My full street photography kit and why my 5dmk3 is perfect for street shooting.

[Mark Carey]

Mark Carey, I get that you believe a small prime like a 35 or 50mm is ideal for street shooting because they're lightweight and unobtrusive, but I (perhaps wrongly) infer from your posts and excellent blog that you feel using a long lens is somewhat akin to cheating. Certainly, we each have our own styles, and your galleries are truly admirable, but I'd like to offer up an additional point of view.

Like you, I believe in remaining as discreet as possible, melting into the background and letting the candid drama unfold around me. And while I agree that longer lenses are more intrusive as no one likes having a "big gun" aimed at them, they are often the only tool that allows you adequate distance to permit certain events to unfold unabated. When you can get up close, wide, bright lenses are awesome, but when you can't (or shouldn't), long lenses afford their own special anonymity.

For instance, while riding my motorcycle across Ecuador I stumbled upon a funeral procession (they were on foot). It was a sad day, to be sure, as a small baby had lost his/her life. But the glimpse this allowed into the lives of these mountain folk was truly engaging. There was no ethical opportunity to stop and pull my DSLR and wide angle lens out from my tankbag, so I was inclined to motor ahead, find a discreet place to pull over, and use my 70-300 lens to capture the scene without disturbing the procession or offending the distraught.

I can think of many other examples, but my point is that street shooting, like every other type of photography, requires a great deal of flexibility. And while carrying a longer lens adds weight and bulk to your kit, it's sometimes the only way to seize a moment.

High Miah - Thanks for your response and your kind words about my blog. Cheating - hmm....I guess I do a little because I think of street photography as being intimate and storytelling and these are not properties of longer focal lengths. The perspective you get from longer focal lengths is totally different to how the human eye would see and so you can't really imagine that you might be standing close to these people. And, if you are going to be close, it makes people less nervous the smaller the lens you have. Thats just my experience and the kind of street photography I like - I realise that others may prefer different styles.

Long lenses definitely have their place. I use an 85 for work and it produces beautiful results and I feel its appropriate. I have a friend who shoots with a 70-200 and I marvel at all the interesting little details he picks out that I would never be able to get....
And of course you may be able to shoot places that I can't because I cant get physically close enough like the funeral procession you describe.

 

[Mark Carey]

5Diii + 50mm 1.4 is the most perfect combo for street I've ever owned. I've been thinking about getting a 35mm but very undecided.

If you think the 5Diii is too heavy, you need to work out a little more, especially on your arms and shoulders...

If you think people get angry when being shot with a camera like the 5Diii then you probably need to work on your rapport a little. Maybe a smile, maybe a motion, maybe a couple of words or a conversation? You might even make new friends. Especially with chicks and older folk. The people that you most likely want to shoot are exhibitionists most of the time anyway, are they not?

Not sure if that was directed at me but I agree I dont find the camera heavy.
I highly recommend the 35 f2 - basically its as light as a feather and 'good enough' for what we need to do.

 

[Mark Carey]

at 6'3" I don't get to be incognito, so I just go with it. my fave combo ATM is the 5diii and 100mm macro. it's not about the camera, or how small you can make yourself. it's about what you can do with the camera and how you react to others

Shooting at 100 mm is going to produce so completely different images to shooting at 35mm it is not comparing like with like. If you are close then you must be taking tight shots only and if you are far away then your relationship with your subjects is going to be entirely different also, not to mention your perspective.

 

[LewisShermer]

5Diii + 50mm 1.4 is the most perfect combo for street I've ever owned. I've been thinking about getting a 35mm but very undecided.

If you think the 5Diii is too heavy, you need to work out a little more, especially on your arms and shoulders...

If you think people get angry when being shot with a camera like the 5Diii then you probably need to work on your rapport a little. Maybe a smile, maybe a motion, maybe a couple of words or a conversation? You might even make new friends. Especially with chicks and older folk. The people that you most likely want to shoot are exhibitionists most of the time anyway, are they not?

Not sure if that was directed at me but I agree I dont find the camera heavy.
I highly recommend the 35 f2 - basically its as light as a feather and 'good enough' for what we need to do.

Nope, not at you... to the 2 groups of people that think the 5Diii is too heavy and that try and hide the fact they're going around taking photos of people.

