{"id":118859,"date":"2018-06-01T13:15:46","date_gmt":"2018-06-01T12:15:46","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=118859"},"modified":"2022-04-28T13:18:23","modified_gmt":"2022-04-28T12:18:23","slug":"street-photography-mirrorless-cameras","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/street-photography-mirrorless-cameras\/","title":{"rendered":"Are mirrorless cameras best for street photography?"},"content":{"rendered":"\t\t
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Using a small camera allows you to take pictures discreetly. Leica M (Typ 240), 50mm, 1\/4000sec at f\/2, ISO 250. Credit: Damien Demolder<\/p>\n\t\t<\/div>\n\t\t\n

In truth, any camera can be used to take pictures in the street. Some time before I was born, hardy photographers were using gigantic wooden-plate cameras to document the life and activity on the pavements of the world. Even I have used monstrous medium-format bodies, with flapping barn-door mirrors, to record the buzz of city streets in this century.<\/p>\n

It is pretty obvious, though, that just because a type of camera can be used to take street pictures, it doesn\u2019t make it the best type of camera for the job. I\u2019m not especially old, but in my time I have used just about every sort of camera (with the exception of sub-aqua models) to shoot in streets. I have come to the conclusion that models that are small, quick to use and don\u2019t make any noise suit me best. Those models are, almost invariably, mirrorless compact system cameras.<\/p>\n\t\t

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Make sure your camera is ready so you don\u2019t miss good opportunities. Panasonic DC-GX9, 25mm, 1\/8000sec at f\/1.4, IS0 200. Credit: Damien Demolder<\/p>\n\t\t<\/div>\n\t\t\n

What\u2019s so good about mirrorless?<\/h2>\n

All camera systems have positive and negative points \u2013 otherwise we wouldn\u2019t need so many. But for street photography, the benefits of mirrorless models far outweigh the negatives. These cameras are not all the same, of course, but in general they share smaller dimensions than most DSLRs and an ability to shoot without making a racket that attracts attention. Almost all mirrorless cameras have silent modes that allow you to take pictures with no giveaway sounds at all. This not only means that in a quiet place you can take pictures, but that if the first frame isn\u2019t what you wanted, you can shoot again and again without your subject moving out of your way.<\/p>\n

Size and weight are important when you are spending a day trying not to stand out. Mirrorless cameras won\u2019t put your back out and can remain concealed in a coat pocket or discreet bag. There is nothing like a giant camera bag to advertise the fact that you are taking pictures!<\/p>\n

One of the other real benefits is the ability to shoot in live view without a massive delay. From a short distance, I like to hold a camera away from my face to take in the composition on the rear screen. The distance allows me to see the whole image in one glance, which makes it easy to see how elements at opposite ends of the frame relate to each other. The other benefit is that you don\u2019t look like a proper photographer, so people are even more inclined to ignore you.<\/p>\n

My favourite mirrorless models also have touchscreen controls that make moving AF areas around so much quicker to achieve. In a fluid situation, where you can\u2019t be sure about exactly where the subject will be in the frame, it\u2019s a godsend to be able to simply touch the back screen at the right moment and have the camera focus on that spot \u2013 and even trip its shutter at that exact moment, which is seen in some models.<\/p>\n\t\t

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A wide focal length is great for including the surrounding environment. Panasonic DC-GX9, 12mm, 1\/100sec at f\/1.4, ISO 3200. Credit: Damien Demolder<\/p>\n\t\t<\/div>\n\t\t\n

The downsides<\/h2>\n

There are some downsides to using mirrorless cameras for your street photography, but none of them are life-threatening. The main one is short battery life, so you need to carry spares. Most of the models I use can get by on three batteries for a whole day\u2019s shooting and reviewing, plus editing photos in-camera and sending them to my phone on the way home. Manufacturers\u2019 own batteries can often be fairly expensive, so you can save a bit of money by looking for reliable independent brands such as H\u00e4hnel or Ansmann.<\/p>\n

Another slight disadvantage is that you have to be extra careful when changing lenses to ensure you don\u2019t get dust on your sensor. Some models leave the sensor exposed, so when there is nothing blocking the mount, the sensor is open to the elements. This can make some people nervous, though in reality I\u2019ve rarely had much of an issue with dust, and certainly no more than I have with my DSLR bodies.<\/p>\n

The only other downside to shooting with a mirrorless model is that some DSLR users will look down on you as though you have taken up potato printing. This is only a problem if you worry about what other people think. And, of course, the upside is their expression when you show them what you can do with your idiot\u2019s camera.<\/p>\n\t\t

