Street Photography

in a small town
Joakim K E Johansson
- a guide of sorts
(Translated by Mns Hagberg)
IF YOU WANT TO SEE more of my street
photography you are welcome to visit my
web page at: www.masterpix.se
Joakim K E Johansson
CHRISTMAS 2010 WAS COMING UP. Right then I decided to take my street photography
to a new level. I had done street photography on and off for years, but never done anything
worthwhile of it. Certainly not in my own town. But now the time was ripe.
To fnd inspiration i spent several evenings digging through blogs and You Tube-clips on
street photography. Not without envy I saw photographers work their way along the
streets of the most exciting cities in the world. But there was one problem. I lived in a
Swedish pro-vincial town. You could walk up and down its centre in twenty minutes or so.
This was not Paris.
I FOUND OUT THAT NEXT TO NOBODY had written about street photography from the
perspective of a small town. This fact quickly translated into a real challenge. Can I take pho-
tos according to the rules of street photography in my town? Can I discover a feeling of city
life in an environment that every so often must be described as rather desolate? I made up
my mind to make a serious attempt.
This guide is about these ruminations and about what I found out. But before we start out, let
me make one thing very clear. This guide offers no universal truths hewn in stone. There are
disparities not only between places, but also between photographers. Even so I do hope to
give to you who are interested in street photography both inspiration and issues to consider.
Let your small
town be your challenge!
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LET ME TO INTRODUCE KARLSKRONA. You will fnd
this coastal town, built on a number of islands, at the
southeastern corner of Sweden. Here resides a county
governor, some 30 000 more or less happy inhabitants in
the central parts and just 65 000 in the municipality as a
whole. Here I live and here I do street photography.
How do you describe this town? Well, the tourist pam-
phlets usually state that Karlskrona was founded in 1680
as a naval base and military town, that the older parts are
built on a number of islands right in the middle of the
archipelago, that there is a very fne Naval Museum and
that large parts have been designated a World Cultural
Heritage thanks to the well-preserved naval harbour of
the 18th century. These pamphlets seldom mention that
a Soviet submarine stranded here in 1981, even if that
might be what makes Karlskrona most well known nowa-
days.
When you walk along the streets of Karlskrona you see
many things typical for a Swedish town. In the outskirts
cosy wooden houses, cottages and mansions are preva-
lent. In the centre you encounter substantial masonry
buildings dating from around 1900 and occasional older
buildings. The great demolition craze that hit so many
Swedish towns after the Second World War did some
damage here.
AS A FIRST-TIME VISITOR you are easily led to believe
that Karlskrona is a lot larger than what really is the case.
In the beginning the planners had grandiose plans. They
designed the place after Italian models with broad main
streets in a grid layout. At the top of the main island they
laid out a monumental town square with two churches
and the Town Hall. But do not let this fool you. Karlskrona
is no more than a small town, albeit one of great beauty.
At least in my eyes.
This is my town
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IF YOU DO STREET PHOTOGRAPHY in Tokyo or Karl-
skrona some basic principles always apply. The frst and
most important one is that street photography is about
to describe life as it is lived in the public space and to do
that in a documentary way. Thus, a street photographer is
an observer who mirrors reality with a camera.
The public space need not be urban. It can be a park, a
beach, an amusement park, a market place or a shopping
centre. The place does need to be one where people
gather and interact with each other and with the environ-
ment they are in.
SINCE STREET PHOTOGRAPHY ASPIRES to be docu-
mentary the photos cannot be arranged. That is as true
in a great city as in a small town. As soon as you try to
control what is happening by giving directions or inter-
vening in any other way you are no longer doing street
photography.
The decisive moment is another important principle. In
essence it says that street photos as a rule capture a spe-
cial occasion, a human condition or a story of sorts in just
one exposure. Street photography hardly ever uses series
of pictures to show a course of events or follows certain
people during a certain time. That type of photography
is rather to be considered as traditional documentary
photography or photo reportage.
