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Finding the perfect street photography camera can be difficult especially when you are looking for an affordable option.

First we have to ask what makes a camera great for street photography?

Size is important

We don't want a big clunky camera to be carrying round the streets. It makes you more noticeable, when shooting. Plus It's not as comfortable to carry around with you all.

Lens options

All of these affordable street photography cameras mentioned below are fixed lens cameras, meaning you can't change the lens. That might seem like a downside but when you don't have to decide what lens to use you can focus on getting out there and shooting.

All of the cameras below are APSC sized sensor cameras. Meaning that there is slight 1.6x crop factor on the lens. All of the affordable street photography cameras below have 35mm equivalent or wider fixed lenses.

Let's get into the recommendations.

Ricoh GR II

The Ricoh GR series is a great option for an affordable street camera. Firstly is super small, has wi-fi so you can transfer images to your phone and edit on the go.

The lens is a 28mm 2.8 equivalent. This is the perfect focal length for street photography, it forces you get a little bit closer to your subjects to fill the frame.

If you are serious about street photography you will most certainly have heard of the Ricoh GR. It perhaps has somewhat of a cult following now. The size of this camera is perfect for a daily use camera, you can fit this in your jeans pocket. The APS-C sensor is packed into the little body along with the 28mm equivalent lens. This is perhaps the best way to get a fast 28mm camera and lens for use on the streets. One downside may be the lack of viewfinder, however you can get an external hot shoe viewfinder if required.

Buy on Amazon

Fuji X100s

The Fuji x100 is a little bit larger than the Ricoh but has more manual control dials. This is great for quick setting adjustments on the street.

The fuji also has the benefit of a viewfinder, both rangefinder style and electronic. This obviously helps quick composition.

The lens is a 35mm equivalent lens. 35mm is great for street photography and environment portraiture. It's the perfect lens for travel photography too. Its a great all round lens.

I would recommend this camera to someone who perhaps already has DSLR for other commercial work or video content production. The Fuji X100F certainly isn't a one trick pony, I have seen some amazing results using this camera for wedding and portrait work. The fixed lens does however make me lean towards recommending this to someone who definitely wants to concentrate on street photography and wants to learn how to shoot the one 35mm focal length really well.

Buy on Amazon

Fujifilm X70

Very similar to the Ricoh GR II the Fuji X70 features small form factor and 28mm equivalent lens.

There's wifi too making it easy to edit and share whilst travelling.

If you've ever used the fuji system before you know the image quality from these sensors is amazing. It shares the same sensor and auto focus technology as the X100T.

Buy on Amazon

Sometimes the best way to get an afforable street photography camera is to do a bit searching on ebay for a great used deal. There are always plenty of Ricoh's and X100's going up on ebay. Remember that a street photography camera is an investment and if you plan to use this camera daily it's worth taking time find the camera that will best suit your needs.

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The Ricoh GR series is synonymous with the street photography genre. We have Eric Kim and Diado Moriami in part to thank for that.

Intrigued by what made these cameras so perfect for street photography, I took to the internet and spent time scouring different blog articles and watching lots of YouTube videos about all the interations of the Ricoh GR through the years.

I decided one day that I’d just have to get one and see what all the fuss was about.

My heart was set on the original Digital Ricoh GR, released in 2005. Their first iteration looks very similar to the latest model and that’s because the design has barely changed since the 35mm Film GR.

The GRD1 hosts a 6mm lens with 28mm equivalent. The sensor is 8.1 megapixels and the LCD display pixel count is nothing to write home about. Despite it's lack lustre specs by todays standards the camera feels tactile, solid and very ergonomic in the hand.

I took the streets with my little camera and started snapping.

The results in colour are not great. The images are grainy and there are weird colour artefacts.

However when you get those files into Lightroom, convert to black & white and crush the blacks you can get some amazing results.

That ISO grain looks ridiculously like natural film grain.

That why I love this camera. It has it's limits but it’s those limits that produce some fantastic looking images. You can't just bump up the ISO when the sun starts to set. You don't have the ability to hide the background with shallow depth of field. This camera forces you to work quicker and smarter.

When shooting with the Ricoh GRD 1 I set the snap focus to about 1m and the ISO to around 800 or higher to accentuate the grain structure. I barely ever use the digital display instead opting to raise the hotshoe to my eye and use it like a gun-sight to roughtly frame with the wide-angle 28mm lens.

After using this camera for a few years, I believe it's taught me so much about street photography. It's allowed me to forget about settings and focus on getting the picture I want.

