In the Shadows: A Street Photography Guide
From the sidelines, the Ontario photographer quietly observes, then creates atmospheric images with his Tamron 28-75mm lens suite.
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By Jenn Gidman
Images by David Casco
Seven years ago, David Casco stumbled upon a cinematic video about New York City on YouTube, shot by videographer Matt Cuomo. “I was fascinated and wanted to know how he’d put it all together,” he recalls. “I’d never picked up a camera before, but I started binge-watching more videos like that, purchased my first camera, and began shooting video. Unfortunately, my computer at the time couldn’t handle the quality of those clips, so I started dabbling in still photos as well.”
Since then, the photographer from Kitchener-Waterloo, Ontario, has gravitated toward street photography, slowly and steadily developing a moody aesthetic that both sates his creative needs and caters to his more reserved personality. “I’m an introvert who likes to observe people from the sidelines, where I’m able to stumble across these characters in eye-catching locations and craft a story. And because I want to go all in on that mood, you’ll find me out shooting when most other people aren’t. When it’s snowing, when it’s raining, at night—whenever I can capture a truly atmospheric photo that fits with my style.”
28-75mm (30mm), F2.8, 1/250 sec., ISO 1600
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To capture his street photos, David Casco taps into a trio of Tamron lenses: the 28-75mm F/2.8 Di III VXD G2 standard zoom, the 35-150mm F/2-2.8 Di III VXD all-in-one zoom, and the 70-180mm F/2.8 Di III VXD telephoto (see latest G2 version), all for his Sony mirrorless camera system. “My Tamron 28-75mm F2.8 G2 is my all-around lens, especially handy when I know I’m going to want to shoot a little wider,” he notes. “The 35-150mm F2-2.8 offers me a bit more versatility, with a little more reach so I don’t have to keep switching lenses, especially in the inclement weather I’m often in.”
28-75mm (75mm), F2.8, 1/200 sec., ISO 2500
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In David’s view, however, the perfect lens for his style of work is the 70-180mm F2.8, which he’s nicknamed the “introverted lens.” “This lens allows me to capture fast, sharp photos from a distance, so I’m not in my subjects’ faces,” he says. “What I especially love about the 70-180mm is the compression I’m able to achieve, and the separation of my subjects from the background. I appreciate all three lenses for their fast apertures, which I need for this kind of low-light work. These three lenses allow me to focus on composition, storytelling, and the nuances of street life without having to stress that my gear won’t be up for the challenge.”
DAVID CASCO’S QUICK STREET PHOTOGRAPHY TIPS
Previsualize your creations.
Ever since I got into street photography, I find myself constantly scouting for backgrounds, then envisioning how a subject would look isolated in front of one, with that background compressed with a telephoto lens. Then I go back to that spot when the weather and lighting is right and bring that imagined shot to fruition.
35-150mm (35mm), F2.2, 1/250 sec., ISO 6400
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Maintain an unintrusive presence.
This is why I prefer to stick to the longer end of my lenses. I don’t want to ruin the spontaneity and candid nature of the moment. Another trick I use while preparing to take photos is to observe the scene, set up my composition, then wait for a subject to enter that scene. When they do, it seems like I’m just taking a photo of that spot, not them in particular. By the time they happen to notice me, I pretend I’m making an adjustment on my camera or still figuring out what to photograph. Meanwhile, I’ve already taken the picture.
28-75mm (75mm), F2.8, 1/320 sec., ISO 50
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Embrace scenes of isolation.
Photos like the one you see here at the train station, on a snowy night, are common images in my portfolio. There are actually quite a few people around me, but I was able to crop the photo a bit to accentuate that feeling of solitude. I love how the shadowy night all around my subject makes him the focal point against all of that snow, hanging out on that seemingly lonely platform.
70-180mm (70mm), F2.8, 1/250 sec., ISO 3200
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I encountered a similar scenario for the woman on the Vancouver beach, staring out at a ship on the misty horizon. I was already intrigued by her silhouette set against the water and foggy sky, but then the ship perfectly aligned with her. I purposely made her a bit blurry to add to the mystery.
35-150mm (129mm), F2.8, 1/800 sec., ISO 100
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Incorporate your ‘look’ in post-processing.
I want my Instagram grid to look cohesive and consistent. I tend to lean toward blue tones, especially for evening photography, so I’ve developed an appropriate preset that helps my editing workflow. After applying that preset, I typically make just minor tweaks to complete the photo. I like having a unique visual identity to my work.
70-180mm (83mm), F2.8, 1/50 sec., ISO 1000
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To see more of David Casco’s work, check out his website and Instagram.
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