Free eBook: Storytelling in street photography

free eBook

Understanding storytelling in street photography to create deeper, more meaningful images that convey strong emotions.

HI everyone,

It's been two years now that I first published my free eBook: Creating Impact | Fundamentals of storytelling in street photography. It's now been read by over 100,000 people throughout the world, which is much more than this little book deserves :)

So far, the book was published on Issuu, a great publishing platform. But given that direct download options have been removed, or have been so hidden as to make them impossible to find, I decided to set up a direct download link to make it easier to access. After all, it's a book, it shouldn't live purely in the cloud :)

So if you have time, and desire so, you can now download this ebook for free. I hope that it will be as useful to you as it was for for me in guiding you through your photographic journey.

Let me know what you think, and have a lovely week end,

Marie

From capturing the unexpected to anticipating stories

Capturing the moment in street photography requires a delicate balance of intuition and intent. Depending on who you are, you may prefer to use one over the other, and this will undoubtedly impact your style and your photography. At a very basic level, some photographers feel more comfortable finding an appropriate frame to let stories happen, while some are happy to capture images on the go, without pre-defined ideas and nearly no thinking at all. But exploring techniques where we feel less comfortable may just be the right way to take our street photography skills to the next level – and uncover a whole new world of possibilities for our creativity and photography.

When thinking of shooting styles, we can define three distinct methods for capturing the moment based on level of intent:

• Premeditation – Determining beforehand the scene and possible story in a static frame, and waiting for subjects to create the envisioned story.
• Anticipation – Anticipating what the story could be in a dynamic, shifting environment, and working the scene intelligently to capture these stories.
• Awareness – Capturing unexpected stories and encounters on the go, as they reveal themselves, in a moment-by-moment awareness.

Premeditation

Premeditation is akin to staging without actors. This first scenario happens when a photographer finds an interesting backdrop and visualizes in his or her mind the image that could be made out of it. It then becomes a simple game of waiting for the ultimate actor(s) – this one unknown person(s) that will bring to life the backdrop through creating interesting patterns, shadow plays, or juxtapositions. In essence, premeditated scenes are often where we begin: it’s the first stage in achieving a minimalist image, or making the most of a static background. It can certainly lead to impactful images, yet one has to consider the time investment. While we wait and wait for the ultimate shot that we have in mind, many opportunities could go by... It’s in essence a game of patience. In my view, there are two major situations where premeditation can work and should be used:

Bringing to life captivating backgrounds

The first circumstance is obvious: the background in itself is interesting, and, combined with a human element, can create an interesting story (if certainly expected in many cases). The background you have chosen may have great architecture which will contrast with your human subject(s), or may have a unique wall art that will create interesting juxtapositions when combined with the right people. In general, many beginners will start there, placing themselves at a distance from the scene, and waiting for the right people to fill in the gap – the story is already in their mind, premeditated, ready to materialize.

Example: I took this first image in Chicago, about three years ago, when I was starting street photography. It was terribly cold that day, so my walk was not going to last long. I went to this area of town where two magnificent bridges cross the Chicago River. As I was reaching the bridge, I immediately saw an opportunity to shoot the few people walking on the other side. I then placed myself where I believed the frame would be most impactful, and shot perhaps 2-3 shots of people. In the meantime, I knew what I wanted: a single person central to the image, connecting with the street light. Another two shots and I was done – I had captured what I had in mind in less than 10 minutes, and got in fact a better shot than I had expected, with a man stooped in the just the right way to symbolize the arc of the bridge. I would define this shot as premeditated, since the frame was defined, and my vision of the final image was already present in my mind.

Defining the frame to let the story unfold

Sometimes, the actual story may not be fully visualized or known by the photographer, but the place, position and angle are already defined to allow such a story to come to life and be captured. In other words, the photographer purposefully defines the frame and lets the story unfold on its own. Why should we restrict ourselves to a single frame, when we could multiply opportunities through looking everywhere else? Because at times, it helps us focus and center ourselves. It may be that the background provides a sense of neutrality from which human stories can be captured without distracting elements. Or it may be that the light provides unique effects on the wall across us, and on people passing by. Whatever this is that attracts your attention and stimulates your imagination, it may be wise to stop and frame if you can foresee a clear opportunity for a story.

