spot I want it I would have just had a regular photo I wouldn't have liked it as much so I always try to anticipate where people going to go where people going to walk what are people going to do and just be ready I keep my camera turned on I keep my finger on the shutter so that way I can just hold my camera take the shot done it's like the image here this was one where I just happen to see a bicyclist coming into my frame framed my camera I had the 25 millimeter lens on I just weighed it subject got in the frame where I wanted them took the photo done that's it so this photo I just happened to be walking in downtown and one thing with photographers any photographer will say that shooting when the Sun is you know High Noon between 112 and 3 it's the worst time to photograph but in New York City there is no such thing as a bad time to photograph because of the buildings they act as natural reflectors natural filters and so this is an example of where the buildings were actually being a reflector so it softened the light and then directed it to the street to give them nice spotlight on the street in this region and I just happen to capture this guy the lighting was perfect shooting in this city different times of the day you can get some really great photos and that's what I love about being here in New York and you know this was taken with the 25-millimeter and I just camped out I took other images of people walking because I wanted to take advantage of that light and I only had about five to seven minutes after that the light had shifted more to my left so you know you just have to really be quick know your year know what you're shooting have everything set to where you can take those frames because what you see isn't gonna always be there it's gonna change so there's gonna be another photo there and it might not be the one that you want so before we move on to the last two tips I just want to quickly interrupt this video just to thank B&H for letting us use their space to shoot this video and I also want to thank nan light for loaning me these lights because I was traveling in New York I wasn't able to bring all of my usual gear but I really wanted to light up this video to make sure that we're getting some nice visuals for you guys nan light lonely to of therefore 260 LED mono lights these are incredibly tiny but also incredibly powerful as well with the light domes it really made this interview look super super sexy thank you again vnh thank you again man light now back to the video so the next thing is perfection is not required what do I mean by that I mean that sharpness isn't everything break the rules and just be comfortable and knowing your gear so this image some people will say oh this is a very great photo that you took and I'm like it's a very great wrong photo that I took because my focus was not the background with the people that are smiling my focus was the guy that's in front that was looking at something or talking to someone that was over in the corner and I said my camera just missed the focus that's this that's all that happened but when I brought the camera the photo up in post and I looked and I said wait those people are in focus and they're they have a great reaction on their face i cropped that photo in so much I took a 24 image of 24 megapixel image and probably cropped that thing to maybe about 10 or 12 megapixels I said no this is the frame that I want to bring that in and just framed it the way that I did to where I turned a terrible mistake into a great photo so I love this image I thought it was a great capture total mistake but I loved it so this was one that I took in DC with the manual ins device lock see a 50 millimeter of f/2 lens and it's not perfectly in focus that's not what I was going for I just loved the look that was on the lady's face of her looking at someone on the other side of the train and I just loved the expression that she had on her face and I wanted them to be something that was kind of subtle I didn't you know sharpness wasn't what I was looking for and I just wanted to capture that emotion that she was expressing of their face in that situation so lastly as far as like how do I visualize my final image so I take your photo and edit in your mind first and then feel for the scene so before I take many of the photos that I have I always like to see it in my mind worth I like to visualize that because if I visualize the photo then I know I'm gonna use the photo and that I think it's a pretty good photo if I don't really see an image there then I generally don't take it because it's almost like I'm forcing something and I don't want to force something that I don't feel creatively about and then this one was one too where you know people asked where's my focus when I'm looking at editing so in this instance I know one I'm photographing the sunset to my subject this is a train and then three with the train I see the lights the trail of lights which are red and yellow so boom there's my focus I'm going for my red orange and yellow tones so that's where I Center my focus to so I edit for those colors I add it for the scene based on those things that are my subjects so everything else at that point is just basically an accessory to to my subjects and everything has to fall around where that focus is and you know that's that's just how I ended up creating that specific editing part creating that specific tone and look so that's pretty much it as far as I look into how I capture the street images that I and so hopefully these tips are very useful for somebody else and you know maybe there's something that you may do that I don't know about that might be useful for me as well so we all can learn from one another and so this is me sharing and hopefully can be beneficial to someone else Thank You professor Hines and make sure you follow him on Instagram or on Facebook he is incredibly incredibly responsive in his DM so if you're ever curious about certain settings or certain street photography tips or even how he captured some of his images feel free to DM him and if you want more tips to improve your imagery as well as your filmmaking skills don't forget to check out my resources my playlists filled with resources in the description box below or somewhere here on the screen guys thank you so much for watching this video I'll see you guys in the next one peace [Music]

Channel: Jason Vong

Views: 1,372,195

Keywords: street photography tips, street photographer, street photography lens, street photography settings, street photo, street photography camera, street photos, beginner street photography, tips for street photography, street photography techniques, street photography tutorial, sony a7iii, sony a7iii street photography, street photography for beginners, jason vong, zeiss, zeiss batis 85, zeiss batis 85mm f/1.8, zeiss batis 85mm f/1.8 lens, abstract art, street art

Id: Dyf2WDPttko

Length: 12min 1sec (721 seconds)

Published: Thu Nov 21 2019