Imposing limits on my creativity lead me to find new ways of making the camera work and produce images I loved.

The Ricoh is now of course almost 13 years old so youre only going to find it on eBay or other second-hand websites for around $100-$200. They hold their value fantastically.

There is however a great alternative if you want the same functionality but with a higher quality image. Not long after getting the GRD1 I got a new Ricoh GR Digital 16mp camera. This is an APSC sized sensor with an equivalent 28mm lens.

You dont get the same crazy film-like ISO noise, but you do get all the benefits of the GR system. The snap-focus and fast power-up makes it perfect for an everyday carry street photography camera.

Buy Ricoh GR on Amazon

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A great wide angle lens is a very important part of your street photography kit. I personally love the 28mm focal length, but have also found a 35mm lens to be a great way to get started with wide-angle street photography if you are more used to a standard focal length like 50mm.

Canon 28mm 2.8 IS USM

If you are using a Canon DSLR you have so many options for covering the 28mm focal length. Personally I alwasy try to buy lenses that can have multiple uses. I love street photography, but I also love documentary filmmaking. This lens would be a great choice for anyone intrested in Street Photography and Filmmaking as the Image Stabilisation feature of this lens is going to be very useful for stabilising your video work. The IS will also allow you to shoot in lower light situation letting you slow the shutter speed down and still get a sharp photography. Remember IS only stabilises the image, it doesnt stabilise motion of your subjects. So if you shoot with slower shutter speeds, IS will remove any handshake, but you will still get blurry shots if your subject is moving.

The Canon 28mm 2.8 IS features a Ultra Sonic Motor (USM) so it's almost silent when focusing, unlike some of the older Canon lenses that sound like there is a little bee trapped inside.

The lens is composed of 9 Elements in 7 Groups, featuring one Aspeherical element. Basically its a great quality lens composition that will reduce chromatic aberration and improve sharpness edeg to edge across the frame.
A key benefit to using this lens is the focal distance meter on the top side of the lens. So if you feel like pre-focusing, you can easily set the camera to Manual Focus mode and set your focus with the very smooth focus ring.

The Canon 28mm is optimised for full frame cameras, meaning that the image will be cropped if mounted to a Canon 80d, 7D or other APSC Canon bodies.

You can find the Canon 28mm for under $500 on Amazon.

Buy on Amazon

Fuji XF16mm 1.4 R WR

I have been a big fan of Fuji camera for street photography since the XPro-1. The lenses are outstanding! If you have any experience using the Fuji system you already know the quality is amazing. The Fuji 16mm is no different, it's a little pricey but this lens packs a bunch of features and the build quality is second to none.

On a Fuji mirrorless body, the Fuji XF 16mm f/1.4 WR becomes a 24mm equivalent lens. If your shooting style leans on the wider side (without getting into the crazy focal territory of the Rokinon 12mm f/2, another favorite of ours), you'll feel right at home. It's tailor made for contextual photographs, but you can squeeze 3/4 portraits out of this lens without unflattering distortion on your subject.

But this is a serious lens, built for people who take their photography seriously. With the Fuji XF 16mm f/1.4 WR, you hold legendary optics with a massive aperture and a versatile focal length housed in solid metal, dust and moisture resistant body. If you were planning on investing in your lens line up, I highly suggest you start with this one.

Buy on Amazon

Voigtlander Nokton 17.5mm 0.95

This lens for the MFT is simply insane in every way, it's big, its heavy and it's got incredible image quality.

I'm not always such a sucker for bokeh monster light gobbling lenses but this 17mm lens from Voigtlander is hard to ignore. It fills a much needed gap for true perfomance 35mm lens in the MFT line-up. Sure we have the 15mm Leica lens from Panasonic and everybodies favourite Olympus 17mm. But these lenses are either to expensive or dont quite fit the 35mm field of view that so many MFT users are searching for.

There are a few caveats, firstly you dont have auto-focus and secondly it's expensive.

If you are headin towards one-day owning a Leica M this lens provides a great stepping stone to the M-System. You can practice your manual focusing and zone focusing skills with the details lens barrel markings.

When it comes to taking portait photos this lens really perfoms well. The shallow depth of field that comes with the 0.95 aperture provide amazing background seperation and smooth and creamy out-of-foucs areas.

If you are heavliy invested in the MFT system this lens is a must have, fo photography and video work!

Buy on Amazon

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I think it is important to be clear about who influences your work, it can help form a path for you to follow, it clarifies your message and makes the process of actually getting out there and shooting easier.