Example: While shooting in Notting Hill, I came across this very neutral background, white and simple, with one small tree in front of it. The light was creating interesting shadows around, so I was keen to leverage this space for a few shots. There was a man standing there, right at the intersection between shadows, and he was in himself an interesting subject. However, to create a more dynamic story, I simply waited one minute or two for additional actors to come within the frame. The goal was then to capture the best story given the foundational elements: a man standing on his own, and a set of overwhelming shadows creating a surrealist scene. While I would categorize this shot as premeditated, there is a strong element of intuition required to make these stories happen, since we cannot fully anticipate them or visualize them beforehand. It all depends on what will emerge within the boundaries of the frame.

To successfully take premeditated shots, one has to consider all the parameters of a scene. Working the scene to find the perfect point of view is essential to ensure maximum impact. It also requires imagination: what can this scene become? What images could be striking? And what are the implications on the angle, position and distance? Visualizing the frame in one’s mind is the key – the scene is the set, and you are the director. You just need to make the most of the show at hand.

Anticipation

Anticipation is a game of possibilities within a defined, multi-dimensional scene. Because life itself is never static, we will most likely never predict all opportunities potentially emerging in front of us. But we can anticipate some of the stories beforehand, and work the scene until these stories (or others) materialize themselves. Contrary to pure premeditation, the art of anticipation requires to think within environments that are dynamic and constantly shifting, and where the number of possibilities are nearly infinite. What then can we anticipate, and how can we do this? The first step is to define a potential scene/focus. You could be in a park, for example. You could be standing at a street corner, looking in multiple directions. You could even be watching a game played by kids on the street. Whatever this is, in order to anticipate stories successfully, you first need to define the boundaries of the scene that you will consciously work out. It then becomes a game of scanning the environment around you, testing new angles, looking up and down, taking a step back, or a step nearer. This technique is difficult because it requires a good dose of imagination and thinking, while being able to trust your intuition when the time comes to shoot.  But with higher difficulty comes higher rewards, so let’s discuss this technique in more details.

Defining a multi-dimensional scene

As discussed earlier, a great way to use anticipation is to define a limited space where to operate. Think of a space that you can explore whether through walking around, or through standing still looking in multiple directions. This is your set, your multi-dimensional scene. While anything can happen, you will soon realize that you can, in fact, anticipate interesting stories and work your way to materialize these stories. In a confined, limited space, you can start envisioning your story. Light may play an important role, and stories of light & shadows will become predominant. Or you may identify patterns in people’s behaviors in this place – perhaps the way they walk across different layers create interesting scenes to capture, if you are patient enough for all the elements to come together. So the first step is to define boundaries and analyze the area for potential stories.

Example: While shooting in Versailles (a city close to Paris), I came across this old market, surrounded by arcades. The place is empty apart from the week-ends where shops are being set up. The area forms a square, crossed by four roads on each side. I started first to explore the area, and identify the play of lights on the building and the people. I looked carefully at the people coming by, who they were, where they were headed – trying to narrow down the scope of possible stories to be better prepared. I realized that many passer-by were by themselves, usually crossing very fast as the air was very cold. That’s how I started to anticipate and visualize the type of stories that could happen, right now, and right there. It was only natural then to capture this old lady as she passed by me, giving me a great image to take back.

Working the scene to anticipate further stories

For most places, however, it can be harder to anticipate stories on the spot. You will need to look further, go beyond the obvious, and find a more specific angle for your story (literally and non-literally!). How you work the scene will determine whether you can successfully anticipate the next best story to come. This is very simple: ideas come as you move around, discover new angles, and identify new possibilities. It’s often the case of a missed opportunity (either a shot you failed to take, or an idea that failed to materialize) that will give you the inspiration for your next best shot. In essence, anticipation requires curiosity, and the drive to explore the world around you. The more aware you become of the possibilities, the better your mind can anticipate the next big moment when all elements will come together.

