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Quality and Service from one of the U K's Best Stocked Pro Dealer'« - (OPEN 7 DAYS PER WEEK) 27-29, Bolton Street, BK1XHAM Devon TQS 98Z. Man order, ctao] tS24(XI Email: info®n,il«odi com

Digitise your B5mm slides with the Ohnar Digital Zoom Slide Duplicator.

The Ohnar Digital Zoom Slide Duplicator, is one of the most indispensible accessories around for the digital SLR user who has a collection of cherished images on 35mm slides. With the Ohnar you can simply import them into your digital archive by making copies - and at full frame! For additional impact, you can use the zoom and the moveable film holder to selectively crop the image, or move it through a range of positions. You can even sandwich two slides together, or change the colour balance with gels. The Ohnar costs around £120, (dedicated universal T-mount adaptor extra) and if you require further details, or the name of your nearest stockist, please telephone, fax or e-mail us.

Kauser International Trading Ltd PO Box 85, Radlett, WD7 7ZN. Tel.: 01923 858288 Fax: 01923 857569 e-mail: [email protected] web:

Charlie Waite

AP and WDC have teamed up with Light & Land - the UK's leading photographic tour company - to offer an exclusive workshop hosted by landscape legend Charlie Waite and AP Editor Damien Demolder.

This exclusive tour will take place from 8-11 November in the beautiful English Lake District and will be limited to just 14 photographers, to ensure the maximum tuition and guidance throughout. _ _

Based in the heart of the lakes, in the beautifully situated Ijf ^

Glenridding Hotel on the shores i '' of Lake Ullswater, the group will i use a private minibus to travel I to locations further afield. B^V Charlie Waite, the founder p|p\ of Lights Land, has a wealth of experience photographing Lakeland landscapes and is an expert at finding those magical compositions that often elude others.

The Lake District provides an astonishing variety of landscapes: from the bucolic beauty of sheep grazing in the Newlands Valley and the stark setting of the Neolithic Castlerigg Stone Circle beneath shapely Blencathra, to the lovely wooded shores of Rydal Water, the awesome Hard Knott Pass and the towering bulk of the Scafell range, jjW^^^i England's highest mountain. I The evenings will provide

II ^fiiv - the opportunity to receive iPjf constructive feedback on your work. This tour is designed l to appeal to digital and film m^^ photographers of all levels and

■Bm|MH|Jh experience, regardless of the JUiUtiliiMiiSiu format they use.

Dates: 8-11 November 2009 ^¡ft Price: £830 per person before 30 September, £895pp after 30 September Includes: Full-board accommodation, with daily packed lunch, transport during tour, tuition from Charlie Waite and Damien Demolder. Excludes: Travel to and from hotel, insurance.

Final booking: 11 October 2009 _

Contact: Light & Land ^fHJJv 01432 839111 or log on to ^ffîk fi&^^^R Full terms and conditions can be found at vHLv iKi

For full details or to book online visit or call 01432 839111

STREET photography is the term used to loosely describe a type of documentary photography that involves taking pictures of everyday life in our towns, villages, streets and lanes. It often makes the ordinary seem extraordinary and provides a commentary on the world around us. It is personal to the photographer and the subjects, and is often 'of the moment' At its best it can reveal the humour, pathos, routine or even heroics that make up our daily existence.

Although many people, including non-photographers, recognise and appreciate the work of some of the great street photographers like Cartier-Bresson and Robert Frank, we live in paranoid times and some are suspicious of people taking photographs. Not everybody appreciates being photographed, so it pays to be careful, make sure you only shoot where you are allowed to and, if possible, adopted a casual, relaxed manner. That isn't always easy when you half expect a Police Community Support Officer to tap on your shoulder at any moment, but I hope the advice in this article will help and encourage you to give it a go.

Be prepared

Most of us have walked down a street, perhaps on the way to the office or the pub, and been struck by the thought that a particular scene would make a good photograph. If we are lucky there is enough time to retrieve a camera from our bag or pocket, but some events are so fleeting that you need to have the camera in your hand, set up and ready to fire. The key is to go out expecting to see something to photograph and actively look for it, so when it happens you are prepared. The improved battery life of most modern digital cameras means that you can keep your camera switched on for the majority of your expedition without worrying that it will run out of power by the end of the day.


When you first step out onto the street, check that your camera is set to a suitable sensitivity setting, or is

loaded with suitable film. A setting of ISO 400 is often a good choice as it is slow enough to keep noise (or grain) levels down, but also provides plenty of scope for fast shutter speeds and moderate apertures. As nightfall and/ or winter approaches you may need to push the sensitivity setting higher.

A shutter speed of l/200sec is sufficient to freeze most walking subjects and camera shake (depending upon the focal length of the lens in use), but you might want to consider something a little slower if you plan to introduce some blur.

An aperture of f/8 is a good starting point that provides reasonable depth of field, but doesn't restrict shutter speed too much. However, a larger aperture of f/2.8 or greater gives much more separation between your subject and its background.


Many modern cameras have an automatic AF point selection mode that usually targets the nearest subject and focuses on it. If you're lucky it will select the subject you have in mind, but it takes control away from the photographer and it is often better to determine the AF point yourself. With stationary subjects there may be enough time to toggle around the screen to activate the correct AF point, but when you need to be quick it is better to pre-select the central

AF point and use the 'half-press to focus then recompose' technique. The central AF point usually has the advantage of being more sensitive than the surrounding points.

Another approach is to use the time-honoured street photographer's technique of selecting an aperture of f/11 or smaller, setting the camera to manual focus and pre-focusing the lens to the hyperfocal distance or the distance at which you wish to photograph your subject (perhaps 2m or 3m). This may not have the absolute accuracy of focusing precisely upon the point of interest, but the depth of field should ensure it is acceptably sharp and it frees you up to concentrate on the composition.


Although many street photographs include people, they don't have to. A shot of a car parked in the only yellow-lined section of an otherwise empty street, for example, raises questions about the driver's state of mind or what the street might have looked like a few hours ago.

While you can shoot random images sporadically, it can be helpful to have a project in mind. It might be to document life in the cul-de-sac where you live, or a childhood haunt. Having a project can be a useful introduction to potential subjects or to anyone asking what you are doing.

Inanimate objects are a good place to start with street photography, and after getting a few shots you should start to feel more confident and ready to tackle people pictures.

Places with a happy, friendly atmosphere, like a farmer's market or a music festival, can be a good introduction to street photography that includes people. Many subjects will happily pose and won't be too upset about being caught unawares.

Some shots of people need to be taken before they realise what you are doing so you capture the moment, but don't be afraid to ask someone if they mind you photographing them. With a market stall holder, for example, you might want to start with a fairly straight portrait shot, but then ask them to carry on with their work. After a while you will both start to relax and you can get some natural shots of their interaction with the customers.

Monochrome or colour

While we most commonly associate street photography with black & white images, Martin Parr's work demonstrates that colour shots can work just as well. Many digital photographers have the luxury of being able to shoot both monochrome and colour images by shooting simultaneous raw and JPEG files (with the camera set to black &

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