For the past year I've been following the work of Andre Wagner, a photographer and artist who currently lives and works in Brooklyn, New York.

It's obvious as soon as you look at his work that he draws his influence from Garry Winogrand, Gordan Parks and Robert Frank. His photographic style is timeless.

In this article I want to share a few lessons I've learnt from following Wagner's work.

1. Apply what you know

Andre Wagner, grew up in Omaha, Nebraska. He studied social work in university and in various interviews has mentioned how his background in social work feeds into his photography.

"I think my background in social work has a big impact on my work, maybe not visually but theoretically. Before one snaps the shutter, it starts with what the photographer thinks is important. When I’m working on a body of work, it always comes down to what it is I’m trying to say." ICP

Knowing why you want to press the shutter, is what helps build the story you are trying to tell. Otherwise it can become a collection process, just snapping everything and anything.

"Living in Omaha has definitely given me a framework as to how I think about the world, which influences how I see the world and that's gonna influence my pictures because I'm stuck with my own psychology and who I am. What interests me is what I'm gonna take photographs of so everything in my life impacts my work like living in Omaha or going to college or social work." The Fader

I think we spend so much time online dreaming of living other peoples lives. My dream is to be a photographer in New York, but that's someone else's thing, why do I want that reality?

What I've realised, is that everyone has a story to tell, every town, every city has potential. I've become more determined to tell my story through photography here in Belfast.

2. Find a process and stick to it

Andre Wagner has a very classic style, using a 28mm lens, Leica M6 film body and Kodak Tri-X. His images are poetic, the subjects always seem in motion, there is a natural energy in his photos that I believe, in part, comes from his dedication to a process.

He has decided to shoot black and white film and stick with it. Focusing on one single process and mastering that allows for more time and freedom in what you actually shoot.

"Part of it is because the process of shooting analog and looking back through old contact sheets is like reliving the moment the photo was taken in. It’s not like a digital camera, where you have an image right there. Spending a little bit more time means that it’s easier for me to select compelling images."

Shooting on film naturally means there is a delay in viewing those images, you may be able to get home develop and scan later that day, but there is something in the process of waiting and allowing time before developing and reviewing your work. You can distance yourself from them more and be more judgemental when selecting the most compelling images.

"For instance, if I shoot a roll today, develop it, and look at the images right away, then I’ll think, “All these images look great,” when most of them don’t actually look good."

"I try to be hard on myself while I’m editing because I shoot a lot, and if I don’t edit the work properly, then the quality and voice of it gets lost."

That extra distance from your work, leaving time before selecting and sharing images can feed into making the process of curating a show or book easier. It allows time for a story to develop.

"I’m interested in so much when I’m shooting because New York is so stimulating. This city is full of different cultures and languages, the unique ways people look and dress, structures, transportation, street life. I think about so much, and that’s how I shoot; I don’t count anything out. But when I go back and edit I try to narrow my focus. I ask myself, “Am I going to curate a show or a book, or am I trying to tell a specific story?” Once I decide on my focus, I look at my images with that in mind. I might think about that focus when I’m shooting if I’m working on a specific project, but in the day-to-day I shoot whatever catches my eye."
The Great Discontent

As a photographer, I’ve dedicated myself to noticing what everybody else is missing. I show people what the world actually looks like. Street photography is so special because it’s about capturing everyday moments. It’s not produced. It’s not like I’m creating movie scenes or anything—I’m literally out reacting to the world. There is so much importance to that, and I enjoy taking pictures that way.

I love that, "Noticing what everybody else is missing" its part of what make photography so compelling, you are capturing moments that will be gone forever if they aren't photographed. I think Wagner's philosophy draws similarities to that of Winogrand who had this desire to photograph, simply to see what the world looked like photographed. Wagner goes further, he wants to capture those moments that have a truth, a story and a message.

3. Define yourself

I have a lot of respect for Wagner, for a while I couldn't quite put my finger on what made his work so attractive to me. I think it comes down to his element of "cool". There is a confidence that he carries, an awareness thatof goal in photography, to capture the poetic moments of life and capture what everyone else is missing.

Interestingly Wagner doesn't like the term street photographer, much like Winogrand.

