What I learned from the Jesse Marlow & Aaron Berger Leica Workshop

This past week I was fortunate to spend 3 days in LA for the Jesse Marlow & Aaron Berger Leica workshop.

Two very different styles and approaches to street photography, Jesse’s work in color, shapes, visualization, and leading lines, while Aaron’s work with “people happening”, character driven, action in the streets approach was great to watch and learn as well. They also reiterated that there are no rules in street photography, which I thought was great to echoe because a lot of the students were new to this and it’s also great for me to hear because often times I put these barriers up that a photo should be this or look like that or have such and such…

Aaron Berger

Aaron is the slickest photographer I’ve ever seen work…he slitters like a snake, through and in-between people and no one ever does notice that he’s making a picture of them. He has it down like clockwork, it’s quite awesome to witness in person. We were out in the LA area for close to 10 hours of shooting. Aaron has a lot of energy and is relentless, his approach to shooting the streets is hitting it up everyday for hours and be on full offensive attack. I admire that of Aaron.

He also anticipates the shot coming from 30 feet away. While walking through a crowd down Hollywood Blvd, he’s not scanning through the crowd that’s five or ten feet from him, he’s looking at twenty five, thirty feet away and visualizing if there’s an opportunity to pair up couples or notice if there’s potentially anything interesting may come about. Learning about dead space and how heads sticking out of other people’s heads in a photo can make or break your images.

I think we all can learn from Aaron by pushing ourselves daily. Go out and make those opportunities happen. Don’t just sit around and expect things to come at you, go out and grab life by the throat. Find what works for you, what visually intrigues you, and get it.

Jesse Marlow

Jesse Marlow is great at recognizing a scene and shooting the scene until it dissolves or until he no longer cannot. I shot with Jesse for most of the day and learned a lot from him, about challenging yourself, finding your unique style and sticking with it, and not giving a shit what others think…if you like the photo, defend it, fight for it.

Jesse has more of a calculated approach I would say. Recognize a scene that’s simple and shoot many times of it, go low, go high, get close, take a step back…be patient, as some of the best photos just unfold itself right in front of you. Drop the f-stop to darken a particular area in the frame to isolate your subject. Look for vibrant color, shadows, leading lines and geometry and be creative with it. Avoid the cliche’s and instead think outside the box. Ultimately don’t worry about awards and prizes, remind yourself to shoot for yourself and because you enjoy doing it. Things will fall into place.

Even if your photo does have a story or drama within the frame, something within the image that doesn’t support the photo can turn it into a bad photo. If a shadow or a giant tree is in the frame and doesn’t add to the narrative then it really loses it soul. It’ll draws people attention away from the main focus.

Bring your camera everywhere. Jesse is the opposite of Aaron, he doesn’t allocate time each day and go out and shoot. Rather Jesse just brings his camera wherever with him. This allows more free time with his family and also doesn’t add any pressure or disappointments to photography. If he see’s something while he’s driving or on his way to the grocery, he’ll have his camera ready and loaded. But if he didn’t capture anything while on the road or on errands then no big deal. There’s no expectations and I think we all can learn from Jesse’s approach.

Conclusion

I highly recommend beginners or advance street photographers to learn from both Jesse and Aaron. Even if your style or what you’d like to be your style is opposite from either one of them, it’s great to learn and absorb new techniques and knowledge. Watch and hear what makes a photograph work out on the field and in the classroom.

I want to thank the class, Aaron, Jesse, Tom Smith of Leica Akadmie North America, my family for allowing me to go on this adventure, and the staff at Leica LA for an awesome experience.

Why I don’t title my photos

To title or not to title…that is the question. I believe titling a photo works in more of a documentary approach in your photography. Usually when photographing an event or a protest, that culminates a series or body of work.

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Titling fits best when you want your viewers to understand your weird sense of humor. Or when you want to get your point across. For example, the photo above I titled “Hair Extension” because that’s what I wanted my viewers to see and feel.

But think of it this way, once you give your photo a title, then that is how you are inviting your viewers to interpret it as well. Leaving little to no room for the viewer in creating their own narrative. By leaving a photo untitled, you are allowing your viewer to be a part of your photo, as personal your photos may be to you, your audience are just as important. Engage your viewers, allow them to interpret your photo on how they see it and ultimately creating their own narrative. For instance, when I see a photo and it has title or lengthy description, I cannot help but to see the photo as how it was titled or described. I cannot reverse my mind into thinking that this particular photo is something else.

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When you look at a photo that may have multiple stories within the frame or multiple emotions, it will seem a lot more dramatic than they probably are with your own two eyes looking at the situation in reality. Therefore, allow the viewer to create their own story and make use of one’s imagination and ultimately for their own enjoyment.

