MPB Meets: Street Photographer Shane Taylor

Street photographer Shane Taylor is known for his stunning candid shots of people in London, inspired by classic street photography of the 1950s and 60s. Shane has featured in The Guardian and Grazia, worked for clients including Adidas, Reiss and Ted Baker, and published two photobooks—Fine Airs & Fine Graces and Crossed with Care. Let’s hear from Shane about his background in rural Ireland and London, his choice of kit and overcoming social anxiety through his photography.

MPB: Hi Shane, how did you get started with photography?

ST: Ten years ago, when I was studying graphic design back in Ireland, one of our photography assignments was to take candid photos of strangers anywhere in Dublin City. I photographed market sellers on Moore Street. It was incredibly difficult because I wasn’t coping very well with social anxiety at the time. Despite getting yelled at by one market seller—who thought I was a tax office spy—I actually quite enjoyed it. 

I got interested in the history of street photography, learning about Elliot Erwitt, Henri Cartier Bresson, Walker Evans and Lee Friedlander in our college library. I tried shooting again in different parts of Dublin, and found it a bit easier—so I kept it up. After a few years, I started an Instagram account to post what I was photographing, and I’ve been posting ever since.

MPB: Do you feel you have an affinity for London?

ST: I grew up listening to older relatives tell exaggerated stories about London, and how great it was when they lived there. So, before I ever came here, I had this sort of mythical, idealistic image of London. I’m sure that’s probably still deep in my subconscious, but yeah, I’d say I do feel an odd affinity or fondness for the capital. I have an affinity for cities in general. Probably because I grew up in a very rural part of Ireland, and I appreciate the kind of life a city can afford in terms of culture and community.

MPB: Your work is a sort of mix between street and portraiture, with a focus on the solitary moments of London’s inhabitants. What is it about these scenes that grabs your attention?

ST: I don’t fully understand why I photograph what I do, and I think maybe it’s risky to over analyse it. I photograph instinctually. Certain people or moments jump out at me and seem significant.

MPB: What do you think street photography says about a specific place and time—is there a wider discourse besides documentation through people?

ST: Really great street photography transcends time and place. I can look at a photo by Louis Faurer—and I have a particular one in mind right now—and despite the fact that it was taken in a different part of the world, 50 years ago, I feel a very keen connectedness to the person photographed and/or the photographer through their point of view. I don’t get that same feeling from photos that document life without people, but I think that’s a very personal thing and could absolutely change for me. Maybe I haven’t seen the right photos yet.

MPB: You manage to get some incredible expressions when out shooting. Are you looking for something specific that speaks to you?

ST: A sincere observation of what it is to be alive, in a way that isn’t overly sentimental. I probably fail more often than not on that last count. I’ve noticed lately that my photos have a lot of eye contact. I don’t know why I find those photos interesting. But I do remember, as a kid, having a difficult time making eye contact with people due to shyness and social anxiety.

MPB: What's your shooting process? Do you wait for the shot and fire, or do you take a few to give you options?

ST: I like to get options if I have the time, but moments usually pass by too quickly. Usually, when I do get options, the first one is always my favourite.

MPB: What kit are you currently shooting with?

ST: I’m jumping between a Canon EOS 6D + 50mm f/1.8 STM and a Leica M10 Black Chrome + 50mm f/1.4 Summilux-M ASPH right now. The Canon setup is one I’ve used for years, and I’ve never used a faster, more reliable combination of lens and camera. I can take a photo in a split second, without being seen despite it being a fairly large, conspicuous camera. I also use the 40mm f/2.8 STM pancake lens, which is one of the best lenses ever made.

I’m still getting to grips with the M10. It’s a looser, less precise way of photographing, but I like that. There’s far too much precision these days, when we have mirrorless cameras that can show you the photo before you even take it. The Leica M2 is one of my all-time favourite cameras, and the M10 feels close to that in spirit.

Both of these setups also allow me to switch to film bodies like the Canon EOS 30V and Leica M6, when I feel like shooting film. I prefer to shoot at 50mm these days. I’ve tried longer and wider lenses, but I always come back to 50mm. It feels more natural, and to me it feels like I’m seeing through someone’s eyes without the distortion of a camera lens.

MPB: How important is equipment to you? Are you someone who is always pursuing perfection or do you prefer to settle on something and stick with it?

ST: It’s important to me, but I don’t seek the best or newest gear. I approach equipment as a way of achieving a certain look, or allowing me a method of photographing people candidly in the most efficient and least obstructive way possible. When I find a camera that feels right, I tend to settle with it until I’ve completed a body of work. I’ve had my Canon EOS 6D for years and continue to use it.

MPB: What advice do you have for budding street photographers out there?

ST: Get a camera you can operate quickly and photograph whatever interests you. Try not to think about what a street photo should look like. Do whatever you can to protect your creative spirit and natural curiosity. This might mean not posting or viewing work on social media for a while. I think our biggest challenge right now is the influence of social media and how it steers younger photographers into creating homogenous work.

MPB: Your Framelines YouTube channel is doing well—what made you want to start it?

ST: Josh Edgoose talked me into it. We thought we could create GoPro point-of-view videos and have a bit of fun with it. Then, lockdown happened. Since we weren't out taking photos as much, we had time to make videos on other subjects like books and photographers we admired. It's sort of grown from there, and we're amazed by how nice the response has been.

Thanks, Shane.

MPB is proud to sponsor Framelines, the street photography YouTube channel by Josh Edgoose and Shane Taylor. 

Discover more of Shane Taylor’s work on Instagram @heroesforsale.

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This article is part of the MPB Guide to Street Photography, our comprehensive look at how to create street photography, with camera recommendations, advice and interviews with experts.