"I think people often wanna categorize me as a street photographer and I hate that term because it's cheesy. Now, when people hear street photography most people think of street style like "Oh, you shoot fashionable people on the streets?" or they'll think "Oh, street photography! He shoots poor people on the street!" So you know, street photography has all these stigmas that are super lame. "Here's Andre Wagner, he does street photography" — like that's not helping the viewer get to a point to experience my work. I'd just be like "Hey, here's Andre Wagner. He's a photographer." My style is pure photography in the sense that I want images to be able to stand on their own. This isn't protest photography or photojournalism or street photography. These are photographs that Andre Wagner doesn't need to explain for the viewers to feel something from it." The Fader

The biggest lesson I have learnt from Wagner and what makes his work stand out from the very saturated street photography scene, is that he has a confidence in what he is trying to say with his work. There is no show or mystery, his work is pure, straight photography. It has a message, he doesn't have to define what that message is, it is clear and compels the viewer to form their own feelings from it.

My goal is to find the story I want to tell, I want to be able to present a body of work that speaks for itself. I want to be dedicated to a process and master that.

If you haven't already check out Andre's work here and follow him on instagram here.

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1. Shoot for yourself.

Imagine what it would be like to spend your whole life taking photographs, hundreds of thousands of photographs and barely anyone sees them or notices them?

I've been exploring different street photography groups on facebook, all of them have thousands of photographers submitting their images everyday, some get hundreds of likes and comments, others only get a few.

It's very easy to fall into the thinking that your photographs are only worth the number of likes they gain.

That's what I love about Maier, she took so many images and rarely shared them with anyone, of course her work has now been discovered and gained popularity.

Many thousands of her negatives were bought in a auction, with hundreds more undeveloped rolls.

It was by chance that her work was discovered and the buyer invested his time into sharing her work online with the world.

When Maier was photographing, she did it for herself and her own enjoyment, she wasn't shooting to please her contemporaries.

How we view photographs has changed, social media is very important for sharing our work and finding fellow photographers, share ideas and become inspired by others work around the world. I think it's just important to remember that our photographs should first and foremost be for our own enjoyment.

2. Keep Taking Photos

How many pictures do you take in a week? It all depends on our schedules but it goes without saying, the more photos you take the better you will become. You may have heard of the 10,000 hour theory. That it takes that many hours to become a professional at whatever you’re choice subject is. I think that can apply to street photography too. With experience comes ability. Ability to seek out a good image.

Vivian shot prolifically. Hundreds of thousands of negatives and she even left behind undeveloped rolls of film.

If photography is your voice, if writing isn’t your thing. The images you leave behind are your legacy, it’s what you were trying to say about the world.

I believe Vivian did an amazing job of creating a legacy. She maybe never thought that her work would be discovered but that didn’t really matter to her. She just kept shooting, she needed that in her life.

3. Embrace your day job.

For the past 3 years I’ve owned and managed a coffee shop in Belfast. All of my time is poured into building the shop up. I had little to no time for street photography.

Until I realised that I could fit time in to write about street photography and create a community around the cafe for other street photographers to meet and share stories and experiences.

Our busy lives can be a barrier to carving out space for the passions we have or the hobbies we want to begin.

My belief is that you can find a way of telling your story through the time that you do have to photograph.

Maybe you could get up a little earlier walk to work one day a week, photographing your journey?

You could start to build a community of other street photographers in your area and organise meet-ups or photo-walks.

I love that Maier, found time whilst nannying to photograph the people she met whilst running errand with the children she cared for and on her days off.

I love that she turned her bathroom into a darkroom and dedicated her free time to develop.

If you have a passion for street photography you can find a way to fit time into the schedule for a short photo walk, starting a blog or simply organising your photos to compile a photo book.

4. Self-Portraits

The concept behind Mirror shot was to feature photographers from around the world, intervening them about their process and including the classic mirror-shot selfie as a profile picture.

Vivian Maier was prolific at taking mirror shots.

There’s something special about introducing yourself into your work in a literal way.

What makes your photography stand out against anyone else’s?

Including the self-portrait in your work or even alluding to your presence in a photo through reflection or shadow can add your own personal stamp.

5. Work Hard

You don’t get anywhere by not trying. It’s hard work to be dedicated to your craft. It’s hard work to have a vision and go after that.

I find the goal of street photography can be so vague and misguided at times.

What am I trying to accomplish in my work?

Am just trying to take humorous photos? Or am I trying to say something? Am I trying to tell a story?

It’s difficult to work hard if you don’t know what your goal is and what your mission statement is.

That goal can change, you can set a goal of shooting your first series of images for an exhibition or for a photo essay or book.

You can have a goal of telling the story of your city or town.

