A candid portrait is one where the subject is unaware that a photo has been taken. Henri Cartier-Bresson is considered a master of this, and his photos were reproduced regularly in articles about candid portraiture in the photography magazines I read when I started out in photography.
My newest ebook is published today.
The Candid Portrait: A Photographer’s Guide to Candid Street & Travel Photography is written for everybody who wants to learn how to create better portraits in the street.
Any search for advice on photographic composition results in a lot nonsensical information. The rule of thirds (which Michael Freeman describes as “probably the worst piece of compositional advice I can imagine”) is bad enough, but I doubt that any decent photographer is thinking about the golden mean, fibonacci spirals or armatures when creating photos.
Last week I looked at various ways in which you can speed up the Lightroom import process. All of them have something in common – no matter which method you use, you still have to wait for Lightroom to build 1:1 previews of your images before you can both view and zoom into them. Even then, Lightroom is not as fast as it could be for viewing your photos.
Perhaps one of the biggest frustrations Lightroom users face is the initial process of importing photos from your camera’s memory card. The more photos you need to import, the longer it takes, which can be more than a little annoying when you just want to get on with viewing the photos.
Note: This is an extract from my forthcoming ebook, The Candid Portrait. Join my newsletter to be the first to know when it is published (the sign up box is at the top of the column on the right).
In street photography a lot of things are outside your control. When the street is your studio, you have very little say over what is happening in front of your camera. Regardless, the principles of good photography still apply. Strong photos require an interesting subject, beautiful lighting and strong composition.
Yesterday I came across a copy of Robert Doisneau’s Portraits of the Artists. It’s a beautiful book, displaying photos from a personal project spanning many decades. The oldest are over 70 years old. Not only do they capture the likeness of the various artists (some well known, like Picasso and Hockney, and others who have been forgotten by all except a few), they show the environments they lived and worked in. Several artists were pictured in various states of squalor in tiny Paris apartments, and it shows just how much living standards have improved in the intervening decades. But this aside, there are a few other things I thought about as I looked through the photos.
Twenty months ago I bought a Fujifilm X-Pro 1 camera. I was so impressed by it that I also bought an X-T1. Since then I’ve hardly used the X-Pro 1, which was relegated to the status of backup camera / second body.