Example: While shooting in Japan, I was fascinated by the sheer number of people walking in every direction – a massive crowd of human beings moving from one place to another, from one platform to another, from one sidewalk to another. At the exit of a train station, I started shooting people going up the platform, from several angles. But this was never right – my idea of a powerful crowd was never coming to life. So I turned around and explored, and came to this particular vantage point where I could see people’s feet moving up and down. I didn’t know what would happen there, but I sensed that it was a vantage point that could give me some new possibilities, so I stayed a little while. And when the little boy came into the picture, I shot. And that was it. I had created a story from scratch.

So to summarize: In order to successfully anticipate stories, you need three elements: 1. Geographical boundaries defining the limits of the scene that you will explore, 2. An initial analysis of what stories this scene can give to you, 3. A deeper exploration of the area to stimulate your imagination and bring to life potential stories. And remember: shooting styles are infinite in themselves. Some photographers will actively walk around to understand and form an idea in their mind, while others will decide to stay still – not going after the story, but letting the story come to them, from multiple directions. Both techniques can work, as long as you think hard enough about the possibilities that may emerge in front of you.

Awareness

Premeditation and anticipation are great techniques in street photography, and will definitely yield some impactful images. However, in practice, thinking/intent is not always possible. Many shots appear in front of us unexpected, and almost unwanted. At these moments, this is our intuition (or our instinct in other words) that takes over our thinking. It’s no longer a matter of intent and purpose – it is a leap of faith in ourselves, in the world, and in the unknown. Awareness is just as critically important to street photographers as any other technique, but this is probably the hardest to master because of its reliance on intuition. I am sure that it sometimes happens to you that you come up with an insight or a solution without knowing how. Intuition works like this – it skips normal steps, seems hard to reproduce, and feels a little magical. Yet there is nothing random or lucky about intuition. It’s just one out of two ways we capture information from the world: the first one being the most common 5 senses, and the second one being this so-called 6th sense. As everything else, intuition can be nurtured. It can grow and work faster, better, smarter for us. And it can be used to capture totally unexpected street images that are forming in front of us in less than a millisecond. Let’s look in this technique a little further.

Seizing stories and opportunities as they come

So how do you, technically, seize stories on the go? By letting go first. Letting go of your thinking, of your judgment. You need to move from doing to being – a state of mind where you can fully experience the world, as it is, in the moment. The second thing to think about is NOT to think. Just shoot – whatever the results. It doesn’t matter if it sucks, but it will make a huge difference if it happens to be at least remarkable in some ways. Try it. There is something liberating in letting oneself be surprised, and opportunities can come from every corner. This makes the game so much more interesting.

Example: One favorite shooting style of mine is to capture people as they pass by me, when I find them interesting in some ways, when their attitudes stand out, or when their expression say something. I never think too much, and I don’t often take more than one shot of a person. I constantly scan the environment as I walk pretty fast, and decide in a second whether something worthwhile is happening. With a little bit of practice, I can feel the people, the way they will turn their head, their floating hair, the expression in their eyes. And by closing my eyes I can imagine them of all kind, everywhere and nowhere, coming at me – at times surprised, angry, happy, dreaming. So when I do open my eyes, I am ready for the moment – whoever they are, I will see them and shoot at the same time, with no second thought, never questioning why. I will shoot. And we will see later.

Developing a mindful approach to street photography

Moment by moment awareness is difficult to master, this comes without saying. Yet, think about it. How many times did you make your best image when you least expected it? Probably more than you think. And the more you try, the more you’ll develop your intuition who will be doing all the work for you. No more hesitation, just purposeful mindfulness. Where to start? Choose a day where you have no defined expectation in mind. No plan. No pre-conceived idea of the shot you can get, of the scene you should work out. And get out feeling free to shoot whatever comes by – not following an agenda, but letting the world guide you. Walk here and there, do not think, do not try. Just watch around you, and practice shooting in the moment. This is as easy as that.

