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Street photography without pissing people off?

I think it is getting harder and harder to take candid street photos. Some have said that it is all about the photographer's vibes. If the photographer is relaxed, people will be okay with and if they seem uptight or creepy, they will object. In my experience and those of my colleagues, this notion is rubbish in the modern world. If you are a single male taking pictures, it is assumed that you are a predator from the get-go regardless of the so-called vibe. This is a deeper philosophical, moral and political issue than it might seem. Many say one should ask permission of the subjects and famous photographer Martin Parr says he does. But that is a different thing when people know they are being photographed. Let's put this in perspective. Autocratic governments want to control all images of society., It is all about propaganda. Of course, they hate spontaneous images as they might not portray things in the ideal light for them. The president of France has said it is critical to have unposed photos to "document the culture". One question is ownership. Some would say that each individual has exclusive ownership of any image mage of them under any circumstances and anything else is an invasion of their privacy. This is not what the US supreme court has said. Let's compare to other arts. The most recorded jazz song, "The Girl From Ipanema," was known to be inspired by a real person. Some would say that's okay, it's a song and of course, artists have a license to do anything in songs. They would say photos are different because they are so realistic. But is that a valid distinction?
 
The great Eugene Smith was doing a photojournalism piece on the terrible scandal of Minimoto poisoning of people in Japan. Companies were dumping mercury wastes that caused terrible birth defects. Factory managers incited workers to beat the sh*t of out Smith, which they did, and stole his equipment. To their credit, Minolta felt deeply ashamed about this and gave him free equipment. But in the end, his pictures did appear in LIfe magazine, which caused embarrassment to the government of Japan and contributed to reforms of the pollution. So what would have happened if he had asked permission of the companies and the involved workers about what he was allowed to photograph? It would have been lies.
 

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Minamata had nothing to do with street photography. It was a photographic essay—photojournalism essentially—that took three years to make. The People Eugene Smith photographed were well aware that he was photographing them—giving him their full consent—and, more importantly, why he was photographing them. You get the full story here, telling how much he got close to these people: https://www.magnumphotos.com/newsroom/health/w-eugene-smith-minamata-warning-to-the-world/
 

This resonates. I gave up even trying if children are present. There's something about the current children worship that's deeply disgusting, even outside of photography. I am also looking for ways to improve, but I have found that my attempts at candid, frankly, produce mediocre images, so I stopped. They never resonate with me. On my favorite street photos the subjects are always aware of my presence.
 
Lately, I’ve found everyone is staring at their phones and not paying a bit of attention to what I’m doing. TLR works great. With 35mm or my digisnapper, I like the good old Nikon 105mm portrait lens that puts me just far enough away to be invisible.
 

Yes - if you want to take photographs of these phone zombies - which I don't.

Usually I found the easiest / less annoying way is that I just take the goddam photograph without any tensions or thoughts. Anything else shows and makes people annoyed / bothered. Overthinking makes street photography very difficult.
 
I've taken some street shots in NYC where I think it is easier. People are more relaxed about it. But I always questioned myself. Why am I doing stuff that gives me a queasy feeling in my stomach? The whole point of photography is to enjoy it while you're doing it. If I have to think that I;m going to be attacked at any moment or someone is going to give me the bird, why am I doing it?

I think that's why I like landscapes better. It's quieter, less threatening, more spiritual, and I don't have to ask permission (usually).
 
I shoot mostly landscapes these days too, definitely more relaxing than shooting street photographs. But I do enjoy the latter, partly because there is a level of risk/excitement that comes along with it.

I haven't shot street photographs since the start of the pandemic, but when I did I was doing it in San Francisco which is/was full of tourists so picture taking is very common - mostly with cell phones but you do see quite a few 'real' cameras too. That makes it reasonably easy to blend in.

In big cities like San Francisco and New York, there are often outdoor protests, demonstrations, etc. that can be a good source of street photos, and attendees seem to have a reasonable expectation that people will be photographing, so there is less chance of an angry confrontation. Pre-pandemic, I attended the 2020 Women's March in San Francisco and came away with several good candid photos and no black eyes

Contrary to what others have said, if I'm going for candid shots I try not to make eye contact with people in the scene - before or after the shot. Looking at someone and smiling after the shot just confirms that you did purposely take their photo, so I intentionally avoid that and make a habit of looking in another direction immediately after tripping the shutter.

To date, I haven't had any run-ins with angry people after taking a street photograph, but I'm always conscious of the possibility. I'm a relatively big guy at 6'4" tall so that might help as well
 
THE Very Essence of Street Photography.
It is all i do.
Where laws and customs allow...........just take the F'ing Picture.
 

I think your gut feeling is correct. Don't do it if you don't enjoy it.

I think street photography has most of the pressure of performing. "I need to get that amazing street photo". You crawl, you walk and try to find it all the time. And the "decisive moment" just doesn't happen very often. Then because of the "pressure" you start to be desperate and take mediocre or crappy photos with stress and it shows around. You get home with mediocre shots, exhausted and frustrated and maybe in a bit of guilt. You might have even heard negative comments. Then you think what is the point. Answer is yes, you are correct. There is no point. Stop it. Listen to yourself.