These basic principles apply in a small town as well as in a
large city. Now let us look at the differences.
Elements of Street Photography
The decisive moment is
another important prin-
ciple.
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READING ABOUT STREET PHOTOGRAPHY you will
come across tips that seem a bit comical if you try to ap-
ply them to this noble art in a small town. For example:
Take your picture quickly and then disappear right away
into the crowd. I think that anyone who says such a thing
never has done street photography outside a major city.
You better forget a manoeuvre of this kind immediately.
In a small town you will rather have to use substantial dis-
tances and realize that there are no thick crowds. A per-
son you just photographed may well reappear just around
the block fve minutes later. Doing street photography
in a small town simply means that you are much more
visible, whether you like it or not. That is the fundamental
difference between small town and big city.
The best method is to act openly and naturally with your
camera. No hiding or stealth - that just seems creepy.
Instead, put into practice to radiate confdence. What you
are doing is nothing strange. A photographer who is just
standing there with his or her camera in the open will
quickly be uninteresting. When people have noticed you
they generally tend to continue with their business and
you can take your photos with ease.
To shoot photos in the
streets of a small town
TIP: Always be available if someone wants to ask
what you are up to. Especially a person you just
photographed. To sneak away does not work in a
small town. Sooner or later you will be recognized.
Then the confrontation might take place in a less
pleasant way.
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SOMETIMES EVEN THE MOST confdent of photogra-
phers is likely to have a problem when photographing
strangers. For the beginner the very thought might be
frightening. In particular in a small town where, as I said,
you cannot hide in the crowds as you can in a bustling
metropolis. The risk for embarrassing situations to occur
is simply huge. At least it is felt that way.
A pretty good way to get around this is to practice when
there are more people in motion than usual. Look for
town celebrations, fairs, events, Saturdays when shops
are open extra long hours, and so on. As a rule people do
not care about someone who walks around with a camera
under those circumstances. This means that you feel more
comfortable.
ANOTHER METHOD is to turn the camera towards peo-
ple who make shows or deliberately present themselves
in the public space. For example musicians, street theatre
groups, entertainers or skateboarding youth. Again, more
often than not it is wholly possible to keep snapping
without appearing too strange.
So if you are a beginner or feel uncomfortable, it is a
good idea to start in these situations. Often enough you
will fnd it easier to get the images that you feel happy
with, too. This in turn will be a spur to move forward with
street photography in other contexts.
TIP: If you are looking for portrait-like images of
people that look naturally laid back it is a use-
ful trick to stay where many people pass by. Most
people do not mind moving past someone who
just stands there with a camera.
For the beginner the very thought
might be frightening
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THE SMALL TOWN might have a limited wealth of
people and vibrant environments. That means that
you as a street photographer will have to fnd places
with a lot of people around. By and large that is in
front of the downtown shopping centre, at a crossing
or at meeting places such as the town square, parks
or the travel centre.
There you can stroll around at a leisurely pace and
fnd your subjects without attracting too much at-
tention. Or simply stay in a good spot and wait for
something to happen. Just be careful not to overuse
a few chosen environments. That is easily done when
you know that these give great picture opportunities.
Do remember to fnd different views and new angles.
Locate your watering holes
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ABOUT THREE OCLOCK in the afternoon on a typical
Saturday shop owners shut their doors for the weekend.
Within minutes, the streets are emptied of people. With luck,
one can see a lonely soul rush across the square carrying
a liquor bag. Thats what you see in many Swedish towns a
normal weekend afternoon. Even the restaurants and cafes
are empty.
In a big city, you can go outdoors almost any time and still
be served a multitude of people. Not so in a small town.
Therefore it is important to learn the towns rhythm and
know when its time to head out with the camera. Often its
on Saturdays until the the shops close. Weekday mornings
can be good, and weekdays from lunchtime onwards. Thats
when most things happen in a small town.