Example: This particular image was taken when the weather was grey, no light in the sky, not even interesting people around. I was following my husband across Notting Hill, but it was overall discouraging. Still, I put myself into awareness mode, and starting shooting strangers in multiple directions and angles, as they were passing by. I suddenly saw this lady, and decided to kneel down to see what the reflection could look like. At the moment I was down on my knees, she had seen me and looked back. I shot – right away. This was my only take. I was far from imagining the image that it would give in fact, I just purely followed my instinct. And I find that more and more, I need this dose of intuition to help me see beyond the visible, the planned, the expected. To help me see beyond my five senses.

In summary, awareness is akin to letting go – letting go of your hopes and fears, of what you’ve been told and what you may believe. Letting go for an instant to become part of the world and embrace opportunities as a second nature. Awareness is being, and it feels very much liberating at times, especially when too many thoughts clutter our minds, make us doubt ourselves, and deprive us of our creativity. But it is also, essentially, the way to capture the unexpected – what you cannot possibly anticipate, and yet, which will reveal itself moment by moment, anywhere and anytime.

Whatever you choose to practice, do remember that there is no one way to capture stories. So go and explore beyond your comfort zone, pushing yourself to try new techniques. You will see the results, and it may surprise you.

The editing process: balancing emotions vs. reason

I was reading an article on Winogrand by Eric Kim, and came across a quote that still startles me: “Sometimes photographers mistake emotion for what makes a great street photograph.” And by that, he means that our first emotional response when remembering a shot may not lead us to objectively assess whether the shot is good or not. He therefore advocates to wait a while (or a year in his own case) before editing and processing images, so that all memories attached to the moment would have disappeared, leaving space for clear objectivity. This advice appears to be a valuable one, at least partly. I oftentimes get attached to pictures too much, and then wonder why these pictures are not receiving the praise or attention they truly deserve. Objectively, they are probably flawed and I may start to dislike them later on. Conversely, certain images fail to move me personally, and seem to be on the verge of flatness. Yet they may receive much attention and praise, unlike some of my favorites.

And yet as time passes, my opinion – rather my affection – for my pictures never cease to be true to my initial emotional response. I tend to love certain images and dislike others. No matter how many likes they get, the ones I dislike will never end in my portfolio. Why is that?

Because, to me, the emotion I feel while taking the picture and then processing is like a deep-rooted connection to myself. It goes hand in hand with my vision. I may realize that my shot was not as good as I remember it, and will therefore not keep it. But despite my best efforts, it is hard for me to step back from my pictures and look at them objectively, analytically, out of context of my emotions – past and present. The way I see this is simple really: no matter how good a photograph is, if it isn’t fueled by some deeper emotion, I won’t learn from it and expand on it. I will not integrate it into my vision for my work. It will be a one-time shot, nearly a missed opportunity, on the verge of failure. Devoid of meaning. Out of context. To me, emotions are just this: a self-guide to assess the validity of my images versus my vision, and conform my editing/processing to the authenticity of this vision. It’s likely restraining to me, as I reject some good shots along the way, and favor more enduring versions of my inner world.  But it makes me feel alive, it makes me feel whole and consistent. It gives a voice to my intuition and does not try to explain everything.

As you probably know, I am very much in favor of analyzing one’s pictures against both form (composition) and content (subject), not only to assess the value of individual pictures, but also to understand patterns across images, explore alternatives, and learn from our mistakes and success at a global level. But analytical studies are not incompatible with emotions, far from that. In fact, I would advocate for a dual assessment at the time of editing and processing, as well as later on, in the context of your entire series:

·       Emotional and personal: Is it aligned with what you want to convey, to achieve? Does it feel right? Does it create an emotional response in you?

·       Objective and analytical: Is my composition interesting enough? Am I correctly using light? Is my subject worth of interest on its own? Does the story come across easily?

If it feels right to wait before editing your pictures, then by all means – do it! I for myself know that my memories of the moment are important enough to be incorporated in the final editing process. That something, in the city, has resonated with me, and this is this something that I want to convey through my new series. And because of this, I cannot wait. This is part of my creative process. Now, to give time the chance to work miracles out, I will never create and edit series right away. I will wait until the test of time has demonstrated whether I am 1. Still emotionally attached to the picture, and 2. Objectively assured that the picture is good enough to be included in a formal series. But the image itself will often remain as it is, same as the day it was conceived – made of emotions, good and bad, right or wrong.

