Category: Street Photography

  • Welcome to The Edge

    Welcome to The Edge

    Well, hello there! If you have found your way here, then like us, you’re passionate about using a camera to make art.  At the Edge, we use the streets as our canvas, observation drives us, and sharing what we love inspires us to keep creating.  

    We are Eve and Dan the founders of The Edge.  Both professional photographers by day, but we both hit the streets with a different set of cameras and capture life around us. Just for the love of it.

    “Hello, I’m Eve “

    I’m a photographer drawn to the quiet power of visual storytelling. My photography spans a wide range of subjects, from the enjoyment of fun architecture to the intimacy of human connection. Always with a focus on composition that invites reflection. I’m especially attracted to the interplay between form and emptiness and I often use negative space to evoke calmness. I do enjoy the more cheeky side of street photography too, and a clever or humorous capture!

    I shoot street photography with a little Ricoh GR. Dubbed my pocket rocket, it’s small, beautiful yet powerful.

    I’m a big believer in the power of sharing art and being part of a collective of people who want to explore the world of photography. I hope The Edge will help you do this, create bonds, and provide inspiration for all our members to connect in a safe, creative environment.

    “Hey there, I’m Dan “

    I have been doing street photography for around 6 years. I was photographing quite a few destination weddings in some cool countries, and thought I should get out there with my camera in and around the weddings. So, I basically took the skills that I already had as a wedding photographer into street photography. I document 90% of the wedding day with the ideology of capturing moments, composition and light. Usually in that order if possible. If you get all 3 in an image, then you’re onto a winner. Now, 6 years later, the skills that I’ve now learnt in street photography are creeping into my weddings. When couples book me, they tend to mention two things – moments and colours. Some of these moments certainly have a street photography vibe. Be it layers, juxtaposing or serendipity, for example. Mixed with what I had already learnt and my style I had developed over the last few years. I like humour and I don’t take life very seriously myself.

    There are so many similarities at weddings and street photography. It’s the unknown and not knowing what will happen next. Being there ready to capture it. At any given moment something crazy could happen on the streets or at a wedding. One moment it’s perceived a normal day and the next something magical presents itself to you. Patience, listening and obviously seeing things before they happen cross over to both. Some of the places which I’ve been lucky enough to photograph are Istanbul, Bangkok, Cape Town, Hong Kong, India, Barcelona and I also have a trip planned to New York soon.

    With my street photography I tend to see where my feet end up taking me and don’t have a set plan as such. One thought process I do have is that if we have harsh sunlight I’ll try to play with it and think about framing a subject or subjects into the geometry (depending where I am) though in and around this I’ll look at framing opportunities, perhaps waiting for that cool person to walk into my frame. I don’t tend to stay in one place to long, unless it’s the best backdrop, with the best light and then I pray to the photography gods to give me that best moment in amongst it. But don’t we all I’m constantly looking out for moments happening. A possible juxtaposition. Moments are happening all the time. It’s a case of slowing down and not chasing your tail. We’re all seeking that magic where everything lines up perfectly for us. One day it may turn up I see it as a game and a challenge. I don’t beat myself up if I come back with nothing exceptional. It’s all training the brain and good things happen to those who practice and learn. Hopefully at least. A tag line that I use is “Seeking the stillness amongst the chaos” this is how I perceive street photography and also my wedding photography.

    Join Us

    We’d be thrilled to welcome you to The Edge, a dynamic space for street photographers to connect, share, and be inspired. As a member, you’ll have the opportunity to submit your work to four exclusive awards each year, showcasing your unique perspective to a global audience.

    But The Edge is more than just awards. It’s a thriving community where photographers come together to share ideas, explore new techniques, and celebrate the art of visual storytelling. Whether you’re just starting out or have years behind the lens, you’ll find inspiration at every turn.

    Stay in the loop with global photography events, exhibition highlights, and book releases, plus engaging conversations about cameras, and everything in between. Everyone is welcome, because great photography starts with a great connection.

  • On My Shelf: Four Documentary Photo Books That Keep Inspiring Me

    On My Shelf: Four Documentary Photo Books That Keep Inspiring Me

    Four of my favourite photo books on my shelf

    As much as I love looking at photography online, in most genres of photography, places like Instagram can quickly overwhelm me with so many images that it can become repetitive and create a feeling that I need to compare or imitate. Nothing compares to holding a photo book in your hands. Turning pages forces you to slow down, to see images in sequence, to understand the rhythm of a photographer’s storytelling, and, of course, you’re seeing the images on a larger scale than your phone, which often opens you up to realising a lot more is going on in the frame.

