Creative Composition in Street Photography – Part Four

There are many street photographers that only shoot in a candid fashion.  They wish to remain invisible, unseen, photographing the streets without interacting with their subjects.  Some feel that this is the only way street photography should be shot, preferring the more candid approaches we discussed in Part Two and Part Three of this series.  I don’t subscribe to that philosophy, however.  Yes, I love shooting candidly, but street photography offers so many opportunities to interact with and meet new people that I would find it restricting to limit myself to one method.

Interacting with strangers can be intimidating for some people though.  My students often say that approaching a stranger on the street, and asking to make a portrait of them, is the one thing that they are the most nervous about.  In part four of this series, which is a re-written and expanded version of an article I wrote on street portraits a few years ago, we are going to discuss some methods you can use to ease that discomfort and become confident making street portraits.

first things first – WHY YOU SHOULD Be Confident

When you are considering asking someone to pose for a street portrait what you are really doing is paying them a compliment.  You are saying that there is something unique about that person, something so interesting that you are compelled to capture it.   This is a beautiful thing, so there is no reason to be nervous.  As a matter of fact, nervousness shows and will only serve to make the interaction more awkward.  Be proud of your work, be proud of wanting to meet someone new, and be proud of wanting to create art by making a portrait of someone.

Another thing to consider is this:

“What is the worst thing that can happen?”

The worst, ultimately, is that the person says no.  That’s fine, nobody ever died from being told no.   Sure, it can be soul crushing when that amazing person declines your request for a portrait, but life goes on and you continue shooting.  It’s all good.

ease into it if you are nervous – Shoot street entertainers

A great way to start making street portraits is to begin by photographing street entertainers.  These artists are used to being in the limelight and will usually not have a problem with it.  One strong word of advice though:

Pay them!

When I am shooting on the streets I keep small denominations of currency in my bag just for situations like this.  We should always remember that street entertainers are artists, who are out there working for a living.  We are artists too, so we should be respectful of this fact.  You will always get better portraits from street entertainers if you throw a small amount of change in their hat first.

Once you are comfortable approaching and photographing street entertainers, don’t forget to really work the scene:  move around, shoot from different angles, continue adjusting your composition until you are happy with your image.  All too often, people who are nervous fire off one or two quick un-composed frames and then hurriedly move on.  You should take the time to compose a decent shot.  Shoot a lot in the field and then edit later, when you are on the computer and can take the time to select your favourite image from the series.

Here are 3 images, from a series of probably 15 or 20 frames that I shot of this gentleman in Las Vegas:

It is also good to grab a detail shot or two if it is appropriate, which can make for a nice diptych to present later.  Here is a shot I grabbed of this gentleman playing guitar, then a close up of his hands afterwards:

Approaching Strangers

This is where it can get harder for some people:  you see that amazing person, you know that they would look perfect in a portrait, but you are unsure about approaching them.  Here are some things to consider:

Does it look like the person is open and receptive to being stopped for a few minutes?  If the person is talking on their phone, probably not.  If they are walking full speed down the sidewalk, with intention and purpose, they are probably in a rush and also not likely to have time to stop.  When I see somebody I’d like to make a portrait of my first consideration is usually this:

Do I think they have the time?

If I think they do, the next thing I try to find is a “hook”, or a reason to approach them and begin a conversation.  It could be a hat they are wearing, a dog they are walking, a painting they are working on, a tattoo, etc.  I’m looking for an icebreaker that I can use to start a conversation.

For this gentleman it was his bird:

While for this lady it was the art she was drawing:

Once you have initiated the conversation, don’t bring up your camera right away.  You approached this individual because they are a person, so take the time to get to know them a bit.  This is the beauty of making street portraits:  your camera is a passport to meeting new people and making new friends.  Enjoy that aspect of it!

After speaking with them for a minute or two you will get a feel for whether or not they would be amenable to a portrait.  If you do decide to ask them, be sure to let them know that it will only take another minute or two.  Be respectful of their time.

If they agree, it’s time to shoot!  As discussed above, don’t just nervously pull up your camera, snap a frame or two, and then quickly walk away.  Do the job justice:  look around for a clean background.  Don’t be afraid to change your angle or composition.  Compose the image properly and make a portrait of them that they would be proud to have.  Again, shoot a lot, you can pick the winner later.  Here are  a couple of examples:

Finally, always offer to send the person a copy of the photograph via email.  Be generous, as they are doing you a favour.

What about when you can’t talk to them?

There are times when you don’t have the opportunity to have a discussion with somebody.  Perhaps there is something physically separating you, perhaps you are in a noisy environment, perhaps there are other people around the person, etc.

In this case simply making eye contact with a smile, and lifting the camera up to indicate that you’d like to take a photo, is often all you need.  If they smile back and nod their head you are good to go.  If not, that’s ok too…. nothing ventured, nothing gained.  This process worked perfectly fine for the portrait below, shot when I was in Amsterdam with this lady who didn’t speak English (and I don’t speak Dutch):

Practice the important things often

Becoming confident at making street portraits is really about having great people skills, much more than it is about the camera, and you can practice developing these skills anytime:  engage your waiters and waitresses in conversation, have chats with people waiting in line at the bank, or speak to the person walking their dog past your house.  Being able to engage a complete stranger in conversation is like a muscle, it can be strengthened, which will better prepare you for when you are out shooting on the street.

