Hands-On Photography Episode 118 Transcript
Please be advised this transcript is AI-generated and may not be word for word. Time codes refer to the approximate times in the ad-supported version of the show.
Ant Pruitt (00:00):
Today on Hands-On Photography. Woo! I got another guest lined up, man. I can't wait for y'all to hear the wonderful Canon Explorer of Light., Miss Krisanne Johnson. As we are gonna talk about street photography, y'all stay tuned.
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Ant Pruitt (01:28):
Hey, what's going on everybody. I am Ant Pruitt and this is Hands-On Photography here on TWiTT TV. Hope y'all are doing well, man. I am unbelievable as always. As you already know, this is the show where I like to sit down and share different tips and tricks that are gonna help make you a better photographer and a better post processor. And then I get that wonderful opportunity to be blessed and graced with the presence of amazing professional photographers out here and doing their just beautiful work. And this week is one of those weeks. But before we get to our guests, let me say hello to all of our new folks. I up to the show, thank you for popping in. Thank you for subscribing in whatever podcast app you're using, whether it's apple or Spotifys or Googles or what have you really does mean a lot.
Ant Pruitt (02:15):
So just make sure you still subscribe. Make sure you give me a nice rating and comment and help push me up into search results and all of that good, magical algorithmic stuff that I know nothing about. Apparently it does work when you do that though. So I appreciate you doing that. Or just head on over to the website, TWiTt TV slash hop that's TWiT.tv/h O P for Hands-On Photography. And you'll see all of the subscription options there. You'll see the previous episodes. You'll see all the show notes there and you know, don't be afraid. My beautiful mug showing up on all the thumbnails. I promise you. I'm not terrible there. I promise. Anyway, let's get rolling with this week's show today. I am joined by an amazing photo. Journalist does a lot of editorial stuff. She's done some, some fashion stuff, but some of you folks have been nagging at me on TWiTtter a little bit and nagging me in the email saying, Hey aunt, you need to talk about some street photography, man. And I'm like, I want to, but it's a little hard for me. I could shoot it, but I, maybe I can ask, I might ITT knows a good bit about street photography amongst other things. And this week's guess she definitely does. Let me introduce to you folks, miss Chris and Johnson, the wonderful Canon Explorer of light. How you doing lady?
Krisanne Johnson (03:32):
Hi, thanks for having me.
Ant Pruitt (03:34):
I'm glad to have you here. You know, I I've been fall following around on your Instagram and stuff. I say following not stalking because people tend to take a different connotation. When I say that and I enjoy seeing everything that you've published. And of course on your website, you have a lot of beautiful content there and it's a wide range, you know? Yes, it's a lot of editorial type of approach, which is a I loved. And, but when I saw this one particular project, which we'll get into hearing a little bit, it really struck a nerve because yes, I know there's a story behind the project, but at its core, it looked a lot like good old fashioned street photography. And I was hoping this week that you'd be able to walk us through that event in a little bit as well. Let's just share some different tips and tricks that help you be able to capture those wonderful images. But before we get into that project, tell us a little bit about yourself.
Krisanne Johnson (04:33):
Well I'm a Brooklyn based photographer and I sort of over the last, I guess for the last fifth, 10 years have split my time between photographing projects in the us in, in New York and also in Southern Africa. So yeah, just a real love for editorial long term documentary work and mainly shoot in black and white for my projects. So yeah, I think I'm really connected to probably moments sort of that shared experience in social documentary work.
Ant Pruitt (05:09):
Ooh, so you, you said a, a couple key things there. You said black and white. Yep. You said black and white, and then you said moments now, black and white. I have no problem with black and white because I think black and white images are usually the more powerful one. And again, this is gonna sound real snobby and I promise you, I'm not a snob.
