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6.3 Strategies for Feature Assignments Part 2

So we'll jump back here to day number two. So now we're just gonna go through the photos I've tagged, which is still quite a wide edit but it'll save you from falling to sleep. So here we are, day two. Driving up the mountain towards a school. A really interesting view of the city here, which I saw the night before coming in but I didn't have my camera. Kind of a cool photo here, but hopefully not going to be the best overview of the town. Which is kind of always an interesting, you need to set the scene for where this is all going down, your photos. A lot of time people say your photos have to be wide, medium, and tight. So start wide, zoom in, and then get really tight. I think you'll probably see that in the structure of the final photo I save as well, hopefully. So yeah, not the best photo here, but going about 50 kilometers, whatever that is in miles. I'm Canadian, forgive me. Up the side of this highway, but this is not gonna be a great photo, but it is something to mentally note for the future. Keep that in mind, foreshadowing. See an [LAUGH] interesting photo of these guys bee keeping outside of the school. Not connected to the story at all. But you never know something interesting might come out of it. Here I didn't end up going with anything for the finals. But you never when you're just shooting some interesting photos. And to explain how I kind of [LAUGH] got into this scene. Just sort of rolled up with my fixer and said "Hey, what's going on". Can we take photos and explain ourselves really quickly? And before they had a chance to say no you just start shooting and just gotta feel the vibe out. But you know, that's an interesting photo there. That could of worked for something. And yeah, this is the actual school where the missing students are from. So we showed up to the school, they had this memorial set up. So started shooting that. People were trying to, weighing us out, figuring out who we are. So a lot of times I'll just kind of start walking around and shooting photos and letting people see what I'm doing. And be open about it and, I don't know, transparent I guess. And obvious with what my intentions are, I guess you could say. So this is an interesting memorial outside the school for when it was built. Also looks like a tombstone. And this a mother that we talked to and meet at the school who was missing a student, missing her son. So she agreed to take us to his house and show us around his house where he was staying. She was reluctant to be photographed, but she knew the importance of the story being out there, especially since I was working for US media. That helped me so I knew I wasn't going to get anything really great of her walking around her son's room. In candid. So this is a situation where I would ask her to sit for a portrait, slow it down, just to make sure that I got that photo before we left. So I sat her on his bed, shooting a little bit. There's a good one, just available light coming in through the door. As soon as I walked in I was like, Kate there's gonna be a portrait on that bed whether it happens naturally or not. She wasn't going to sit there on her own so this is where I kind of take a little bit of lead and say can you please sit there for a photo, I need to get a citron photo of you. So like I was talking about in the portrait section, the environment that you create for your subject is how they're going to respond. So luckily, she didn't need much direction here. I was just calm, quiet and slow. And obviously she was at a very sad point of her life to say the least, so I just kind of sat her there and just took a few frames in telling you I had it. I didn't want to overstay my welcome, obviously. But, it's my job to get a good photo in this situation. She's invited me into her house, it's a very privileged position for any person to be in it, she shared her story, so it's my duty now to make a photo that is, represents that and is equal to that. So I think I did pretty close to that here. These are some of the, probably the stronger portraits I've ever taken. So, yeah. Next, a picture of her son on her cell phone. He had texted her on the way to Iguala, where the disappearance happened, the confrontation happened, and said he was going to text her when they were there safely. And that second text never came. So this is an interesting photo that adds context, an interesting photo of him. But also has a lot of relevance to the actual story. So then we spent a little more time shooting around. But I knew I had those portraits so didn't want to again overstay my welcome. But I still kept making photos. Here's a good one of her with a sign of her son that they used for the protest. So there's photo in there somewhere. Interesting sign on the way back, I saw just last second, not a good photo whatsoever, but a reward for information on the students. Pictures of their bedroom, we're gonna start working around the school now. This is the mother again, she was holding this rosary. So, just snapped a few photos while we were talking, you know what I mean? Just what was happening in