Interact with People when Photographing an Intimate Event
Lesson 10 from: Storytelling with Mobile PhotographyEd Kashi
Interact with People when Photographing an Intimate Event
Lesson 10 from: Storytelling with Mobile PhotographyEd Kashi
Lesson Info
10. Interact with People when Photographing an Intimate Event
Lessons
The Power of Mobile Photography to Tell Stories
17:32 2How I Define a Cultural Event
08:07 3Aesthetic Considerations when Photographing a Cultural Event
07:02 4Interact with People when Photographing a Cultural Event
06:22 5Capture a Portrait at a Cultural Event
18:52 6Edit and Share Your Images: Cultural Event
20:31 7Cultural Event Smart Phone Photo Critique
20:47 8How I Define an Intimate Event
11:53Aesthetic Considerations when Photographing an Intimate Event
11:50 10Interact with People when Photographing an Intimate Event
06:28 11Capture a Portrait at an Intimate Event
10:17 12Edit and Share Your Images: Intimate Event
24:38 13Intimate Event Mobile Photo Critique
15:09 14How I Define Street Photography
21:23 15Aesthetic Considerations when Shooting Street Photography
17:51 16Capture a Street Photography Portrait
15:02 17How to Create a Double Exposure
13:30 18Edit and Share Your Images: Street Photography
05:29 19Street Photography Smart Phone Photo Critique
11:35 20Skype Interveiw with Pei Ketron
14:27 21Where Mobile Photography Can Take You
03:25Lesson Info
Interact with People when Photographing an Intimate Event
You're trying to get something that's more familiar, probably, I would say. And to pick up on the answer to your question, I probably would direct people more, because I really want to make sure I get something specific to sort of fulfill this desire to make the people happy. Generally that's kind of more what we're going for in these situations. So we're gonna go to a video, a short one. (children talking) Can I get a smile? (laughs) That's more like it. (laughs) What's the biggest smile you can give me? How about a frown? Now a smile. Thank you. (children talking) Oh, can I get your hands? Oh my god, that's so great, hold like that. Your hands are so beautiful. Hold, hold, hold, please, one more. (whimsical music) Nice, thank you. (laughs) Wait, wait, this way, this way. Really nice. Where's your smile, where's your smile? Thank you. And that girl was also kind of like a total crank monster. She's wasn't crying but she was sort of brooding and kind of not really interacting with the ...
other kids so much. There are times and I have experienced this so many times where... Where as a photographer you're actually wearing multiple hats, you're playing multiple roles if you so choose to take them on. And I generally do. Where I might see that kid is brooding in the corner and I'm thinking, "Okay, what can I do? What can I do to bring them out of the shell?" That becomes my motivation, that if somehow I can get that kid to smile, let's say in this particular situation, and maybe I can get them to be interacting in the scene more. That then that would make me really happy. It's not because I'm special or I have some special power, it's just that you play this funny role as a photographer. You're sort of a nobody and an everybody. I don't know, it's a funny role that you play. On the one hand, you wanna be invisible, right? And you don't wanna influence the scene or you certainly don't wanna get in the way. You don't wanna get in the way. But you have this other role you can play where you can, in this instance. And I've had experiences like the death scene we looked at in the first segment in West Virginia where I was the one who had to tell the husband that it was okay for his wife to let go and die that day. Talk about responsibility, because I was this neutral character and after 70 years the man could not go to his wife and say, "It's okay, Maxine, for you to die today." But it was so clear, she was so strong, she wasn't gonna let go. And it was bizarre. I went, got on my knees, I said, "Arden, go in there." And an hour later she died. So it can be that heavy and full of tremendous responsibility, but it could be something as simple as making a little kid, who for whatever reason, woke up on the wrong side of the bed, whatever reason wasn't happy, bring a little joy to them. And to me, that's amazing. So again, this idea of human interaction and... Well, I could see a scenario that would be difficult. In an intimate event, maybe a wedding would be an example of that or something where, it's high-stakes pressure within that event. And it's not chill and there's people who are stressed out. And you could actually do something as a photographer that makes the whole thing implode. (laughs) So I don't do wedding photography. I photograph weddings as part of my journalistic, cultural work. But I have observed wedding photographers and I've known some that are very close friends. And I've watched how they've had to navigate that, where you have like, whether it's the bridezilla or just very stressed out family. And you're having to negotiate the internal relationships that you have nothing to do with, but if you don't navigate them well, you're gonna fail. So there's so many qualities and so many sort of skills, talents that one needs. I'm really overcomplicating things, aren't I? He's like, "Take your camera and go and shoot," right? (laughs) But I hope this resonates with you because it doesn't have to be work. I see it as almost like self-actualization. I see it as, how do we become more aware of who we are and of what we're doing? So again, I'll come back to this over and over again. It's not just about the photographs we make. It's about the quality of experience that we have in making our photographs. There've been countless times where I've had an amazing experience and the pictures weren't so great. Or even like that little tiny, tiny example where I was photographing the little girl. I thought it was a major accomplishment that I got her to get up and put the sparkles in her hands and hold it. But then, I didn't realize that my feet were in the damn picture until I got home, back to the hotel and I was downloading, I was like, "oh." Otherwise they might've been lovely pictures. Because you know why? Because I was so caught up emotionally in the moment, I forgot the photographic disciplines. I didn't see my feet. I hate when that happens.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
I was not interested in this class and just decided to tune in. This is one of the Best classes I have watched on Creative Live! I love his total "attitude" about how to treat people, what to do and not to do to engage in more courteous ways and polite ways. I found him inspiring and engaging, creative and providing lots of information in what I watched. (I did not watch the entire course.) I am certainly going to check out other classes he might produce in the future. I very much enjoyed what I did watch and found him a wonderful instructor! Lots of valuable tips as well. Thanks for allowing me to preview it today!
belinda leung
ed kasha did an amazing job taking us through his creative process. practical tips helped me immediately spot things to help improve my photos immediately. I downloaded and started using the apps he recommended right away. thanks creative live and ed kasha!
Lynn Hernandez
Very inspiring seeing Ed Kashi's excitement for the creative process. Seeing the final photo and then watching a video of what happened to make the photo was really helpful. Have a list a new apps to try for photo-editing and double-exposures. Loved the class.
Student Work
Related Classes
Mobile Photography