Photography is in Giuseppe Esposito-Rodrigues' DNA. He was born in Venezuela to an Italian father who loved shooting landscapes and a Portuguese mother with a passion for travel photography. It was only natural for Giuseppe to follow in his parents' photographic footsteps.
Since 2013, he's been based in Dublin, walking its riverside avenues and lamp-lit lanes to capture his cinematically striking yet quietly intimate street photography, which has appeared in publications including Lonely Planet and Culture Trip. In the past Giuseppe has favoured his Canon EOS 5D Mark III (now succeeded by the Canon EOS 5D Mark IV) teamed with either a Canon EF 24-70mm f2.8L II USM lens, a Canon EF 50mm f/1.4 USM lens or a Canon EF 85mm f/1.4L IS USM lens. Recently, though, he has been exploring the very portable Canon EOS M6 Mark II.
"The Canon EOS M6 Mark II is a great all-rounder for street photographers because it combines high resolution (32.5 megapixels), burst shooting (14fps) and great video (4K without a crop) with a sturdy grip, which makes it very comfortable to hold when shooting on the streets for longer periods." Like other Canon EOS M cameras, the EOS M6 Mark II can be used with a Canon Mount Adapter EF-EOS M to enable you to use a huge choice of over 80 EF-S and EF lenses, including specialist lenses such as macro and fisheye.
Here Giuseppe shares his approach, techniques and tips for creative street photography.
It's always advisable to check the legalities of street photography where you plan to shoot – but generally speaking most countries permit photography in public places unless otherwise specified, and that includes photography of pedestrians on the street and people in public places such as parks. Not everyone will take kindly to having their picture taken, though. Giuseppe says: "What I do is quickly show them the pictures, and hopefully they see I am coming at it from an artistic point of view. Sometimes I'll pull up my Instagram so they can see that I'm not doing this for any other reason than for the love of the art, and they normally appreciate that and relax."
Busy environments are one of the biggest challenges of the genre. "Everything is constantly moving," Giuseppe says. "The light, the subject, the environment. Go back tomorrow, and you won't see the same thing. You have to accept that you can't control anything. All you can do is have an idea and try to predict when you can make that idea happen. It's about taking advantage of the scenario that's around you."
Giuseppe gives himself the best chance of success by first finding a backdrop he likes, then a corner he can seclude himself in. "Basically when it's a busy street I find a corner and wait patiently for the right person to get into the picture. I may move slightly to try and get something from a different angle or perspective, but most of the time I set up myself in a place where I believe the background will work with a subject, and I wait."