One of the joys of living in a multicultural city like Vancouver is that there’s no shortage of “new experiences” at your disposal.
Having a large resident Asian community, for the last 20 summers we’ve enjoyed the delights of an “Asian Night Market”. Imagine a giant outdoor food fair (seating optional) full of more goodies than you could sample in a summer, plus hundreds of vendors selling knick-knacks, souvenirs, and knock-offs and packed with thousands of people having a fun evening out.
The food is fun and tasty (if a tad expensive), but the real delight is this is a street photographers paradise. It’s compact, full of people having a good time, camera friendly and the action in and around the food booths is endless. The hours are usually 7pm to midnight Thursday – Sunday and holidays from May to October, so in the peak summer months there’s still enough daylight to get people shots in the midways. After sunset, that goes away quickly as most of the light is from low wattage fluorescent in the booths.
I’m attracted to the action around the food booths. It tends to be fast and varied so there’s always something going on – whether it’s the staff action in the booth, or the staff-customer interaction. The merchandise booths tend to be slow, static and a tad boring . Shooting moving subjects under low wattage fluorescents at night can be tricky, but the rewards are worth it. At first glance, the tendency might be to shoot from the midway where the light isn’t into the booths where the light is, but that gives everything a sameness. There are alternatives.
One trick I discovered by accident is that in the first or last months of the season there are often vacant booths. Simply stepping into an empty booth puts you behind the action in the adjacent booths. You can then shoot through the adjacent booths into the midway and easily incorporate vendor and customer in the shot against a dark background.
Some booths may have a few feet between them for the vendors to get stuff in and out; stepping into these spaces works just as well (no one’s kicked me out yet) as long as you respect their space and stay out of the way. There are also corner booths open on two sides that can make for interesting perspectives.
Another approach is to stand at the end of the booth away from the cashier and shoot along the face of the booth. This is where people will be checking out the goodies and lots of interactions take place.
What I Shoot For
Content, gesture, expression, interaction, presence and atmosphere are the elements I’m looking for. Foreground-background relationships, are also important. The dominant subject will usually be in the foreground. The action in the background must support what’s happening in the foreground; not compete with it. I’ll adjust tonality and detail to emphasize the action in post processing.
Beware … these are working mini kitchens with people moving around in them … there’s going to be stuff everywhere. They will always be complicated and messy, so since you’re not going to be able to “lose it”, you might as well “use it”. Sometimes you will get it “just right”; most of the time not … something unpredictable will mess it up for you. I spend a lot of time in post and some images may include pieces from two or three other images of the same scene.
The Gear Question
For gear I travel light. I’ll be on my feet bumping into people for several hours. I carry one body, an 10-24mm wide-angle zoom (15-36 on my Fuji X bodies) and a 18-55mm (27-85mm) zoom with a single belt case to hold the lens not in use. Both are small aperture lenses, but I’ve gotten sharp images with the wide angle as low as 1/10 of a second hand held. I shoot hand held only and with the available light. The tripod stays in the car. In a crowded midway it would be a serious liability and a cause for injury suits. It would also draw unwanted attention to me and the camera. Given that most of the booth lighting is low watt fluorescent working ISO is in the 640-1600 range. With the crowded and tight shooting spaces, the majority of images are with the wide angle … which is odd, as I’m not normally a heavy wide angle user; but necessity dictates.
As you’ve probably guessed by now, final images are mostly black-and-white. That’s a personal esthetic choice. Color works just as well in many cases.
Its In The Post
I’ve often been told that my B&W images have a “different” look to them … whatever that means. I haven’t sold my soul to the devil and I’m not related to Dorian Grey. So here’s the “secret”. Initial processing is done in Lightroom – basic adjustments only. The final “keepers” are converted to B&W in Silver Efex Pro.These images were shot at night and I wanted to retain the “pools of light in the dark” feel. To do that I decide to use dark backgrounds with light foregrounds. I made two duplicates of the original, under exposed one in Silver Efex and the other usually as High Structure. After sandwiching the layers and painting in the light areas to the underexposed areas, I’ll start the tonal adjustments.
A few years ago I read an article by George DeWolfe, B&W Master Print, in which he explained in detail how he uses a Photoshop tool called “History Brush”. It didn’t take much playing around to see the potential for controlling local area contrast and brightness in an image. Most of the adjustment is brightening and darkening specific areas of the image to achieve the desired effect. If necessary the final step is to shift to Lightroom and adjust local clarity, contrast and sharpness. A final trip to Vivesa to add final contrast, brightness and structure and I’m done.
A Word On Shooting Style
Part of “growing up” as a photographer is learning to trust your vision and photographic instincts. You KNOW what’s right for you photographically without having to think about it. Somewhere back there I came to the conclusion that I was wasting my time trying to control realty by attempting to ram it into the mould of my expectations. These days I park the expectations about what I’m going to do/see with the car and let reality show me what’s on offer today. I pack as light as possible for the conditions I’ll be in and go with whatever is happening in a state of readiness to react to whatever my photographic instinct says is right/good/expressive of how I feel. That works for me. Your mileage may vary.
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