PictureCorrect.com: The One Thing That Makes Photography Income Predictable

Most photographers think unpredictable income is just part of the deal. One month is busy, the next is silent. A few good shoots followed by long stretches of nothing. It’s frustrating—and it leads many people to believe photography can never be a reliable source of income.

But unpredictability usually isn’t caused by the market, the algorithm, or competition. It comes from relying on one-off opportunities instead of repeatable systems.

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Talent Doesn’t Create Predictability

Skill matters. Good photos help you get hired. But skill alone doesn’t make income predictable.

Plenty of talented photographers still rely on referrals, social media luck, or seasonal demand. When those dry up, so does the work. The problem isn’t quality—it’s the absence of a structure that keeps opportunities coming even when you’re not actively promoting yourself.

The Real Difference: Repeatable Processes

The one thing that makes photography income predictable is having a repeatable way to attract, convert, and retain clients.

Predictable income doesn’t come from a single great shoot. It comes from knowing:

• Where new inquiries usually come from
• How those inquiries turn into booked work
• What happens after the job is finished

When those steps are defined and consistent, income stops feeling random.

Systems Turn Interest Into Bookings

A system doesn’t have to be complicated. In fact, simple systems work best.

It might be:

• A clear service page that answers pricing questions upfront
• A standard response you send to new inquiries
• A follow-up email that checks in after a shoot

Each piece reduces friction. Instead of reinventing the wheel for every client, you’re guiding them through a familiar path. That familiarity builds confidence—and confidence increases bookings.

Retention Is Where Stability Comes From

Many photographers focus entirely on getting new clients and ignore the easiest source of predictable income: past clients.

A system for staying in touch—seasonal check-ins, reminders, or simple updates—turns one-time jobs into repeat work. Even a small number of returning clients can smooth out income swings dramatically.

Predictability doesn’t require more clients. It requires better relationships with the ones you already have.

Pricing Consistency Matters More Than Pricing Level

Unpredictable income often comes from inconsistent pricing. Adjusting rates on the fly, offering discounts out of pressure, or making exceptions “just this once” makes it hard to forecast anything.

Clear pricing structures and defined packages create boundaries. Clients know what to expect, and you know what each booking is worth. That clarity makes planning possible—even if volume fluctuates.

Why Systems Feel Uncomfortable at First

Many photographers resist systems because they feel restrictive or “too business-like.” But systems don’t replace creativity—they protect it.

When your business runs on repeatable processes, your creative energy goes into the work itself, not into chasing leads, writing emails from scratch, or stressing about the next job.

The Bottom Line

Photography income becomes predictable when your process is predictable.

Not when your photos get better. Not when social media finally clicks. But when you build simple systems that guide people from interest to booking to repeat work.

Once that’s in place, photography stops feeling like a gamble—and starts feeling like a business you can actually plan around.

For Further Training:

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PictureCorrect.com: Camera Settings for Night Markets and City Streets

Night markets and city streets after dark are some of the most visually rich places you can photograph—glowing signs, layered light sources, motion, atmosphere, and human interaction all happening at once. But they’re also where many photographers struggle the most. Light levels change quickly, colors mix unpredictably, and movement is constant.

The key to success isn’t exotic gear or perfect conditions—it’s understanding how to choose camera settings that balance sharpness, mood, and responsiveness in low light.

This guide walks through practical, real-world camera settings for photographing night markets and city streets, with an emphasis on handheld shooting, adaptability, and intentional creative control.

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Start With the Right Exposure Mode

In fast-moving night environments, Aperture Priority or Manual with Auto ISO are usually the most reliable choices.

• Aperture Priority (Av / A): Ideal when light levels fluctuate constantly. You control depth of field, and the camera adjusts shutter speed.
• Manual + Auto ISO: Gives full control over aperture and shutter speed while letting ISO float to maintain exposure.

For most photographers, Manual + Auto ISO offers the best balance of control and speed once you’re comfortable with it.

Aperture: Let the Light In (But With Intent)

Night markets are dim, crowded, and visually complex. A wider aperture helps you gather light and isolate subjects.

Recommended aperture range:

• f/1.8–f/2.8 for subject isolation and low light
• f/3.5–f/4 if you want more environmental context

Wider apertures:

• Allow lower ISO or faster shutter speeds
• Create separation in busy scenes
• Emphasize faces, hands, or products against chaotic backgrounds

Stopping down slightly (around f/2.8–f/3.2) often improves sharpness while still keeping backgrounds soft.