front of me basically at that point. Pictures inside the school. Not sure now what I'm going to need. Again just shooting, shooting working, working, working. Buses were a big part of the story. Kind of a cool photo there. Inside the cafeteria, interesting photo giving more context to the school and the environment and. Now inside one of the classrooms that they had cleared out for people to come visiting in there. They were sleeping in the classrooms. So, walk into this scene, okay, that works. That's a photo that would maybe it'll be published on so maybe it would. I don't know but the same thing with this photo that's interesting and it has more layers to it than the standard kind of single photo. So you get more stuff around the school here. Some of the sleeping couriers. Cow, my buddy Chav again. More of the sleeping quarters, just sort of moving around, a pillow made from a bag, another mother of a missing son, spent some time talking with them and said listen, can I get your photo? I wanna have your portrait here. She said yes. Quick, as easy as I can. There's a good one. Obviously again, doesn't need much coaching in a pretty difficult situation. Students from visiting town, visiting school, helping out. One of the sleeping quarters. More stuff at the school. Now just sort of waiting to see what's gonna transpire. Met this guy, good photo there. Get a missing son. Come back at night, go have a lunch break, come back at night. More shooting there. Wake up early in the morning and go out to get some of those nice, early morning photos. Scenes setters that I saw on the way up, but wanted to do properly. The morning time is my favorite time to shoot. The sun's beautiful, people are out, but it's moving slow. [LAUGH] I like the weather. It's nice and crisp. Again, light's beautiful so here's a nice photo, you know what I mean? That's just, all these combinations coming together, waking up before the sunrise and climbing up the hill and then waiting, watching the sunrise over the town. Pretty nice moment just in itself, but to be able to get some nice photos is also very rewarding. So yeah, more angles here. I know I pretty much got it. And then we take the taxi to the next town, Iguala, where the students disappeared from, where the confrontation happened. This is the city hall, that had recently been burned out by protestors, this is the mayor's parking spot, sign upside-down, reserved for parking. Some text in here talking about there's a municipal building, blah blah blah. And all burned out, so interesting kind of moment here. These guys are vigilantes that were helping searching for the students from neighboring towns, so we linked up with them. Rolled around with them for awhile. Getting pretty tired here. It was super hot. As you can see here's me on a water break. [LAUGH] Yeah. Super tired, super hot, super hungry, but I'm hanging out with a bunch of vigilantes, so still obviously making some interesting photos that I like. And then just shooting around the community at this point, another vigilante at the burned out place. Some stuff around the community. And this is the actual site of the incident. So shooting around there, found out these bullet holes were left over from the shooting there that night, a memorial set up and getting close, there's one, right there, that photo will work with some proper toning, it'll be a nice scene photo. So yeah, that's pretty much it, that was a wrap of three hard days of shooting. so now we will go into look at some of the process files of what I sent or what was filed for the final assignment. This one looks a lot better to me. Cool, a great starting photo. Interesting photo here, a good choice by the editor. Here's this sign, maybe we skipped it in the raws but here's a different angle and I came back to that sign that I mentioned and pointed out. The mother, chairs, classroom, we missed this one in the RAW2, this is a slingshot that somebody had showed me that night, one of the vigilantes, touched up a bit, again, processed out, sight, nice scene setter. Night shot. Stabbed in the back. This isn't in a particular order right now. From the protest. Though you can see how moving these photos around makes them into more of a narrative. And once we look at the final layout, you'll see that a bit more, too. Didn't see that one. I guess I missed a couple of these in the raws, but I'm sure you'll forgive me, if you're still awake by now. And let's look at the final layout, why don't we? So yeah, Mexico's Graveyard on I'll type the link in the bottom. One kind of cool thing is it shows on their website over here the amount of shares that people did. And that's 2,000 people shared the article to me which is pretty good. So yeah, really nice, I wrote this text as well to go along with it. Okay, yeah let's scroll this real quickly to show you how they used everything. Really nice styled layout, I think it came together quite well. Protest shots, people praying, vigilantes, from that night's scene, classroom scene, chair. Chairs. Lady sitting under the tree. I don't think we saw that one in the raws either. And yeah, so that's it.

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