I'll also throw in the people that complain about the new bottom of the range cameras that get released not being as good as £2000 cameras

 

[Rienzphotoz]

the 2 groups of people that think the 5Diii is too heavy and that try and hide the fact they're going around taking photos of people.

I'll also throw in the people that complain about the new bottom of the range cameras that get released not being as good as £2000 cameras

;D ;D ;D ... good one.

 

[Rienzphotoz]

You can do great street photography with any of the 5ds. It's more about the skill then the camera.

Check out this guy for instance:
http://www.flickr.com/photos/maciejdakowicz/
http://www.flickriver.com/photos/maciejdakowicz/popular-interesting/

+1

 

[Mark Carey]

5Diii + 50mm 1.4 is the most perfect combo for street I've ever owned. I've been thinking about getting a 35mm but very undecided.

If you think the 5Diii is too heavy, you need to work out a little more, especially on your arms and shoulders...

If you think people get angry when being shot with a camera like the 5Diii then you probably need to work on your rapport a little. Maybe a smile, maybe a motion, maybe a couple of words or a conversation? You might even make new friends. Especially with chicks and older folk. The people that you most likely want to shoot are exhibitionists most of the time anyway, are they not?

Not sure if that was directed at me but I agree I dont find the camera heavy.
I highly recommend the 35 f2 - basically its as light as a feather and 'good enough' for what we need to do.

Nope, not at you... to the 2 groups of people that think the 5Diii is too heavy and that try and hide the fact they're going around taking photos of people.

I'll also throw in the people that complain about the new bottom of the range cameras that get released not being as good as £2000 cameras

yeah, image quality seems to be disregarded quite a lot when such making comparisons....

 

[itsnotmeyouknow]

I'll agree that in street photography, standard lengths are better as I always see street photography as including the environment the person is in. It's not a simple photograph, a street photograph is in the street so its about the person's relationship with the background at least as much as it is about the person.

 

[EvilTed]

Mark Carey, I get that you believe a small prime like a 35 or 50mm is ideal for street shooting because they're lightweight and unobtrusive, but I (perhaps wrongly) infer from your posts and excellent blog that you feel using a long lens is somewhat akin to cheating. Certainly, we each have our own styles, and your galleries are truly admirable, but I'd like to offer up an additional point of view.

Like you, I believe in remaining as discreet as possible, melting into the background and letting the candid drama unfold around me. And while I agree that longer lenses are more intrusive as no one likes having a "big gun" aimed at them, they are often the only tool that allows you adequate distance to permit certain events to unfold unabated. When you can get up close, wide, bright lenses are awesome, but when you can't (or shouldn't), long lenses afford their own special anonymity.

For instance, while riding my motorcycle across Ecuador I stumbled upon a funeral procession (they were on foot). It was a sad day, to be sure, as a small baby had lost his/her life. But the glimpse this allowed into the lives of these mountain folk was truly engaging. There was no ethical opportunity to stop and pull my DSLR and wide angle lens out from my tankbag, so I was inclined to motor ahead, find a discreet place to pull over, and use my 70-300 lens to capture the scene without disturbing the procession or offending the distraught.

I can think of many other examples, but my point is that street shooting, like every other type of photography, requires a great deal of flexibility. And while carrying a longer lens adds weight and bulk to your kit, it's sometimes the only way to seize a moment.

so I was inclined to motor ahead, find a discreet place to pull over, and use my 70-300 lens to capture the scene without disturbing the procession or offending the distraught

That is akin to sniping.
Find yourself a good place to hide and wait?
Sorry mate, but this voyeurism, not street photography.
Having the balls to get up close and personal to take the shot in the first place is the whole point of street photography...

ET

 

[sandymandy]

Having the balls to get up close and personal to take the shot in the first place is the whole point of street photography...

Yes and its actually much harder to do than i thought. I think 70-300 mm isnt a good street focal range too plus its really noticable carrying such a big lens around. It also looks like a phallic symbol. RUDE!

I prefer 35mm and wider cuz it shows that people in context to the environment where they work or whatever. Also i prefer not only bokeh street shots. Sometimes its just the fun to have some 24mm f/8 Street photo with so many details to notice.

 

[RS2021]

I think 70-300 mm isnt a good street focal range too plus its really noticable carrying such a big lens around. It also looks like a phallic symbol. RUDE!

True, you don't want to be arrested for....exposing yourself....

