Authors Posts by Digby Fullam

Digby Fullam

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Digby Fullam is a photographer with a passion for photojournalism and narrative documentary photography. He finds street photography to be an excellent storytelling medium. He is the newest addition of the Streethunters.net team. If you would like to see his work you can also visit his Street Hunters Profile.

Picture of the week by Digby Fullam

Photo shot with 16-35 f/2.8 L lens on Canon 6D in Rethymno, Crete, Greece.

When it’s my turn to choose one of my photos for Street Hunters Weekly Pic I always choose a photo I’m particularly proud of, and with an interesting back story. But this week I want to do something a little different, and share a photo with you because of what it means to me personally, and the emotions it conveys.

You will probably have been bombarded of late by news of Greece’s economic and political woes, with photos of rallies, protests, and queues at ATMs. I’ve shot my own share of photos at ‘No’ Syriza rallies and ‘Yes’ rallies too, but it doesn’t seem right to share one here and now. This week I want to share a photo that epitomises the positive spirit of Greece, and the incredible qualities this country has to offer, and remind us all that the hard times now are just a period in the country’s rich and long history, and will eventually come to an end.

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Best Locations for Street Photography cover photo

Introduction

Sometimes it can be really difficult to find inspiration for street photography. Or perhaps you’re a new street photographer just starting out on your street photography odyssey and you’re not sure where to begin. I thought I’d put together some tips in the form of a list of the best locations for street photography you can seek out in your local town or city. If you bring yourself, your camera, and a bit of patience to just a few of these locations I can guarantee you’ll find some interesting subjects for street photography! So read on for my list of the best street photography locations.

Warning: Most of the locations I’m suggesting are public places, so (depending on your local laws) you shouldn’t have any problems photographing at them. However a few of the locations will more than likely be privately owned, which means you need to use discretion when photographing at these locations.

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Introduction

Talking Movies this week is going to analyse low-key cult ‘70s movie Walkabout. I am going to select two scenes from the movie and examine them, highlighting the ways in which the director has arranged his shots for maximum visual impact. I’ll then look into how visual techniques from cinema can be applied in street photography, to maximise the creative and compositional power of your street photography. I’ll also show a photograph of my own to go with each scene, and compare and contrast the differences between my shots and the movie scenes to explain how examining movies has influenced my street photography. As always, the complete collection of the Talking Movies articles can be found on the blog section of the Street Hunters website.

Pic of the week by Digby Fullam

This photo was shot with a 16-35mm f/2.8L lens on a Canon 6D in Heraklion, the capital city of the Greek island of Crete.

I made this photo on a Saturday morning streethunt in Heraklion. This Saturday was the first time I had ever been to Heraklion, despite the fact that it is by far the largest city in Crete, and is actually the fourth biggest city in all of Greece. I always find that whenever I visit a city with my camera for the first time I can go a bit crazy – I go in with a fresh set of eyes because everything I see is new and exciting, and I also have a determination to risk shots that I wouldn’t otherwise make as I don’t know when I’ll have the opportunity to return to that place again. Coming from Rethymno with its very narrow winding Venetian streets to Heraklion, with its wider open streets and much more traditionally modern urban feel made for an exciting change of scenery and a liberating street photography experience. As you can see from the Heraklion street hunt video that was shot on the same day, unfortunately this particularly morning started out fairly rainy and cloudy which really limited photo opportunities initially. Fortunately the weather improved around midday, and the winter sun started to produce some fantastically dramatic long high contrast shadows. I managed to find some nice side streets that spread out from the city’s main pedestrianised square area, and I found these much better for street photos as the slightly narrower streets made it easier to get closer to people and be ‘in the moment’ without suddenly stepping up and invading people’s public space.

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The Best Times for shooting Street Photography

Introduction

They say ‘timing is everything’. Street photography is all about totally unplanned moments and quite often the sheer luck of a perfect moment unfolding right in front of you. But you don’t always have the luxury of spending a whole day wandering the streets in search of that elusive magic moment for a street photo. Sometimes you can only find an hour or two to steal away and hit the streets. So I thought I’d put together a guide to the best times of the day for street photography which you can use as a handy pointer when time is precious and you’re planning to head out for just a little while for a quick burst of photography. So read on for some pointers on the optimum times to be armed with your camera and hitting the streets!