Krisanne Johnson (05:29):
There's such a battle. I don't,
Ant Pruitt (05:31):
You know, it's gonna sound real snobby, but when I see black and white images, they tend to stick or, or, or just resonate with me emotionally way more than something colorful because it's almost like the colors are trying to make up for a story that's not there. Okay. You know, where with the black and white image, it's, it's what you see is what you get. And it's something about it. Just, just being in black and white, it really makes me focus and see what the inner story is that the photographer was trying to capture. And then you mention moments now, when I think about street photography, at least for me, and my perspective and the times that I'm out shooting, haven't done it in a while because everything's been closed and whatnot, not a lot of people out, lots
Krisanne Johnson (06:18):
Of mess when
Ant Pruitt (06:19):
I, right. But yeah. And so when I'm out, I'm thinking, okay, yes, this is everyday life, but okay. It is fourth, like 5:02 PM in the AF you know, in the afternoon downtown city or whatever, when I click that shutter, you know, what moment not catching at 5:02 PM. And for me, it was a lot of the people that are unti to tied. They they're just getting off work. And I always thought that was a bit of a fascinating story. It it's, what, what are your thoughts on that? Is that the main approach for you when you're out and about doing streets?
Krisanne Johnson (06:54):
Yeah, I mean, it's, it's interesting, cuz I would say I, I was always kind of scared of street photography. I, most of my long term work required me to, you know, spend a really large amount of time with people gaining access. And then once I felt like I had the access, the intimacy and the pictures, you know, sort of fell into place. So when I, and I did work at newspapers before I went freelance, so I was used to sort of, you know, when you have to go out and look for feature shots a summer feature shot, et cetera, looking for just, you know, those moments. But I feel like when I've really had to push myself in street photography projects it was something that, you know, was it's was a little new for me too. And I was like, okay, Hey, you go out maybe in the morning or the afternoon, look for nice light.
Krisanne Johnson (07:42):
When are people active? Like how you just said rate it, you know, the end of the work day. And you know, of course you have New York city, which is always pretty active, but yeah, like really kind of just paying attention to when there would be some nice light. And I mean, I love color photography. I, I, I just, I really struggled to find my voice at first as a photographer and I think after a few projects in black and white, it just, it really connected. It just was a really true connection of how I felt I could express you know, sort of the feeling I wanted to get across with photography and, you know, just really getting straight to the impactful moment of a situation. So black and white has really sort of led that charge, I guess, where it it's poetic. And I feel like it, you know, I, I, I adore color photography as well. It's just yeah, I guess I've just, I've always connected more with black and white.
Ant Pruitt (08:37):
I, I think you hit the word and I, I was looking for
Krisanne Johnson (08:41):
Okay.
Ant Pruitt (08:42):
PO poetic, poetic that's that's, that's what it is it, and there's nothing against color imagery. You know, I I've seen some like when, when I look at landscape, yeah. I wanna see landscape in color, you know, that's, that's just me, I wanna see the rich rich greens and then the ambers and things like that, if it's possible. And then don't, don't, don't let it be at sunset or, or sunrise just yes. Give me all of that in color. Yeah. Don't necessarily wanna see that in black and white, but something, it might look a little dystopian, you know,
Krisanne Johnson (09:17):
It's not it
Ant Pruitt (09:18):
Beautiful sunrise and black and white. Well, how come I feel so depressed right now? Yeah. You know, but then, you know, I, I take, take people, you know, something about seeing people in black and white that that's poetic. That's the word I was looking for. So thank you for you're welcome. I'm looking, I've been looking at your website, Kris and johnson.com and there's a particular project that you worked on. It's called, as I'm looking at the screen. Now life along the elevated and this thing, it looks like it's downtown, New York, someone I'm guessing named Brooklyn or, or
Krisanne Johnson (09:54):
All over.
Ant Pruitt (09:56):
It was all
Krisanne Johnson (09:56):
Over Brooklyn, the Bronx. Yeah. Harlem Chinatown. I basically just to give you a little background with the project, I received a photo urbanism fellowship through the design trust for public space. And it was basically to sort of section off a year and to go out and explore all of the elevated of the structure of New York city, which is about 700 miles. So sort of like 700 miles. There's obviously no way I can capture all of that. But you know, I just had to research different sort of transit hubs and different areas that I thought I could really capture some nuance and some life along the elevated. It was a really tough, interesting project to incorporate, you know, people, but also a sense of the infrastructure. So, but it just, it, you know, I've lived in New York for about 15 or 16 years and it just felt like such a beautiful challenge to keep exploring the city that I love so much.
