Learn to Make Better Street Photography Images | FUJIFILM Exposure Center – USA

6 minute read

Learn to Make Better Street Photography Images

Derek Fahsbender is an evocative street creative, but he’s no ordinary teacher. In the first article of his masterclass series, he blends tangible tips, a freeform approach, and insight backed by years in the craft

An old adage states there’s no substitute for hard work – and while true in practice, where does that leave the role of the mentor? No practical skill can be mastered by theorizing, but as with all aspects of life, we look to seasoned professionals to learn from their experience. So, perhaps mastery is less a case of working harder, and more to do with working smarter.

Formality is far from the basis of Derek Fahsbender’s teaching style. Still, he has decades of photographic wisdom to impart. For him, it all begins with a fine balance of knowledge and intention.

“It’s always tricky when you dive into the creative mind, because a lot of it hinges upon already knowing the technical aspect,” Derek muses. “To begin, you have to know how to maneuver your camera to get it to do what you want, but I feel people focus on that more than the emotion. That makes for clinical, boring work – and this is art.

“Over time, I’ve noticed how much of the best imagery contains imperfections. A lot of my own work is tied to me as a person, my life, and the changes I go through. Those same imperfections that make your life unique help shape your work as your own.

“Know your camera. I tell people all the time: read your manual,” Derek affirms. “Don’t try to learn everything there is to know all at once. Numbers and dials don’t necessarily translate to emotion. Some people start that way and eventually make the jump, but if I had to choose, I’d rather look at a technically imperfect image that makes me feel, rather than a technically perfect image that makes me question why it was made.”

The bare basics of manual exposure will undoubtedly become second nature before too long – and experimentation is made all the easier with X Series’ physical controls. Derek considers his FUJIFILM X100V a technically perfect street photography camera, but his main attraction to the system is simpler still.

“On one level, the gear totally matters, because you have to love a camera. You should want to carry it around with you always – especially for street photography.”

Tattooed street photographer sat on edge of fountain

Urging beginners to set their sights on subject matter, rather than technical perfection, is only a nudge in the right direction. Outlining what to look for, and how, is far more beneficial. Thankfully, Derek does just that. He lists three elements that should be considered above all else: composition, content, and light.

“These three aspects will make for a stronger image when they’re all combined, but that doesn’t mean they can’t stand alone. If you find one without the others, you don’t have to force the scene. Just focus on the purpose of the image,” Derek advises.

“When I see beautiful architecture, I’ll frame that because I like the composition. There’s nothing very emotional about it. There’s no story there. The true artists are the architect and the people who built it. I’m simply taking it in through my lens. If I see a human element, or if there’s a new building springing up in the background, now there’s an opportunity for narrative,” he adds. “The city’s constantly changing here in New York. The skyline I grew up with is different to the skyline now. So, you can look at that and see something purely compositional, or you can make a story there – you only need to recognize it.”

Light, as Derek views it, is the single most potent photographic element of all. It carries enough emotive power to elevate story and raise an otherwise average image to great heights. Much like live elements of his city compositions, Derek weaves light into the very fabric of his storytelling.

“When you break it down to a molecular level, good lighting is just about providing visual cues that will trigger emotion. Imagine a single source with a snoot, and it’s throwing a ray of light onto someone’s face. You’re immediately going to feel a certain way about that. Now picture the subject. Is it somebody who’s clearly lived a hard life, but found a light at the end of the tunnel? If so, the light source we’ve chosen is directly symbolic.

“That’s the kind of work our minds do when we look at lighting in an image,” Derek continues. “From the time we’re born, that’s all we have. Before we can speak or understand effective communication, we’re reading visual cues. So, when we think of triggering one emotion or the other, life has already done the lion’s share of the work. We just have to pull the right strings, in line with our stories.”

Two individuals playing chess on New York City street bathed in golden sunset light

Photo 2023 © Derek Fahsbender | FUJIFILM X-Pro3 and FUJINON XF33mmF1.4 R LM WR, 1/1400 sec at F5.6, ISO 640

Unlike lighting with a source and modifier, light on the street is far further beyond our control – which leaves only two options. We can work to command what we know will be available, or we can take moments as they come. Through the years, Derek has built a philosophy around the latter. His body of work is testament to the fact that these often-disparate elements do come together in beautiful photographic opportunities. There lies the magic of street photography.

“I’d say I’m 99.9% opportunistic,” Derek states. “I’m a firm believer in everything happening for a reason, but the whole spontaneity of it is what keeps me engaged constantly. I’ve learned that, while sometimes you can photograph yourself out of a slump, sometimes it’s just best to listen to yourself.

“This approach also makes creation easy because you’re not trying to meet a prefabricated vision in your head. When I’m out on the streets, I know my limitations. If I’m on the East Side and see the sun setting on the West Side, I’ll always want to try to make it, but it’s probably not going to be possible. So, I get rid of those expectations and just enjoy the opportunities as I walk over there.

Woman framed in ray of sunlight on New York City street, with grand building behind

Photo 2023 © Derek Fahsbender | FUJIFILM X-Pro3 and FUJINON XF27mmF2.8 R WR, 1/850 sec at F5.6, ISO 320

“There’s also no such thing as terrible light. It’s just a question of whether you’re using it for the right subjects. In high noon sun, I’m not going to make nice portraits in the park, but I can underexpose a little for saturation and contrast, then look for shapes and clean compositions. Or I’ll look for interesting characters who seem even more unique in that hard light.”

Having communicated a strong notion of what to photograph – and, perhaps most importantly, an idea of why – Derek parts with practical advice. One might assume in-camera tools stand in the way of an intuitive approach to picture making, but aperture and shutter priority modes, Natural Live View, compositional grids, and more are all valuable tools.

Photo 2023 © Derek Fahsbender | FUJIFILM X-Pro3 and FUJINON XF33mmF1.4 R LM WR, 1/125 sec at F1.8, ISO 6400

“The technology in cameras now can help people. Used well, all the functions make it so much easier to focus on the creative aspects, which is what I’m all about.

“One of my all-time favorite features of X Series and GFX System cameras is the Film Simulations and detailed adjustments. You can go in and truly have fun with the look, completely in-camera. Even if I end up editing the image fairly significantly, those adjustments made me see differently at the time. It makes for a more creative you in the moment.

“Remember,” Derek concludes, “any help is good help.”

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