One final thought…

Don’t be afraid of rejection when you are out there.  The reward when somebody says yes, and you get to make the art that you love, is always worth the risk of hearing somebody say no.   This final image, from the top of the post, is one of my favourite street portraits.  If I had never asked, I never would have taken it.  Be brave.

I hope that you found this post helpful.  In part five, the final post in this series, we will look at shooting detail shots on the street.

Until then!


Click here to view part FIVE of this series

20 thoughts on “Creative Composition in Street Photography – Part Four

  1. Saxon says:

    Hi Ian. I have found your blog via the Reader. So thank you WP 🙂 This is just the article I have needed! I love street photography but as a shy person by nature I find it very hard to approach people. I really take that ‘no’ as a personal affront. I know I shouldn’t but I always do.

    My best days out shooting are always when I have my game face on. SLR over the shoulder and a ‘go get em’ attitude. But those are the exception rather than the rule. Takes a lot of energy I find. It’s ironic that I struggle really as I have no problems giving a talk to 1000 people but almost melt into the pavement sometimes in the thought of asking someone permission to take their photo. So much so that I have even lied about my approach to street photography. #yegads #godforbid. This post should really be entitled – I’m too scared to approach people, so I don’t.

    All of these tips are great. And it seems I am on the right track with paying the overt street entertainers. It gives you that ‘licence’ as such. This spring I’ll pluck up the chutzpah to follow some of your other great advice. And to think my first ever paid job was approaching people back in the day when I was a backpacker at the Munich train station and getting them to come back to the hotel I was working for. Would sometimes come back with 20 or more travellers at a time. Haha. Need to get that bravado back. A follow from me.


  2. lefey says:

    Agreed! .. I think it shows more photographic integrity to take a street portrait this way, rather than grabbing a candid , secret image that the subject never sees and has no involvement in.

    • Ian says:

      I don’t think there is anything wrong with candid photography, some of the most famous photographs in the world are candids to be fair. I do love the connections I make with subjects when I make street portraits though.

  3. Hank R says:

    Hi Ian:

    Thank you for another instructive post! I enjoy your site and your photography.
    A few quick questions regarding the gear used for these portraits. Did you use the X-Pro2 and the XF 56mm f/1.2 and XF 35mm f/1.4 (or XF 35mm f/2) for these shots?
    Again, awesome work!

    All the Best,


    • Ian says:

      Good morning Hank!

      These photos would be a mix of the X100t, with either the X-T1 or the X-Pro2 and the 35mm f/1.4. They were all taken at different times so I’d have to look at the exif data to be sure. My street shooting is always done with an X100 series camera, or a body with the 35 on it though.



  4. Iane Gomes says:

    Ian, this is one of the best blog posts I’ve read about street photography. I use to get out and photograph some people everywhere but I am a shy person and it’s a challenge to approach people, for this reason I am used to shot when they are not looking at me. Now I am so encouraged to approach people more often. Thank you so much!
    I am also blogging about photography since January and your blog is so inspiring. I am from Amazonas, Brazil and it is in portuguese but I would be glad if you could see my portraits here:

  5. streetphotogssi says:

    Hello Ian. I’ve just read your four articles. Simply superb, thank you. Your technical suggestions and supportive strategies are very useful. I am 74 and been “on the streets” for seven years and can relate to everything you’ve said in your articles. One thing that amazes me is how much my visual awareness has expanded when I’m on the streets: images pop up everywhere. My confidence has gone way up, and as a result, my images have improved. Very much looking forward to your fifth article in this series. When might I read it? BTW, your image of the guitar player on Granville Island is great. I’ve spoken with this musician as well.

    Regards from Salt Spring Island,


    • Ian says:

      Good evening Bob!

      Many thanks for your kind words. I worked on SSI for a couple of years early in my former paramedic life… maybe in 2000 or 2001? I love it there.

      And yes, I totally agree that street is an excellent tool to enhance your visual awareness.

      Best wishes,


  6. Mark Wyatt says:

    Love the series. I have done a lot of casual street photography while travelling- mostly candid, and in the past mainly with instamatic digitals and iPhone.I was in a Starbucks with my nice camera and asked the cashier to pose and he turned me down. No big deal. There was a long line (your point about time), that may have been why. That is generally the worst outcome. Based on your article, I will probably try again in the future (keeping in mind some of your tips).

    • Ian says:

      Hey Mark!

      Travel and street photography go so well together, don’t they?

      Definitely keep working on your street portraits. Rejection is not a bad thing at all, there are always other subjects out there and each encounter helps you develop confidence in approaching people.



      • Mark Wyatt says:

        Thanks, Ian. I think it was Tony Robbins who said “NO is YES”. The logic related to sales, but it went like this: whenever you reach out (to sell or whatever) you will be rejected a certain percentage of the time- say you cold call and 9 out of 10 calls is a dead end; that means if you ask 9 times and are rejected you can rely on getting a yes on the tenth (maybe a few more or less; this is statistics). So start asking, let the “NOs” flow off you knowing soon you will get a YES.You cannot get the YES until you endure the requisite number of NOs.

  7. Isabella Garces says:

    this was a really great article, Ian. I find that I never approach people and I think it changes the entire dynamic as well as the shots that you can get. Thank you!

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