25 Greatest Tips for Street Photography

S
treet photography. It’s one of the
most versatile and interesting
genres of the medium. It’s also an
elusive one, based on capturing real life
situations lled with eeting moments, light,
expressions and interactions. And today, with a
   
25 Greatest Tips for Street Photography
B y : J O S H S . R O S E
, | October 10, 2018 |FEATURES GUIDES 
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resurgence of lightweight mirrorless cameras
and smartphone photography, more people are
getting into it than ever before. Yet, despite its
widespread adoption and high level of discipline
and creativity needed to accomplish it, it is a
genre largely ignored by the ne art world.
One possible reason for this may live inherently
in the work itself—it’s supposed to be hard to like.
One of street photography’s living masters, Joel
Meyerowitz, describes it like this:
“[Street photography] was something made out
of your guts, out of your instinct, and it was
unwieldy in some way, not capable of being
categorized by ordinary standards. So it was
tough. It was tough to like, tough to see, tough to
make, tough to draw meaning from.”
Most accomplished street photographers will tell
you the same thing – they don’t do it for the
fame. It comes from somewhere deeper inside; a
desire to capture life as it is, to document and to
reveal. Maybe in too harsh a way to be de ned as
“ ne.”
Ready to leave the safer world of still lives and
nature to capture a bit of real life on the street?
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1. Choose Your Lens(es)
Carefully
“To photograph: it is to put
on the same line of sight the
head, the eye and the heart.”
– H E N R I C A R T I E R - B R E S S O N
Great! Here we will cover some of the best tips
for getting yourself ready to do street
photography at a high level. Stepping onto the
streets to document is wild work, so having the
basics down is essential. But remember, you’re
not alone out there. Folks like Vivian Maier, Gary
Winogrand, Bruce Gilden, Helen Levitt, Weegee
and Meyerowitz have laid down a beautiful set of
footprints for you to follow in – and these tips are
culled from our observations from all of them.
And while you’re lacing up your comfy shoes,
remember these inspirational words from the
master of street photography, Henri Cartier-
Bresson:
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Cameras are amazing instruments and we love all
different kinds, but in street photography, the
glass reins supreme. Fishing around for the right
lens can be an expensive and frustrating process,
so try to choose them carefully and in concert
with the look you want to achieve.
Wide-angle lenses let you include more of the
surrounding elements of a scene. But they will
also require getting “up close and personal” with
portrait subjects—and too close for some. A
telephoto will be useless in many situations, as it
leaves out so much context, but might capture
that “grab shot” across the street.
Many photographers prefer the versatility of a
wide-angle to medium zoom lens. A 24mm-
70mm zoom is a great choice as a complete
package that can cover nearly all situations. But
these lenses, especially the good ones, are larger
and heavier than lenses that have a single focal
length.
A lot of pros opt for prime lenses, due to their
lighter weight and higher quality optics. The
35mm and 50mm focal lengths are popular as
“normal” lengths for full-frame cameras (where
you get a true 35mm or 50mm). In cropped
sensors, you’ll want something more along the
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lines of a 23mm to a 35mm to achieve the same
“normal” look of a 35mm or 50mm.
Shooting with these “standard” focal lengths
accomplishes two things:
In the nal analysis, there is no “right” lens—only
the right choice for your style. Always use the
best you can afford and remember that the best
lens for any shot is the one you have with you.
People say a 35mm image approximates how
the eye sees, so your nal images have a
better chance of having viewers feel the
sense of ‘being there.’
1.
It forces you to move in order to frame the
shot. Many pros believe that this
involvement helps them create more
meaningful photos.
2.
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2. Carry a Flash
Some cameras have a ash built in, but your
higher-end cameras have only a hot-shoe to slide
one into. If your camera is one of these latter
ones, we suggest carrying a ash with you. Even
if ash photography is not your thing, keep in
mind that light is single most important element
to photography, so being able to create your own
just makes you a more versatile photographer
who can handle more situations.
Here’s a short list of some uses for a ash in
street photography:
PRO TIP:
Choose a lens with a wide maximum aperture (a
low f/number). This will allow more
opportunities in low light, faster shutter speeds,
and the ability to isolate your subjects with
shallow depth of eld. A maximum aperture of
f/2.8 or wider is ideal.