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Using live view enables you to hold the camera away from your face so you can take in the entire scene. Panasonic DC-GX9, 25mm, 1\/2000sec at f\/1.4, ISO 200. Credit: Damien Demolder<\/p>\n\t\t<\/div>\n\t\t\n

What\u2019s so bad about DSLRs?<\/h2>\n

There is nothing bad about DSLR cameras and, of course, they can be used for street photography. However, the best-performing models tend to be quite big and the best lenses tend to be quite heavy. These systems might not feel too big and heavy at the beginning of the day, but by the end of the day they can do \u2013 and often by lunchtime. I\u2019m physically quite strong, but even I need to rest when carrying around a bag of DSLR lenses, and sometimes I want to go home before I\u2019ve finished shooting.<\/p>\n

When using a DSLR to shoot anything moving we need to hold the camera to our eye to see what is in the picture, which tends to give the game away when we are trying to be discreet. DSLRs can also draw attention as they create quite a clatter when the shutter fires. It isn\u2019t always the act of the shutter firing that\u2019s the issue, but sometimes it\u2019s the mirror flapping around and the sound reverberating through the hollow of the shutter box. In some places that sound doesn\u2019t really stand out, but in the majority of situations the distinctive sequence reveals that a photographer is at work. My problem is therefore that it makes it much harder to capture the world in its natural state.<\/p>\n\t\t

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Get in close to enable viewers to feel like they are there with you. Panasonic DC-GX800, 12mm, 1\/250sec at f\/4, ISO 200. Credit: Damien Demolder<\/p>\n\t\t<\/div>\n\t\t\n

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Damien\u2019s top 10 tips for street photography<\/h2>\n

Things to consider when out on the streets shooting with your mirrorless camera<\/strong><\/p>\n

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  1. A viewer will feel as close to the subject as you were when you took the picture, so get in close to make viewers feel as though they are actually there.<\/li>\n
  2. Don\u2019t take a bag \u2013 it will mark you out as a photographer. I try not to look like a photographer at all and I keep my kit in my pockets when I can.<\/li>\n
  3. Use the rear screen rather than holding the camera to your eye. This allows you to be more flexible with your viewpoints and enables you to see all around you as you shoot.<\/li>\n
  4. Use contrast to make your subject stand out from the scene: a bright subject against a dark background, or a dark subject against a bright background, for example. Make sure the viewer knows where to look.<\/li>\n
  5. Pay attention to light, noting its direction and qualities, and photograph it. When you make light the subject, your pictures will improve.<\/li>\n
  6. To blend in, find the smallest cameras you can. Small cameras go unnoticed in most places and they don\u2019t weigh very much, so you can carry them all day.<\/li>\n
  7. Short lenses make you get close and they allow you to include the environment, so the viewer can see where you were when you took the picture. This helps with impact and conveys the sense of storytelling.<\/li>\n
  8. Make sure you know your camera well, so that when you need a feature, you know how to access it quickly. There\u2019s nothing less productive than searching through an unfamiliar menu system while out shooting in the street.<\/li>\n
  9. Always have your camera with you. Amazing moments will not restrict themselves to your dedicated photo days \u2013 they can pop up at any time. Don\u2019t regret not having a camera with you.<\/li>\n
  10. Be selective about what and who you shoot as not everyone you see in the street is interesting, and neither is every place. Wait, be patient, and try to make your pictures say something.<\/li>\n<\/ol>\n
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    Make use of strong graphic shapes and lines to create a striking composition. Kodak P880, 10.8mm, 1\/2500sec at f\/8, ISO 100. Credit: Damien Demolder<\/p>\n\t\t<\/div>\n\t\t\n

    Why it works<\/h2>\n

    Here\u2019s a shot I took when I was working at Amateur Photographer<\/em>. I\u2019ve picked it mainly because I think it works, but also because it was shot on quite a basic model: the Kodak EasyShare P880 bridge camera. It appeals to me because of its simplicity, the graphic elements of the environment and the immediately obvious subject. It also shows an everyday scene in a manner we may not have seen before, which helps to create impact and a positive first impression.<\/p>\n

    The shot is of someone walking across the Millennium Bridge in London \u2013 which doesn\u2019t sound very interesting in its own right. The fact it was a bright November morning adds a layer of frost on the glass and a strong backlight to create clear shadows against an illuminated panel. I studied the shapes and looked for echoes and contrasts in the surrounding area, and used the corner of the Tate Modern to form a collection of triangles and hard edges that work well with the shapes and lines in the middle of the frame. The man stands out partly because he is the only natural form in a frame filled with hard edges and angles.<\/p>\n

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    Kit list<\/h2>\n