At the end of the day, each one his or her own process, and assuredly, Winogrand was right about himself. His tremendous work proves it enough. You will need to figure it out on your own.

Good bye, and good luck in your photographic journey J

PS: All pictures in this series have been edited a week or two after shooting. I believe that they all reflect the feelings of the day, of the moment – the connection I felt with the city at the time, and with its inhabitants.​

The human-city relationship: Putting street portraits into context

Chapter 2 of my upcoming eBook: Understanding the human-city relationship explores the make-up of street portraits through greater integration of city elements. Getting close to people can be such a euphoric sensation. Appealing, addictive, rewarding a million times. But what makes street portraits and close ups so much interesting are not the people only – it is in fact their relationship with their surroundings: the city and the people surrounding them and giving meaning and depth to the scene. The second chapter of this book explores the human-city relationship from the perspective of human beings. How can we extend street portraits with elements from the city, evoking the fleeting essence of urban life to give deeper meaning and depth to our subjects?

Because, eventually, it is all about context. Street portraits with no context lose of their power – the candid moment is lost, the story is incomplete. Capturing the essence of strangers is at time challenging and obsessive, but the search of the perfect moment requires it. And the closer you get, the more important the city becomes in fact. So how do you transform traditional portraits into reflections of our busy, dreamy, exciting city life? How can you leverage the city – its maze of light, its trains in motion, its never-ending streets - to emphasize emotions and give substance to a portrait?

> Principle 1: Provide context
Give your subject space and context to exist beyond the limits of the frame

Context differentiates typical portraits from street portraits. Providing space to your subjects in the street, even at close distance, is essential to tell a unique story which will give substance to their personality, explain their joy or sadness. At times, using the right context will even add incremental drama – hinting at the presence of others, observers of the scene at hand. While street portraits are highly subjective because of the short distance between subject and photographer, the context will make it personal – helping the identification with not only the character, but the human story at play.

Compose your images to anchor your subjects in city life

Sometimes, the simplest step in adding context to your image is to take a step back to include recognizable city elements as part of the frame. The greater the relationship between these elements and your subject, the better your story will be. In this image, I added the London Eye behind my subject on purpose, as I wanted to give her smile and overall joyful personality some context. It results in a simple image where the city itself reflects her joy and smiling face, as we often associate wheels with happy moments.

Provide enough space for emotions to expand and travel

Even at very close distance, like in this image on the left, context is important. It is easy to go directly to the face of your subject, shooting, and forgetting what’s around. But eventually, your image is a whole, and the whole is stronger than the sum of its pieces. The profile of the woman in the dark, quiet and sad, is emphasized by the light and the blurry silhouette of someone at large. The frame provides space for her sadness to expand and exist, and the lights in the night reinforce my story ten times – providing enough context for emotions to travel.

Leverage background and city context to create new drama

The closest you get from your subjects, the most subjective the scene will become, as was already discussed in my first eBook. This is when adding context elements can add dramatic storytelling – such as the man behind this couple, reminding us that our own personal drama can be seen and witnessed from multiple viewpoints. The presence of the stranger immediately changes our feelings toward the image – there is a direct contradiction between the strong intimacy of the couple, and the space where this intimacy exists: outside, under the snow, in the middle of a street. In front of the eyes of the world.

> Principle 2: Integrate the city
Allow the city to act as a supporting character in your street portraits

A second step in learning to create impactful street portraits relies on integrating the city as a secondary character in your images. This new character will give more meaning and depth to your primary subject, attributing thoughts and emotions that you may not have imagined. Whether you choose to leverage the lights of the city, its millions of reflections, its moving trains and cars, city elements can add dramatic substance to your portraits. Close-ups will take on a different meaning, and new emotions emerging from these interactions can provide the basis for unique stories that will draw interest in your viewers.