Lucas Favre
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Ayo Ogunseinde
If you have the space, carrying a few ash
modi ers can expand the creative possibilities
even further. A few colored gels can add interest,
for example. And a diffuser or bounce re ector
can soften the light for street portraits.
Filling shadows in portraits•
Lighting interiors•
Freezing the action of performers, cyclists,
etc.
•
Adding light to night portraits•
Adding contrast to dull scenes•
Light painting for fun or to bring out shadow
details
•
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3. Know Your Gear
Opportunities rarely come twice in street
photography. Don’t miss one because you
couldn’t nd a camera setting or selected the
wrong one.
It isn’t enough just to know the “correct” settings
and how to adjust them, you should have an
intimate relationship with all the main functions
of your photo equipment. Not to be an expert in
camera equipment, but rather to not have to
think about camera equipment when you’re
shooting.
Know the sweet spots of your lenses—these
ranges will produce your sharpest images.
•
PRO TIP:
Remember to adjust your white balance when
using a ash. Using ll ash in daylight
conditions normally won’t be a major problem.
Mixed lighting indoors can create color casts that
are dif cult to x. (Shoot RAW to facilitate
adjustment in processing.)
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Don’t be casual about learning to use your
equipment. Study and practice are essential. This
takes some time. Learn to embrace and enjoy the
process of learning as you go. As Bresson said,
“Your rst 10,000 shots are your worst.”
Know the metering modes of your camera
and how to quickly set exposure
compensation—this will allow you to ow
with light changes.
•
Be aware of which autofocus points are
active as well as when and how to change
them—this will ensure a higher amount of
usable, in-focus images.
•
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4. Know the Location
Ever see someone else’s photograph and marvel
at how well the environment and subject seem to
interact with each other? That’s usually because
the photographer had already staked out that
location and knew right where to shoot. When
you’re shooting at home, know your city or better
yet, rediscover it. Before you shoot in an
unfamiliar location, research it. Knowing where
to be and when to be there will make your
outings more rewarding.
Exploration and discovery are two of the most
enjoyable things about street photography. Find
the back streets and travel them. Check out the
PRO TIP:
When you’re culling your work after a shoot,
don’t delete a “blown” shot before considering
what went wrong. Make a note, then practice
xing the issue.
Benjamin Hung
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PRO TIP:
Watch for events in your area. Check the local
newspaper or online events calendars. Festivals,
concerts, farmer’s markets and the like can all be
13on
suburbs. Make notes about areas to visit in the
future.
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golden opportunities. See what’s happening in
new places before you go.
5. Develop your People Skills
It’s one thing to shoot incognito on the street and
many photographers never approach their
subjects. But, working a bit more closely with
people will almost always result in images with
greater emotional impact.
Let people see you as a participant rather than an
observer. They know you’re there to take
pictures. Do so politely and without obstructing
the ow of life around you. You can interact with
people without getting “in their faces.” Be
friendly, be gracious and, when necessary, just
walk away.
One of the best tools a photographer has is
his/her smile. A good smile can be used to get
permission for a shot as well as to make someone
feel comfortable after they just noticed you took
their photo. And if the situation (and your
camera) allows, it’s always nice to show someone
the photo you took. Almost 100% of the time,
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they will be amazed, suddenly seeing the image
as a piece of art, rather than an intrusion.
Larm Rmah
PRO TIP:
Try being still. Sit or stand somewhere out of the
ow of traf c and casually grab a few shots of the
passersby. Those who want to avoid you, will.
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Others will warm up to you and may actually
approach you.
6. Strike Up a Conversation
You can win over a subject and the crowd with a
little friendly chatter. Once again, it’s a matter of
being a part of the action.
Start with that shopkeeper or booth vendor with
no customers. Check out some products. Buy a
trinket or a cup of coffee. A few compliments on
their goods will go a long way.
This doesn’t have to lead to a request to
photograph someone, but it can if the “vibe” is
there. Either way, it lets you blend in naturally to
the environment and positions you as less of a
threat.
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Clem Onojeghuo
PRO TIP:
A word of caution is in order here. Think about
who you’re approaching before you do so. Talk to
a child only after speaking with the parent. Allow
everyone their personal space. In simple street
terms: “Don’t be creepy.”
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7. Capture Color
The streets are a marvelous place to nd and
exploit color. There’s the bright blossom of a
ower that’s pushed through a crack in the
sidewalk. Or, how about those brilliant electronic
billboards in the city square? The explosion of
colors at, say, a Cinco de Mayo esta can be a
story in and of themselves.
