Find Multiple Exposure in your camera's shooting menu (most mirrorless bodies have it). Set it to Additive or Average depending on how much bleed you want. Additive is more aggressive - highlights stack and burn. Average is subtler. Shoot your first frame. The camera holds it as an overlay. Compose your second shot with that ghost in mind. Faces over architecture. Crowds over empty space. Texture over portraits. Watch for: tonal separation between the two frames - if they're too similar in brightness, they'll merge into mud. High contrast subjects work best for the first frame. The point: in-camera double exposures reward planning but punish overthinking. Have a loose idea, then react.

Pick a colour before you leave the house. One colour. That's your constraint for the session. Find it in clothing, signage, vehicles, shop fronts, food. Photograph it wherever it appears. The discipline is in noticing. A red umbrella in a grey crowd. A yellow door in a brick terrace. Green wellies at a car boot. Watch for: colour repetition in a single frame - two people in the same colour who don't know each other. That's the shot. The point: constraints make you look harder. Colour is everywhere once you're tuned to it. This exercise rewires how you see a street.

Set your focus to a fixed distance - 2 metres is a good street distance. Stop down to f/8 or f/11. At those apertures your depth of field covers roughly 1.5 to 3.5 metres depending on focal length. Everything in that zone is sharp. Now you don't need to focus. Raise the camera, shoot, move. Or shoot from the hip entirely. Watch for: your own feet in frame - a common hip-shooting error. Tilt the camera up slightly. Also watch for the subject drifting outside your zone. Stay disciplined about distance. The point: removing the focusing step means faster reactions and less camera-to-face time. Less threatening. More spontaneous.

Camera at waist height, zone focused (see zone focusing card), shooting blind or with a rough sense of aim. The goal is natural, unguarded moments - people who have no idea they're being photographed. This is not a lazy technique. It requires spatial awareness, discipline about distance and timing, and a lot of editing afterwards. Watch for: horizon tilt. More frames than you expect will be unusable. That's fine. You're playing a numbers game here. The point: the best hip shots have an accidental quality that's hard to manufacture any other way. Winogrand had it. You'll know it when you see it.

You spot a good background - a colourful wall, strong light, an interesting doorway, a gap in a crowd. Stop. Wait. Let people walk into it. Give it five minutes minimum. Most photographers walk past a good scene because nothing's happening yet. The ones who wait get the picture. Watch for: the peak of the action - someone mid-stride, mid-laugh, mid-argument. One person in a good background is fine. Two people interacting in a good background is a picture. The point: street photography is 30% finding the scene, 70% waiting for something to walk into it.

Before you look for subjects, look for backgrounds. Strong graphic elements, bold colours, interesting light, text, architecture. Anything that would make a picture on its own. Then position yourself so that background is behind whatever walks past. You're not chasing subjects. You're setting a trap. Watch for: background clutter that competes with your subject. The simpler and stronger the background, the harder it is to take a bad picture when someone walks through it. The point: the photographers who always seem lucky aren't. They've found a good wall and they're standing in front of it.

Puddles, shop windows, car bonnets, mirrored buildings, sunglasses. Reflections give you two scenes in one frame - the real and the reversed. The technique is in balancing exposure between the reflection and the subject. Expose for one and the other goes dark. Sometimes that's the picture. Watch for: your own reflection. Unavoidable sometimes, occasionally brilliant, usually a problem. Position yourself at an angle. The point: reflections add a layer of unreality to the street. They make familiar places look strange. That's worth pursuing.