Learn: 15 Tips for Street Portrait Photography

At first glance, the idea of street portrait photography can appear oxymoronic. The sub-genre’s contradictory nature—combining traditionally-candid street photography and posed portraiture—can raise eyebrows among purists. However, street portraiture has its benefits, which mitigate the common drawbacks of both street and portraiture.  

Street portrait photographers can avoid problematic issues, which surround candidness and consent, by asking subjects for permission first. Through following other street photography techniques, and by employing people skills, the photographer can still retain the captivating mystique of interesting subjects.

So, how do you get started with street portraiture? We asked award-winning street portrait photographer Simon Murphy, who has more than 20 years of experience, to share his advice. In this article, we’ll explore the creative process of capturing images of strangers in everyday life. From approaching people, asking permission and directing, to staying honest and being patient, Simons shares an insightful guide to capturing stunning street portraiture.

Over to you, Simon.

1. Take time to wander

A huge part of my process is about wandering and seeing what might unfold. I’m very open to chance and believe that when you open yourself up in this way, special moments arise. When I wander, I am also working on myself as a human. Photography changed my life in such a positive way, so I also aim to make my projects as positive as possible whilst capturing a raw reality. When wandering, I get into a sort of meditative state where I notice more. 

2. Ask yourself why you’re drawn to the subject

My predominant interest is people, so I see someone and there is an internal reaction I take note. What was it I noticed? Why did the person trigger this response in me? I ask myself those questions within milliseconds and ask myself: what do I love about that individual? I realise that might sound dramatic, but I have seconds to pluck up the courage to approach. 

3. Stay honest with people

When I introduce myself, and the person asks me why I want to photograph them,? I honestly relate the answers to the internal questions I have just pondered. People read your intentions very quickly, so an honest, enthusiastic approach is essential for success. I’m drawn to the underdogs, to characters, to individualism.

4. Show a genuine interest and be patient

The trick is to show genuine interest—which of course isn’t a trick, it must be real—and give it time. 

Many photographers, after plucking up the courage to ask someone, mess up at this stage. They go home with regrets because they rush. When the person agrees to the picture, the photographer panics and thinks the process is an inconvenience to the subject. 

If a person agrees to be photographed, they have given me a gift. I want to do the best possible job for that person, because I want to return a gift they have given me. I would like them to love the picture and the experience. 

For me, when a person agrees, that’s the moment I take a breath and slow down. I can then make sure the background is right. I can check the position of their body is right, in relation to the available light, to make the best representation of them that I can. I think people sense the care and relax.

5. Ask the subject to look into the lens

I much prefer eye contact. It gives the viewer the chance to look into the eyes of the subject. And it feels more of an unspoken conversation between the viewer and the sitter. 

6. Ask permission and direct the subject back to their original pose

I direct subjects often; I think this comes from my background shooting fashion for newspaper supplements. 

The images are all genuine moments shot on the streets. But, because I ask permission, the body shape and expression of the subject changes from the one I first noticed when approached. For example, someone leaning against a lamppost will change their posture when I begin talking with them. Sometimes, it takes a bit of direction to ease them back to that original pose. 

I prefer a neutral expression. I like a genuine laugh, too, but it’s harder for me to capture—as I’m focusing manually, with an aperture fully open.

7. Get subjects’ contact details & meet up again

The portrait of Seamus, above, breaks my usual process slightly. Usually, I photograph people as I find them—but this was the second time I had photographed Seamus. 

The first time I met Seamus was in a park. I got his Instagram details so I could forward him the images. On realising that he was an artist, who makes really interesting costumes, I arranged to meet him again. This costume was Seamus’s interpretation of a giant rat.

8. Keep an eye out for the same people

I’ve photographed several people more than once. People tend to be more comfortable once they know exactly what you do. 

Someone I photographed twice was Eliza. The first time she must have been around 12, and was wearing a party dress and holding a huge present alongside her sister. The second time, she was about 15 and wearing her cat around her neck whilst on a shopping trip. I didn’t realise that I had photographed her before, as she had grown so much.

9. Choose the right camera gear

I don’t generally take a camera with me everywhere I go. I have to go out with the sole intention of making photographs. No doubt I miss great shots not having a camera on me at all times. But because I shoot on a medium-format film camera, the Mamiya Leaf RZ 67, on a large tripod, it would be difficult to cart it everywhere. My lens of choice is a 127mm. 

Recently, I’ve been making images with a Fujifilm GFX 50S, which I adore. I crop the frame to a 6x7cm aspect ratio, and it feels like I’m shooting on my old faithful film camera. The quality of the Fujifilm is incredible, and I love the film emulation presets.

Read Simon Murphy’s advice on moving from medium-format film to digital for portraiture with the Fujifilm GFX 100.

10. Remember locations

When I am wandering, even if I don’t get a portrait, it’s never a waste of time. Often I will notice walls or interesting backgrounds. 

The next time I am out, and someone agrees to a portrait, the chances are I have a background that will work already in mind—and just a few steps away.

11. Use daylight & shade

I always shoot with daylight when I am shooting in the streets. Where I can’t control the lighting, I do control the subjects’ position and posture in relation to the light—to make the very best use of what nature has provided. 

I generally shoot in the shade, just to keep the look of the portraits consistent.

12. Push your comfort zone

All the best things in life exist just outside your comfort zone. I truly believe this and have seen the results when I just go that little bit further. 

13. Celebrate your successes

Despite doing this for years, some days it feels like I am starting over and need to build my confidence again. Taking time to celebrate the shots that I am proud of is important as they confirm this belief to me. 

14. Get out there regularly

In order to get images that you will be proud of, you need to just put your shoes on and get out. Street portraits don’t make themselves. So it’s crucial to set aside consistent time just to make photographs on a regular basis. 

Leave the mobile phone at home or in a place you can’t reach. It’s too easy for it to break your flow, your mind should be fully on making photographs.

15. Enter competitions

I have been judging the Scottish Portrait Awards, and am now the chair, for several years now. We see such an array of fantastic work and there is no formula to what makes a winning image. 

I like an image that is well-lit, in focus and with a strong composition. But all of this pales into insignificance when it comes to achieving an emotional connection. I don’t mean that an image should necessarily be sad or make you cry, but it should evoke some kind of feeling in the viewer. 

Ask friends and family, and those in the industry, which portraits connect with them and why before submitting. Take the feedback on board, but ultimately go with your gut. 

Try not to copy what has won in previous years, as the judges will be more excited about something they haven’t seen.

Looking for more street photography content?

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.