In documentary work, everyone knows the plot, and you show how this version of it happened. Think weddings, corporate keynotes, live theater.

In street photography, you put yourself where something might happen. Maybe it already did, and the story is in the evidence. Maybe you’re deciding how to tell it as it’s happening.

It’s the same stuff either way. Your tools don’t change.

And what goes on behind the camera—where you’re standing and what you include—changes them as much as what’s in front.