Shutter Speed: Freeze Life—or Let It Move

Movement is everywhere: people walking, vendors working, steam rising, lights flickering. Your shutter speed determines whether your image feels energetic or chaotic.

General guidelines (handheld):

• 1/125s–1/250s: Freezes people, gestures, and quick moments
• 1/60s–1/100s: Good balance for walking subjects
• 1/30s–1/50s: Introduces motion blur for atmosphere
• Below 1/30s: Best used intentionally or with stabilization

If your images feel soft, it’s often motion blur—not missed focus. Err on the side of a slightly faster shutter speed and let ISO rise if needed.

ISO: Embrace It (Within Reason)

Modern cameras handle high ISO far better than most photographers expect. In night street photography, noise is often preferable to blur.

Practical ISO approach:

• Set Auto ISO with a max of 3200–6400 (or higher if your camera allows)
• Don’t be afraid of grain—it often enhances night atmosphere
• Avoid heavy noise reduction that smears detail and skin texture

A sharp, slightly noisy photo will almost always feel stronger than a smooth but blurry one.

Focus: Keep It Simple and Predictable

Low light and busy scenes can confuse autofocus systems.

Recommended focus setups:

• Single-point AF for precise subject placement
• Zone AF for quick reactions in crowds
• Continuous AF (AF-C / AI Servo) for moving subjects

If your camera struggles to lock focus:

• Aim at contrasty edges (faces, hands, signage)
• Avoid focusing on flat, dark surfaces
• Use back-button focus if you’re comfortable with it

Manual focus can work, but autofocus is usually faster and more flexible in dynamic street environments.

White Balance: Control the Color Chaos

Night markets combine LED signs, tungsten bulbs, fluorescents, and neon—often all in one frame.

Best strategies:

• Auto White Balance: Flexible and fine if you shoot RAW
• Kelvin mode (3000–4200K): Offers consistency across a series
• Embrace color shifts rather than neutralizing everything

Trying to make all light sources “accurate” often removes the atmosphere. Let warm stay warm. Let neon glow.

Metering: Protect the Highlights

Bright signs and bulbs can easily blow out.

• Use Evaluative / Matrix metering as a starting point
• Slightly underexpose (–0.3 to –1 EV) to preserve highlights
• Watch histogram and highlight warnings, not just the LCD preview

You can lift shadows later—blown highlights are gone forever.

Image Stabilization: Helpful, Not Magic

Stabilization allows slower shutter speeds, but it doesn’t freeze subject movement.

Use it to:

• Shoot at 1/30s–1/50s handheld
• Reduce camera shake
• Keep static elements sharp

But remember: people still move. Stabilization won’t fix that.

A Simple Starting Setup

If you want a fast, reliable baseline:

• Mode: Manual + Auto ISO
• Aperture: f/2.0–f/2.8
• Shutter speed: 1/125s
• Auto ISO max: 6400
• Focus: Single-point AF or Zone AF
• White balance: Auto or 3800K
• Metering: Evaluative

Adjust from there based on motion and light.

Final Thought

Night markets and city streets reward photographers who react quickly and accept imperfection. Grain, blur, color shifts, and contrast all become part of the story when handled intentionally.

Mastering camera settings in these environments isn’t about technical perfection—it’s about staying present, anticipating moments, and letting the scene breathe through your choices.

If you can control exposure, motion, and focus under these conditions, everything else starts to feel easier.

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PictureCorrect.com: 5 Photo Editing Mistakes That Make Your Photos Look Over-Processed

You have seen the look before. Skin glowing like a traffic cone, skies so blue they belong in a cartoon, and grain cranked up so high the photo looks like it was taken through a screen door. Over-processed photos are everywhere, and the worst part is that most people doing it think their edits look great.

I get it. I’ve been there too. You discover a slider, you get excited, and suddenly everything gets the same heavy-handed treatment.

Here are five of the most common editing mistakes I see, why they happen, and how to fix them. All in Lightroom Classic.

Related note: for more help with Lightroom Classic styles, there is a new site called Hyperfocal that can create photo editing presets based on descriptions or style matching.

1. Cranking Saturation Instead of Using Vibrance

This is the big one. The saturation slider is a sledgehammer. It boosts every colour equally, which means skin tones go orange, greens go neon, and the whole image starts looking like a poster for a theme park.

