Press the button.

In 2005 I bought my first personal camera. It was a tiny HP Photosmart digital camera that I carried with me everywhere. It had no manual settings whatsoever but it could fit in my pocket. All I knew is that I wanted to take photos like the ones I saw in books at the library. Nevermind that those books contained pictures from the likes of Henri Cartier-Bresson, Arthur Rothstein, Gordon Parks and more, that didn't matter. I just wanted to capture the world from my little eyes.

A Walk In The Park

Taken with a HP Photosmart digital camera.

Within a week of getting that camera I grabbed a few friends and headed to a local park. For some reason I was obsessed with black and white photos so pretty much every single shot I took that day was monochromatic. Most of them are pretty poorly composed, lack good depth of field and generally fall short of what I would now consider publishing, but I love all of them. One picture stands out to me in particular, mostly because of the story behind it. My friend Jen was standing in some type of almost torn down structure and the way the light came across her body was intriguing to me.

See, the whole thing was a ruse. The reason we were there wasn't to take pictures, it was to give my friend John some time "alone" with her. I was a matchmaking photographer and I'd only just got my first camera. The whole thing smacked of inauthenticity, but we didn't have a whole lot else to do in southwest Missouri at the time. Still, every time I go back through my photos, this one stands out to me. The sharp contrast between shadow and light really captures what was going on that day. two people, pulling in opposite directions but still trying to walk together.

Castles and Catching Light

My next stop with my camera was in England, where it captured quite possibly the best photo that it could take. I'd had the camera for a while now and knew how to manipulate it enough to take some decent images but on a summer day in Warwickshire, it came alive.

Taken with a HP Photosmart digital camera.

We were visiting Warwick Castle in the West Midlands of England and most of my shots were pretty typical ones of friends trying on armor or all the girls posing with the rugged looking archery performer (I'm looking at you Kate), but this one shot stood out. It was a prefect summer day and I found myself standing alone looking at the massive walls of the castle. I didn't do anything special, it just kind of happened. Some of the best photos you'll ever take will be spontaneous and probably not technically correct, but they'll be perfect.

Carillons and Campuses

Taken with a Pentax K110D DSLR camera.

The very next year I purchased my first DSLR camera, a Pentax K110D. It was the cheapest DSLR I could find, and the most I could afford at the time. Transferring what little about photography I'd learned from my HP point and shoot to this new camera with buttons and knobs was daunting. And fun. I found myself always carrying it with me, trying to find the perfect angle and shutter speed to expose the sensor.

At this point I was taking photojournalism courses and had the opportunity to have my work critiqued. The initial thought of having others tell me what was good or bad about my photography was frightening to say the least, but it pushed me to consider what I was looking at through the lens more.

This picture of the carillon tower on the campus of Missouri State University was one of the first that I took with my K110D and it's probably one of my favorites. I spent a good few years walking that exact path to class and had never seen the light come across it at that angle before. The truth is, I probably had never looked. That's what photography does for me. It's a mechanism to slow down and see the world around me and revel in its beauty and grandeur.

How To Take A Picture

I did a workshop a few weeks ago on taking pictures at events for a local church and the one thing I stressed was that the best camera is the camera you have with you. For most people that's their smartphone. It may not have all the capabilities of a DSLR or something else, but it's almost always close at hand. Learn to use it to your advantage.

The only thing you need to know to start taking pictures is "Press the Button." In the digital photography world, you're only constrained by how much storage space you have so take as many as you can. Experiment, have fun and show the world how you see it. Photography has taught me that every perspective is unique. We all bring some preconceived notions into the world that inform how we see it. That's what makes your photographic eye unique.

I'm going to leave you with an assignment today. Go out and take a picture of someone you don't know. Notice how freeing it is to capture the essence of someone else. Slow down and think about what you're trying to say and then press the button. That's the biggest step.

Featured image taken with a Fujifilm X-T20.

The Lofoten Islands in Northen Norway look like something out of a dream, especially when viewed in 4k clarity from filmmaker Nick Kontostavlakis. Filmed in February 2017, this look at the "foot of the lynx" will get you as up close and personal with the terrain as possible. I've said before that drone footage is not normally my favorite, but combined with the wild looking landscape and cold weather, Kontostavlakis really does justice to Lofoten.