Look for those incidents of isolated color as well
as colorful scenes. Every color can be used to add
vibrancy and vitality to an image. But also, the
colors you choose (and don’t choose) can de ne
your style as an artist. Be purposeful and
conscientious with your choices.
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Claudio Fonte
PRO TIP:
The “Golden Hours” just after dawn or before
sunset can change the face of a metropolitan
street or village square as well as the faces of the
people in it. Even the graf ti on a wall can “pop”
in this warm light. Scout out locations to visit at
these times.
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8. Capture Without Color
Another school of thought is that color only
serves to distract from the main message of a
street photo. A portrait may have more impact if
you subtract the colors and let the wrinkles or
expression tell the story. Shadows, textures, and
patterns all might be accentuated more in black
and white.
There are street photographers who always
shoot in black and white (or monochrome, as it’s
not technically just black and white). While this
approach isn’t for everyone, experimenting with
grayscale images may open some creative doors.
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Mauricio Artieda
PRO TIP:
Black and white is often a good choice in settings
where clutter or crowds create a “busy” image.
Try converting a busy street photo to grayscale
for less distraction.
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9. Get Personal with the
Street Portrait
Street portraiture is an offshoot of street
photography. Instead of capturing that eeting
moment, you’re stopping the action for a more
up-close encounter with someone. It takes some
careful maneuvering.
When shooting street portraits, rst work to
build a personal connection between yourself
and the subject. Then turn that connection into
one between the subject and the audience for
your image. The eyes are the window to the soul,
so focusing on the eyes is essential here.
Remember, too, that the environment is often
part of the subject’s story. Be willing to back away
a bit and let the viewers absorb some of the
atmosphere when it adds to the image.
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Hai Phung
PRO TIP:
Personalities don’t have to be portrayed by faces
alone. Hands busy with the tools of a trade, a
person’s posture or even a skinned knee can tell a
powerful story. Practice capturing the visual
clues that describe who your subject is.
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10. Loosen Up for a More
Impersonal Approach
Remember, a story about the street does not
always have to be made up of carefully-
composed images of the people who walk them.
There are many ways to capture a street feel
without it being completely about the human
form. Try loosening up your approach. Be willing
to let members of the crowd be “props” by
disconnecting from them a bit. Slow the shutter
down to give them a more gestural look or let
them get cut off, either by frame or something
environmental.
This is a very different approach from the careful
compositional work of photographing strangers
without their knowledge. You might nd it
effective to shoot from the hip or shoulder, but
when trying this, we recommend that you try not
to connect to a person in the frame. Instead, use
outstanding features of the neighborhood or
architecture as the subject and have the people
be more accidental.
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Hector Bermudez
PRO TIP:
Try using a theme to create these “disconnected”
shots. Choose a subject like bicycles, bags, hats,
or even groups of three or more people. Spend an
hour or a day shooting only that subject and see
how the story changes.
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11. Go Fishing
Many times on the street, great shots come to
those who wait.
The tried and true method is to nd yourself a
great spot, perhaps with good leading lines, and
get in position to frame it well. Then, settle in
and wait for someone or something to become
the subject(s) that the line leads to. You might
even want to set your shutter to continuous
mode and re off a few frames to make sure you
capture exactly the right moment.
This can be a fun and rewarding “ shing” game. It
can also be boring and considered loitering, so
don’t wait too long before you move on.
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Lucas Quintana
PRO TIP:
Practice this “ shing” technique with sub-
framing, converging lines, and even forced
perspective. It’s a good composition exercise as
well as a chance to get some interesting street
shots.
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12. Juxtaposition Tells Its
Own Story
One of the great things about shooting in an
urban environment is the number of comparisons
you’ll nd. Architecture and humanity, the old
and the new, tall and short, growth and decay—
the possibilities are endless.
Finding objects with these contrasts and framing
them in a way that highlights those differences is
the art of juxtaposition. It’s fun, challenging and a
great way to add impact to your photos. Try it
during your next street session.
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Victor Garcia
PRO TIP:
These comparisons work best when they’re
immediately recognized. When you nd the right
subjects, look for a way to frame the shot so that
the difference can’t be missed. Use camera
angles, lighting, and other “tricks” to emphasize
the differences.
