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the work started to snowball. The London Sunday Telegraph saw my work in Nylon and
started to give me celebrities, which has been an ongoing relationship for over 10
years. I started shooting my night landscapes as a personal project while in
college. The work got such a gooon the off chance I need to shoot with strobes, I
use all Profoto lighting.
What advice would you give to other cityscape photographers hoping to find
interesting locations? Can you trained your eye to look for the unexpected?
Scout as just pop up. You have to find them! I think you can train your eye to look
for something interesting. Just takes time to hone your skills.ol colors and
window-soft light. This makes the photographs seem quiet and personal. What is your
usual approach to starting a portrait? Do you spend a lot of time getting to know
the person?
Not at all. I rarely have time to sit with

aspects of the event. The way the civil rights era was documented and preserved
through photography is really motivating. I wish I grew up in the 60s. What Bruce
Davidson captured during this time period is just fascinating to me, so I want to
document events the way many photographers did decades ago. For instance, Occupy
was arguably, in some sense, our civil rights movement, so I photographed that
event for historical purposes. That�s the way I saw it, when I was there.
How do you keep yourself from provoking anger? I would imagine that in these tense
situations it�s easy overstep your boundaries.
Well, the first day I ever shot street I was punched in the face. So over the
years, I�ve learned anger is just a part of being a street/documentary
photographer. People don�t like cameras; it�s just an odd, inexplicable phenomena.
So anger, and sometimes, physical violence, is something I have to deal with. But
provoking anger � it�s something that you can�t worry about. Otherwise, it will
restrain your work. You�ll actually censor yourself because you�ll be more
concerned about upsetting someone if you take the picture. Just take the picture,
and respond appropriately to the situation you just created.
When it comyou don�t want that. The relationships that you form are based on
respect and trust, and you don�t want to destroy it by letting your anger get the
best of you. Especially, when it has taken you years to earn a person�s trust. You
don�t wanna throw that away. So in situations like that, I try to diffuse the
situation before it gets out of hand.
What practical, necessary advice would you give to other doc/street photographers
about shooting in these tense situations?
You have to assess each situation differently and figure out what�s comfortable for
you. You also have to figure out what�s the best option for keStudio Sets Like
You�ve Never Seen Them Used in Photography Before with Ryan Schude
After looking at Los Angeles photographer Ryan Schude�s images, you�ll immediately
notice his film and literature influences. You�ll see that his images do more than
document. They tell stories. In fact, some of his images could easily fit in any
Wes Anderson retrospective � they�re that precise. And although he loves shooting
documentary style portraits and street photography, these storytelling images are
made from (and the focus of this interview will be on) these carefully planned
productions.
Productions of the big Hollywood kind, large, filled with intricate duties, and
requiring creatively designed sets, lights, and many, many actors. Schude makes
photographs that capture a story already in motion, pausing a moment from large-
scale � like any film or novel. They are both sprawlingan document. They tell
stories. In fact, some of his images could easily fit in any Wes Anderson
retrospective � they�re that precise. And althoug and precise. Built from hand and
using visuals to convey its point, they�re also like those panoy Before with Ryan
Schude
After looking at Los Angeles photographer Ryan Schude�s images, you�ll immediately
notice his film and literature influences. You�ll see that his images do more than
document. They tell stories. In fact, some of his images could easily fit in any
Wes Anderson retrospective � they�re that precise. And although he loves shooting
documentary style portraits and street photography, these storytelling images aan
document. They tell stories. In fact, some of his images could easily fit in any
Wes Anderson retrospective � they�re that precise. And althougre made from (and the
focus of this interview will be on) these carefully planned productions.
Productions of the big Hollywood kind, large, filled with intricate duties, and
requiring creatively designed sets, lights, and many, many actors. Schude makes
photographs that capture a story already in motion, pausing a moment from large-
scale � like any film or novel. They are both sprawling and precise. Buan document.
They tell stories. In fact, some of his images could easily fit in any Wes Anderson
retrospective � they�re that precise. And althougilt from hand and using visuals to
convey its point, they�re also like those panoramas you made aan document. They
tell stories. In fact, some of his images could easily fit in any Wes Anderson
retrospective � they�re that precise. And althougs a kid except his are
professional, beautiful, and unlike