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However we look at it, we will always come to that special moment which grabbed us by the head, heart, stomach, or balls, if you will.
How is it, that time and again, there is someone that manages to reproduce that special moment, and hits us with an arrow straight in the sensitive spot? Is there a system, some formula that will, once and for all, save us, millions of photographers, from the endless search for….well, what exactly are we looking for?
Much has been said and written about various schools that promise desiring photographers 100% success should they only follow stages 1 to 10 or other long lists of do and do not do when you come to "that moment".
But how do you identify that moment?   Is it all random, or a matter of intuition? Is it possible to prepare for such a moment? Can one train in preparation for it? anticipate it? Is there a whole theory behind a fraction of a second? Is it possible to reproduce the formula time and time again?
3 photographers went on the road…
A nature photographer goes to the lake to "catch" a one-eyed king fisher when it comes in on its habitual morning dive. He sets his tent, spreads a camouflage net, puts a photogenic branch on the water as bait, and pulls out of his bag a portion of patience, a lot of patience! Both he and the kingfisher have a direction and purpose…
The fashion photographer arrives on a nice morning at his studio for a session with Margaret Thatcher, to prepare a photo for "The Woman" magazine. His assistant prepares the background, the lightening and the camera, the stylist, the make-up artist, and the hair stylist all polish the lady up. All are waiting for the photographer, who is playing on the bar backgammon with a friend. He has a direction and a purpose: to make her look like Claudia Schiffer.
The press photographer goes quick and nervy the moment he hears his beeper's buzz: he arrives at the location in order to photograph some happening planed for the day. He has a direction and a purpose: to be the first there!
There is nothing more strange and baffling than the sight of a "strange bird" roaming the streets days and nights , in rain and in heat, carrying half a studio on his back, and to top it all –no direction and no purpose…

The street is the most complex and dynamic work environment, where situations appear and sleep away in a fraction of a second.
The photographer's main task is to create order within the disorder dominant in the eyes of most untrained observers. But the road to the top of the mountain, where the decisive moment is to be found, is still winding and fraught with obstacles.
The journey to the summit of the situation is a complex and challenging, and like any other undertaking requires advanced planning and a great deal of training. Our acquaintance with the area must be deep and precise down to the last detail. We have to be able to "read" the street with all its components precisely like the engineer who is able to read a complex scheme of a large electric instrument.

Direction and target- projects
Everybody likes projects; it is convenient for all, papers, magazines, galleries, agencies, even friends in various photography sites. But mainly it sets you, photographers, apart from the rest of camera holders; it demonstrates your maturity as photographers.
No need to say "I photograph just for fun". In the last analysis every photographer aspires for recognition by some kind of getting his/her work published. Only few these days have the patience to cope with galleries and work files. If you are not already working on some project, this is the time to think of one. There is no greater satisfaction than going out to the field, organized and focused on a target, some project you have chosen and decided to consecrate your time, thoughts, ideas and unbridled imagination to. These will lead and move you forward toward the most meaningful work for which cameras have been invented.
Street photography, like all life's domains, may be difficult and fraught with crises and failures, especially for those photographers who lack patience, and put most of their free time in looking for sophisticated equipment which will bring them – so they hope- the "perfect picture" rather than in the street itself.
Street photography is rather easier for those photographers, who are dogged, strong-willed, who have initiative and are persistence. Having jumped over the high hurdle of training they will be able to reproduce their success time and time again.
In the next chapters I shall try to be more specific and to answer various questions which I have been asked. I will mainly try to outline an orderly path of work habits I derive from my own personal experience. This always leads me confidently in the various confrontations with encountered by the street photographer.
1. First steps- prior to going out in the field.
Planning the "mission" begins before leaving your home. It is important to define for ourselves several parameters which will help us ensure that we are ready for all eventualities:
A. Be familiar with the location where you are going to work.
 Various locations are characterized by their unique populations. It is very important to be familiar with these populations so as to be prepared physically and mentally to meeting with them. I mean mainly recognizing the measure of freedom of action one has, and keeping a balance between being taken as a threat and being threatened.
B. Take care your equipment fits the character of the location: At the end of the process a street photographer will know how to cope with any situation, in any location with one camera and one lens. Any camera, whatever its "rank" will do the job. Any other piece of equipment will only handicap the photographer. Those who possess a wide choice of equipment will do best to take with them only the most essential equipment, and the most fitting for the location where one is going to work. Bear in mind that the photographer's personal abilities are more important than those of the camera. The best choice will be one (prime) lens with the focal length depending on consideration of the possible measure of approach to the subject of photography and the nature of photography one wants to convey to the viewers.
C. Adapt what you wear to the nature of the location; choose cloths that will not make you stand out of the general population of the place , so as not to draw unnecessary attention .