This shot was slightly challenging because it was actually a little windy, and it made the woman’s skirt flare out oddly in many of the shots. We ultimately went with one of the shots where the breeze had died down. This way, the true silhouette of the skirt is easier to see.
The quickest fix to the lighting problem is to use a flash, but that gives a whole new set of considerations. If you are shooting in the evening sans flash, you’ve got to have a camera with a good ISO capability and the STEADIEST of hands. You’ll be surprised what is possible if you have a good camera and lens. Many newer cameras are capable of capturing far more details in darker situations than you can see with your own eye. Do your best to find any nearby light sources. Even at night, most places with heavy foot traffic will still have some sort of ambient lighting (streetlights, store lights, building lights). Most of those light sources will give off extremely yellow light, which is something that your camera features should be able to mitigate. Yellow lighting is also something that you can try to correct during the editing stage. The techniques you use for night photography are the same as those you use during the day. Find the best light source possible and keep your hands steady.
Shooting someone with an umbrella can be challenging, because it will cast a shadow over their face. We had this woman angle the umbrella as far back as possible, and then lowered the “Shadows” adjustment in post-production.
Here’s an example of why you must be careful of having people in the background of your shot. This photo works because all the people are looking away. If any of them had been staring at the camera, the shot would have been ruined. In fact, many shots were ruined, and this particular frame was the gem out of the batch.
Indoors
Shooting indoors sounds like the antithesis of street style, since the very term has the word street in its name. That said, like shooting against a wall or during the evening, shooting indoors can add refreshing variety to your shots. This is also one way to keep shooting even when conditions outside are extremely severe (blizzard, torrential rain, zombie apocalypse, and so on).
There are two things to consider when shooting indoors, the often unnatural coloring that artificial light usually provides and the fact that most indoor public places do not allow photography. The lighting issue can be largely resolved by changing the white balance settings and further corrected during the editing process. The legality issues can really only be worked around by finding a place where taking photos is commonplace and does not raise any concerns. Shops almost always forbid photography. It’s best to respect their wishes and obey the law. Always ask permission when shooting in privately owned locations. There are usually a few options where taking photos is perfectly okay:
Indoor shopping malls. Shopping malls usually do not have a problem with people taking photos within their confines—but the usual possible restrictions apply should you go inside one of the stores. There’s often a lot of foot traffic, and if you’re in a good mall, you might find a lot of subjects interested in fashion and thus possibly quite stylish.
Here’s one of our secret tricks. When shooting in low light, you can try leaning your camera directly against a wall that serves as a makeshift tripod.
Nighttime shots are very difficult. Find areas that are well lit with streetlights and such, and hold that camera steady. You’ll be rewarded with some beautiful shots rarely seen on any street style photos.
This is definitely not the sharpest photo we’ve taken, but it shows that it is possible to take shots even at night in the rain. This particular shoot was extraordinarily difficult—one hand was used to hold the camera, and the other held an umbrella to cover the camera from potential water damage.
Underground Subway Stations. Unless you act suspicious and look like a terrorist, there’s generally no reason why you can’t stop people coming and going. There’s a constant flow of traffic, providing new potential subjects every few minutes. The downside is that these places usually have dreadful lighting.
Museums and Art Galleries. Some of these institutions do not allow photography, while others allow tourists to take pictures until they’re blue in the face. Do your research and go in cameras-a-blazing. We’ve found that modern art galleries tend to have a higher content of stylish foot traffic. (Surprise, surprise.)
Botanical Gardens/Atriums/Nurseries. There may not be a lot of stylish foot traffic, but if you’re doing a planned shoot, these locations can be gorgeous settings.
Someone’s home. Again, this is ideal for a planned shoot with a subject. But maybe you know someone with a cool-looking balcony that might make for a fun photoshoot?