Midnight Sun

According to VisitNorway.com, "between late May and mid July you can experience the midnight sun, whilst the northern lights can be viewed from September to mid April." Since the Gulf Stream travels so close to Lofoten, the area experiences a much milder climate than most places at the same latitude. Being from Texas, cold weather climates intrigue me and this definitely just made my list of places to travel to.

You can find out more about the Lofoten Islands by visiting their official tourism board page here.

Also, we should all have a code of conduct like this one.

Lofoten Code of Conduct

CAMP IN DESIGNATED AREAS

LEAVE NO TRACE. Avoid leaving traces in nature, such as cairns, tent pegs etc. Allow others to have the same great experience that you've had.

FOLLOW THE PATH AND AVOID CREATION OF NEW PATHS

THROW WASTE IN THE WASTE BINS. If you are in an area without bins, bring your waste with you until you can dispose of it.

USE PUBLIC TOILETS. If none are present, go in the ocean or dig a pit in the ground. Avoid using wet wipes, as they take a long time to decompose.

RESPECT PRIVATE PROPERTY. Camping closer than 150 metres from an occupied house or cabin is forbidden. You can only camp on cultivated land if you have an agreement with the land owner.

BE CONSIDERATE IN TRAFFIC. The roads in Lofoten are narrow, yet many use them. Keep well clear of cyclists when passing them. Be especially mindful of bicycles in tunnels.

BAN ON FIRES. During the summer months, there is a general ban on open fires. Use designated sites for fire, and make sure there is no risk for a forest fire.

RESPECT WILDLIFE. Avoid disturbing animals unnecessarily. Dogs must be kept on a leash at all times.

IN THE INTEREST OF THE ENVIRONMENT, as well as your own experience and safety, we recommend activities oranised by tour operator. You can find a list of such organisers here.

You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved. ― Ansel Adams

There's a tendency in travel film and photography today to bend towards sweeping and epic drone shots. Not only do they convey a sense of awe and beauty, they help establish the area and give a bird's-eye view of the destination. The problem I have with drone photography and videography is that it generally takes the user and audience out of the frame. The big, sweeping shots set up lots of space but without a good subject (Iceland and a few other rugged destinations come to mind) the shots tend to all blend together.

In his short film above, filmmaker and photographer Fabien Ecochard takes the time to blend into the people of Nice and use his camera to frame some immensely beautiful shots. By staying close to his subjects, Ecochard keeps you glued to the everyday activities in the seaside town in the south of France. Watching a man paint a sign never looked so cinematic and real.

Film as Humanity

Don't get me wrong, drone footage has some amazing uses in film and photography. I just think that a lot of times it gets relied on too heavily, pulling you up from the world of the film with it. The images that we see in Ecochard's film "Nicely" ground us in the every day, the mundane.

At 1:08 we see a girl sitting on the beach as a boat bobs in the waves in front of her. There's a simplicity in the framing. The calmness is a lesson in framing the right situation to convey emotion. There's hardly any camera movement in the first two minutes. The subjects keep the action flowing and their humanity keeps the images interesting. I'm particularly struck by the little girl curling her hair around her ears at 1:38. She seems as if she has no cares in the world. Isn't that what escaping to a beach town should be like?

A Lesson In Timing

The image at 0:55 of the plane flying above the market, as seen from a car's side mirror is almost genius and no doubt took a small miracle of timing. That dedication to staying in one place and being among the subject serves as a testament to persistence. You won't always get that amazing of a shot, but the more time you invest, the more opportunities you will be afforded.

Drone photography can create some brilliant images, just look at this example from "Icarus" by Vadim Sherbakov, but when relied upon too heavily, it can become a crutch. Maybe I'm just more partial to people than landscapes. I like to feel humanity in my images. Find a balance and you may just create some of your most beautiful images.

To learn more about framing, take a look at this short on center framing featuring the films of Wes Anderson. Rule of thirds be damned.

