if you missed my most recent street photography
video in Verona, Italy, you can check out that video up here.
But today we are looking at the next part,
which was our day trip to Venice
and the photography that I shot there on the Sony A seven C with a Sony 28 mil F two and a
little bit on the Sony 50 mil.
One
0.8.
In my previous
video, I talked a little bit about
how Verona's lighting
conditions that particular
day were a bit muted.
It was humid.
There wasn't an awful
lot of dramatic light happening.
Well, let
me tell you, let me tell you, Venice.
Amazing hot, bright sun, narrow streets,
lots of people.
But then large squares.
There's a lot of
variety, a lot to shoot, so a lot to get into.
While imbalance, both my girlfriend and I were taking photos together, so it was really nice to be out with someone else
doing street photography.
And for this video, I'm going to break this down into four parts.
That first part
is going to be armed shooting together versus shooting solo.
The second part is going to be shooting in heat.
The third is going to be shooting with a 28 million, a busy location, and the third is going
to be a little Sprinkle of 50 millimetre photography.
So, firstly, shooting together versus
shooting solo like why
is this even a point?
Usually I'm quite keen to shoot on my own.
I find that I'm trying to be
more aware and sort of more reactive to what's going on around me, whereas like if I'm
with someone else,
I'm
less likely to be
like I'm just going to get the shot.
I don't know why other people can do that.
I seem to find it a bit difficult.
I find it easier on my own where literally all I'm doing is taking photos, and if I give
myself 30 minutes to take some shots,
I'll get
out there.
Be reactive, look for shots,
whereas with someone else
I found myself a little bit more reserved in that way.
But on this particular trip to Venice, my girlfriend had her
camera with her as well.
And while we're walking through the narrow streets, you sort of move from scene to scene to
scene in Venice.
Like every little corner leads into a new opening with new colours, new
buildings,
new waterways, new bridges If you have to walk 20 minutes, but you've got a camera and
you're willing to take photos, that 20 minute walk could take you like over an hour, just because
every little space you get into how
so much to offer visually.
So I think both of us focus on some of the same sort of stuff from your shooting, but also a few different little
things as well, and also shooting in different ways.
My girlfriend, for example, on her Fuji had a zoom lens.
Obviously, she was getting like a variety of focal lengths,
whereas I was on the 28 mil for the entire time.
So I was focusing on getting sort of
establishes a bit of video and a
little bit of sort of white focal length detail as well.
You will notice some of the
B roll in this video as well is from the SMC on the 28 mil.
All this is shot at 10 80 p 100 friends for second just because I wanted to milk
the slow mo factor and I'm just dealing with the fact that it's 10 80 p upscaled.
So I hope you don't kill me for doing that.
The next part
is shooting in heat as much sun as there was to play with lighting wise on this
day in Venice.
It was also
crazy hot for someone like me.
I'm from the north of England, man, I'm used to like
15 degrees Celsius.
This day in Venice, I think was about 28 degrees
Celsius.
So
pretty damn hot.
And especially when you're walking a long way in crowds of people and not drinking an awful lot
of water, you get quite exhausted quite quickly.
And you sort of like by the end, as we got into, like, new areas, I'd start thinking like, Oh,
this is probably good photos here.
I should take some photos, but like dehydration sets in, you're overheated.
You're a bit like I can't even remember.
Like, what was I shooting again?
Like you're just trying to keep conscious the entire time I'm being so
dramatic right now.
But yeah, I did just at some point to think like so bloody HeartMate so hot.
We walk pretty much from the train station to a spot to have lunch, then sort of towards the
centre and then decided to go get gelato.
So
we walked a little bit out.
The centre had a break there so literally just sat down in an alleyway,
had gelato, then walked back into the centre centre again.
And definitely by the time we arrived
in Piazza San Marco, I was tired again and we got in.
And there's this massive open space.
You've got the very large tower lot of people's photograph.
At first I was a little bit just like I haven't even got
like, an opinion or
even an idea of how to shoot.
Any of this is just almost
too much going on for my dehydrated little
English head
to even think about.
But after a little bit of time, had a bit of a break.