THE SAME THING IS TRUE with the seasons. In a big
city you must push your way through the masses even in
November. At that time a small township looks like an aban-
doned Western town. A depressing sight for a photographer
who wants to picture life in the street. Of course you can take
pictures even during the winter months, but do recognize
that you may have to work extra hard. If you really want to
shoot street photography in the winter months the best op-
portunities appear around Christmas and New Year.
The time can be critical
TIP: On a real good summer's day even a small
town can offer a big city-like street life. Mostly
during the holiday season. Then there is not only
tourists wandering around, but also the locals are
on the move much more than the rest of the year.
This means good photo opportunities.
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Townspeople have
their own conventions
You are not close enough
A common mistake is to shoot from too far away.
The reason is often that the photographer has not
had the courage to get close enough. Remember
that proximity is an important factor to make your
images interesting.
You hesitate
Another mistake is to refrain from capturing photos
even if you suspect that the possibility is there. This
is usually due to uncertainty or that you really do
not dare. Take the picture frst and think later is a
common advice from experienced street photogra-
phers.
You give up
Even if you miss your picture on the frst try, do not
give up. Quite often, a street photographer gains by
hanging around and trying again. Not infrequently
new situations occur or people repeat their behav-
iour.
You get no faces
Street Photos without faces are surprisingly com-
mon. Silhouettes, averted heads or back panels
dominate. Pictures showing the faces of people are
almost always better and more alive.
You missed an occasion
To be interesting a street photo image needs some-
thing to happenin the picture. It can be an electrify-
ing composition, something that stands out, that
you are really close to people, or all of this together.
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COMMON MISTAKES
THERE ARE STUDIES that show that people in smaller
communities need a greater distance to their neighbours
in order to feel comfortable and secure. A street pho-
tographer can hit upon this fact from time to time. More
often than not townspeople will pay attention if you get
too close simply because it is not normal to have strang-
ers close up. Especially so if an unfamiliar person has a
camera in front of his or her face.
Townspeople are not accustomed to people doing things
in the public space that go against normal behaviour.
Sometimes you need very little to be noticed in a small
town. This means that you as a street photographer might
stand out when you spend time on the streets with your
camera. A certain type of people can be curious and
interested. It need not happen, but do not be surprised if
it happens.
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A STREET PHOTOGRAPHER must have great patience to
walk around the streets for hours, day in and day out.
A good street photographic image can never be rushed.
Frenchman Henri Cartier-Bresson is often described as
the father of street photography. He used to say that the
really good pictures show up when they want. Suddenly,
there they are, just there in front of you. Then you need to
be prepared. He knew what he was talking about.
This is particularly evident in a small town. At worst, you
wear the pavements for days on end and do not get a
single usable image. Then you can do what I mentioned
earlier: take into account the citys intrinsic rhythm and
think about where and when people gather in a natural
way.
Unfortunately it might not be possible to do this often
enough. You are not free to get out in the most favour-
able conditions all the time. Most of us have, after all,
both a regular job and a family to consider.
IN THIS CONTEXT it is important to remember that it
isnt useless to go out at other times or to look at less
promising places. It may be right there and then real
gems pop up. Yes, even those pictures that are typical
of small town. But, as I said, you need to have patience.
Passion may be a more appropriate word.
You need the patience of an angel
The really good pictures show
up when they want
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STREET PHOTOGRAPHY communities frequently discuss
if it is okay to ask for permission before taking a picture.
The strict school is negative because all off-guard expres-
sions disappear once the photographer reveals his or
her purpose. Although this is true in most cases, it may
be okay to ask in some situations as long you as a street
photographer do not try to arrange a situation.
In a small town, this method can even be entirely neces-
sary. Look for example at the picture above. On the left
was taken in Siena, Italy. The man stands in one of the
main streets where a sea of people passes every day. This
image was shot just a few meters from his face when
there was a gap among all those passing by. The man did
not notice anything. The picture to the right was taken in
one in the almost deserted street in Karlskrona. It had not
been possible to use the same technique. It had simply
been close to impossible to get the picture without ask-
ing. After having been asked the woman continued her
smoking and remained in the same position. So all went
well. Two different methods, the same result.