Krisanne Johnson (10:55):
And then I just, I discover all these little pockets of life you know, sort of slowly by just going out and wandering and, you know, really, I can tell when I first started shooting the pictures, I was, you know, very pulled back. I wasn't brave enough to get super close to people. And you know, that's probably one of the biggest tips about street photography. The more you get out and walk and the more you, you know, you get sort of your courage and that bravery to get a little closer and just, you know, just go for it. I think as photographers, we stop ourselves more than the people do cause we're nervous. Just getting over those nerves a bit and being respectful still and gentle and you know, your body language.
Ant Pruitt (11:41):
So that's probably, is it safe to say that was the hardest part is just being able to tastefully interact with people get people into the image as well as interact with them without, you know, somebody off. Cuz I gotta tell you when it comes to to street photography, all I think about is how many times I see these different social media platforms or whatever talking about, Hey, you don't have the right to use my image in your post and blah, blah, blah, blah, blah, blah, stuff like that. Privacy basically. So I found myself whenever I was shooting, it was a challenge to
Ant Pruitt (12:22):
Challenge to respect folks' privacy. Because I knew I would end up posting it somewhere at some point. So a lot of times I was, I would make sure the person turned or face just enough. So they're not identifiable. I hardly ever took images of children. You know, me, I don't care. You wanna snap my photo while I'm out and about sure. I'm out in the public space, whatever it just just have at it. But some people don't think that way. And so I, I try to just do my best to capture something says, Hey, this is a person, this is a male, this is a female or what have you, but you don't know who that person is. You really have to dig to try to figure out who that person is. Is that something that yeah. Ever crossed your mind?
Krisanne Johnson (13:06):
Yeah. I feel like, you know, one of, one of the first sort of conversations or lessons as a photojournalist that, you know, you should have have with yourself is about the dignity and respect of who you're photographing and how you communicate that with other people. I, I don't feel comfortable unless I feel like that person's okay with me even street photography, you are quick and you go in and you have to really, it's probably why it's kind hard to give tips on street photography because it's kind of has to reflect your personality, your body movement the way in which you are gonna move through a crowd and sort of generate that openness so that people don't feel intimidated. Or, I mean, new Yorkers are very used to street photography. It's a city that in New York, I mean, sometimes I'm like, wow, I can't believe that nobody did yell at me, but you're like, I think there's like a respect for street photography in New York.
Krisanne Johnson (13:58):
So it's very different city probably. Yeah. I mean, I've definitely photographed in cities that were much more like, as soon as you, you start on a corner, you know, somebody starts yelling photographer and like, you know, I was like, I'm hiding. I felt horrible. And I was like, okay, this is not the right spot to sort of do this because it's a much more closed off culture and it's not really acceptable. And that's, you know, that's a boundary I didn't wanna cross. And I found other ways to navigate getting street, life pictures through people. I knew New York, New York, you can really, you know, you can go out. I mean, I've done a lot of subways street, photo two, and nowadays most people are just on their cell phones. People don't even know you're taking their picture at the time. I mean, it's like,
Ant Pruitt (14:42):
They're all, they're all. Sometimes
Krisanne Johnson (14:43):
I'm just looking, everyone's looking down, which doesn't make for a really great picture, but
Ant Pruitt (14:47):
It's just a sign of the times.
Krisanne Johnson (14:49):
It's a sign of the times
Ant Pruitt (14:50):
The time.
Krisanne Johnson (14:51):
Yeah. so I like to shoot really. I mean, I, all the pictures in the life under the elevated project were all shot with a 28 millimeter lens.
Ant Pruitt (15:01):
Oh, okay. That was my next
Krisanne Johnson (15:03):
Question. I have to get in really close if I want, you know, to fill the frame with people. So, you know, I usually try to stay in the same area and walk around for a while and people start to notice you and you can tell some people that don't wanna be in photographs, you know, will really avoid you. And I just kind of give you know, you give your own signal through your body language and a smile. Okay. I understand, you know, don't worry. And if I don't really try to put children in as well, unless I, you know, I've talked to the parent and asked if it was okay. You know, that's something that you just learn from photojournalism newspaper days too. It's just respectful, I think, to really try to get some of that permission.