There are so many variations but ultimately I think it’s important to define what matters to you right now, what are you going to chase and work hard to complete.

It’s hard to know exactly what drove Maier to work so prolifically. Perhaps she had a goal in mind, perhaps she just wanted to leave a legacy. Whatever that drive was, it worked, she clearly enjoyed her work and continued to shoot, she was dedicated to her craft.

For that, she is an inspiration to everyone out there working silently and passionately.

Resources

If collecting photography books is your thing, I highly reccomend this book featuring a stunning collection of her work.

Vivian Maier : Street Photographer Click to buy a copy from Amazon.

(All images in this post sourced from the Maloof Collection)

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If you have been shooting film for many years or are just a beginner you have probably heard of Kodak Tri-X black and white film. As the price of film rises it seems to be pushing people towards using film emulation presets such as VSCO. Whilst I think this is a great alternative for quick turn-around projects, I belive there is still a case for shooting the real deal on the street.

In this article I would love to share with you a few benefits to shooting with Kodak Tri-x for street photography projects.

Grain

The first thing we notice about tri-x is the grain and grittiness, there is a subtle bite to images captured on tri-x that you just dont get through digital recreation or other film stocks.

Digital street photos are just too clean, I believe they need the chaos and grittiness that film offers to make them feel more real. It is likely just a nostalgia thing but the images we are inspired by can drive use towards replicating the processes used to create them.

A Quick History of Tri-X

Kodak cameout with Tri-X on November 1, 1954 in 35mm and 120 roll film sizes. At ASA 200 (160 for Tungsten), it was faster than any other film available. It changed where photographers could take their cameras and what they could shoot.

The Tri-X formula underwent a major modification in 1960, when its the sensitivity of the film was doubled to ASA 400 for daylight and 320 for tungsten. Now low-light situations, action and motion could be captured with outstanding results.

Film Latitude

There are both artistic and technical reasons why street photographers over the last 60-plus years have embraced Tri-X. Its graininess, contrast and exposure latitude may be aesthetically pleasing if you’re trying to get that gritty, street-smart look–but those features also serve a practical purpose, covering up a multitude of sins that are inevitable in the chaotically uneven, uncontrolled lighting and shooting situations that come up on the street.

Tri-X is said to have a wider than usual exposure latitude for a black-and-white film (anywhere from 5-7 stops, depending on who your source is). For street photographers who deal with open shade, direct sunlight, cloudy skies and streetlight illumination as well as flash, and often have to make split-second decisions regarding exposure and when to press the shutter release, this has been a godsend. Tri-X can be underexposed by three stops and you can still get a good exposure with push processing, according to Kodak’s technical data for the film. At ISO 1600, this ISO 400 film can produce outstanding, if somewhat grainy, images.

Try it for yourself

Kodak Tri-X is incredibly easy to shoot, there is so much latitude in the film that you can under or over expose and still get great images, you can push the film to ISO 1600, stop down your lens and zone focus to your hearts content.

Click here to check the current price on Amazon

(information on kodak tri-x's history sourced from the thephoblographer)

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How is it Composed?

Composition is one of the most important elements in any form of photography, however street photography lends itself to a more free and fluid approach to composition.

There are many models of composition you may have heard of already, for example the "Rule of Thirds" or the "Golden Ratio".

There are more complex ways to analyse a photograph and extrapolate further theories as to why a photograph "works". This could be in reference to the use of triangle arrangements and patterns, or the number of subjects in an image or which subjects are shown in the frame or simply suggested.

I believe that based upon how I shoot on the street, composition is more about who and what is included in the frame and how I decide to frame it. I'm not convinced that photographers like Josef Koudelka spent all of their time searching for triangle compositions in his photographs as demonstrated by Eric Kim in this post.

A good eye for composition is learnt in time, trial and error will bring you to your own style of shooting. There are of course simple guidelines that can affect the perception of an image. For example including leading lines and odd numbers of subjects etc

Is there a Story?

A street photograph should come with no caption, it should tell its own story. What story does your photograph want to tell? It's less about what you want to say, and more about what the image is inferring.

You can build stories within your images by including such techniques as juxtaposition, that is contrasting two or more elements against each other to show conflict, harmony or humour. You can selectively choose to obscure or distort a character thus adding mystery to your image.

These choices happen in a split second on the street. You may see a picture forming very quickly in front of you, you have mere moments to catch that one instance where all the elements come together and form your story.

Just like composition, story-telling comes with experience over time.

Is the photograph Organic?

