What to do When You've Finished Shooting
Lesson 16 from: Street Photography: The Art of Photographing StrangersAshley Gilbertson
What to do When You've Finished Shooting
Lesson 16 from: Street Photography: The Art of Photographing StrangersAshley Gilbertson
Lesson Info
16. What to do When You've Finished Shooting
Lessons
Class Introduction
14:33 2What Do You Mean by Photographing Strangers?
04:42 3Why Photograph Strangers?
15:23 4The Psychology of a Street Photographer
19:31 5Establishing Trust When Photographing
24:27 6Decide on a Story to Tell Through Photos
39:47 7How To Tell Your Story Through Photos
19:00 8The Gear You Need For Street Photography
13:57Know How to Present Yourself as a Photographer
05:06 10Observe Your Shoot Location
10:42 11Where is Street Photography?
07:15 12How to Approach Your Subject
32:37 13Ways to Connect with Your Subject
08:10 14What to Do When People Say No to Photographs
08:34 15Always Have a Street Photography Backup Plan
06:28 16What to do When You've Finished Shooting
04:53 17How To Find The Right Caption For Your Photos
08:03 18The Street Photography Editing Process
32:28 19Toning Your Photos For Maximum Impact
11:21 20Career Tips For Street Photography
12:45Lesson Info
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.
Class Materials
Bonus Materials
Bonus Materials with Purchase
Ratings and Reviews
user-4e23bb
I have taken more than a few of the Creative Live courses. I have, in general, found all of them to be very good and I have learned something important from them all. Not always enough of exactly what I was looking for, but something useful and important. This course was absolutely amazing. The best I have taken. I would like to download it and see it again and again. Ashley's style was authentic, humble, yet confidence inspiring. The information he gave was focused and totally useful. He shared both philosophy and thinking as well as real tools to learn - whether they be soft stuff (like how to approach someone) or hard stuff (like gear and settings and such). I cannot recommend this class highly enough. If you want to learn to do "humanistic photography" (his term which resonated with me), this is best I have ever taken!
user-082aad
This was a terrific and wonderful class. Ash was superb. His stories were awe inspiring, his passion was evident and his ability to teach was flawless. I would take any other class by him and actually can't wait for more of the VII agency programs eminating from Ron's class during photo week 2015. A great great addition to Creative Live's orbit.
cranecreekphotography
Wow, I loved this course - I watched the whole thing, and most of it twice, during the first run. Ash is is intriguing, a good teacher, honest. I found this class to be so inspirational. I especially loved his encouragement about talking to strangers, asking to take their picture- "what's the worst thing that could happen?" And the videos watching him in action were motivating- you saw him make connections but also saw him get rejected too, but he keeps such a positive outlook. Love this class, please more photojournalism!