13. Try Some Close-Up Work
There’s more to the urban scene than the
“normal” view. Just as in nature, there’s a whole
other world to explore from a closer vantage
point.
You don’t need a macro lens to photograph much
of the miniature view on the street. It’s a target-
rich environment—from the cracks in the
sidewalk, to the peeling paint of a sign to the
spider sunning itself in a store window.
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If you’re carrying a long lens, you can take
advantage of its magni cation factor by shooting
a few feet away from your miniature subject. This
also gives you the opportunity to create some
nice bokeh effects with a wide aperture.
Zoltan Kovacs
PRO TIP:
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When possible, shoot small objects from a very
low point of view. With the surroundings and the
sky in the background, you can convey an
interesting sense of scale.
14. Try Going Wide
A lens with a wide focal length (24mm or wider)
can be a lot of fun in many street situations. Used
parallel to the ground, a wide-angle lens will give
you a great eld of view. You can capture the
foreground, the buildings, and sky all in the same
frame. Shooting from a distance can even shrink
the scene for a different perspective.
When you move in closer to a subject and shift
the angle of view, that’s where the wide-angle
fun begins. Conventional, sheye lenses will
distort the objects in the frame radially for those
fun, bulbous effects. Rectilinear lenses correct
that distortion, but will still distort the
perspective in creative ways.
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Marc Olivier Jodoin
PRO TIP:
Wide-angle lenses have incredible depth of eld,
but focusing can be tricky. At most aperture
settings, you can focus on an object about 1/3 of
the distance “into” the frame to maximize the
sharpness throughout your photos. This is handy
when shooting urban landscapes, especially at
night where focusing can be especially tricky.
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15. Bad Weather Is Good
Weather
It’s an old adage that when it starts raining, the
photographer grabs an umbrella. For a street
scene, weather of all kinds only adds texture and
life to an environment. Plus, people battling the
elements creates for some dynamic images.
Sometimes, the worst conditions can provide the
best photo ops.
When it’s hot, watch for the unique ways people
nd to cool themselves off. A sudden downpour
will cause a urry of activity. The puddles left in
its wake make a great canvas for re ections and
splashing fun. Wind and snow also create
awesome dynamics and opportunities.
Be prepared to protect yourself and your
equipment when conditions change. Keep
shooting, but know how to protect your
equipment and when to seek shelter, too.
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Jeffrey Blum
PRO TIP:
Add a few heavy plastic trash bags to your gear
bag. They can be used as emergency rain/snow
covers for you and your equipment, sun shades,
ground tarps. They can even be lled with sand
to make a stabilizing weight for your tripod or a
“bean bag” camera rest.
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16. Work the Sunlight
We’ve already discussed “golden hour” lighting,
but what about other times of day? Sunlight is an
incredible tool, you just have to work different
kinds in different ways. While portrait
photographers bemoan the harsh direct light of
midday, for a street photographer, the hard
shadows that kind of light creates makes for
wonderful shapes and abstractions.
Get a little lower and see how aiming toward the
sun and using re ections and ares can enable
the sun to add life to your shots. One of street
photographers’ great lighting tricks is to see
where re ected light from a nearby building is
shining into an otherwise shadowed area,
essentially creating a near-perfect studio-like
light setup.
As a street photographer, you’re working with
what’s given to you. So, when you can’t choose
the time of day for the shoot, nd ways to work
with the available light. Having a number of
“tricks” in your repertoire for any situation will
pay off in countless ways.
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Sawyer Bengtson
PRO TIP:
Watch for the continuously-changing shadow
shapes and patterns that the sun paints and then
use them to add interest to you image.
17. Work the Night, Too
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The face of the city changes when the sun goes
down. Light displays, traf c, and the creatures of
the night offer unlimited opportunities.
A bold photographer will nd dark stories on the
back streets of many cities. But it doesn’t have to
be dangerous—street lights, theater lines, and
even a quiet park can provide an endless palette
of creative inspiration.
Crank up the ISO setting and record the drama as
it unfolds.
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Chester Wade
PRO TIP:
Wide apertures, ash and fast shutter speeds will
deliver less motion blur and nice bokeh, but don’t
forget to think outside the box. Bring your tripod.
Capture some light trails. Stop down to f/16 or
f/22 and enjoy the light trails and starbursts that
add drama and creativity to your shots.