I know, I know...I need to be.... shot... ;D

 

[miah]

That is akin to sniping.
Find yourself a good place to hide and wait?
Sorry mate, but this voyeurism, not street photography.
Having the balls to get up close and personal to take the shot in the first place is the whole point of street photography...

ET

P-a-h-le-a-s-e: "sniping", "voyeurism?" "Having the balls to get up close?" You need to grow some manners there, Evil Ted. If not, you're the photographer who will give the rest of us a bad name.

Thanks for your thoughtful reply, Mark. To be clear, I'm not disparaging your preference for shorter focal lengths--not at all--that's why I stated that I only wanted to add an additional point of view. I personally choose not to so narrowly define "street shooting" that I refuse to use the best tool for the job when a particular situation arises. Longer focal lengths can be quite useful and don't necessarily preclude the environment or up-close story-telling aspect of the image. How an image is conceived and framed along with its chosen point of view are independent of focal length.

That said, I hear you loud and clear and agree with your overarching philosophy: close encounters are the best.

 

[Mark Carey]

That is akin to sniping.
Find yourself a good place to hide and wait?
Sorry mate, but this voyeurism, not street photography.
Having the balls to get up close and personal to take the shot in the first place is the whole point of street photography...

ET

P-a-h-le-a-s-e: "sniping", "voyeurism?" "Having the balls to get up close?" You need to grow some manners there, Evil Ted. If not, you're the photographer who will give the rest of us a bad name.

Thanks for your thoughtful reply, Mark. To be clear, I'm not disparaging your preference for shorter focal lengths--not at all--that's why I stated that I only wanted to add an additional point of view. I personally choose not to so narrowly define "street shooting" that I refuse to use the best tool for the job when a particular situation arises. Longer focal lengths can be quite useful and don't necessarily preclude the environment or up-close story-telling aspect of the image. How an image is conceived and framed along with its chosen point of view are independent of focal length.

That said, I hear you loud and clear and agree with your overarching philosophy: close encounters are the best!

My main point about lenses for me is an aesthetic one since I am generally 'not' trying to engage with my subjects so. I talk quite a lot about this in my posts on the psychology behind my own street photography.
http://www.markcareyphotography.com/2013/street-photography-technique-and-psychology-guide-post-3-image-2/

The aesthetic is what requires me to shoot close an wide because it is the perspective afforded by moderately wide lenses like the 35mm which is so appealing. The perspective is very close to what the human eye would see and so you feel like you are standing there, and, of course you are! Longer lenses crunch up perspective in a totally different way and depth of field becomes minuscule. Its just a different look. Its a look that for me suits portraiture very well but I personally would find it less engaging for wider scenes because it would look unnatural due to that perspective.

Clearly in this instance you were shooting a funeral so your use of a long lens was totally understandable in my opinion.

 

[pedro]

Intresting thread here. I don't know if it was this site who featured Markus Hartel. He does a lot of SP either using a 5D series body and an 28 prime lens attached to it. He also did a project on The Americans 2010. Revisiting Robert Frank's track. In this project he did a lot by using a Leica range finder, the same way Frank worked back in the 50s.

http://www.markushartel.com/blog/
If you scroll this first one quite down a bit you'll find the "learn from Markus" section, which is very helpful and inspiring: http://www.markushartel.com/blog/category/learn-from-markus

http://www.markushartel.com/

http://www.hydeparkphotography.net/interview-with-markus-hartel/

 

[miah]

My main point about lenses for me is an aesthetic one since I am generally 'not' trying to engage with my subjects so. I talk quite a lot about this in my posts on the psychology behind my own street photography.
http://www.markcareyphotography.com/2013/street-photography-technique-and-psychology-guide-post-3-image-2/

The aesthetic is what requires me to shoot close an wide because it is the perspective afforded by moderately wide lenses like the 35mm which is so appealing. The perspective is very close to what the human eye would see and so you feel like you are standing there, and, of course you are! Longer lenses crunch up perspective in a totally different way and depth of field becomes minuscule. Its just a different look. Its a look that for me suits portraiture very well but I personally would find it less engaging for wider scenes because it would look unnatural due to that perspective.

Clearly in this instance you were shooting a funeral so your use of a long lens was totally understandable in my opinion.

Point taken, Mark. I had previously read your blog and found it quite interesting; thanks.