Vibrance is the smarter tool.

It boosts muted colours more aggressively while barely touching tones that are already saturated, and it is specifically biased to protect skin tones from going orange. The difference is subtle when you compare the sliders side by side, but it is massive in the final image.

The fix is to keep saturation between -10 and +10 for most photos and let vibrance do the heavy lifting for global adjustments. If you need more control beyond that, colour grading and the HSL panel are where you should be working. They let you target specific hues without blowing out everything else.

If you find yourself pushing saturation past +20, take a step back and ask yourself if the image actually needs it.

2. Over-Sharpening Everything

Sharpening is one of those settings that looks amazing at 100% zoom and terrible everywhere else. Crank the amount slider too high and you will start seeing halos around edges, crunchy textures in skin, and noise that was invisible before.

The problem is that most people sharpen while zoomed into their photo at 100% or even 200%. At that zoom level, you are pixel-peeping and chasing detail that nobody will ever notice in the final image. Then you export, post it online, and wonder why it looks harsh.

A good starting point is an amount of 40, a radius of 1.0, and detail around 25 (which are the defaults once you enable sharpening). For portraits, use the masking slider to protect smooth areas like skin.

Hold Alt (or Option on Mac) while dragging the masking slider and you will see exactly which areas are being sharpened. White areas get sharpened, black areas are left alone.

If you are using the latest version of Lightroom Classic, the AI masking tools take this even further.

You can create a mask that excludes the subject or skin entirely, so sharpening only hits the background, clothing, and hair while leaving the face completely untouched.

3. Going Too Hard on Clarity and Texture

Clarity and texture are addictive sliders. They add punch and make details pop, which feels great when you are editing. The problem is that a little goes a long way, and most people use way too much.

High clarity on a portrait makes every pore, wrinkle, and blemish more visible. It is the opposite of flattering. On landscapes, too much clarity creates that overcooked HDR look where everything has an aggressive, gritty halo around it.

For portraits, try keeping clarity between -5 and +10. Negative clarity can actually be really flattering for skin. For landscapes and architecture, you can push it higher, but anything above +30 starts to look unnatural pretty quickly.

Texture follows the same logic. Use it to enhance specific areas like hair or foliage, but do not treat it like a global improvement slider.

4. Lifting Shadows & Blacks So Much That You Kill the Mood

Every beginner tutorial tells you to pull up the shadows slider to “recover detail.” And that is true, to a point. The problem is when you lift shadows so aggressively that the photo becomes completely flat.

Shadows exist for a reason. They add depth, dimension, and mood to a photo. A moody street scene at dusk needs those dark areas. A portrait with dramatic side lighting needs contrast between the lit face and the shadowed side.

When you fill in every shadow, you remove the thing that made the photo interesting in the first place.

The next time you are editing, try being intentional about which shadows you want to keep and how much you want to lift the blacks. Instead of globally lifting the shadows slider to +70 or higher, try a more moderate value around +20 to +30.

Then use the tone curve to selectively brighten just the midtones if you need more visibility in specific areas. The goal is to retain detail in the shadows without eliminating them entirely.

5. Ignoring Colour Grading Completely

This is less of a “mistake” and more of a missed opportunity. A lot of photographers adjust the basic panel, maybe tweak HSL a little, and call it done. They never touch colour grading, and it shows.

Colour grading is what separates a technically correct edit from one that actually has a look. It is the difference between a photo that is “well exposed” and a photo that feels like something.

Adding a slight teal to the shadows and a warm orange to the highlights creates that cinematic feel you see everywhere. A subtle warm shift in the midtones makes golden hour shots feel even more golden.

You do not need to go crazy with it. Start by adding a small amount of warmth (around hue 40, saturation 10-15) to the highlights and a cool tone (around hue 200, saturation 10-15) to the shadows. That is the classic warm highlights, cool shadows tone and it works on so many types of images.

From there, experiment with the balance slider to shift the emphasis between shadows and highlights.

The Bigger Picture

All five of these mistakes have something in common. They come from a good instinct taken too far. You want vibrant colours, sharp details, punchy contrast, visible shadows, and a cohesive look. Those are all good goals. The trick is restraint.

The best edits are the ones where nobody can tell the photo was edited at all. The colours feel natural, the details are there without being aggressive, and the mood is intact. That is the sweet spot.

