Using 'props' in your street photography

By Ilex
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The ‘street’ is not a blank canvas. There are numerous elements that make up our surroundings, and these elements can be thought of as ‘props.’ The use of street props can help make an image stand out and accentuate certain details of the scene, as well as play a more central role to the subjects involved.

If only—Jerusalem, Israel Canon EOS 350D, 18–55mm ƒ/3.5–5.6 lens The compulsion in this photo is the irony and almost farcical placement of a soldier’s gun pointing to the world-famous golden arches of one of the largest and well-known corporations in the Western world. This is an example of where an image is not simply an image, but through the use of advertising and literally a prop (in this case the gun) it takes on a deeper meaning. If only—Jerusalem, Israel
Canon EOS 350D, 18–55mm ƒ/3.5–5.6 lens
The compulsion in this photo is the irony and almost farcical placement of a soldier’s gun pointing to the world-famous golden arches of one of the largest and well-known corporations in the Western world. This is an example of where an image is not simply an image, but through the use of advertising and literally a prop (in this case the gun) it takes on a deeper meaning.
If used successfully, these additional aspects can be used to the street photographer’s advantage. What it takes is an eye to recognize them. There are a number of factors that can produce striking images. Here are some things to look out for when searching for that frame-worthy moment.

Graffiti and signage

One example where such so-called props provide a visually engaging capture is the use of graffiti, signs, and graphical billboards. Graffiti is a common man-made element found in cities and urban landscapes, and while the beauty of such art can be debatable, there is no doubt that it can provide a striking backdrop to a scene.
Denied the Right to Move—London, UK Canon EOS 350D, 18–55mm ƒ/3.5–5.6 lens Taken during a protest, the juxtaposition of the words and their meaning surrounded by the feet of bystanders is quite fitting. Denied the Right to Move—London, UK
Canon EOS 350D, 18–55mm ƒ/3.5–5.6 lens
Taken during a protest, the juxtaposition of the words and their meaning surrounded by the feet of bystanders is quite fitting.

Words, text, and advertising

Text and advertising logos can also be used effectively within a scene, particularly where it may relate directly to the subjects captured in the frame.
Big Brother—London, UK Canon EOS 350D, 18–55mm ƒ/3.5–5.6 lens In essence this is simply a man walking down the road. However, the large eye plays an integral and fundamental role in the execution of the photo, and turns an ordinary scene into something extraordinary. Big Brother—London, UK
Canon EOS 350D, 18–55mm ƒ/3.5–5.6 lens
In essence this is simply a man walking down the road. However, the large eye plays an integral and fundamental role in the execution of the photo, and turns an ordinary scene into something extraordinary.
Whether you shoot with a digital SLR, a Holga or the camera on your phone, today’s cameras let you seize the moment and shoot whenever and wherever you like. This makes them perfect for street photography, the genre choice of some of the greatest photographers of all time, with names like Henri Cartier-Bresson, Weegee and Robert Frank turning gritty reality into iconic images. In The New Street Photographer’s Manifesto, Tanya Nagar will open your eyes to the photographic potential of our urban world, offering the tricks and techniques that put you in the right place, at the right time, and let you create amazing photos.

New-Street-Photographers-coverThe New Street Photographer’s Manifesto by Tanya Nagar
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