18. Head to Higher Ground
Just as a lower point of view can add interest, a
higher vantage point can put a whole new spin on
your images. One easy trick a lot of street and
urban photographers employ is to location scout
areas of a city that offer wide expansive views or
where hilly roads offer new angles on things.
Don’t risk your own well-being and certainly
don’t do anything to land yourself in jail (the light
in there is terrible), but there are a few tricks to
getting yourself above the crowds. A polite
request might give you access to an upper story
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window or rooftop. Balconies and catwalks are
good locations. Most cities have multi-level
garages with gorgeous views and most tall hotels
have restaurants and observation decks that are
open to the public. Look up and nd a place to
look down.
David Rodrigo
PRO TIP:
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When you are getting to a new city, grab a
brochure or check with the local Chamber of
Commerce to nd great locations that are open
to the public. Metropolitan areas almost always
have tourist access to high places like towers and
cathedrals. And most hotel rooms have books or
magazines with tons of photos that offer clues to
where these top locations are.
19. Take It Inside
While it’s not technically “on the street”, nding
excellent indoor scenes still quali es as street
photography in our book. It’s just about nding
the right spot, and shooting it in your street
style.
Once inside, you have to remember you’re on
private property and everyone has an opinion on
what’s legal and what’s not. This is where being a
stealthy street shooter comes in handy.
Businesses will often discourage cameras and
those that allow them may prohibit ash
photography. Respecting those restrictions and
going more low key with it may earn you some
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respect and will de nitely keep you out of
trouble, especially in government buildings.
Indoor ea markets, shopping malls, and similar
locations can be great backdrops for some
storytelling. Framing a shot through a doorway
looking out is another great way to do something
unique with your street work.
Charles Forerunner
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PRO TIP:
Don’t be afraid to use a high ISO setting in lieu of
a distracting and often unwelcome ash. Noise
can be reduced in post-processing and can even
add a “gritty” feel that suits some street shots.
20. Go Slow to Look Fast
A little—or even a lot—of motion blur isn’t
necessarily a bad thing in a street photo. If the
story you’re telling is one of hustle and bustle,
narrow escape or anything similar, let the motion
show.
Slow shutter speeds at a popular tourist
attraction or subway station will blur your
subjects and can be a beautiful way to capture a
sense of the activity. But this works in many
situations. Long exposures at stoplights can give
you “ghosts” of the vehicles and pedestrians. The
blur of a ag or banner can telegraph a windy
day. It’s all about using, and at times creating,
visual clues to convey the moment.
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Alessio Mumbojumbo
PRO TIP:
Try ring an external ash at the end of a fairly
long exposure to “freeze” moving subjects with
motion trails behind them. You may want your
camera on a tripod for this trick.
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21. Pan with the Motion
Panning with a moving subject shows motion in a
more unique way. For instance, try following the
motion of a cyclist with your camera as you press
the shutter. Match the speed of the pan with the
speed of the cyclist. If your timing is good, you’ll
freeze the bicycle and rider, leaving the spinning
wheels and background blurred.
This technique takes practice and concentration
to perfect, but once mastered, it’s an effective
way to add dynamics to street shots. You can
take this technique to any number of scenarios. It
works great with cars, birds, runners… anything
where movement is a key factor in the scene.
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Roman Koester
PRO TIP:
When capturing an object in motion, be sure to
leave leading space in the frame. In other words,
don’t crop your image close to the front of the
motion. A moving subject needs somewhere to
go.
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22. Capture Emotional
Moments
The street is a great place to capture emotion. It’s
lled with real people living their real lives. And
when scenes unfold, they do so with a distinct,
unscripted humanity. Some of the greatest street
photos ever created simply tell the tale of a
person having their very emotional human
moment. The frustrated mother, the angry
shopkeeper, the kissing couple… these are all
street gold. And you can capture it.
Getting this special kind of shot takes patience,
observation, luck, timing, and discretion. Where
is the line between an artist or a documentarian
and just plain invasion of privacy? Every moment
has its own line and you have to know when
you’re crossing it.
But if you really want to capture it authentically,
try to remain unseen. Emotion is personal—as
soon as it includes you, it turns into something
else. Shoot from the hip, from behind a window
or doorway, or even pretend to be shooting
something else. Not to be sneaky, but so that you
don’t nd yourself the subject of the person’s
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emotion. Nobody wants to be taken advantage of
when they’re vulnerable, so keep it all on the dl.
