Masterclass with Brett Harkness - Street Portraiture

Street portraiture

Street Portraiture

Brett Harkness and three AP readers travel to Newark in Nottinghamshire to photograph passers-by at the town’s historic market. Gemma Padley picked up some expert advice on how to take great candid street photographs

Location

Newark-on-Trent

Situated in leafy Nottinghamshire, Newark-on-Trent is steeped in history.

Newark Castle, now ruined, is still an impressive sight to see.

King John was allegedly poisoned and died there in the 13th century.

The River Devon runs through Newark, and the town itself lies on the edge of the River Trent.

Your AP Master…

Brett Harkness

After studying photography at university, Brett became chief photographer on a Royal Caribbean Cruise Ship where he developed a passion for photographing people. In 2001, he and his partner Kristie founded Brett Harkness Photography in Rochdale, Manchester, specialising in documentary wedding photography, lifestyle shoots and model portfolios. To find out more visit www.brettharknessphotography.com

The AP readers…

Barney Allen

Barney, 38, from North Yorkshire, works in telecom sales and is interested in portraiture, street and live events photography. He uses a Nikon D3. ‘It’s sometimes difficult to find time to take pictures so it was great to spend a whole day dedicated to photography,’ he says. ‘I enjoyed seeing how Brett approaches street photography and I took on board valuable advice such as paying attention to your surroundings and watching and waiting for things to happen.’

Simon King

Simon, 46, is an IT consultant who lives in Cwmbran, Gwent. He uses a Canon EOS 5D Mark II. ‘I’ve done street photography before, but today was a chance to learn from someone who really knows what he is doing,’ says Simon. ‘From Brett I learnt how to ‘open people up’ by speaking to them. I realised that getting butterflies when approaching someone is natural and if they don’t want their picture taken it’s not the end of the world.’

Ed Sprake

Ed lives in Manchester and is a marketing manager for a scientific instrumentation manufacturer. He enjoys events, street and portraiture photography, and uses a Nikon D90. ‘I learnt how to look at things in a different way today,’ Ed says. ‘It’s not just noticing an interesting subject, but thinking carefully about how to combine different subjects in the frame. I find observing everyday life fascinating.’

No photographic subject is more in the public consciousness than street photography. As authorities and security teams make it increasingly difficult for photographers to take pictures in public places, you’d be forgiven for wondering if it is worth the effort at all. In this month’s Masterclass, expert Brett Harkness shows three readers that it is, and explains how, with a little confidence, a keen eye for detail and artistic flair, it is possible to create some great images.

The three participants have brought their own cameras and lenses with them and Brett has specified they use a 50mm lens or one that can be ‘taped down’ to this focal length. ‘The aim of today is to get in close,’ says Brett. ‘I want you to use your feet rather than rely on a telephoto zoom to get the shot you want. This approach requires a certain amount of courage, but by getting in close you will find your shots have more impact and are more gritty and “real” than if you had taken them from further away. With a 50mm focal length you have to think about what your subject is doing and also about the background. Ask yourself, “What is in the background and will this make or break the picture?” Try exploring a subject from more than one angle if possible.’

The chosen location is Newark town centre in Nottinghamshire, a historic market town with one of the largest cobbled market squares in the country. Overlooking the market is the town hall, which was built in 1776, and there are many other beautiful buildings bordering the main square. The place is bustling with people so the readers have numerous opportunities to capture a variety of shots. The intention is to start in the lively market square and then explore surrounding streets to see what else they can find.

One of the main things Brett wants to impress upon the readers is how to make an image out of ‘nothing’ – how to look hard at scenes where, on an initial glance, there is little of interest, but on closer inspection pictures are there for the taking. ‘The key to successful street photography is learning to tune your eye into what is going on around you,’ says Brett. ‘Look for the ordinary and turn it into something beautiful. As we wander round we’ll practice “looking” and “seeing” – really noticing what is happening around us. Even the most ordinary scenarios can offer a potential photo opportunity. You will never look at a street in the same way again!’

Taking Part

Every month we invite three to five AP readers to join one of our experts on an assignment over the course of a day. The experts are Lee Frost (landscapes), Brett Harkness (portraits), Paul Hobson (wildlife) and Clive Nichols (gardens). This is Brett’s second Masterclass, and he will appear again in November. Lee will appear in July and October, with Clive appearing in August and December, and Paul in September.

If you would like to take part, visit www.amateurphotographer.co.uk/masterclass for details of how to apply. Please remember to state which Masterclass you would like to attend and make sure you include your name, address, email address and daytime telephone number in your application. Each participant will be able to use his or her own camera, lenses and other equipment.

