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/ 01
Why a year?
A one-day workshop can teach you new techniques, help you overcome a lack of confidence and give you a valuable burst of inspiration. But making a meaningful body of work takes longer.
It takes repeated attempts, honest editing and enough time to recognise which ideas are worth pursuing. It also takes encouragement and accountability — particularly when the early photographs are not yet saying what you hoped they would.
A Year on the Street gives you that time and structure. Rather than trying to cover everything in a single day, we will work together throughout 2027. You will photograph independently between sessions, receive regular feedback and gradually develop a personal project into a finished, carefully sequenced piece of work.
Make a body of work — not just a collection of lucky photographs.
/ 02
How the programme works
Shoot in London
Four mentored London shoot days built around purposeful fieldwork and individual guidance. Days two to four begin with a short project review and a clear individual shooting objective.
January · April · October · DecemberMake the work
Photograph independently between sessions. Your project can be made close to home, while travelling or anywhere that gives you regular access to your chosen subject.
A sustained personal projectEdit and refine
Six live Zoom sessions are where we sit down with the work: reviewing, editing, sequencing and deciding what the project — and the next shoot — needs.
Editing, sequencing and direction/ 03
The four London shoot days
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/ 01
Seeing, confidence and project beginnings
Saturday, 23 January 2027. We begin with observation, anticipation, confidence, composition and responding to moments without interfering. Through practical shooting assignments, you will begin noticing the themes, places and subjects that repeatedly attract you. The first Zoom session will help turn those beginnings into a possible project direction.
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/ 02
Developing the idea through shooting
Saturday, 17 April 2027. We begin with a short review to confirm your individual shooting brief. The rest of the day is spent photographing: working an idea more deliberately, returning to recurring subjects and testing how your chosen direction behaves in the real world. You will leave with new work and a clearer sense of what the project can become.
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/ 03
Finding what is missing
Saturday, 16 October 2027. The September Zoom will have identified the gaps in your summer work. After a short opening review, we head out with specific objectives: perhaps context, transitions, atmosphere, variety, recurring motifs or a closer engagement with the subject. This is a purposeful shooting day shaped around what your project now needs.
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/ 04
Completing the visual language
Saturday, 4 December 2027. A brief opening review establishes your final shooting priorities. We then spend the day resolving weaknesses, strengthening visual consistency and making the photographs the project still requires. The finished edit, sequence and publication layout are completed during the final Zoom session.
/ 04
The online editing room
The six live Zoom sessions are where we slow down and sit with the photographs. We will review, edit, sequence and translate each discussion into a practical brief for the next period of shooting. Sessions will take place in February, March, May, September, November and December, with no live sessions during June, July or August.
February — Recognising the beginnings. Review the work from Day 1 and identify recurring interests, subjects and possible project directions.
March — Editing for direction. Narrow the idea, separate promising photographs from distractions and create the shooting brief for April.
May — Review and summer plan. Examine the work made around Day 2, refine the premise and establish a focused independent brief for the summer.
September — The summer edit. Review the accumulated work, identify repetition and gaps, and build the specific shooting brief for October.
November — Sequence and final requirements. Build a working sequence and identify exactly what still needs to be photographed on the final London day.
December — Final edit and presentation. Complete the 12–20 image sequence and design the simple digital publication after the final shoot.
/ 05
What we will work on
Seeing & anticipation
Observation, timing, gesture and recognising moments before they disappear.
Confidence & ethics
Photographing candidly, respectfully and with greater confidence in public.
Visual structure
Composition, layering, light and creating order within complicated scenes.
Themes & ideas
Finding recurring subjects and developing ideas that can sustain a project.
Editing & sequencing
Choosing critically, removing repetition and building relationships between images.
Voice & presentation
Recognising your own tendencies and giving the completed work a considered form.
/ 06
Your finished project
The aim is not simply to take more photographs. It is to complete something.
A coherent body of work
Approximately 12–20 photographs that belong together and communicate a clear idea.
A considered edit and sequence
A final selection with rhythm, variety and a clear order rather than a collection of favourites.
A simple publication layout
A digital presentation that can be shared online or supplied independently to a printer.
/ 07
Is this for you?
A Year on the Street is open to everybody. You do not need to have attended one of my previous workshops, submit a portfolio or use a particular camera system.
This is for you if...
- ✓You make individual photographs but struggle to connect them.
- ✓You begin personal projects but rarely finish them.
- ✓You want structure, motivation and honest feedback.
- ✓You want to understand visual storytelling more deeply.
- ✓You are willing to photograph regularly between sessions.
Probably not if...
- –You only want a single guided photo walk.
- –You are looking mainly for camera-menu tuition.
- –You cannot make time to photograph independently.
- –You do not want to share unfinished work or receive critique.
The programme is camera-agnostic. Fujifilm, Leica, Sony, Canon, Nikon, Ricoh, a phone or anything else capable of making photographs is welcome. The thinking matters more than the kit.
/ 08
Practical details
There was no pressure to produce Magnum-level photographs, just a fantastic opportunity to practise the technical and storytelling skills Kevin was teaching.
I highly recommend this workshop. My only regret is not having time to do a longer version of it.
/ 09
About Kevin
I have been running street-photography workshops since 2015 and have worked with more than 500 photographers across the UK and internationally.
My approach is practical, candid and rooted in visual storytelling. Street photography has shaped the way I photograph everything, including more than a decade of documentary wedding work.
I am not interested in telling you to copy my photographs or adopt my style. My role throughout this programme is to help you recognise what interests you, understand what your photographs are saying and give you the structure and honest feedback needed to complete the work.
Your place covers the complete programme. The four London dates are connected and cannot be purchased separately.
If you are ready to stop collecting disconnected frames and begin creating a body of work with purpose, I would be delighted to work with you throughout 2027.