There's something cathartic about walking around water. The sound it makes washing against the rocks helps soothe the mind and soul in a way that few things can. My wife and I spent a few days in Galveston, Texas this week for work but we did manage to sneak away to walk out onto a rock jetty and feel the wind and salt air.  

seawall

After reading Daniel J. Wood's excellent intro to street photography post, I was dying to take my camera out and take some walking shots. The weather the day before had been incredible, the sun rising form the water like a fiery orb. The trouble was, work came first so I pushed off my photo trip until the next day. We woke up to this pea soup style fog at 6:30 a.m., barely able to see the water from our hotel on the beach. We decided to head out anyways and use the moodiness of the weather to get some haunting, vintage style photos.

galveston

I packed my Nikon D750 with only my 50mm 1.8D and headed down to the rock jetty outside of our hotel. The day before the beachside was full of people but with the descent of the fog, we had the jetty mostly to ourselves. The more I look over the photos the more I realize my love for moody, high contrast photography. There's a grittiness to the images that comes from heightened detail and vignettes.

galveston

I've struggled with finding a distinct style for my photography but if I had to make a choice, it would tend toward the look and feel of these images. The gray and cool tones just really feel like me at the moment. I'm sure that will change at some point, but right now I'm all about pulling the melancholy out of an environment.

galveston

So even if the weather doesn't cooperate, take some pictures. You never know what lies just behind the fog.

galveston

This is the first in a series about street photography from my good friend and photographer Daniel J. Wood. 

So, you are looking to increase your street photography chops? Great, because there is no right or wrong camera for the job. Whatever you’ve got, it will be perfect. Okay, maybe not perfect, but it will be more than adequate. Eventually, you’ll find a style and subject that suits you and can choose camera/lens combos for your needs. In another segment we will go through different camera modes and lens types, but for now let’s take a brief walk through the history of street photography and the philosophy behind it.

A Brief History

Street photography really started to take off in the 1930s and 40s with the popularization of 35mm film which helped the photographer move around much quicker and inconspicuously compared to the larger format cameras of the time. Also, film was starting to become more light-sensitive which allowed the photographer shorter shutter durations and the ability to shoot handheld in lower light levels.

Essentially journalists, guys like Henri Cartier-Bresson, Robert Frank and Walker Evans pushed photography as an art by capturing the humanist side of life. Finding emotion by using split-second decision-making in available light to create what Cartier-Bresson termed, with a book of the same name, “the decisive moment.” It was about creating something momentous of the mundane. Since then, the basic premise of street photography has been the same, taking candid photographs of humanity. Or as I like to call it, journalism of the everyday.

Tools of the Trade

Technology has come along way since then. From a smartphone to a full-frame SLR, you have the tools to get the image you want. The great thing about the camera in your phone is that the lens is similar in focal length to what most people use for street work with interchangeable lens cameras. For those who can change lenses, I am a big fan of 28mm (full-frame equivalent) lenses, which is what I have attached to my camera. Such a big fan that for my main camera, this is the only lens I have, but anything from 24mm-50mm is adequate. And as always, you are not limited to that by any means.

No matter what type of camera you are using you can easily practice several techniques to push your skills a bit further. Just because it is street photography and not some carefully crafted fine art still life doesn’t mean that composition is not important. There should still be a carefully defined foreground, middle-ground and background, but feel free to play with what is in those areas. When you use your camera enough, you start to know what the images will look like without even putting your eye to the viewfinder. Knowing this is important to composition as you will see like your camera does and therefore, what will and will not fit into the frame.

Filling The Frame

Pick a subject, a person is always nice to show emotion, but even a unique object such as a certain sign or building can be especially great if you use composition to create interesting angles and color (or tonality for those B&W shooters) changes. If it is a person, focus on them, wait for them to hit the right area of the frame or a particular glance, hit the shutter and let the magic happen.

Obviously light plays an important part, really the whole part, in photography so choosing a good time of day to shoot helps, particularly when photographing buildings. Different lighting situations will help create different moods for your images. Those times of the day in which strong shadows happen are great, but I will take shooting in or just after it rains any day — I have to take what I can get here in Seattle. Sometimes, though, the best photos happen in less than optimal conditions, so go ahead and take it. If the subject or emotion or whatever it is that grabbed your attention is great enough, who cares if it is “golden hour.” Just take the picture.

daniel j. wood

Daniel J. Wood is a writer, photographer and musician who currently resides in Seattle. He is a lover of music and art and is consistently working on blending different mediums together to create unique pieces that tend to focus on introspection through the outward examination of others. His works include “Self-Portraits” a hand-bound letter-pressed photo/story book featuring 4×5 fabric contact prints and “Untitled Dreams I, II and III” which are massive 35’ long prints. His ongoing project “The Streets” is a collection of photographs which document the surroundings in which he immerses himself in. The main image in this article is part of a collection called "Sea Breeze" that will be available as a book soon. Wood can be found on Instagram here.