Jonathan Rados
PRO TIP:
One trick of the trade is to think a few steps
ahead. Literally. If you see a subject that seems
like it might be a great one to shoot, try to
anticipate where it’s going to be in a minute, then
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go position yourself there and wait for it to cross
your path. That way it feels like it came to you,
rather than you going toward it.
23. Don’t Think. Feel. Then
Shoot.
Street shooting really starts to feel fun when you
learn to not think about the technical stuff and
just feel the pulse of the city—and every place has
some pulse, even if it’s just a village.
The trick with it is to get good enough, and
con dent enough, at settings that you can put it
on “autopilot” and simply absorb the city, letting
the sounds, smells, textures, and visuals seap
inside you. The creative, photography mind will
then translate that into something worth
shooting. It might be more abstract than your
usual, perfectly-timed or composed shot, but it
might very well be more true to the feeling you
had while there.
Trust the process and let it ow. Eventually, you
might nd these less-perfect images to be your
most favorite, or even your signature.
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Bash Carlos
PRO TIP:
Don’t “chimp” (constantly check your photo
previews). Learn to trust your skills and maintain
your rhythm. You’ll miss fewer shots and stay
better connected to the shoot. Find your
mistakes later and learn from them.
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24. Don’t Forget Your Most
Important Piece of
Equipment: Your Body
Your body is the piece of equipment that
supports that creative mind of yours. Treat it as
well as you do your camera.
There’s no prize for least amount of food or water
consumed in one session. Carry a water bottle
and an energy bar in your pack for quick
refreshment when you need it. If you don’t have a
good way to carry your own, pick up a bottle of
juice and a quick snack at a local shop. Avoid
sugar crashes, stomach aches, and headaches by
keeping it healthy on shoot days. Foods that
digest easily and offer sustained energy are
preferred here. Little sips of water all day are
better than big gulps when you’re parched. Your
body can only absorb so much water at a time.
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Rawpixel
PRO TIP:
Nothing helps you keep pace like music. When
you need a pick-me-up, either energy-wise or
even just for some creative ow, try putting some
music in your ears. It could even lead to an idea
for a shot.
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25. Remember Why You’re
Here
The real motivation for most street
photographers isn’t money, fame or anything
tangible. Most of us do what we do because we
love it.
Be you, be honest, and be authentic in everything
you do—just like the people you’re
photographing. It’s okay to laugh and it’s okay to
cry. Being every bit of yourself makes you
approachable and likeable out on the street. And
as much as you paint yourself as an observer, the
truth is, you’re also on that street. Find your
place there and enjoy the feeling of being part of
a community.
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Frederik Trovatten
PRO TIP:
Talk to people on the street about what you’re
doing. There’s a tendency to think of yourself as
an outsider when you have a camera; break with
the constructs that separate you from your
environment and strike up a conversation with
people about your art and goals. There’s no
better way to ingrain yourself into the heart of a
city—and more often than not, it’ll open a door to
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a part of the city you’ve never seen. Everyone has
a story.
One Last Thing
Like most genres, street photography is a pursuit
that requires skill, continuous creativity, and
dedication. It blends photojournalism with ne
art and even elements of storytelling. It’s a lot to
learn and can often be frustrating, with what
seems like steps back as much as steps forward.
Those who truly nd success in it are the ones
who can withstand those harder times and push
through them. And nothing helps with this more
than continuously reminding yourself why you
got into it in the rst place.
The tips we’ve listed in this article will help you
nd your way around the urban jungle and set
you on a path to creating images that stand out
and pull viewers in. But it’s also worth
mentioning that your motivation and curiosity is
the true foundation of your work as a street
photographer. And this a far greater factor in
your work and career than settings and
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techniques. Stay curious and keep shooting! And
remember:
“Ultimately, photography is
about who you are. It’s the
truth in relation to yourself.
And seeking truth becomes a
habit.”
– L E O N A R D F R E E D
Josh S. Rose
> View more articles by Josh S.
Josh S. Rose is a professional photographer, photojournalist and creative director,
living in Los Angeles. He brings a classical black and white style and applies it to his
conceptual, narrative-driven subject matter which has lead to work for some of the
hottest new brands, personalities and creative organizations in the country. You can
see more of his work at www.joshrose.photography.
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