If dialing in all of these settings feels overwhelming, or if you just want a solid starting point that you can fine-tune, tools like Hyperfocal let you describe the look you are going for in plain language and generate a custom Lightroom preset in seconds. It is a good way to skip the trial and error and land on a balanced edit right away.

Happy editing.

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PictureCorrect.com: How to Use Bulb Mode on a Camera

Most cameras limit shutter speeds to a maximum of about 30 seconds. For many situations, that’s more than enough. But when you want to keep the shutter open longer—long enough to capture extended light trails, star movement, fireworks, or extremely smooth water—Bulb mode is the tool that makes it possible. Bulb mode allows the shutter to remain open for as long as you choose, giving you full control over exposure time.

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Photo by Mattias Diesel

Unlike standard shutter speeds, Bulb mode does not use a preset duration. The shutter opens when you press the shutter button and closes when you release it, or when you end the exposure using a remote shutter release. This manual timing is what makes Bulb mode useful in low-light or long-duration scenes where motion unfolds slowly and unpredictably.

Because Bulb exposures often last minutes instead of seconds, stability becomes critical. A solid tripod is essential, and using a remote shutter release or interval timer helps prevent vibration when starting and ending the exposure. Even small movements can soften an image during long exposures, so it’s important to eliminate any unnecessary contact with the camera while the shutter is open.

To access Bulb mode, switch your camera to Manual mode and scroll past the longest shutter speed until Bulb appears. Start with a low ISO to reduce digital noise, then choose an aperture that balances light intake and depth of field. Since exposure time is entirely manual, it helps to take a test shot at 20–30 seconds first. If the image is still too dark or the motion effect feels incomplete, switch to Bulb mode and extend the exposure.

Light control becomes increasingly important with very long exposures. In dark environments, Bulb mode can reveal subtle detail and motion the eye can’t easily see. In brighter conditions, however, exposures can quickly become too bright. Neutral density filters are often used to limit incoming light, allowing longer shutter times without overexposing the scene. Reviewing the histogram after each shot helps ensure highlights are not being clipped.

Learning Bulb mode encourages a slower, more intentional approach to photography. Instead of reacting quickly, you plan the exposure, observe how light and movement change over time, and decide precisely when the exposure should begin and end. That mindset translates well to many other areas of photography, even when working with shorter shutter speeds.

Photo by Cody Board

Mini Exercise: Your First Bulb Mode Exposure

Find a scene with steady movement, such as passing cars, flowing water, or drifting clouds. Set your camera on a tripod, switch to Manual mode, and select Bulb. Start at ISO 100 and choose an aperture around f/8. Take a test shot at 30 seconds, then switch to Bulb mode and extend the exposure to one or two minutes using a remote or timer. Compare the results and note how extended time changes the feel of motion and light in the image.

Premium Subscribers Are Already Ahead:

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PictureCorrect.com: Engagement Photography Tips and Techniques

Related note: further training today at the Lighting Cheat Sheets Valentine’s Sale

The precursor to the actual event, engagement photography is what helps show the couple’s spark with each other and creates widespread awareness of their upcoming wedding. As the photographer, it is important for you to do your research so that the couple’s engagement pictures will be creative, interesting, entertaining, love-struck, and most of all, satisfying for the couple themselves.

Photo by sergey mikheev; ISO 100, f/8, 1/1250s.

1. Preview the couple

No, I don’t mean to actually screen the couple before you decide to work with them. (Although in some cases, this might actually be a smart idea.) Get to know who these people are in advance. Meet with them over coffee, for lunch, or just chat a while on the phone. The best way for you to get the engagement photos that this couple wants is to figure out what it is that they actually want. Get a feel for their personality and their chemistry together.

2. Keep them connected

This engagement picture tip basically speaks for itself. Keep the couple connected with each other. Sure, they are going to be somewhat nervous (especially if they are not super comfortable with you just yet), but do your best to keep them into one another. This leads me to my next pointer.

photo by Sean McGrath

3. PDA is Okay (and necessary!)

Because an engagement photo session is completely different from a normal headshot, model, or family photo shoot, you have to remember that the overall theme for these pictures is love. Make the couple comfortable and aware that they should kiss, hug, hold hands, be playful, be silly, and be touchy-feely mushy gushy all they want! It makes the pictures more personal and personable!

4. As always…”Burst mode!”

This seems to be recurring theme in my articles. Definitely make a point to use burst mode while doing engagement photography. The couple will be nervous, so after they do their initial and stiff pose for the camera (thinking they look natural!), they will loosen up, smile, laugh, look at each other. Those are the moments you want to catch more than anything.