One issue I have, since I travel by dirt bike, is weight and bulk. I've found I have to leave a lot of gear at home and carry maybe two lenses: a 24-105 & 70-300. These cover a range for everything from landscapes to wildlife. I hate to leave my 100 macro behind, but tough choices must be made. Regarding 35 vs 50 vs 24-105 zoom, do you feel it would be worth the stretch to add a 35 or 50 to the mix, in addition to the 24-105, and if so, which focal length would be your hands-down favorite?

I'm returning to your neck of the woods for 3 months (Nov - Jan in Thailand, Laos, Cambodia & Viet Nam) and want to spend more time off my bike and on the street with camera in-hand. If you advise that a fast, short prime is a must, I might be able to find a nook or cranny to squeeze it in.

Intresting thread here. I don't know if it was this site who featured Markus Hartel. He does a lot of SP either using a 5D series body and an 28 prime lens attached to it. He also did a project on The Americans 2010. Revisiting Robert Frank's track. In this project he did a lot by using a Leica range finder, the same way Frank worked back in the 50s.

Thanks for the link, pedro. Good stuff!

 

[EvilTed]

That is akin to sniping.
Find yourself a good place to hide and wait?
Sorry mate, but this voyeurism, not street photography.
Having the balls to get up close and personal to take the shot in the first place is the whole point of street photography...

ET

Get over yourself and go out and shoot.
Once you learn something about the streets, please come back and share...

ET

P-a-h-le-a-s-e: "sniping", "voyeurism?" "Having the balls to get up close?" You need to grow some manners there, Evil Ted. If not, you're the photographer who will give the rest of us a bad name.

Thanks for your thoughtful reply, Mark. To be clear, I'm not disparaging your preference for shorter focal lengths--not at all--that's why I stated that I only wanted to add an additional point of view. I personally choose not to so narrowly define "street shooting" that I refuse to use the best tool for the job when a particular situation arises. Longer focal lengths can be quite useful and don't necessarily preclude the environment or up-close story-telling aspect of the image. How an image is conceived and framed along with its chosen point of view are independent of focal length.

That said, I hear you loud and clear and agree with your overarching philosophy: close encounters are the best!

 

[distant.star]

That is akin to sniping.
Find yourself a good place to hide and wait?
Sorry mate, but this voyeurism, not street photography.
Having the balls to get up close and personal to take the shot in the first place is the whole point of street photography...

ET

Probably could be better said.

I'm not a big fan of "sniping" or "voyeurism" but in the quoted context, they're inappropriate terms. Grieving people can be sensitive, and there is no good reason to appear to possibly disrespect their rituals.

As for what is or is not "street photography," there are as many definitions as there are people with cameras. Generally considered it can be characterized as candid photography of people in public places. Beyond that, it's all up for grabs. A father at disneyworld taking pictures of his kids engaged in horsing around with one another can legitimately be considered street photography. Bruce Gilden jams a camera and flash in someone's face on the street, captures a startled look, and it's considered street photography. It's all over the map, and we get in trouble trying to define it for others.

Finally, balls are not what it really takes to get "up close and personal" in street photography. The first requirement is a care for other people and a desire to validate their lives. We are not alone, or as Donne wrote, "no man is an island," and our connections with others is, I think, the most powerful driving force for good street photography. Like asking for a first date, our early efforts at photographing people we don't know may be nerve-jarring. If you do it for the right reasons, eventually it becomes comfortable -- perhaps like the familiarity of a marriage.

There is an iconic image of protest during the Vietnam war (maybe from Kent State) where a protester puts the stem of a flower into the bore of a soldier's rifle during a confrontation. Perphas it would be equally helpful for street photograpers to tape a flower on our cameras. At worse, it might increase the smile quotient.

 

[Mark Carey]

My main point about lenses for me is an aesthetic one since I am generally 'not' trying to engage with my subjects so. I talk quite a lot about this in my posts on the psychology behind my own street photography.
http://www.markcareyphotography.com/2013/street-photography-technique-and-psychology-guide-post-3-image-2/

The aesthetic is what requires me to shoot close an wide because it is the perspective afforded by moderately wide lenses like the 35mm which is so appealing. The perspective is very close to what the human eye would see and so you feel like you are standing there, and, of course you are! Longer lenses crunch up perspective in a totally different way and depth of field becomes minuscule. Its just a different look. Its a look that for me suits portraiture very well but I personally would find it less engaging for wider scenes because it would look unnatural due to that perspective.

