I am often asked how do I manage to get certain shots, and usually people would be referring to my street shots. Reality is this. I just like you, have no super powers, however with experience and time I have developed one important power, which is the power of observation.

This power comes with one downfall however. Once you gain it there is no getting rid of it, and it takes a lot of will power to ignore all the things that pop out at me in the streets waiting to be photographed. So I get very annoyed when someone says that my photos are lucky shots. Because they aren't. I just happen to be there, and ready to shoot it. If you do not have any medium to capture the image with then tough luck. And this has happened to me too.

Thing is this, even when seemingly there is nothing extraordinary happening on a particular street, there is ALWAYS something to frame, compose, and photograph.

I shot this whilst on a wedding assignment, so technically my brain was wired in wedding mode, however since my shooting style is very contemporary and flowing, I shoot whatever strikes me whilst on assignment and this is what happened.

The shot above was achieved after the shot below. I first set out to shoot the fabulous wedding car in front of the bride's home. I had a 24mm lens on and it still wasn't wide enough to portray what I imagined in my mind, however there is a limit to how I can widen the street. I couldn't move houses to get a wider shot and have the car sit more comfortably in the photo.

Anyway whilst I was framing the shot below, I noticed that the neighbour was casually looking out of the door maybe for a breathe of fresh air, though something tells me, she was there for a sneak peak of the bride's dress.

Anyway, I could have made her go inside so I get a clean shot, but then I decided to be true to my photographic style. That is, leave everything as you found it, move nothing and no one and make it work anyway. After all this is what documentary work is about.

After the first shot, I then decided to step closer to my subject. I realised that the car was never the point of interest in my shot. The lady was my subject, so I stepped closer to her, and framed her between the ribbons decorating this car.

Now this did not take hours of thought and trying things out. This happened in rapid succession. After all I was in a hurry to drive to church and get to shoot the bride's arrival.

So to re-cap. Look around you. Observe the world passing by. Every split of a second that passes by has a frame to be shot. Shoot the good ones!