Ant Pruitt (15:46):
Nice. I've had it sort of makes me think about my times shooting and Charlotte, North Carolina versus the times I've been able to shoot over here. And it's definitely a different, different vibe. People over here have been a little bit more open to it. Yeah. You know, but that's not to say that there weren't, there weren't times in Charlotte where I'm out there with my camera and I'm usually quite visible. I usually wear like bright colors and okay. I, I make sure they see I'm out there. Yeah. And there's a couple times I can remember some instances of, of a person's walking on down the sidewalk towards me and they see me standing there with my camera up to my face and they'll stop and pose. Yeah. You know,
Krisanne Johnson (16:32):
I mean, I think that that's the lesson, like more often than not, I feel like people have given me access and like a, really a special unfiltered where like, I just, it's amazing how people let you photograph them and they recognize, and they ignore you, but they really have a sense of what you're doing. Yeah. And I think that's kind of the magic of street photography when, and you know, you, once in a while get somebody that says, you know, please don't, you know, respect it. Don't use the picture, move on. Yeah, but I've never really had somebody really get super angry or yell. I just immediately say, okay, respect it. You know, I won't, I won't use it not move on and you gotta just keep moving on. And I would say, you know, I, I do think we stop ourselves more for the fear of the rejection and the yeah. The yelling. But a lot of times I think there is a pretty healthy respect for street photography. And I, I, I would really encourage those that, you know, wanna go out and try it just to, you know, take it slow, get out there and practice, go back to the same areas, you know, try, you know, certain big gathering areas where people sort of expect to maybe be photographed, right. You know, just really build up some of that confidence and learn your own body language and how you can communicate with others.
Ant Pruitt (17:48):
Now. That makes sense. Now I have one more thing before we look at your, your, okay, your portfolio here. I hate saying it like this, but I'm just gonna be blunt. You are a female photographer. Yes. You're out and about with a camera. And I don't care if that camera is $200, $300, $5,000. Safety is a concern. What is your approach regarding safety? Because quite honestly, people seem to be way more bold these days and yeah. Will try to do anything. Just to get that equipment from me, you know, here recently in San Francisco, it's been a lot of people getting robbed oh, okay. Down at the bridge and Christy park and things like that. And it's, it's, it's pretty sad. You know, I had a shoot recently with Jefferson Graham formerly of USA today. And, you know, I had my bag with, and I'm usually, you know, pretty conscious about my, my security and safety and whatnot, but he was so hell bent on it.
Ant Pruitt (18:59):
You know, there was a time where we were shooting a segment, cuz we ended up videoing the segment. We, we were videoing the segment and I had my bag on my shoulder. He says, take it off. I took it off. I'm like, okay, fine. And then he says, step on it. I'm like, what, what he says, yes. Step, step on your bag. And I'm like, why? And he, he says, no, take the, the straps and loop your leg into that strap. Basically stepping on it. He was that cos of, of security because where we were, we were in an alley. Okay. Somewhere. Yeah.
Krisanne Johnson (19:33):
I mean, it didn't really
Ant Pruitt (19:33):
Cross.
Krisanne Johnson (19:34):
I've gotta go with your, you gotta go with your gut, you know, if your gut's telling you something's off. I always listen to my gut. If my gut says something's not feeling a little. Right. I just, I'd always, I just listen and I just move on. I don't try to push it. There's nothing, you know, more important than our, our own sort of safety and trying to protect our equipment and ourselves. It's true. Like as a woman, I've definitely in other places not, I haven't really had anything major in New York. I, I like to try to be as simple with my equipment. So I usually just use a really small Domkey bag that fits like my body, the 28 millimeter lens. I can put a little notepad in there. And you know, maybe another small lens I take off the Domkey label. Yeah. I, my can strap is switched to just a black strap. Yep.
Ant Pruitt (20:32):
Doesn't see. Handing on it. Yep.
Krisanne Johnson (20:33):
Yeah. So I just kind of, you know, and I'm, it's just a small little dokey bag that could also look like something else. It's not, it doesn't have like camera written on it that it's a camera bag. And it just has a, the fold over flap. I can send you a picture. I just, I keep that right under my shoulder. And you know, with just that small lens, you just keep it with, you know, sometimes my arm just, it's just tucked right there. And then when I'm ready to take a picture, I swing it up. So I think it's traveling super minimal. You know, I've, I think it's always smart to, you know, just keep your cell phone in your bag, keep your headphones away. Like you have to just be really, you know, sort of in the moment and paying attention to everything that's happening around you. And just, you know, you have to really give off a nice strong energy don't don't come from me.