Clearly in this instance you were shooting a funeral so your use of a long lens was totally understandable in my opinion.

Point taken, Mark. I had previously read your blog and found it quite interesting; thanks.

One issue I have, since I travel by dirt bike, is weight and bulk. I've found I have to leave a lot of gear at home and carry maybe two lenses: a 24-105 & 70-300. These cover a range for everything from landscapes to wildlife. I hate to leave my 100 macro behind, but tough choices must be made. Regarding 35 vs 50 vs 24-105 zoom, do you feel it would be worth the stretch to add a 35 or 50 to the mix, in addition to the 24-105, and if so, which focal length would be your hands-down favorite?

I'm returning to your neck of the woods for 3 months (Nov - Jan in Thailand, Laos, Cambodia & Viet Nam) and want to spend more time off my bike and on the street with camera in-hand. If you advise that a fast, short prime is a must, I might be able to find a nook or cranny to squeeze it in.

Intresting thread here. I don't know if it was this site who featured Markus Hartel. He does a lot of SP either using a 5D series body and an 28 prime lens attached to it. He also did a project on The Americans 2010. Revisiting Robert Frank's track. In this project he did a lot by using a Leica range finder, the same way Frank worked back in the 50s.

Thanks for the link, pedro. Good stuff!

Weight is an important consideration for me. While Im travelling I find opportunities to shoot documentary stuff all the time and do so. I find I really miss my 24-70 for this and since the Canon new 24-70 is such and amazing lens.
http://www.markcareyphotography.com/2012/jo-and-karim-canon-ef-24-70mm-f2-8-ii-usm-l-review/
...I really missed it on this trip. its lighter and just an all round better lens than the old one.

I can however get by the the 35 and 50 if I had to. Next time Ill probably ditch the 50 and take the 35 and 24-70 just to keep weight down and flexibility high. For street work I think the size of a 24-70 would spook too many people so it is 35mm f2 all the way.
I would definitely squeeze a 35mm f2 into your kit. The psychological aspects of shooting with such a small lens are not to be understated and its really small and light. It also shoots at f2 which can get you out of a few low-light scrapes....

 

[Mark Carey]

That is akin to sniping.
Find yourself a good place to hide and wait?
Sorry mate, but this voyeurism, not street photography.
Having the balls to get up close and personal to take the shot in the first place is the whole point of street photography...

ET

Probably could be better said.

I'm not a big fan of "sniping" or "voyeurism" but in the quoted context, they're inappropriate terms. Grieving people can be sensitive, and there is no good reason to appear to possibly disrespect their rituals.

As for what is or is not "street photography," there are as many definitions as there are people with cameras. Generally considered it can be characterized as candid photography of people in public places. Beyond that, it's all up for grabs. A father at disneyworld taking pictures of his kids engaged in horsing around with one another can legitimately be considered street photography. Bruce Gilden jams a camera and flash in someone's face on the street, captures a startled look, and it's considered street photography. It's all over the map, and we get in trouble trying to define it for others.

Finally, balls are not what it really takes to get "up close and personal" in street photography. The first requirement is a care for other people and a desire to validate their lives. We are not alone, or as Donne wrote, "no man is an island," and our connections with others is, I think, the most powerful driving force for good street photography. Like asking for a first date, our early efforts at photographing people we don't know may be nerve-jarring. If you do it for the right reasons, eventually it becomes comfortable -- perhaps like the familiarity of a marriage.

There is an iconic image of protest during the Vietnam war (maybe from Kent State) where a protester puts the stem of a flower into the bore of a soldier's rifle during a confrontation. Perphas it would be equally helpful for street photograpers to tape a flower on our cameras. At worse, it might increase the smile quotient.

Your thoughts re Bruce Gilden are almost verbatim what I wrote on my FB page a few days ago responding to someone. I wrote this.....

..........'For example, I find Bruce Gildens off camera flash in your face, scaring the shit out of you, photographing the result and saying how you 'know its a street photo if you can smell the street' - well, dubious at best. But some love it and most would call him a street photographer....'

 

[Ewinter]

Having the balls to get up close and personal to take the shot in the first place is the whole point of street photography...

Wrong. Taking pictures on the street is the point of street photography

And whether I'm using 100mm or 35mm, it still doesn't matter if you don't know what you're doing. That was my point, not that 100mm is better than any shorter focal length