For many people, who start doing photography as a hobby, which later develops into a professional pursuit, their interests progress from shooting inanimate subjects (e.g. landscapes, architecture, stars) to nature to people (first street photos, events, then portraits). This was certainly the progression of my interests, from astrophotography and travel photos to sports and portraits. Naturally, photographing people means communicating closely with them, getting to know them, in other words, becoming involved with the subjects.
However, taking photography to a new level means involving people in your projects in a more general sense. Larger photoshoots require more elaborate production, which means working with more than one photographer, assistants, makeup artists, in addition to the models.
Even putting aside the logistics of production, my photo projects definitely benefit when they involve people. For example, taking the photo above of fishing with cormorants (ukai) was only possible because I talked about my plans to do travel photography around Nagoya with my neighbour on the long flight to Japan. It turned out that she was from Inuyama, and suggested it as a destination. When I got there, I stretched my Japanese ability to the limit to make a reservation of the ukai boat tour. Initially, the tour company was reluctant to take me, as they did not have an English-speaking guide that day, but my willingness to talk to them and explain that I was interested in photographing the fishing action more than having a dinner on the boat convinced them that I would be able to handle a tour in Japanese.
Generally, having other people involved in photo projects adds many motivating aspects:
- Collaborating with others boosts creativity.
- Having others by my side helps me avoid technical mistakes.
- Having others involved creates accountability, which helps me follow through on the plans.
- Without the support of other people, many shoots would simply be impossible. For example, my wife is deeply involved in most creative projects, from brainstorming shoot lists and posing ideas to arranging the props and other logistics. Last, but certainly not least, she takes care of our daughter when I go out on long shoots during weekends.
Someone noted recently that all we do in our lives is, ultimately, communicate with other people one way or another. With my photo projects, I plan to do so more actively and consciously by getting people involved at all stages.
with a 
lens. I usually just let the camera expose correctly for the subject and not worry about the background, which will come out either over-exposed (if it is still twilight) or under-exposed, if it is already dark. In either case, it can be ignored if it does not contain anything of interest.
, this can be done using a local adjustment brush, which is what I did for this image. In 
, this can be done using adjustment layers 
on the flash. A 
).
and 
) in the actual classroom where the course would be taught. We had a relatively short shooting list: couple of shots of individual students writing on the board, a group portrait of them having a conversation in front of the board with formulae written on it, and a group portrait of the students talking to the instructor.
for extremely tight quarters).
lens, pointing out that it would be better for photographing people than the 
and 
) and various lenses, from 
(most spectacular one).