Do dare to ask
It may be okay to ask in some
situations
TIP: Remember that you can ask for permission
in several ways. Asking need not mean a spoken
question. Sometimes its about visual contact,
that you hold up or point to your camera and
get a nod in response. Sometimes the situation
is such that it implicitly is okay to shoot.
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YOU NEVER KNOW when the photo opportunity re-
veals itself, and few things are as frustrating as not having
brought the camera in that position. To carry the camera
as often as possible is one of the most important thing to
consider for a street photographer. Sometimes the image
pops up when you go home from work, or when you go
to the store.
ANOTHER BASIC RULE is to have your camera con-
stantly ready and always in your hand. You cant have it
slung over your shoulder, buried in a pocket and certainly
not packed away in a bag. As long as youre looking for
street photographs your camera should be in your grip.
A STREET PHOTOGRAPHER prefers to work alone. To
do street photography with some friends, with just one
friend or with your loved one impairs your chances. This
is because a street photographer must always be focused
on the surroundings. If you stroll around and think of
other things you simply get fewer good pictures. May
seem boring, but so it is.
TO HAVE A CLEAR PURPOSE is worth gold. It helps
a lot not only when someone asks you to explain what
youre doing, it also creates a sense of security to that
actually helps a surprising amount. By the way, dont say
that you are street photographer. That is a concept few
ordinary people know about. Instead, say that you are a
documentary photographer, or just a photographer.
ANOTHER GOOD HABIT is to have business cards
ready to hand out. This allows people who want to con-
tact you to do so later. You seem serious and credible. Do
include an address to a website where your pictures are
on view. Business cards are cheap. A modest charge for
something that is of real beneft.
ALWAYS OFFER to send pictures to people you have
photographed and talked to. You have used these people
for your own purpose, and the least you can do is to give
away a picture or two. That also creates a positive aura
around yourself and what youre doing. That is never
wrong.
SIX VALUABLE TIPS
A basic rule is to have your camera
constantly ready and always in your
hand.
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THE BEST CAMERA FOR STREET PHOTOGRAPHY is
always the one you like. Whether it is a pocket camera or
an SLR. But there are some important things to consider.
First, the camera must feel easy to carry with you. A big
chunk that quickly becomes heavy and cumbersome ruins
the joy of street photography. Large cameras also tend to
draw too much attention.
The most common focal lengths for street photography
are 28 mm, 35 mm and 50 mm in the 35 mm flm format.
In a small town 50 mm usually is to be recommended.
A wider lens makes it diffcult to get close enough - as a
rule the distance to your subject will be somewhat larger
in a small town. But avoid using a telephoto lens. These
are seldom good for street photography. The intimacy in
the images disappears. Instead you get fat images that
look as if taken secretly.
The classic shutter speed for street photography is 1/500
second. That works well most of the time. But if people
are moving faster than walking speed, you need at least a
1/1000 second to get sharp images. Do you shoot on the
fy fast times are needed to avoid camera blur. Sometimes
you might prefer blurriness - there is after all no law that
says that street photography images must always be
sharp.
THE IMAGES IN THIS GUIDE are taken with a Canon
7, a Canon Canonet QL17 GIII and a Leica M6 - three
analogue rangefnder cameras from the 60, 70 - and 80s.
The choice between analogue and digital photography
is entirely a matter of taste. One advantage of analogue
cameras can be fast in action. When you press the shutter
button, the picture is taken immediately. Some digital
cameras have an unfortunate delay.
Finally, a word about cameras and other stuff
This guide is allowed to share, copy and print for private and educational use.

cc by-nc-nd
2013 Joakim K E Johansson
www.masterpix.se
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