To me, documentary photography should be natural and organic. I am not a fan of posed or staged street photographs. I certainly believe that there is a place for these kinds of images, however my personal preference is to maintain the cinema vertié documentary approach when photographing on the street.

An organic image, comes from the heart, it's your desire to take that second in time and freeze it forever, there's an emotion in that moment.

Does the photograph Flow?

A good street photograph should flow naturally, similar to the feeling of an organic image, a natural flow is how your eye scans the the image for the story. Where is our eye drawn to first? What is the next thing we notice? Where does our eye end up? The answer to these questions is what forms the story of our image.

A bad street photograph, has no natural flow. Our eye is confused which direction it should move to find the next element of the story.

This may be scanning a crowd of faces waiting by a pedestrian crossing, there may not be a stand out character and our eye is left wondering why the photo was taken? Where is the punchline?

Is it Original?

There is a treasure trove of history behind street photography. We have a bountiful supply of classic and historic street photos taken by some of the masters of street photography.

It would be naive to presume that we are going to take an original image every time we shoot, more often than not we find ourselves inspired by the photographers who have come before us.

Being inspired is not a bad thing at all, it is however easy to become comfortable copying something we are familiar with, something that worked before.

I believe that street photography is constantly evolving and adapting to how our modern lives function.

There is a feeling of nostalgia towards that classic era of street photography, however there has to be a movement towards a new ever changing form that pushes the boundaries and strengthens the medium.

This is my opinion on what makes a good street photograph. The wonderful thing about street photography is that there are no rules, there are endless possibilities and ways of telling your story.

What makes a good street photograph for you?

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Picking your first camera to get started in Street Photography can be a daunting task. Below is my Top 5 Recommended Beginner Cameras to get started in Street Photography.

Panasonic Lumix GX85

This camera is perfect for your entry into street photography. Very small and compact, can easily be pocketed into a large coat pocket. The included kit lens is fantastic, really great sharpness across the frame on the wide angle end of the zoom range. The electronic viewfinder is fast to update, however it is a little smaller compared to the other cameras on this list.

I would recommend this camera to someone who needs a camera that does a little bit of everything. You can easily mount legacy lenses and use peak focusing for photography or video work.

Check the current price on Amazon

Fuji X100F

Perhaps the most recognisable camera people pine after for street photography. The fixed 35mm equivalent lens is perfect for street photography. The size of the camera is easy to carry and travel. The image quality is sharp across the frame and wifi functionality makes it easy to edit images on the go.

I would recommend this camera to someone who perhaps already has DSLR for other commercial work or video content production. The Fuji X100F certainly isn't a one trick pony, I have seen some amazing results using this camera for wedding and portrait work. The fixed lens does however make me lean towards recommending this to someone who definitely wants to concentrate on street photography and wants to learn how to shoot the one 35mm focal length really well.

Check the current price on Amazon

Ricoh GR

If you are serious about street photography you will most certainly have heard of the Ricoh GR. It perhaps has somewhat of a cult following now. The size of this camera is perfect for a daily use camera, you can fit this in your jeans pocket. The APS-C sensor is packed into the little body along with the 28mm equivalent lens. This is perhaps the best way to get a fast 28mm camera and lens for use on the streets. One downside may be the lack of viewfinder, however you can get an external hot shoe viewfinder if required.

I would recommend this camera to anyone who wants to hone there craft and simplify their camera collection. I owned Ricoh GR for a time and got rid of all my other equipment. It was an incredible learning experience shooting with just one camera and one lens.

Check the current price on Amazon

Leica CL

Okay this is a pricey option I know. However if you have been saving for a while and want a camera that you will most definetly feel inclined to make good use of simply because of the high price tag then maybe this is the camera for you.

Leica of course has unparalleled optics and image quality. The build quality of this camera is amazing too. There is a super hi-res electronic viewfinder that helps with composition and exposure selection. Plus you can adapt Leica M mount lenses to fit the APSC - L Mount.

Check the current price on Amazon

Sony 6500

My final recommendation is the Sony A6500. This is a great all round camera. I've always had a love hate relationship with sony cameras, the image quality is amazing however I always felt the user experience was lacking. The menu's are a little bit complicated. However the form factor and viewfinder make this camera a perfect street photography companion. If you are working in other fields of photography the Sony is a great option for as you can easily adapt pretty much any lens for video or photography use.

I would recommend this camera to anyone look for a transitional camera, you may be an avid video shooter and would like to dabble in street photography.

Check the current price on Amazon

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