We all know that when picture shows itself, it is easy and straightforward to catch. Everything is suddenly in same rythm. You know that you got it. The decisive moment. The right moment. Then you just act. Like a frisbee that lands to your lap.

If you have to think/discuss about how not piss people off then you are out. Just realize the situation & reality and adjust.
 
I don't know if there is anything new to add after 13 pages of advice (of which I read 6), but FWIW ...

I like to find people being un-self-consciously funny, bizarre, relateable or beautiful - all qualities that are subjective and sensitive, so for me street photography is definitely game-hunting not co-operation. I don't actually get the chance to do it much because I live in a very rural location. On the rare occasion that I do spend an hour or two in town unencumbered by shopping bags, I pretend to be a tourist and to photograph all sorts of things, so the real subject just thinks they are randomly included in an assortment of souvenir shots. To avoid pointing the camera at my subject for more than an instant, I pre-set focus on the scale, estimating where I will be at the moment of exposure. I don't fix my gaze on the subject or march directly over. If the subject even notices me, they will be unsure whether I have taken a photo or not, or where the camera was pointing when I did. Occasionally you get a chance to stay in place and 'work the scene'. Once I am noticed, I may stay in place pretending that I was really trying to photograph the scene beyond them, and often they very kindly move out of the way with an apologetic smile to let me do so. I must add, though, that almost all the 'street' shots that have worked out for me came from situations where the crowds were pre-occupied with festivities or other events. Elsewhere I have missed priceless gems (now etched in my memory) through not being quick enough on the uptake. It is definitely not an easy game, and I even wonder whether it is worth pursuing for its own sake, without thinking what it is you really want to capture.

I did once have some kick-back, from a group of young folk hanging around outside a cafe. Being challenged was a little embarrassing, but we got talking in a pleasant enough way. They were office workers and their concern was that they were supposed to be at their desks at that moment. I couldn't agree to delete the image as they requested because I use film, but I promised I would never print it, and I never have.
 
I suggest you use your cell phone, they are so universal these days nobody will notice you.
 
Prefocus and take the photograph while moving the camera only pausing to fire the shutter and then continue the motion. Walk away.
 
All the talk is geared towards “sniping incognito”. Isn’t there anything else to street photography than snapping a guy eating a Hot-Dog?

Good street photography is far more than snapping a hot-dog eater or a red haired person next to a red poster, both of which are totally entry-level amateur street photography, at best.

Good street photogrpahy involves light, intelligence, composition, patience, anticipation, talent, experience... acting like a NINJA is at the bottom of the list. Really. As a matter of fact, acting like a Ninja, or being a Ghost, is not even a requirement for excellent Street photography.
 
Street photography shows the human condition in public and the interaction among people. The bolded part of your quote describes the means of capturing it but not the content, its very meaning. It;s content that;'s important and makes for good street photography.
 

As I said, a lot of this discussion has been based around good content being linked to acting like a Ninja.

Good content comes from TALENT, in bold.
 
NB23 said:
As I said, a lot of this discussion has been based around good content being linked to acting like a Ninja.

Good content comes from TALENT, in bold.
Click to expand...
Talent doesn't describe what good street photography is. That's what I was describing.
 
NB23 said:
All the talk is geared towards “sniping incognito”.
...
As a matter of fact, acting like a Ninja, or being a Ghost, is not even a requirement for excellent Street photography.
Click to expand...
However, the OP asked specifically about an approach that doesn't piss people off. There are two options, both well covered in the answers: make sure they're unaware, or get them onside.

NB23 said:
Good street photogrpahy involves light, intelligence, composition, patience, anticipation, talent, experience...
Click to expand...
Of course. All good photography does.

NB23 said:
Good street photography is far more than snapping a hot-dog eater or a red haired person next to a red poster, both of which are totally entry-level amateur street photography, at best.
Click to expand...
Hmm. See photos by Richard Kalvar here and here.
 
Ninja moves might be first prerequisite of street photography or largely irrelevant. All depends where you are in the world
 
Craig75 said:
Ninja moves might be first prerequisite of street photography or largely irrelevant. All depends where you are in the world
Click to expand...

If you are not WELL paid to document a dangerous place, please don’t bother with the ninja moves. There is no amount of instagram Likes that will bring food on the table.
 

There is always the honest approach. Like I do everyday: I snap a photo of anything I like and if anyone objects I point my finger in many random directions and show them all the cameras filming us as we speak. It usually leaves them speechless...
 
NB23 said:
If you are not WELL paid to document a dangerous place, please don’t bother with the ninja moves. There is no amount of instagram Likes that will bring food on the table.
Click to expand...

I'll do what I want ...
 
Answer: do it in a way that it doesn't piss people off.

Example Garry Winogrand:

 

Many latent image makers do not have the distance GW had with his work. Most are so eager to see what was on the film they are not able to see objectively, without the emotion attached to exposure like him. We are not all afflicted with the need to press the button like him, to burnish the film into the pressure plate like him. It's a good lesson to be learned (aside from all the others) that it is vitally important to photograph what you love to photograph as much as possible whether it is people, places or things, so you just get better.
https://cameraquest.com/LeicaM4G.htm. ( his M4 with the sprocket holes burnished in the pressure plate )
 
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