Use city lights as secondary storytelling elements

The lights of the night can add beautiful mood or storytelling elements in your portraits. At the very least, they will transform traditional close ups into more interesting images. They not only will lighten up your characters, but also instill new emotions in your viewers. In this image, the lights are used to fill in the frame like a pattern. They seem to hang in the sky, almost magically. The resulting effect creates incremental interest in what is overall a much traditional night portrait – placing the subject in a magical, surreal settings.

Capture reflections to add depth to your images

Reflections can be found anywhere, in a pond, on buildings, on windows, bus stops and cars… And they offer limitless opportunities for the imagination. Reflections of the city, in particular, can help tell a much deeper story that the subject itself. Here, in this image, the lady looks at her phone – a very common, boring scene as they often exist. But the addition of the reflected cityscape behind her adds an incremental layer of interest which contributes to the story. It becomes the story of a woman representing our busy life in the city, absorbed by a small screen, in the midst of overpowering towers and buildings.

Use motion to portray the passage of time

But the city itself is rarely static, rarely staying in place. If you look around you, objects are moving in multiple directions – flow of people, trains in motion, speedy cars and taxis… This motion effect can be captured to tell specific stories and emphasized existing emotions. For example, in this image, the quiet lady offers a neutral expression. But with the train behind her moving so fast that the eye can only see a trace, her attitude can take many different meanings. She appears deep in thoughts, oblivious of the world moving around her.

> Principle 3: Extend with layers
Incorporate layers to add meaning and depth to your human stories

Layers are incredibly fascinating, and so difficult to handle at the same time. Layers create complexity, but they need to connect to the subjects: they need to extend the story, not create random chaos with no meaning. When mastered, layers can add extra dimensions to the story, filling the frame with contrasting and complementary elements, placing the subject at the heart of a booming city, where people seem to connect in random yet orchestrated manner. So go experiment with human layers – giving substance to your street portrait in ways you would have not thought possible.

Extend what’s in focus to capture the world around your subject

While simplicity is often sought when taking a street portrait – in order to draw attention to the subject vs. their surroundings – a different approach can also yield spectacular results. Large depth of field can help include highly relevant context and elements that will help reinforce your primary subject. Of course, the difficulty lies in determining whether these elements are distracting, or whether they help tell a better story. In this case, the umbrella drives direct attention to the subject, connecting all other elements to the subject – and extending the image from a simple street portrait to a microcosm of life.

Play with focus to give a sense of motion or isolation

Layers can also be created with elements that are out of focus, especially when the photographer wants to draw attention to one character in the middle of a crowd. In this image, 3 distinct layers can be defined – yet only one is in focus. The resulting feeling is that of isolation. The primary character is surrounded yet alone, and the blurred secondary characters only add to this feeling of isolation. The contrast between sharpness and blurriness in this image also conveys an impression of motion within the crowd, with human elements moving in opposite directions, across different planes as well.

Coordinate human and city elements to add incremental complexity

And at times, stepping back from your primary subject can let you capture a complex world encompassing random strangers, reflections, contrasts and shapes. Layers provide infinite combination of elements, foreground and background, emerging from the chaos to be orchestrated by the photographer. In this image, while appearing random at first, all elements and layers coordinate to tell a story around my primary subject. I create leading lines, blockers and double reflections that add to the story and her frowned expression without compromising the initial story at play.

> Principle 4: Shift the perspective
Shift the usual perspective to experiment and create novelty

Street portraiture should not stopped at taking usual portraits of people in the street. While the people may be ordinary, new perspectives and angles will make them appear extraordinary – at times unveiling deeper the mysterious connection existing between them and the city. Experiment with windows, perspectives, and angles to create a deeper story, full of creativity and unexpected connections. This is through looking at what could be that we may be able to unveil what’s invisible to the eyes. And this is through experimenting that we can create new perspectives on human beings.