Let’s make an example out of the photo above. Well before I do, let me mention I am not a copywriter and am horrible with titles that’s why I’m a photographer. Okay, so let’s say I titled the photo, “Aftermath of Trump” or “Angst” or “Make America Great Again”….these titles are focused on the main attention grabber…Zombie Trump on the man’s shirt and/or the man with anxiety wearing the zombie Trump shirt. Okay, so I’m only focusing one part of the entire frame, what about Mini Mouse in the back, I think she adds a nice touch to the photo although she may not be the primary focus.
Again, what I’m trying to say is that there is only so much a title or headline can cover within an image. Having the photo untitled leaves it open and allows viewers to see and analyze the photo from all four corners.

You would be surprise by the response or how your viewers may interpret your photos…better yet you may learn something new.

Conclusion

Again, there is no right or wrong… but in my bias opinion a good photo left untitled is much more better than a photo with titles and descriptions. Let your photo do the talking, it does not need any words to help elevate the photo. Remember the saying, a photo is worth a thousand words.

What I learned from the Jesse Marlow & Aaron Berger Leica Workshop

This past week I fortunate to spend 3 days in LA for the Jesse Marlow & Aaron Berger Leica workshop.

Two very different styles and approaches to street photography, Jesse’s work in color, shapes, visualization, and leading lines, while Aaron’s work with “people happening”, character driven, action in the streets approach was great to watch and learn as well. They also reiterated that there are no rules in street photography, which I thought was great to echoe because a lot of the students were new to this and it’s also great for me to hear because often times I put these barriers up that a photo should be this or look like that or have such and such…

Aaron Berger

Aaron is the slickest photographer I’ve ever seen work…he slitters like a snack, through and in-between people and no one ever does notice that he’s making a picture of them. He has it down like clockwork, it’s quite awesome to witness in person. We were out in the LA area for close to 10 hours of shooting. Aaron has a lot of energy and is relentless, his approach to shooting the streets is hitting it up everyday for hours and be on full offensive attack. I admire that of Aaron.

He also anticipates the shot coming from 30 feet away. While walking through a crowd down Hollywood Blvd, he’s not scanning through the crowd that’s five or ten feet from him, he’s looking at twenty five, thirty feet away and visualizing if there’s an opportunity to pair up couples or notice if there’s potentially anything interesting may come about. Learning about dead space and how heads sticking out of other people’s heads in a photo can make or break your images.

I think we all can learn from Aaron by pushing ourselves daily. Go out and make those opportunities happen. Don’t just sit around and expect things to come at you, go out and grab life by the throat. Find what works for you, what visually intrigues you, and get it.

Jesse Marlow

Jesse Marlow is great at recognizing a scene and shooting the scene until it dissolves or until he no longer cannot. I shot with Jesse for most of the day and learned a lot from him, about challenging yourself, finding your unique style and sticking with it, and not giving a shit what others think…if you like the photo, defend it, fight for it.

Jesse has more of a calculated approach I would say. Recognize a scene that’s simple and shoot many times of it, go low, go high, get close, take a step back…be patient, as some of the best photos just unfold itself right in front of you. Drop the f-stop to darken a particular area in the frame to isolate your subject. Look for vibrant color, shadows, leading lines and geometry and be creative with it. Avoid the cliche’s and instead think outside the box. Ultimately don’t worry about awards and prizes, remind yourself to shoot for yourself and because you enjoy doing it. Things will fall into place.

Even the photo does have a story or drama within the frame, something within the image that doesn’t support the photo can turn it into a bad photo. If a shadow or a giant tree is in the frame and doesn’t add to the narrative then it really loses it soul. It’ll draws people attention away from the main focus.

Bring your camera everywhere. Jesse is the opposite of Aaron, he doesn’t allocate time each day and go out and shoot. Rather Jesse just brings his camera wherever with him. This allows more free time with his family and also doesn’t add any pressure or disappointments to photography. If he see’s something while he’s driving or on his way to the grocery, he’ll have his camera ready and loaded. But if he didn’t capture anything while on the road or on errands then no big deal. There’s no expectations and I think we all can learn from Jesse’s approach.

Conclusion

I highly recommend beginners or advance street photographers to learn from both Jesse and Aaron. Even if your style or what you’d like to be your style is opposite from either one of them, it’s great to learn and absorb new techniques and knowledge on street photography. Listen and see what makes a photograph work out on the field and in the classroom.

I want to thank the class, Aaron, Jesse, Tom Smith of Leica Akadmie North America, my family for allowing me to go on this adventure, and the staff at Leica LA for an awesome experience.

*** I also took a street photography workshop from Jack Simon in 2016, visit my succinct  review here What I learned during Jack Simon’s workshop.