I sort
of said to my girlfriend, like should we just should just shoot for a
bit to the two of
us for about 20 minutes half an hour or just sort of wandering around the crowds, just grabbing shots
and I actually
got some of my favourite shots, actually, in that
time, because I really was
just like trying to
be again, like
hyper aware of everyone around trying to find parts of the architecture that I liked, things that
were a little bit
different, but also just setting up compositions for them to have people walk into.
I mean, it's that busy.
You really don't have to wait for people to walk into shots.
Occasionally someone who's pretty still and you can
wander around, get a couple of shots.
There's one gentleman in particular to sort of leaning against a lamp post that he was quite fun.
But then there was lots of little moments like that, and also lots of areas.
We can just wait for people to walk into it.
Thirdly, let's get into shooting with a 28 mil in a busy location.
If you've never, ever been to Venice, you probably know.
You probably know it's
round like it's rammed around.
Took a festival all the time.
It's the city on water.
Everyone goes.
It's full of Americans.
Sorry, Americans.
It's literally full of Americans, Um, so it's packed.
So when you are wandering around a little narrow
streets, therefore, like you don't walk alone at any point.
I think we did maybe once or twice that.
You know, if you're in the wrong way, essentially, you would be on your own for a second.
But for the most part, those people everywhere.
So shooting with 28 mill in those narrower streets was actually great.
It was the right amount of wide to sort of still get context in there in those
narrow streets.
Whereas once you got into like Piazza San
Marco and it was nice wide
open,
having that 28
mill was good for sort of getting a tower in getting a bit more
architecture in.
But in terms of getting
narrower compositions
on specific people or groups of people, it did become a little bit more
difficult.
And that's when I
decided.
Okay, I'm gonna stop over to my 50 mill for a little bit, But still without 28 I
definitely was zooming with my feet a little bit more.
And when it's that busy and you want to focus in on a specific person, it's kind of
easier to do because there's so many people, especially with so many people with cameras.
I
sort of felt less self conscious about
going
Oh, there's a shot of this
guy I'm just gonna walk
over to him and get the shot because
he's not really going to notice.
And so many people.
It's not like I'm the one person they're walking up to
him.
There's like people coming left and right at you all the time.
So in that way, the 28 mil didn't really feel limited in terms of getting
closer up shots on people, which was very fun to be able to use it for.
And lastly, let's get into the 50 million photography that I used to come in.
At the very end, it might have only been a couple of shots, but still Yeah, once I
sort of realised that space is a bit far open.
A couple of the reflection shots that was trying to get there weren't really working for me.
So I swapped onto the 50 mil, a couple more reflection shots and then also
a couple of pics of some other people just
while walking around.
Because 50 mill is definitely the minimum focal length.
Really, in terms of being able to isolate subjects in
a crowd, I can get a bit more compression between someone and the background like there's
lots
of different views in Venice, especially
down at the waterfront.
There's lots of different views that kind of get
lost in the 28 mil, because just you and the
distance to what the view actually is.
So having the 50 mil there just for those last couple of shots did mean that I was able to get things
that I only had the 28 mil I might have been a bit lost with.
Even the 28 mil does actually crop down to a 42
mil.
I found myself
not really using it
as much.
I had done a little
bit in Verona and a little bit about this, but for me, at this point, I was like, Okay, I'm gonna stop onto the
50 because I then have the 50 which
then crops down to a 75 which is definitely a lot more flexibility when I want to try
and isolate subjects.
If you've watched this video hoping for a recommendation for the 50 mil off the 28
mil and turned the street photography on the 87 c, I hope this
video is enough for
you to understand that it's definitely a good shower for me.
Keeping my street photography kit small, lightweight, minimal is the best way for me, really, in
terms of remembering to take my camera with me and feeling
comfortable getting out grabbing shots.
I'm going to have a
video coming out very soon, talking about my camera settings when it comes to the Sony A seven C for street photography and
another one talking about my approach to kit for street
photography versus my
approach to kit for video because those two things
are wildly different.
And if I was only a street photographer, I would have next to nothing.
But because I do video, I have pretty much everything.
The life and the expenses of a photographer videographer.
They never stopped.
Thank you very much for watching this video.
If you've enjoyed it, please hit
the like button and please consider subscribing to the channel.
I will
see you in the next
one