    I bought my first photobook back when I was a student in 1990. In Our Time: The World Seen By Magnum Photographers opened my eyes to documentary and street photography, and was my inspiration during a two-year photography course here in South Wales.

    My collection isn’t huge, but it has slowly grown over the last decade. More recently, I have enjoyed collecting street photography Zines. These are a lot more affordable and can give insight into more contemporary street photographers who may not have a body of work they feel is ready for a book yet. I’ve also self-published a couple of zines myself, which has been an interesting and enjoyable journey. I’ve had a lot of images published in national newspapers and magazines over the last couple of decades, but self-publishing a story or collection feels like a bigger achievement, even if only a few mates and my mum see it.

    There are a few books I return to again and again; each one has its own style and reasons I reach for it when I need inspiration.
    Here are four of my favourites.

    Magnum – Contact Sheets


    This book is a must for any photographer. Seeing the frames leading up to and following an iconic image is both humbling and inspiring. It strips away the myth of the “one perfect shot” and shows the reality of trial, error, and instinct. For me, it’s a reminder that shooting through the moment and working the scene can often lead to something unexpected.
    The example I’ve picked is from Martin Parr, from his book Last Resort and shows how he first saw this famous scene, then persevered with it until the right frame came together.


    Raymond Depardon – Glasgow

    Depardon’s Glasgow hits me with its atmosphere every time. Shot in the 1980s, it’s a tough, gritty look at the city, but one that still finds moments of tenderness and humanity. The way he balances stark realism with quiet observation is something I will always aspire to in my own work. It’s also a great example of how you don’t always need to be close to a human subject and can very effectively use the landscape to tell the bigger story. Sometimes I’ll look through this book before heading out with my camera into my local town, which can feel very empty and devoid of life.

    Reuben Radding – Heavenly Arms

    A more recent addition to my collection. Reuben Radding’s photographs capture New York’s street life in a raw and often surprising way, sometimes asking more questions than they answer. The book is a collection of 10 years’ work. Since the pandemic, he has released a series of zines, which I’ve not managed to obtain, but I jumped at the chance to get a copy of this book. The scenes that unfold in front of him seem extremely normal, and yet he finds something beautiful or poetic in each one. I’ve been following his work for a few years, and I’m very inspired by his ethos on photography. He’s very engaging to listen to and has featured on many photography podcasts that are well worth seeking out.

    Chris Killip – 1946–2020

    Chris Killip’s work has intrigued me for a long time. But this retrospective feels particularly special. His photographs of working-class communities in the North of England carry such honesty and respect. There’s no romanticising or detachment — just deep empathy. Every time I open this book I’m reminded of the power of staying close to your subjects and telling their story with integrity. It blows me away that so much of his work was taken with large and medium format cameras. The time and patience in his composition and exposure are truly inspiring.

    My Thoughts
    Photo books like these are more than just collections of images; they’re lessons in storytelling, patience, and connection. In an age of fast-scrolling and instant likes, they remind me to slow down and to value depth over immediacy.

    Some resources and inspiration if you’re interested in exploring more photobooks.
    Patrick Stevens previews hundreds of books in his Instagram reels.
    https://www.instagram.com/alwayschasingdaylight?igsh=NGxmZGI5cDF1em13

    https://www.youtube.com/@developingtank


  • Fuji X100VI Review

    Fuji X100VI Review

    Review of the Fuji X100VI

    The Fujifilm X100VI is the kind of camera that makes photography fun again. It’s compact, it’s stylish, and yes I’ll admit it, I partly wanted it because it looks so good. The design alone is enough to get people start a conversation when I’m out shooting. I chose the black version, and honestly, it feels like carrying around a little piece of vintage charm with modern tech under the bonnet. Then once done for the day it sits proud as punch in my office on display.

    So far I have taken the Fuji X1OOVI to Istanbul , Cyprus and here in the UK. Here are my thoughts on one of street photography’s favourite camera systems. I upgraded from a silver Fuji X100V, which is a work of art, this time I opted for the black edition. Fujifilm have created two gorgeous designs.

    Fuji X100VI Camera review

    First Impressions

    At first glance, the X100VI look, well, like an X100V. retro styling, tactile dials, that lovely hybrid viewfinder. Fuji rightly subscribes to the “if it ain’t broke, don’t fix it” philosophy. The look is a thing of beauty.