Use lower angles to emphasize the human-city relationship

As I have explained in my first eBook, angles often create highly subjective images that takes viewers inside the story, passively, but certainly. In particular, lower angles like in the example provided here often emphasize the subject, making it look bigger than life. But angles can also create connections that would have gone invisible otherwise: connections between humans and their city, between long silhouettes and buildings, busy walkers and busy streets. In this image, the connection between the man and NYC skyscrapers is noticeable, because of the angle chosen – making us feel as if he was owning the city.

Take novel points of view and experiment with your street portraits

Seeking novel points of views through windows and glasses can also be very rewarding. Instead of capturing a straightforward image, here, I captured a women in a maze of steel curves – creating thereby a surrealistic settings for my primary subject. So go around experimenting yourself, looking for different perspectives, holes, windows, and other elements that will decisively take your viewers into another world, and create unexpected connections between elements.

Shift the focus away from your primary subjects to disrupt and attract

And finally, to take the experiment a little step further, I have also played with different focuses – shifting the focus away from my subject to create different emotions and stories. In this example, the camera focuses on the window frames, leaving the subject in a zone of slight blurriness, merging with the shadow of my own reflections. This not only creates appealing layers, it also adds some mystery and attraction to the subject itself – the scene becoming as important as the individual, with its beautiful light and pastel colors emerging from all sides.​ 

Storytelling in street photography: Disrupting the harmony

Tension exists when the mind cannot see what it expects to see to fully understand the story. The idea of “tension” is anchored into the Gestalt theory – a theory explaining how the mind perceives and interprets relationships between elements in a spatial configuration.

So what happens when you deprive the mind from seeing what’s expected? You force the mind to imagine the untold, the unseen. You request viewers to go beyond the frame in order to get closure. You leave open too many questions that viewers will desperately seek to answer.  In short, you create tension - and that, by itself, is a terrific fate, but one that is hard to achieve. The more tension you will add in your pictures, the greater the effort required from the mind: and the more interest will be generated as a result.

Why is that so important in street photography? Because harmony is what we see. Harmony is the ordinary, the mundane, the boring. Tension on the other hand is your storytelling ingredient: it opens the door to the imagination, the possible, the dream. It defies the predictable and the expected. It is your key to the extraordinary.

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1.       Altered visual flow

The usual visual flow of an image goes from the left (top or bottom), and extends to the other side of the image, to the right edge of the frame. Harmonious compositions make every effort to follow this natural flow, allowing our minds to travel through the picture with as few obstacles as possible. Subjects will traditionally be entering the frame, “owning” the story ahead, and offering the eyes a path to explore the remainder of the image. However, that level of simplicity is rarely satisfying in street photography, as by far, too expected, too ordinary. On the contrary, the most dynamic compositions will break this flow – resulting in increased effort for the viewer to comprehend individual elements, as well as connection between those elements.

Placing the subject on the edge or exiting

The placement of the subject in this photograph is quite unusual – nearly at the edge of the stairs, and of the frame, the woman appears to stand in a fragile equilibrium. The stairs in comparison stands out by their high graphical impact that the soft lines of the woman hardly break. The result is a feeling of tension – as our eyes repeatedly move up and down, left and right, in search for the lost harmony.

Using invisible lines

Invisible lines created by human stares are very powerful – more so than static elements. Invisible lines make this image complex at several levels. First, the power of the subjects’ stares is strong because unobstructed. The woman clearly looks on the left, to something located beyond the frame. This not only adds tension to the image, but also contradicts the natural visual flow. Secondly, the boy is starring in our direction, whether at us directly or at the woman. This creates a triangular configuration which is very dynamic, and largely contributes to the overall effect of tension here.

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2.       Dynamic subjectivity

Angles and points of view, as I have mentioned previously in this book, can make a scene appear very subjective to the viewer – drawing him or her into the action, right at the forefront of the scene. Tilted orientations, close ups, low or high-level angles, as well as direct eye contact can all contribute to powerful subjectivity, creating deliberate tension. This can have a strangely disturbing effect on the viewer, who, from invisible observer, is suddenly propelled in the story as an active player. Dynamic images often use those artifacts, supplementing composition within the frame with unusual, deeply subjective viewpoints. The result is altered perception of the reality, a sense of belonging to the scene, and personal association with the story taking place.