Ant Pruitt (21:25):
Yeah. That helps too. That fast too. Yeah. Yeah. I, I like how you say don't come for me. I was thinking of something a little more vulgar, but way better than I am
Krisanne Johnson (21:35):
On this one. Yeah. You just gotta, you gotta get your, you know, little toughness on, but as a woman, I, I, I, I really haven't, I haven't had a lot of instances where I feel intimidated from my gender to be out in no about. I think it's a lot about how we approach situations. You know, not trying to, you know, try to be smart about where you're going. Do your research understand where this subway is, understand have a fully fo like a, you know, your, your phone is charged. If you need to call a cab or just really make sure you, you know, cross your Ts and dot your eyes as far as your own personal safety and having a really good idea of the streets and you know, where you're walking
Ant Pruitt (22:17):
Indeed. Sweet, great information. Now I want to transition into taking a look at your site and looking at this particular project. So let me pause for a second and switch the screen over. All right. So here on your website, Krisannee johnson.com under the editorials tab here, we have this life along the elevated project. Now I scrolled through this in, again, it, it immediately just said the beauty of, of street photography, even though this project is more so about, you know, the infrastructure and whatnot going on there and the intersection between that infrastructure and the people, but I just saw beautiful black and white street photography. And there was a couple images that, that got my attention and it's because the way you're sort of interacting with people and it was this one, this one down here at the bottom really got me. Okay. Now with this shot, you, you said you are using like a 24 or maybe 24 to 70, most of
Krisanne Johnson (23:17):
The time? No, just a, everything was shot on a 28.
Ant Pruitt (23:20):
Oh, on a 28. Okay. Yep. So that's still a little wide in my opinion. So I'm like, okay. She is right up on these folks out here. Yep. Dancing and partying it up. What's it like when you, you were out and about, and you saw this happening, you just walked up and snapped it. Was it people aware that you were there? How did you, how did you pull this off? Cause I mean, she did not stop the groove.
Krisanne Johnson (23:46):
You did not. No, it was, it's like, it's amazing everyone that visits New York should go check this spot out. But this was, you know, sort of an instance where I researched a lot of different neighborhoods and train tracks, and this was actually in east Harlem. And it's near where the former it's like revamped now a lot Marqueta. And so there used to be like a, a market back in the day that would be underneath the north Metro tracks here and now on Saturdays, the local community comes out and has salsa under the tracks. So people just like put their chairs out, have some drinks, people can, any, anybody can come join and, and have some salsa. And it's, I mean, do some salsa and it's just FA fascinating. So I just walked around and, you know, most people didn't even say anything. They, I just, I would go back multiple Saturdays and just hang out. And oh, I never learned any salsa cause I was always photo, But yeah, so it was a, actually, this was a really good example of everybody was super into the spirit of the dance and being outside and nobody ever really said anything about me photographing and I, yeah. I would talk to people afterwards and get names and
Ant Pruitt (25:03):
Love.
Krisanne Johnson (25:03):
That was really awesome.
Ant Pruitt (25:04):
And then there's this one here. This is just sort of like classic to me and super easy in my head because they're facing away. I'm not, I'm not having to worry about capturing faces, but at the same time, I am seeing a bit of a story here because of the, the, the, where the sunshine is, you know? So this is either early in the afternoon or later at, in the afternoon, one of the others.
Krisanne Johnson (25:30):
Yeah, I'm trying to remember. I, I would imagine, might have been later, gosh, I'd have to look at the timestamp on that. Now. It was, you know, I was, it's such a interesting spot in Chinatown under, you know, gosh, is that the bridge now I have to look up all of my different locations, but I would go under this area quite a bit because the shadows would just be so beautiful. Yes. At certain parts of the day when the sun would block, or it would come on this side of the street or the other side, so I would just kind of go and, you know, check out different times of day. And then I just looking at body Lang trying to find a quiet picture. Yeah. That's, I don't know. I just really liked the movement of this one too. And how the heads all kind of are a little bit down.
