Small-town streets

Outside the bustle of big cities, street photography takes on a unique set of challenges – but it’s still wholly worthwhile, says Brian Lloyd Duckett. He shares the secret to creating arresting images anywhere

It’s easy to believe images can only be as compelling as their subject matter, but in truth, the sentiment undermines a photographer’s skill. A camera is the border where intention and opportunity meet. Though not always equal, the two aspects of image making remain in constant balance.

More than many other genres, street photography carries the expectations of a particular scene. Envision towering metropolis buildings segmented by a flowing throng of foot traffic. In other words, urban life.

It’s a feeling established professional Brian Lloyd Duckett knows all too well. But he remains adamant that moving moments of daily life happen all around us, in any place. Better yet, he knows how to find them.

“I completely accept that, in a small-town environment, street photography is more difficult. It’s a fact,” Brian begins.

“Firstly, certain kinds of subject matter are lacking. As a result, it’s easy to get drawn into documenting mundane scenes, which are little more than a man crossing the road with a dog, or a busker playing a trumpet.

“Secondly, there’s often a heightened sense of discomfort when photographing in a small town. Attitudes are usually less cosmopolitan and people with cameras are less commonplace. Having said that, we feel we stand out more than we actually do.”

So, with setbacks outlined – along with a firm assurance that they are not indicative of your competence as a creative – how might they be overcome? One important step, according to Brian, is to reframe your vision.

“We need to be realistic about what’s possible,” he notes. “Don’t expect to find Winogrand-like opportunities around every corner because they won’t be there. Instead, focus on the sort of street images that rely on light, form or colour. Do something more aesthetically focused, which is frankly the sort of material you could find just about anywhere.

“We can also explore that interesting space where street meets documentary,” Brian continues. “Look at some of the great work US street photographer Mark Cohen did in the small town of Wilkes-Barre, Pennsylvania. Cohen was born in and produced most of his work there.”

Local events fit Brian’s bill perfectly. Even in small communities, you may see a surprising turnout – and expanded photographic opportunities.

“Visit country fairs, shows, markets, village fetes, festivals, local protests,” he says. “Most towns have gatherings all throughout the year, which can be photographed in a spontaneous way, or give you the focus for a project.”

Learnt through years of experience, this knowledgeable professional also emphasises the importance of seizing the here and now. Street photography is all about a fleeting moment in time, but it’s easy to romanticise years gone by. The simple fact is, glimpses of history viewed through the imagery of others are novel, but so too will be your own images given time.

“I’ve discussed the idea of being a history maker before, using Joel Meyerowitz as an example,” Brian muses. “We would all love to be blessed with the great street scenes in fifties Rome, sixties New York, or say Tokyo in the eighties – but we’re not. The pictures we make are contributing to the photographic history of the world, though, however ordinary the scenes appear now. I’ve decided personally that there’s absolutely no point in trying to replicate the great work of 50 years ago. Why try to add to a long-gone conversation?”

As with inner-city street photography, feelings of discomfort while photographing in public diminish over time. It’s human nature to adjust to virtually any new experience. Still, Brian has discovered a few ways to expedite the process.

“Consider getting yourself known,” he states. “Don’t hide. Be open and confident about what you’re doing. Maybe even create a little notoriety, if that’s the right word. When people show interest in what you’re doing, be open, relaxed and friendly. Photographing in an extremely covert way can appear strange, so don’t hide behind your camera. Acknowledge people, smile at them, chat about what you’re doing. Trust me, anyone who follows this kind of approach will have much more of a positive and enjoyable experience.”

Camera and lens choice are also key for reasons beyond image quality and technical capabilities. The entire X Series range is designed to be compact, but a select few bodies and primes find a natural home on the street. For Brian, the fixed-lens FUJIFILM X100V is the optimal choice for those uncomfortable with drawing too much attention.

“You don’t want to look like a photographer, as such. With kit that blends in, you’ll look more like a tourist, which people find much less alarming. When I work with my FUJIFILM X100V, nobody notices me at all.”

Delivering parting words of wisdom, Brian reiterates the value of dedicating time and effort to street photography, even outside of the ideal environment.

“Don’t talk yourself out of it,” he concludes. “There are so many creatives who make this work for them, so there’s absolutely no reason it shouldn’t for you, too. Get out there, give these techniques a try, and you’ll discover great street photography is possible anywhere.”