Workshops

In my workshops, I do not simply teach how to “shoot the street.” I teach how to see, think, and react.

We work on:

• reading situations and anticipating how events may unfold;
• seeing a scene from more than one side and in depth;
• waiting for the decisive moment in the right place and at the right time;
• overcoming the fear of working close to people;
• understanding when to ask permission and when it is better not to interfere;
• evaluating risk in difficult or potentially unsafe situations;
• using different distances and visual layers;
• understanding why one focal length is often not enough;
• reacting instantly to unexpected events;
• preparing camera settings before the image happens;
• working with depth of field — one of photography’s key expressive tools;
• planning routes through the city and understanding what matters and what does not;
• seeing why side streets, people, and overlooked places often say more about a city than monuments;
• creating a story rather than a collection of random pictures;
• paying attention to objects, gestures, pauses, and background details;
• turning an ordinary walk into a photographic narrative where the main characters are you and the city;
• approaching postcard views with humor, irony, and self-awareness;
• working in any weather and at any time of day.

There is no bad time for photography. In Paris, rain is often better than sunshine — ask the Impressionists. Snow can be a gift — ask Cartier-Bresson and Elliott Erwitt.

After shooting, we discuss editing: why one photograph may be far stronger than it first appears, while another, flashy image may not survive closer attention.

The main goal is to enjoy the act of seeing itself. Even if you did not make a masterpiece, you have already looked at the city differently.