5. Location is Crucial

If you have been doing photography, especially engagement photography, for a while, you may know of some great places around your town to take engagement pictures. Prepare yourself with a list of locations and interesting places beforehand that you can suggest to the couple. They most likely will be open and willing to consider anything you have to say! Also, couples frequently travel to other towns for their engagement pictures, so make sure you have tracked down some hot spots that will be aesthetically pleasing.

Photo by Stephen Leonardi; ISO 1600, f/3.5, 1/1000s, 70mm.

6. Do Your Research!

The only way for you to actually be as knowledgeable and prepared as you want to be (and want the couple to think you are) is to do your research. As with the previous engagement photo tip, research locations for engagement pictures. Look up creative engagement picture poses that you could suggest to the couple during the shoot. Learn what clothing options will be wise to suggest for them to wear.

7. Clothing Optional (well, not quite)

They might be committed to just one person, but make sure this couple has options! Tell them to bring a few changes of clothes so that you can get some different engagement shots in different locations. You want to give them variety and creativity. Also, let them know what colors not to wear. Examples: white, khakis, light colors, etc. Depending on the background, certain colors and prints may not mesh.

photo by // jonCates

8. Suggest an event shoot

Most couples won’t think of this amazing idea for engagement pictures, so you should suggest it to them! Offer the idea to go along and shoot a date night for the couple. Have them go to the place where they met, their favorite restaurant, or out doing their favorite hobby. Another fabulous engagement photo shoot idea is taking pictures at their engagement party! We just did an engagement shoot like this and the pictures are priceless. Friends, family, and most importantly, the couple, were all included!

9. Shoot in RAW (vs. JPEG)

This helpful hint is especially important when shooting indoors! Shooting in RAW gives you the liberty of having a wider range of exposure adjustments during the editing process. Some may prefer one format over another, but on our engagement photo shoots, we want to make sure we have the most options possible so we can come out with the best engagement pictures possible.

10. Don’t Focus on the Face

This hint sounds ludicrous for engagement pictures, right?! Well, of course you should take pictures of the couple’s faces! But on the flip side, try focusing on things other than just those. Have the bride-to-be lift her foot as if they were kissing, and snap a picture of their shoes from the knee down. Make absolute positive you get that engagement ring in some pictures! Catch her whispering something in his ear. Shoot them from the neck down. All of this is interesting and innovative for the eye.

photo by Julita B.C.

11. Be vocal (they won’t!)

Finally, one of the most important engagement pictures tips I can give you is to be vocal. Have fun with the couple and suggest poses for them to try. Have general conversation to loosen them up. Tell a few jokes (if you happen to be funny) and create a warm friendly atmosphere. Direct them and they will take direction. Many couples want you to hold their hand along the engagement picture path and lead the way. Take advantage of this power! You have the liberty to come up with something new, creative, and fantastic. They will appreciate this when the editing process is over!

About the Author:
Callie Colleen Smith can provide more information about wedding photography, family pictures, engagement, or modeling headshots. Smith is an assistant photographer who works with Shane Messer and Raychle Searfoss at Shane and Raychle Photography in Nashville, TN and Louisville, KY.

For Further Training:

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PictureCorrect.com: Candid Street Photography Tips

Street photography is an art form that combines portrait photography with chance encounters, relying mostly on random incidents that happen in public.

People are usually included in a candid street photograph—but not always. That is a debate that will likely never be resolved.

In my opinion, including people isn’t an absolute necessity, let’s explore below.

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Photo by Kent DuFault

I think an absolute necessity for a successful candid street photo is a sense of story. For my shot above, my intended story was “the little guy versus the big guy.” A David-and-Goliath trope.

There are no people in my shot of those two chicken restaurants, but I think the story comes across.

The number-one problem I see with many candid street images is that they lack a story. They depict a street scene but convey no message, or the message is not clear.

Key Thought: A candid street photograph doesn’t necessarily have to include people. It should, however, convey a story that is discernable by a viewer.