Flattering Angles for Different Body Types
Few of us are lucky enough to be born photogenic, so as a photographer you’ll want to have a few basic tricks up your sleeve to help your model find their optimal angles. Most subjects we encounter default to positioning themselves straight on to camera. For some this works beautifully, but for most of us, the angle does not translate well onto two-dimensional film. Unless you’re working with professional models, don’t expect your subject to instinctively know their angles or vary their poses between frames. It’s up to the photographer to direct the shoot. Since you’re shooting with a digital camera, you have the added advantage of reviewing your film as you work. Each person is unique and different angles will be most flattering for their face and figure.
When the weather gets unpleasant, you can try scouting indoors or underground. The artificial lighting is a challenge, but a steady hand and a lot of practice will avail you. Make sure to adjust your camera’s white balance settings when photographing in tungsten or fluorescent lighting.
Don’t be afraid to ask your model to turn one way or another, but bear in mind that giving them too many small directions can sometimes have the adverse effect of making them feel self-conscious and nervous.
Instead of asking them to make small movements for you, trying making small movements and angling the camera around them. The person will instinctively try to move with you as you dance around them, so make it clear that all they need to do is stand still.
If you photograph someone shorter than you, try to either bend your waist so that the camera is at their eye level or crouch down on one knee and angle the camera slightly up. This will help to elongate the figure.
STYLING YOUR SUBJECT
Many people want to view street style as a purely organic and documentary art, but as a photographer you should never be timid about taking full control of what appears in the frame. We’ve already covered what makes for a good background and lighting, but your directorial instincts needn’t stop there. In this section, we’ll talk about ways you can style your subject right on the street. “Edit” their look by asking them to remove any items that will distract from their outfit. The most frequent things that we ask people to set down are grocery bags and backpacks. But equally important are the subtle distractions such as headphones or any bulky items the person might have in their coat or front pant pockets.
Peel back the layers of your subject’s outfit by having them remove outerwear such as coats and scarves. You never know what hidden gems they might be wearing underneath.
Street Style Photo Tips
— Do take many shots rapidly on continuous shoot. You’ll have more chances of getting a sharp photo since continuous shoot allows you to hold down the shutter button while the camera takes rapid-fire shots. This mitigates any shakiness from pressing the shutter button.
— Do take time to compose your shots. Take advantage of interesting or colorful backgrounds when time and space allow. Just remember that the model is the star and the background should enhance the subject and not distract. Avoid gimmicky shots like posing in front of touristy locales or busy backgrounds like statues, murals, signs, billboards, and shops. You might get a good shot if the background details are not too ostentatious, but you never want to compose a shot that will draw attention away from your subject.
— Do double-check that your camera settings are correct. Make sure it’s focused correctly and that you’re shooting at the highest possible resolution.
— Do take shots of groups and individuals. You can then have the option of using the group shot or each subject as an individual photo, depending on the results.
— Do try to vary your shots with close-ups and three-quarter-length shots. Just remember to try and to get that full-length shot, too. You can never have too many options.
— Do take candid shots. If you encounter your subject in an already relaxed position, such as sitting or leaning against a wall, ask them to stay just the way they are and ignore your camera. This can also work well for subjects who are walking. But bear in mind that a shot of a subject in motion requires a really fast camera and good lighting.
— Do vary people’s expressions. Go with the flow and try to see what works for them. If someone tells you that they aren’t comfortable smiling, don’t press the issue. Some people have radiant smiles, while others look very striking with a pensive pout. Most subjects look their best if you can get a genuine reaction by making them laugh a little.
— Do remove litter and other distractions from the frame. It only takes a second to kick aside cigarette butts and other distracting objects near your subject. If you can’t move or angle the distraction out of the shot, trying moving your subject to a different location. You can always edit things out post-production, but you still want to minimize the amount of editing needed.
— Do ask your subject to take off or set aside anything that you don’t want to appear in the photo. Whether it’s a shopping bag or a superfluous accessory, an extraneous item will distract from the focus on the outfit. Have them put the items down in a safe nearby spot.