    But beneath that familiar hood, there’s a new 40.2MP sensor, in-body stabilisation, and video upgrades that would make it a worthy upgrade from the Fuji X100V, which I reviewed for Expert Photography. Basically, it’s the same charming package, just souped up where it counts, with welcomed bells and whistles.

    Fuji X1ooVI Review

    Key Specs That Matter

    • Sensor: 40.2MP X-Trans CMOS 5 HR (up from 26MP in the X100V)
    • Processor: X-Processor 5 (snappier and more efficient)
    • Stabilisation: 6 stops of IBIS — every little helps!
    • Lens: 23mm f/2 (35mm full-frame equivalent) — classic street focal length, still sharp
    • Viewfinder: Hybrid optical/electronic with 3.69M-dot EVF
    • Screen: 3-inch tilting touchscreen, 1.62M dots
    • Video: 6.2K at 30p, 4K up to 60p
    • ISO Range: 125–12,800 (expandable if you’re brave)
    • Weight: About 521g with battery/card (slightly chunkier than the V)
    Reviewing the Fuji X100V for street photography

    The Good Stuff

    • Image quality: That 40MP sensor is a peach. Tons of detail, gorgeous colours, and plenty of room to crop.
    • IBIS: You can shoot handheld at slower shutter speeds, which gives a little extra in low light.
    • Film simulations: Fuji’s film looks are still here, and they’re still addictive. For me I shoot RAW and edit my style for consistency
    • Video upgrade: The leap to 6.2K/30p and smoother 4K/60p makes this much more viable for hybrid shooters. You still won’t confuse it for a fully fledged video camera, but it’s a huge step up.
    Street Photographer review of the Fuji X100VI

    The Niggles

    • Lens is the same: The 23mm f/2 is lovely, but it’s been around a while. Don’t expect a new optical formula.
    • Weight creep: That stabilisation adds some grams. Still portable, but you’ll feel it compared to the feather-light older models. No big deal.
    • Weather sealing: Same caveat as the X100V, you’ll need a filter adapter to make it truly sealed.
    • Battery life: Good, not amazing. Especially if you’re filming. Bring spares. Equally better than some alternative systems.
    Reviewing the Fuji X100VI Camera

    Who’s It For?

    The X100VI is perfect if you:

    • Love shooting street, travel, or documentary with a discreet, stylish camera
    • Want Fuji’s film simulations baked into your workflow if you don’t like to spend time editing.
    • Like the idea of a high-res sensor in a body that actually fits in your bag
    • Don’t mind the fixed lens (or see it as a creative constraint rather than a limitation) I personally love the 35mm equivalent. My legs are my zoom.
    Fuji X100VI Review

    Final Thoughts

    The X100VI doesn’t reinvent the wheel. It just makes the wheel roll smoother. If you already adored the X100V, this is the logical next step, higher resolution, stabilisation, better video.

    It’s not for everyone. If you need zoom, ultra-fast burst shooting, or massive battery endurance, look elsewhere. But if you want a camera that makes photography feel fun again while still being technically excellent, the X100VI is very appealing and makes you want to get out and shoot. Plus did I mention the colours you can pull from the RAWS? Famous for it’s recipes but my goal is to keep consistency of edit alongside my wedding work.

    Another thing I like is I tend to shoot the X100VI in zone focus, it makes life so much easier. I don’t have to think about the autofocus every time something happens,I can just frame and shoot. But sometimes the scene changes in a split second, and that’s where back-button focus comes in handy. Say I’m on the street and someone suddenly steps into the light, a bit closer than I’d set my zone for. Instead of missing the shot, I quickly hit the back button, lock focus, and I’m good to go. It’s like having a safety net.

    Street Photography UK

    Pimp My Ride

    People take pride in their Fuji X100VI. I am no different. You can really go to town with the accessories. For me I love the thumb grip. it improves handling, especially when shooting for longer periods or using the camera one-handed. I also bought a Muziri Kinokoo leather half case for cosmetic protection. A Hoage lens protector which matches the lens design. Also I use a Peak Design leash and a couple of spare batteries. All in all I am super happy with the camera. Hope you enjoy the images.

    Street photography review of the Fuji X100VI
    Capturing a man jumping in the sae with the Fuji X100VI
    The Fuji X100VI in action on the street
    The Fujix X100VI camera for street photographers
    Using the Fuji X100VI on the beach
    Young lad playing football. Captured with the Fuji X100VI
    Fujifilm X100VI Street Photography Review
    Camera review of the Fujifilm X100VI

    Review by Dan Morris Street