What Do You Mean by Photographing Strangers?
A lot of it is pure street photography um and that's where you sort of stand back a little bit and you wait for things to happen you find amazing scenes like this shot this during two thousand eight during the economic crisis down on wall street obviously I'm all straight um on I'd be photographing down there and I found this great corner I knew that a dawn it would have amazing light so I came back down there and I staked the spot out they waited for somebody to walk through it in a case like this I'm not engaging with a subject you know they become part of the scene well usually talk to the subject's after I take a picture like hi sorry excuse me do you mind stopping I just took a picture of you would you mind sharing your name for the photo caption how old do you where do you work and things like that I always try to provide as much context to the work that I do is possible oftentimes I need to interact a lot before I actually take photographs teo especially when moments ah more int...
imate when things are quieter when things are really hustling and bustling you sort of disappear into the crowd but you know situations like this a few years later in two thousand eleven during occupy wall street this couple have been recent you know, engaged during the actual occupation of zuccotti park downtown s o I spent I think was like fifteen or twenty minutes like chatting with him smoking with him drinking coffee until you know she's that are going on a phone and he came up behind her and hug her but at that point you know after fifteen minutes of actually engaging and it sounds really fast I know except fifteen minutes is a long time when you're engaging with a stranger and they get bored they get bored of your presence it comes up behind her and hugs you know and I managed to photograph this moment which I'm proud off I think it's a beautiful sort of intimate moment but you have to build that trust with the subjects and then other times I think as your career develops you start getting assignments on dh then you're entering places as an official sort of photographer this's a story that idea about the south china sea which is this disputed sea between china, the philippines in vietnam on dh there you actually have a job to do people are still strangers but you're not going in as much as you know like hi, I'm actually I'm just taking pictures of downtown new york today do you mind if I ask you to picture of you? You're there with a very official job, you know, so photographing soldiers in iraq like I'm here at the new york times I'm here to see what you're doing it's the same sort of thing in this explain what I'm working on a story about the south china sea explain why I'm working on it that you know it's it's a conflicted area which they know very well and I'm here to tell the story that you're experiencing, um and people as soon as they see that you're actually out there, you know, in the thick of it with them, they drop their guard very quickly. I think the initial meeting that was always difficult and there's a period of discomfort after you introduce yourself when they like what am I supposed to do? And if you don't do anything and you just sit it out, eventually it starts becoming normally that is go about their business. So this this is a photograph I shot during a giant snowstorm in new york, but this is an example of there's, a mix of sort of work, a mix of these different approaches that often works. So all of these past examples of bean really specific you're on a story you need to build intimacy or you just shoot and ask later or talk later, but this is a case where, you know, I was riding my bike, which wasn't pretty up this bridge at the brooklyn bridge, and I rode past this guy there's one guy walking across the bridge early in the morning I was like, slipping and falling off allover the place and he's laughing, and I'm lopping and I say, hi, asai, ride by, like, full full by, um and I turned around and I photographed him on. Then I catch up to run, run up to him again and photographed them again like, hi, how you doing? You're right, like funny morning for it, isn't it? And I keep shooting until I get this picture and then I start engaging with him like what's your name. How old are you? What are you doing? He's. Like I walk across the bridge every day. They called us the bridge walkers every day that he goes to work. He walks across the brooklyn bridge. Regardless of the weather. So turns into this story within the story. I'm out, in a way, the story except in fact, there is this group of manhattan will broke the nights, actually, who walked the brooklyn bridge into work in downtown manhattan every day. So there's no one right approach this. It could be a mix of all of them. It could be one. It could be another, but you have to gauge it as you're shooting.
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.