3 Things That Made Me a Better (Street) Photographer

1. Focusing on a Scene Within a Scene

When doing street photography in a big city like London, Paris, or any new place, it’s easy to feel overwhelmed by the sheer amount of people, architecture, and activity. During my first visit to London, I quickly felt intimidated and uncertain about what to photograph because so many things were vying for my attention.

I soon realized that this sense of overwhelm was hindering my photography more than helping it. On my first photowalk, my pictures weren’t particularly remarkable; I was simply capturing whatever caught my eye because it was all new to me.

What I learned from this experience is not to immediately photograph the first interesting building or reflection that I see, just for the sake of having something to take home. Instead, I now focus on specific elements within a scene that align with my style of photography, creating more intentional and meaningful images.

2. Learning to See

One of the most important lessons I’ve learned is that a good camera doesn’t make a good photographer, and this couldn’t be more true. Giving someone a Leica won’t magically result in great photos. What truly matters is how you see the world. In street photography, the camera is often secondary to your ability to observe.

Creating a compelling image comes down to recognizing light, composition, and color, and learning to anticipate moments before they unfold. Since adopting this mindset, I’ve changed my approach to photography. Now, I only raise my camera when I see something with the potential to produce a strong image. I don’t expect every shot to be an Ernst Haas-level masterpiece, but this approach helps me avoid unnecessary “bad” photos.

Training your eye to see is a daily exercise, even when you don’t have your camera with you. If I neglect this skill, I find it harder to capture good frames on the street because it feels like I have to relearn how to see. Like any skill, regular practice leads to progress.

Of course, even with practice, there are no guarantees. Some days I barely take any photos, while on other days I snap away and end up with 4-5 photos im really happy with. Many factors contribute to this, but consistently working on your ability to see greatly improves your chances of capturing a good image.

3. Experimenting with Various Focal Lengths

Experimenting with different focal lengths is a fantastic way to discover your personal street photography style. This can be a real journey, and even now, I find it hard to say which focal length is truly my favorite—it often changes over time.

With wide-angle lenses like 21mm, 24mm, or 28mm, you can play with geometry and perspective, much like Alan Schaller does in his striking black-and-white work. Alternatively, you can get close to your subjects, as photographers like Bruce Gilden often do.

I personally prefer to use wide-angle lenses in a way that emphasizes geometry, similar to Schaller’s approach.

You can also use a wide angle lens for street portraits, which can make photos look really dynamic; however it can feel invasive or risky because you have to get really close to people to make this focal length work. You just have to be aware that some places don’t lend themselves to this style of photography like small towns or places with few people passing by. For this reason, it’s not my preferred method.

Wide-angle lenses offer a unique perspective by pulling the viewer into the frame through distortion, making images feel immersive and dynamic.

If wide-angle isn’t your thing, you can always go tighter! My preferred focal lengths for street photography are 40mm, 50mm, or 75mm. These lengths give me the flexibility to stay a bit further from my subject while still creating intimate, abstract compositions. With a tighter focal length, you can focus more on details and moments within a scene, providing your viewer with a clear subject. I enjoy this level of control over what is included in the frame and what is left out, allowing me to craft compositions I’m truly happy with.

The downside to tighter focal lengths is that they’re not always ideal for everyday photography, especially when shooting family or friends. Capturing these kinds of moments can be challenging with a 50mm or 75mm lens—I’d usually opt for a 28mm or 35mm for such occasions.

Both wide and tight focal lengths have their pros and cons. If you’re unsure which suits you best, starting with a zoom lens can help you explore various focal lengths before committing to a prime lens that fits your style and way of shooting.