This street candid relies heavily upon composition to create interest and story. (Photo by Kent DuFault)

In this article, I am going to discuss the following:

• The two distinct and different types of street photography
• Equipment recommendations for candid street photography
• Camera settings that work well for this genre of photography
• Overcoming the fear that is inevitable when photographing strangers on the street, especially when you are new to the activity
• A few tips that are specific to those photographers just starting in candid street photography
• Some ideas for storytelling and composition in candid street photography

The juxtaposition of a subject against their location can create a compelling visual story. (Photo by Kent DuFault)

The Two Distinct Types of Street Photography

The first type of street photography, the one that we will focus on in this article, is candid street photography. This genre is characterized by photographing chance encounters on the street that are random incidents which tell a story.

I spoke briefly with both of these subjects before taking their pictures. These are street portraits. (Photos by Kent DuFault)

The second type of street photography is street portraiture. In this genre, the subject is aware that you are taking their photograph. Their dynamic of random and unaltered behavior has been removed. In my opinion, the best street portraits also tell a compelling story.

Some argue that a street portrait is not street photography. I disagree, and I’m sure the debate will rage on long past my time on this earth.

Remember: Uninterrupted action where the subject is unaware that you’re taking their picture becomes a candid street photograph. If you interact with the subject, or the subject becomes acutely aware you’re taking a picture, the image becomes a street portrait.

I was standing right in front of this woman as I took her picture. However, she was completely unaware of my presence, and so this is a candid street image. (Photograph by Kent DuFault)

Equipment for Candid Street Photography

A handy skill for the candid street photographer is the ability to blend into the background—to become invisible, or nearly so. Part of that ability is definitely related to the equipment you’re carrying.

I know that there are street photographers out there that walk around with a bag full of gear. I’m not one of them.

I have found that less is more when it comes to candid street photography.

In fact, in recent years, I’ve come to rely mostly on my iPhone camera. It makes me utterly invisible to the general public.

My other camera for candid street photography is a Panasonic Lumix GX-85 mirrorless camera. This camera is also tiny and unassuming. For candid street photography, I leave my Nikon D750 at home.

While a big DSLR rig might create the best technical quality for an image, the sight of it is going to garner you unwanted attention. I also encourage you to leave the zoom lens at home.

A single prime lens is the way to go for this genre of photography, if you have that option.

I would look for a lens that is between a moderate wide-angle and a normal field-of-view lens.

For a full-frame camera, this would be something between 28mm to 55mm.

For an APS-C sensor-sized camera, this would be something between 18mm to 30mm.

A fast lens with a maximum aperture of f/2.8 is suitable for minimum depth of field. However, it’s not an absolute necessity.

If you’re just getting started in photography and all you have is the kit lens that came with your camera, don’t let the above advice deter you from candid street photography.

In that situation, I recommend setting the kit lens to the widest focal length and just leaving it there. Don’t bog yourself down trying to zoom in and out.

Once you become experienced as a street photographer, you can move toward using a smaller zoom lens, if you wish.

Some photographers like having a longer focal length for distant shots. That’s not my style, so I never use one. I believe closer is better.

I would encourage you to minimize your equipment and concentrate on getting close and developing your timing. That’s the nature of candid street photography—close and intimate.

Recommended Gear

• A small body camera that doesn’t scream, “I’m a photographer!”
• A prime lens with a large maximum aperture is preferred. A short zoom lens can work. However, avoid extended zoom lenses that would easily attract attention. A kit lens is fine to start.
• A mobile phone camera is an excellent tool for this genre of photography as it attracts zero attention.
• Don’t use a flash.
• Don’t carry a large kit bag, monopod or tripod. Stay light and blend in with the crowd.

I’m not sure if this woman was aware that I took her photograph, or not. She never moved one inch the entire time I was on the train. I used my “fiddling with my iPhone” technique to shoot the picture. (Photo by Kent DuFault)

Camera Settings

One of the reasons that I genuinely love creating candid street photography using my iPhone 11 Pro is that it relieves me of all thoughts regarding camera settings.

I am free to move around and create at will. I shot some of my very best candid street pictures with my iPhone.

However, as I stated earlier, I also use my Lumix mirrorless camera at times.