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Introduction

This week Talking Movies is going to be taking a look at the critically acclaimed 2008 motion picture The Wrestler. I’ll be poring over two carefully selected scenes from the movie and looking at how they’ve been carefully orchestrated and arranged in order to attack the viewer’s eyeballs and leave them with a visually arresting image. I’ll deconstruct the scenes and explain how you can make use of the techniques and tricks they employ when you’re out on the streets trying to create some great street photography. I will choose two of my own pictures to compare with the movie scenes, and discuss the ways in which my shots compare to those from the movie that have influenced me. For every previous installment of the Talking Movies series you can visit the Talking Movies section of the blog.

Introducing The Wrestler

Helmed by acclaimed director Darren Aronovsky, and starring Micky Rourke, Marisa Tomei and Evan Rachel Wood, The Wrestler charts the travails of an over-the-hill pro wrestler Randy Robinson (Rourke), who has endured a sad fall from grace since the heady days of the 1980s when he enjoyed star billing as celebrity wrestling star “The Ram”. The movie won a brace of Golden Globes as well as a BAFTA award, and was also nominated for double Oscars for both its lead and supporting actors. Cinematography for The Wrestler was deftly handled by French cinematographer Maryse Alberti, winner of both Sundance and Independent Spirit awards, who is best known for her work on documentaries. She was chosen by Aronovsky on the basis of her documentary work, as he sought a “documentary style” look for the movie, an effect which is greatly emphasised by the widespread use of handheld 16mm cameras throughout the production.

A Light in the Darkness by Digby Fullam

A Light in the Darkness

Shot in Rethymno , Crete with a Canon 6D and a 50mm f/1.8

You may have seen the crazy streethunt video we made in Rethymno using off-camera flash during the town’s annual carnival celebration a few months ago. This year was the first time I had experienced the ‘infamous’ Rethymno carnival, and I just couldn’t believe how perfect it was for street photography! The streets were spilling over with jovial people, dressed in weird and wonderful outfits, dancing and generally having a good time. No-one cared about having their photos taken with a flash – in fact they seemed to really love it! The trouble was, once carnival ended we had to return to reality, and one of the coldest and wettest winters Rethymno has experienced for several years.

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Cover Photo from post

Introduction

Most photographers (myself included) will often go through a period when they worry about their choice of gear. Both the blessing and the curse of getting more into photography and learning about camera equipment is that you realise how good some specialised equipment is for some types of photography, and how bad it is for others. Someone in search of wide landscape shots isn’t going to get on very well with a 300mm lens for instance, and a wide angle lens is far from ideal if you want to take photos of birds in flight. These examples are obviously more extreme, but it’s surprising the nuanced differences that you’ll find over just a small change in focal length, especially in a genre as demanding as street photography. 26mm, 22mm, 15mm or 10mm of difference in ‘reach’ or wideness between lenses can make all the difference between getting a shot or missing one. With this in mind, and having shot street photography extensively with a mix of focal lengths from 16mm to 50mm, I’d like to offer my thoughts on using a 50mm lens for street photography.

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Talking Movies -

Introduction

Talking Movies makes another return, and this time I’m aiming almost as high as you can get! I’m casting my photographer’s eye over a movie that is regularly regarded as one of the finest pieces of cinema ever. I am talking about a cinematic epic that is the daddy of all daddies, or more accurately, THE GODFATHER! This Talking Movies series shows you how you can take inspiration from some of your favourite movies (or even some you may not have come across before) and use it to further your street photography techniques when you head out shooting. This week I’ll choose two scenes from the movie to analyse, and I’ll compare them with two of my own photos to examine the similarities and differences between the shots, and describe how the movie has influenced how I shoot. As usual, you can visit the Talking Movies section of the site for a complete list of all previous articles.

Pic of the Week by Digby Fullam

This photo was shot using a Canon 6D with a Canon 50mm f/1.8 lens.

I’ve spoken before about how sometimes I can head out to take photos and I’m not able to ‘see’ anything interesting that makes a good shot for hours, despite walking miles and miles with my camera. On other occasions I can be in a rush to get somewhere and I’ll see something that would make an incredible photo, but I just don’t have time to stop, take out my camera and make a shot. This happens more often than not – anyone who knows me would tell you I’m always rushing to get places because I’m consistently late for everything! In the week before I’d shot this photo I had an absolute nightmare with this. On one particular day I was running to be somewhere and I saw no fewer than 5 brilliant photo opportunities present themselves, but I knew there was just no way I could stop to take a shot. How frustrating!