Always Have a Street Photography Backup Plan
Okay when you get a little nose in a specific location you can try to shoot wide try teo incorporate the people in your photographs into a wider environment where you don't really need permission where they're not like super identifiable central in the frame you know, working in their personal space so I'm going to show an example of you know what we did city hold actually where we looked at sort of graphic elements and people working on walking within that graphic element sure she was pretty great so where I'm shooting around the place now I'm having trouble finding a lot of people so I found a spot that I'm noticing a lot of people are walking by and I love this bright red wall when I'm shooting that it's balancing actually out with a light outside perfectly so it's a really beautiful lighting situation it's graphically strong so most of my street photography and approaching strangers involves like you no interaction with people and discussing with them what I'm doing but then their ...
situations like this where it's just you know, visually powerful um so sometimes you just have to make whatever situation you're in work continues that's graphic sometimes it's emotional it's connected um sometimes just less so so there's a pretty good example of, you know, graphically strong frame I think right at least I hope we'll find out in the right clothes right where is everybody so one of the keys when you're shooting is looking for different elements in the frame so we've been waiting to someone tio you lean up against a wolf pass that red window and now I'm waiting for someone to walk in front of it at the same time and ideally I'd love somebody on the street walking by at the same time but we'll see if all of the different elements coming to play at the same time it's like so much of this is a waiting game finding a good frame and then shooting at least that's my style there's a lot of people who work in different ways where they'll be walking around and grabbing pictures always shoot but I'm more of ah uh I've been called a camper before uh so now we waiting for the right person in the right and walk through the frame making the right sort of body body motion whether it's stepping or their hands out just something interesting to happen. So that's what I talked about earlier um you need to learn your rights as a photographer about where you can and can't shoot what you can shoot what you can't shoot on dh then stand up for them like there are so many people who tell me that I can't shoot because they're having a permission or I can't be in this space because they haven't got permission and is not true I we usually into that conversation you know, with um with understanding and say actually that's not true the law stipulates that blah blah blah blah blah but occasionally doesn't end that well and like everybody ends up shouting I call the cops and then come down and so he's got like, full right to be here in person but you should think about you don't have to but I always think about the next person is going to be coming after me and shooting in that same spot make it a little bit easier for them if you give up because somebody's giving you a hard time even though you know you're allowed to be there and that person who's throwing that person out throwing you out today is going to have you know, even more fun throwing out the next person to turn up so I try to set a precedent for the next person by by saying like this is actually what the law states so I understand what your rights are where you're shooting um and you know how to operate within the law so can we do some some questions wear we go uh talk about what's coming up next? Um I really appreciate that last sentiment about giving us permission tio uh no what we do have the rights for because I think a lot of people you know will just kind of hold back so question is when you are out shooting have you ever run into a situation where the person gets upset and demands that you erase the photo? How do you handle a religion belligerent person per se belligerent? Um well, every belligerent person is different, right? Um in the past, I think I want to lead any pictures I don't do it any pictures to anybody treat my digital files as I trade film it's like, oh, it's a one way ticket once I shoot them, they're there don't delete stuff that's that's to be done by somebody else like, if I stop cheerleading stuff, I find that it's a slippery slope that's not editing in camera because like what's the difference it's a garbage frame that doesn't mean anything like today it's a garbage frame in ten years from now, it might be something that I'm looking for, you know, like um like the first and last frame of a roll of film, you know often has stuff that just looks totally bizarre, but it could be great you never know, so I want to lead any photographs for somebody who's like, pissed off that I'm taking pictures, I'll try to understand why they're so upset um and definite empathize, you know, like when I say empathize were talking of a lunch about what that actually means and, you know, empathy is making sure that people feel head, you know, sympathizing is saying that that sucks, that you feel that way. However, I'm not deleting pictures, I'm sorry, I'm a professional photographer. This is how it works. You're in a public space. I'm part of the contract that you are in. When you're in a public spaces, like you're being photographed, you're being photographed anyway. I'm working for a magazine I'm working for my
Street photography requires a unique blend of gumption and skill. Find out how it is done in Street Photography: The Art of Photographing Strangers with VII Photo’s, Ashley Gilbertson.
Ashley is the creative visionary behind “Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War” and “Bedrooms of the Fallen.” In this class, he’ll will teach you how to get incredible shots using a variety of conventional and unconventional methods.
You’ll learn about:
You’ll get to watch Ashley at work on the streets of Seattle and experience his process in action. You’ll also learn about the moral and ethical frameworks that influence street photography and what motivates Ashley’s work.
- Gear, in theory, and practice
- How to talk to people and avoid arrest
- Formal, aggressive, and subtle ways to approach a subject
- Techniques for getting caption information
Street photography gives us powerful insights into the depth and complexity of the human experience. Learn about the process of creating it from one of the discipline’s most talented practitioners in Street Photography: The Art of Photographing Strangers with Ashley Gilbertson.