What to do When You've Finished Shooting
When I've finished shooting I'm never really sure when I've actually got to the end but there's definitely a feeling that I'm aware of that I'm trying tio you'll be aware of when I get there and that's usually being absolutely physically exhausted physically and mentally exhausted I haven't worked hard enough if I'm feeling ok at the end of the day like I should have pushed myself outside of my comfort zones because you know like this old becomes easier with practice but it never becomes necessarily easy especially not you know if you're naturally shy so I get to a point where like all they want to do is go home and go to sleep on that's that's normally the end of the day for me like see how much more I've got in me but it's a that point and you've really got to stop shooting and then go get another coffee because when you get home you have to start captioning you got to start the initial editing work and you've got it. You've got to try to do that on the day of shooting all of this in...
formation that you're processing that you're getting from these people that you're photographing and the notes you might write in chicken scroll like I do and you got to try to take that and put it onto the photographs that night while it's still fresh, you know, so you're not making mistakes so it shouldn't take too long, like the workload on photographers has changed a lot over the last years in, you know, when we were shooting on film was a little bit different than how it is now we send in note pads with with captions written on the note pads along with the film, where is now we're doing it all ourselves at night on the computer s so it's important that we try to do it, you know, on the day off, so I use a two step editing process. Um I use a program called photo mechanic on dh that is fix that come from a news background I, um I used photo mechanic cause it's really fast it's the fastest it's, the fastest editing program and I found so what I use it for is to ingest my photographs on to the hard drive, which is where you're copying them onto the hard drive everything has unique names and like rough captions it in there, so my working process is, you know, within this photo mechanic program, I choose what the you know what the folder is going to be that I'm gonna call call it and so I always had military style date and everybody should have a type of archives archiving system that works for you like I would recommend against having ah system where it says downtown uptown cross town and parks which are definitely did I had like frontlines refugees, fighters, bombings not a good system um it's usually better by date and then you can search through these photographs once you've actually caption them old computers now search within the metadata of the captions so I'll put down the the year the month and in the date so I guess this is seventeenth and then I put down a client like my personal style is I put down a client which is creative live and then I put down some sort of slug a slug is like a reference word for that shoot so in this into saying seattle so that's the folder name I copy that across tio I copy that across to here into the rename the photographs because I don't like the dsc all the you know, the cia, whatever it is like I think that every file that I have should have a unique name um I set the sequence back to zero and then in here I have basic information when they're ingesting so I'm gonna come back to this so we don't have to dwell in it except I was always put in the city state the country I put in a country code I mystically with captions not everybody's this crazy about it but um I put in the photographer's name me my agency and then a copyright notice headline. You could put, like, creative, live shoot in seattle, washington. And then I usually put the file name in there as well. Um, the main body of the caption, which is really the most important thing that you guys should be paying attention to. We're going to come, too, after we actually ingest this stuff, so I wouldn't just sit here. It'll take a few minutes.
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.