Using other elements to tell a story

Using other elements to tell a story

One of the things Brett suggested to the readers was thinking about how to create a narrative thread in their images. He reminded them about using other objects in the frame to complement their main subject and so add to the ‘story’ of the image.

‘I’m always looking for a focal point and thinking about how I can incorporate other elements around it,’ says Brett. ‘A tightly cropped portrait with a blurred background is great, but think about how you can use background details to reveal more about the subject. Including things such as people, fences and so on can help create a striking geographical portrait.

‘Use other subjects in the frame with care,’ he adds. ‘The last thing you want is an overcrowded picture with no clear subject. Finding a way to balance the separate elements so as not to confuse the viewer is key. Thinking about the composition before you raise the camera to your eye will help.’

‘Think about how you can use background details such as people and fences to reveal more about the subject’

Photographing detail

Photographing detail

Brett reminded the readers not to overlook photographing objects and encouraged them to experiment with making these the subject of their compositions. Ed’s image of a letter box, in which he focuses on the front section and uses a shallow depth of field, is one example where photographing part of a scene has created impact.

‘You don’t have to only go in pursuit of full-length shots of people,’ says Brett. ‘Small details or sections of a person can be just as revealing. An inanimate object – a wall or doorway, for example – can make an equally good street photograph if framed in an interesting way. It’s also a good way to build up courage. Shooting a still-life image after approaching someone gives you time to “regroup”. It allows the adrenaline to build up again.’

Brett suggested the readers set a larger aperture of f/5.6 to blur the background in close-up shots and create maximum impact.

Confidence and when to approach your subject

Confidence

A key part of street photography is confidence – a confidence in your ability and conviction in what you are doing. ‘You have to have guts, but not be threatening or intrusive,’ says Brett. ‘A certain amount of self-belief is necessary, but you have to be careful not to overstep the mark and get peoples’ backs up. It’s all about reading the situation you are in. You have to know when it is worth pursuing the shot and when it is better to back off. This is something that comes with practice.’

When to approach your subject

Another point Brett raises is the question of shooting candidly or taking the picture with the person’s full knowledge and consent. ‘Sometimes you are better off approaching the person and talking to them directly before taking the picture,’ says Brett. ‘In this way, you avoid a scenario where the person suddenly turns round, sees you taking a picture and reacts badly. By talking to the person and getting them on-side, you can produce some really great, natural-looking portraits. The worst that can happen is that they tell you to go away. Although it can be an awkward experience, it is not as scary once you have done it a few times. The adrenaline rush will make you want to come back for more!’

Blending in

Blending in

‘One of the most important things in street photography is fitting in with your surroundings,’ says Brett. ‘When I’m travelling, I’ll go to a place I want to photograph and just sit there or wander around and see if I am “accepted”. When you blend in, people are less likely to ask questions and wonder what you are doing. You are never going to be invisible, but you do need to be as inconspicuous as you can. Be aware of how people are reacting to you and consider people’s feelings, but don’t overcompensate and hang back for fear of taking the picture. You don’t want to come back from a day’s shoot cursing yourself for the shots you didn’t take because you were too shy or afraid.’

While there is an inevitable amount of luck involved in street photography, Brett insists that it is also a case of putting yourself in the right place and waiting for things to happen. ‘Sometimes it’s helpful to allow an image to form in your mind first and wait for a subject to walk into shot,’ says Brett. ‘An exercise you might like to try is to spend an hour concentrating on a fixed spot and photographing whatever passes in front of your lens. It’s a great way to get a variety of images and create a sequence that depicts everyday life.’

Composition

Composition – some more things to think about

Look for colour and think about how you can use it creatively in your compositions

Brett suggested the readers experiment with abstract images by framing their shots in an unusual way or focusing on something a little out of the ordinary. In the right-hand image Brett captures a fleeting shadow on the back of a lorry. In doing so he creates an unsettling feel as the composition resembles something from a horror movie – the silhouetted figure looks a little like Freddy Krueger from the A Nightmare on Elm Street films.

Another way of creating a more abstract image is to use colour and movement creatively. In the bottom-left image a man wearing a red jacket is walking his dog as a red car speeds past. The blur of the moving car and man makes them stand out against the dull grey background, creating an image that is a little more eye catching than the average street shot.