When camera settings come into play, these are the ones I have found work best:

• Shooting mode: Aperture Priority. This is one genre where you can completely ignore the manual mode mantra.
• Drive mode: Single shot. I prefer to rely on my sense of timing to catch peak action versus shooting a bunch of frames and hoping that I got something. It will serve you better to shoot one shot or a series of single shots in the long run.
• White balance: Auto. White balance problems are not generally an issue with candid street photography.
• File format: RAW or RAW + JPEG. You most assuredly want the flexibility of RAW for processing candid street photography.
• Aperture: f/5.6 or wider. I almost always shoot at the widest aperture that my lens allows. Closing down to a slightly smaller f-stop, such as f/5.6, would allow a bit more depth of field. I never close the aperture down any further than that.
• Focus mode: AF-S (autofocus single shot). I don’t use continuous focusing. I find that my reflexes work better than camera automation. You may wish to experiment and see what works best for you.
• Focus points: I use a center grouping of nine focus points, three by three.
• Metering mode: I set the meter on my camera to follow my focus points. If your camera doesn’t have that function, I would set the metering mode to center-weighted.
• ISO: I set my ISO to auto with a parameter limiting the ISO to a maximum of 1000. If your camera doesn’t have that function, I would set it to ISO 400 and adjust it as necessary for the conditions.
• Shutter speed: In aperture priority, you want to keep a watchful eye on the shutter speed as displayed inside the viewfinder. Make sure it is fast enough to freeze the action, if that’s your desire.

Overcoming the Fear of Photographing Strangers on the Street

Street performances are an excellent resource for the beginning street photographer. (Photo by Kent DuFault)

Pro Tip: One of the simplest methods for overcoming the inherent fear that comes with candid street photography is, to begin with, crowded areas. This advice refers to festivals or areas with high tourist traffic. In these situations, you can start by photographing public displays (such as in the photograph above) and then slowly point your camera at spectators and passersby. People generally don’t notice photography in these settings, and it’s rare to have someone confront you as a photographer.

I stood on the corner, appearing confused, and lost. No one paid any attention as I spun around looking like I was trying to get my bearings while taking candid street photos. (Photo by Kent DuFault)

If you study street photography methods, you will hear of the “video camera technique” or the “movie method”. I call it the “on the sly” or the “fiddling with my iPhone” technique, and there are numerous other variations. The main idea is to fool passersby into thinking that you’re not taking their picture, but doing something else—such as shooting a video.

With the movie method, you hold the camera up, use the LCD screen and rotate around as if you’re shooting video—when in reality you’re snapping stills.

Another variation is to act interested in something behind your subject. When you raise the camera, the subject either has no interest or believes that you’re shooting something else.

One of my favorite variations is with the iPhone. I walk along, pretending that I’m texting.

Sometimes I’m taking pictures while I’m walking. Other times, I will stop and fidget with the phone like something is wrong while I’m secretly taking pictures. As I do this, I may look around, swinging my upper body with the phone up by my face, appearing as if I’m lost or looking for something.

In New York City, I saw this message chalked onto the steps of a subway exit. I waited for someone to come along, or a situation to develop, that would give the written words a story for my image. (Photo by Kent DuFault)

Another way to get past the street-photography jitters is to concentrate on hands, feet and body language.

People tend to get suspicious when a camera is pointed toward their faces. They will pay no attention at all if the camera is pointed elsewhere. Avoid eye contact. Look for exciting juxtapositions of body parts and the street environment.

A Few Candid Street Photography Tips to Get You Started

Photo by Kent DuFault

First and foremost, smile and be friendly. Don’t act like you’re hiding something. If someone asks you to delete a picture, do it.

I carry a small card that is about the size of a postcard. It slides into my back pocket. It has four candid street pictures on the front. On the back, it has my name and my email.

If someone questions me, I will pull it out and show it to them—then I will give it to them if they want it. I invite them to contact me if they want a copy of the finished picture. I carry about 10 of these cards when I go out shooting.

In foreign countries, I have a simple message printed onto the cards in the native language.

This openness about my activity almost always diffuses any anxiety of someone I have photographed.

However, if they insist, I will delete any photo. It’s not worth offending someone over.

Photo by Kent DuFault

For the photo above, I was in New Orleans and saw this interesting signage on the exterior wall of a bar. I wanted to include it in a street shot; however, I had no real subject. So I waited and watched. After about five minutes, inside the bar, the band took the stage. I hadn’t even really noticed the inside of the bar until they did. It was a bonus that the drummer had such a distinct look!

Find an Interesting Spot and Wait for Something to Happen (a.k.a. Patience)

This concept is known as the “Fishing Technique”. Find your location first, then wait for something interesting to happen.

I used the pre-focus method while following these nuns as they walked. I just kept shooting pictures intermittently while waiting for something interesting to happen. (Photo by Kent Dufault)

Pre-focus the Lens and Shoot with Your Eyes Away from the Camera

This tip works best with a wide-angle lens.