Connecting with eye contact

Direct eye contact can establish a strong relationship between subject and viewer. The traditional separation between art work and people viewing the artwork becomes blurred. The mind automatically connects with the eyes of the subject, as if an invisible line was being created between the two. This image is disturbing at several levels. First, the woman’s stare is definitely disapproving of the photographer – and of the viewer, by extension. This creates tension in and of itself. Secondly, the blurred reality created by the reflection of the man on top of her seems to play with our senses – disrupting the harmony of a traditional portrait, while requiring more effort to be understood.

Creating experiential moments

Subjectivity is a key element of dynamism in this image: choosing the right angles and viewpoints will get you a long way in creating unique pictures. The low-level angle at close range, coupled with a titled orientation, puts the viewer at the forefront of the action. Additionally, tension is created by the large mass of blackness that seems to follow her. Finally, the fact that the little girl is exiting the frame – not entering – suggests almost an escape, a frenetic attempt to run away.

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3.       Subject minimization

Traditionally, good composition is meant to direct the eye to the subject. Everything we do is aimed at separating the subject from the foreground AND background in clear, indisputable terms. Let’s think about what it means to break that rule: what if my subject cannot be easily distinguished from the environment in the photograph? What if your subject appear lost within their massive surroundings? Then discomfort comes in as the mind cannot properly process what’s going on. The original distinction between subject and environment doesn’t really exist – one and the other are interchangeable, part of a bigger scheme. It will demand more effort to understand your picture. And in many instances, more effort equals deeper interest.

Giving a sense of exaggerated proportions

The image is all about exaggerating the proportions of the city in comparison with the subject. As you can see, the size of the lamp post as well as the massive triangle of pure black position the subject at the very bottom of an extravagant urban structure. The man appears lost in this urban jungle, faced with a never-ending wall of blackness, and surrounded by large pieces of steel. Even the tree seems frail and vulnerable compared with the tall lamp post. This resulting sense of scale adds tension to the image, suggesting that the subject is, in a sense, at the mercy of the overpowering city.

Blurring the line between figure & ground

In The Stairs, the man is quite visible at the bottom of the picture. But as the eyes travel up to the top of the stairs, the difference between ornamental objects and human figures become increasingly blurred. Are these men looking down at us or are these vestiges of the past? Blurring the lines between figure and ground forces viewers to re-evaluate the image a second time – and perhaps, get lost in the labyrinth of possibilities.

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4.       Open-ended stories

The human mind needs closure. There is a need for a beginning and an end to everything. In fact, the human mind cannot easily tolerate gaps, nor can it be sustained with allusive answers. This is why playing on that weakness can be surprisingly successful in photography and art in general. The resulting ambiguity is intolerable, and in order to make sense of the whole, the mind is forced to fill in the gaps, making its own interpretation of the scene and the story. As we can expect, this requires effort, and effort means increased interest. And this is perhaps the most important insight to remember: suggesting stories can be far more impactful than simply telling them; it allows the viewer to make it their own, and their own only.

 Keeping key elements in the dark

By hiding key elements of the scene, or key features of the subjects, we are in fact inserting gaps in the story – something that the mind cannot accept. This image has been interpreted in so many different ways, since I shared it publicly. The reason is simple: it only tells half of the truth. The subjects are mere silhouettes, whose expressions is hidden and can only be imagined. While the little boy appears to be jumping around, the gloomy light sitting across the dark alley conveys a feeling of ambiguity to the story – revealing too little to establish a clear and common storyline.

Not providing all the answers

This image doesn’t tell a story, it only suggests one. The subjects are looking up at something located beyond the frame, and for this very reason, the story remains a mystery. This results in a more engaging image, left to the imagination of the viewer. What can they be looking at?

There you go. This was the last chapter of my first eBook, Storytelling in street photography – Creating impact. Soon I will publish the second volume of this series, entitled: Understanding the human and city relationships, providing a unique perspective on composition and storytelling. Hope you’ve enjoyed the reading, and I wish you a lovely day full of photographic surprises!