Try an abstract approach and look for shadows or reflections to use in inventive ways

Other techniques you might like to try include using the device of a frame within a frame, or overlaying reflections to create a layered effect. You could also try placing subjects at the very edge of the frame or even chopping them in half. The possibilities are only as limited as your own ideas and vision.

‘With street photography it is important to allow yourself the time to go out with nothing else on your mind,’ says Brett. ‘I’ll switch off my phone and concentrate entirely on looking for pictures. It’s fine to grab a shot if you see something when you are walking down the street, but you’re not going to get a body of work that hangs together as a whole unless you make time to get out there and do it.’

Spotting potential pictures

Spotting potential pictures

The biggest challenge for the participants was learning to spot potential pictures as they happened and to react quickly. Fortunately, Brett had lots of advice to help them ‘tune’ their eyes into their surroundings. One tip was to slow down and be calm about how they approached their shots. ‘When there is so much going on you can afford to be selective about what you take pictures of,’ says Brett. ‘Think about what you want to capture and what you are trying to communicate through your images. Don’t be in a hurry to get out your camera and start snapping straight away.’

Brett touched on the often discussed and greatly dissected question of when is the opportune moment to put the camera to your eye and press the shutter. ‘The more you go out and wander around taking pictures, the more confident you’ll be and better able to anticipate when to fire the shutter,’ he says. ‘It’s an intuitive process and not something that is easily taught, but it can be learnt.’

A note on photographers’ rights It is not illegal to take pictures on publicly owned land, but if someone objects to being photographed, move on. If a police officer or security guard approaches you, be polite and explain what your images will be used for.

To watch a video addressing some of these issues visit: http://www.youtube.com/watch?v=RvlgLgA4L5I.

Visit www.amateurphotographer.co.uk for more information.

Capturing the moment

Capturing the moment or creating an aesthetic shot

Brett explained there is no single ‘type’ of street photography image. Sometimes the emphasis is on the design or ‘look’ of the image, and at other times it is about relaying a message to the viewer – commenting on how people live, for example. In this instance, composition may be less important. ‘Keep in mind what you are trying to achieve in your image,’ he says. ‘Are you trying to capture the mood and ambience of a busy street or do you want to create a graphic, aesthetically pleasing image with an emphasis on composition? Thinking about things like this will help you to create images with a clear purpose.’

Striking this balance is not easy to do, though. ‘There is an inevitable trade-off between capturing something as it happens and taking time to create an image that is pleasing to the eye,’ says Brett. ‘You don’t want to lose a shot because you are thinking too hard about the composition, but equally you don’t want to end up with images that are jumbled and lack thought. This is again something that will get easier with practice.’

Camera Settings

Camera Settings

Brett explains the need to keep camera settings simple to allow the participants to concentrate on their compositions. ‘Generally, when I’m shooting street scenes I’ll work in aperture-priority mode and under or overexpose the scene depending on what I want from the image,’ says Brett.

‘I let the camera work out the exposure and then tweak this manually. I find this is the best way of getting the exposure I want for a particular scene. You want to minimise the time spent fiddling with your camera settings and instead concentrate on taking pictures. It sounds obvious but you don’t want to miss a shot because you are worrying about your exposure,’ he adds. ‘Although you do have to think about this, don’t worry excessively about what settings you are using.’

Top Tips

Top Tips

• Look for background details to incorporate into your composition. These extra elements can enhance the story of your image.
  
  
• Think about where to place each object to complement, not detract from your main subject. You want to create a sense of balance between the different components in the frame.
  
  
• Be careful not to overcrowd your background. Sometimes a simple background works best.
  
  
• Don’t feel restricted to holding your camera vertically or horizontally. Try shooting at an angle and see what effect this has on your composition.
  
  
• Look for the unusual. ‘Switch on’ your roving eye and look carefully at what is going on around you. If you see something photo-worthy, take the picture and move on.
  
  
• Learn to anticipate when things are about to happen. There are often signs that action is stirring, so get used to noticing things such as people in conversation or walking and try to guess what might happen next.
  
  
• Keep your lens cap off and your camera on at all times. You don’t want to miss the shot while you are turning your camera on.
  
  
• If someone asks you what you are doing, be polite not defensive. You might find it helpful to say you are working on a personal project or just testing a new camera.
  
  
• If you make eye contact with someone, smile. It’s very difficult not to smile back at someone who smiles at you and this should help allay any mistrust.
  
  
• Don’t let your nerves get the better of you. Be bold, but not intrusive.
  
  
• Remember that if you are standing on publicly owned land you have every right to take pictures. You shouldn’t have to justify what you are doing, but be prepared to do so if you are stopped.