• Take your lens off of autofocus.
• Set the focus manually to around 1.5 meters.
• If the lens has an external rotating barrel, use a little duct tape or gaffer’s tape to secure the focus ring to the lens housing so it won’t get bumped off focus, in case you don’t notice.
• Use f/5.6 and set the ISO as necessary to achieve a fast enough shutter speed. This technique is one where the auto ISO feature on a camera is helpful, as you’re not monitoring the shutter speed.

I was using the fishing technique to capture a mother and daughter staring at underwear and candy. (Photo by Kent DuFault)

Key Tips to Remember

• Travel light
• Tell a story
• Start with crowded areas or festivals
• Use a short lens
• Don’t feel you have to include people, especially when starting out
• Pay attention to hand gestures, feet, legs and body language
• Don’t use flash, bulky camera bodies, large zoom lenses, monopods or camera bags that will attract attention
• Try using your smartphone’s camera
• Use the Aperture Priority shooting mode
• Keep an eye on the shutter speed
• Stand on a corner and pretend to take a video while shooting pictures
• Pick a location and try the “fishing technique”
• Make introductory cards and keep them on you
• Always smile and be friendly
• Be unassuming, but don’t sneak. People will always notice someone who is acting like they are trying to hide something
• If someone asks you to delete a picture, do it. There are many more to be taken

A Final Personal Opinion

I don’t think the best candid street photography is created from longer distances using telephoto lenses. Some street photographers prefer this method; however, I find those images lack the emotional connection that being close brings to candid street photography. Practice the tips in this article and keep close. In the end, I think you will be happy that you did.

About the Author:
Kent DuFault is an author and photographer with over 35 years of experience. He’s currently the director of content at the online photography school, Photzy.com.

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PictureCorrect.com: The Photo Editing Workflow More Photographers Are Switching To

Skylum is marking its anniversary today with a promotion called Fall Into Flow, centered around the current Luminar ecosystem. Rather than focusing on a single product discount, the sale highlights how Luminar’s desktop, mobile, and cloud tools work together — and offers reduced pricing on different access options for that ecosystem.

If you’ve been curious about Luminar or wondering whether it fits into a modern photography workflow, this sale is a useful moment to look at what the software actually does and how photographers tend to use it.

What “Fall Into Flow” Refers To

The idea behind Fall Into Flow is workflow continuity. Luminar has been evolving from a standalone editor into a connected system that lets photographers move between devices without starting over each time.

• Editing across desktop and mobile
• Cloud-based syncing for projects
• AI tools designed to speed up common adjustments rather than replace manual control

At the center of all of this is Luminar Neo, which acts as the main desktop editor.

A Quick Look at the Luminar Ecosystem

Desktop Editing (Luminar Neo)

Luminar Neo is the primary editing application for Windows and macOS. It supports RAW files, layers, masking, and non-destructive editing, while also leaning heavily into AI-assisted tools.

Common use cases include:

• Global exposure and color correction
• Portrait retouching without complex masking
• Landscape edits involving sky, atmosphere, and light depth
• Fast enhancements for large batches of photos

The AI tools are optional — you can use them as starting points or ignore them entirely in favor of manual controls.

Mobile Editing

Luminar’s mobile app focuses on quick edits and portability rather than replacing desktop work. It’s typically used for:

• Initial adjustments while traveling
• Reviewing and lightly editing photos on a phone or tablet
• Continuing edits started elsewhere

Edits can sync back to the desktop version, which is where the “flow” aspect becomes practical.

Cloud and Sharing Features

The ecosystem also includes cloud syncing and web-based sharing options. One example is Luminar Spaces, which allows photographers to present images in online galleries without exporting and uploading files manually.

This is more about convenience than portfolio hosting, but it can be useful for client previews or sharing work in progress.

AI Tools: What They’re Meant to Do (and What They’re Not)

A large part of Luminar’s identity is AI-assisted editing. In practice, these tools are designed to:

• Speed up repetitive adjustments
• Reduce the need for detailed masking in common scenarios
• Provide a strong starting point rather than a final look

Examples include tools for:

• Enhancing light depth and contrast
• Improving sky detail
• Restoring older or damaged photos
• Suggesting edits based on image content

They’re best thought of as time-savers, not automatic style generators.

For photographers interested in faster workflows, cross-device editing, and AI tools that assist rather than dominate the process, it’s a practical time to take a closer look.

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