Ant Pruitt (26:19):
Yeah. Everybody's sort of looking down to sort of just going about their, their business if you will. Yeah. But you, you said earlier that you have in your, a bag, a notepad, so I'm assuming part of your, your reconnaissance is, is going around and you're taking note of time of day and where the shadows are or are you, is that part of it or
Krisanne Johnson (26:41):
I, I, I wish I could say yes, but not really.
Ant Pruitt (26:45):
Just, I appreciate the honesty.
Krisanne Johnson (26:47):
Sounds like a real, that sounds like I would probably benefit from that for like, oh,
Ant Pruitt (26:51):
I love you more for honesty.
Speaker 5 (26:53):
No.
Krisanne Johnson (26:54):
I usually am just writing down the names of the street corners. So I, I, I can't help it. I mean, I just, you know, was been a journalist, a photojournalist for too long. If I, if I can, if I have talked to somebody afterwards, I really like to get somebody's name. So whether I could like send them a picture later or maybe I'll get some quotes. A lot of times, like I did not get, you know, this just happened really fast. I didn't know how it would come out. Right. But yeah, so I just bring my, I, I like to make notes and kind of observations of the area. Cause I feel like that can always help, you know, inform a larger project.
Ant Pruitt (27:33):
This is another one where I looked at it and I said, this is an all about the specific time of day. This is Westchester. I, I'm not a New York, but I've heard of Westchester. Is that what that says there? Yeah. Yeah.
Krisanne Johnson (27:48):
I've heard of Westchester. It's Southern Boulevard and yeah. Westchester.
Ant Pruitt (27:51):
And so I'm like, okay. She, she knows what she was doing here from a time and standpoint, even with where the sun is just coming over the edge of this infrastructure here, giving you this beautiful lens flare, that's just, just tasteful, not distracting, just tasteful. And it's given a nice little rim light and highlight to the, to the back of her hair. And he's looking you square in the face, owning this moment. What do you remember about this, this moment?
Krisanne Johnson (28:17):
Well, I loved these two. I met them and then talked to them for a while, Rocky and jazz and, you know, I couldn't help but notice style. And as you mentioned, like I've shot a lot of fashion work for fader magazine where it's a lot of like documentary fashion. So you kind of also go out into the streets and we're just like kind of talking and casting people that we, you know, we find interesting. And these two just immediately, I was like, I have to know these two. Like they just look, look so stylish. And yeah, so I kind of confident, confident. I mean, they are just, they were just amazing and the way the subway track there, it's it curves and there's a lot of noise pollution. And so it was a difficult area to photograph with the shadows and trying to get, not just the traffic, but the people. And so I was walking particularly on this corner because I saw that, you know, the light was just really coming through. I love light flare. I mean, sometimes you don't wanna clean your lens cuz it just helps get better light flare.
Speaker 5 (29:19):
So true. So true.
Krisanne Johnson (29:21):
I, I love it. I, I, I can't help it. And so yeah, I just met them and we started talking and, you know, snapped this picture rate, you know, as soon as I sort of met them and then we chatted for a bit and they're both artists oh, living in the area. So yeah. I even like I later on made them a nice print and brought it to their house. They were just the nicest they were cool people. Yeah. It was fun. Oh. So stylish. I still follow them on Instagram.
Ant Pruitt (29:49):
Oh man. I love that.
Krisanne Johnson (29:50):
So that's, that's great. Right. You just get to walk around and meet people. That's the best part of photography.
Ant Pruitt (29:54):
Oh my gosh. See, you need to send me their Instagram too. I I'd like to check them out. Cause again, that, that confidence is just, it really stuck with me when I saw that one there. Now one more question. Okay. You are shooting Canon. What, what, what camera body are you using here recently?
Krisanne Johnson (30:12):
So it was very exciting. I just got the Canon R five and the R six. So I am experimenting and it's, it's, it's a whole new, I, I was recently using the Canon mark four. So yeah, so I'm just like going through all the settings, doing all the YouTube videos now, making sure I understand like every little part. And it's so interesting switching you know, to the mirror list, but it's such an awesome camera. I cannot wait to just get it, get it down.
Ant Pruitt (30:41):
Oh my goodness. The Hands-On Photography audience and the TWiT TV audience, they know I'm a bit of a Canon fanboy. I don't shy away from it. Not one bit. I think there's two behind me. I still, still haven't gotten the, so haven't gotten the R five and R six yet, but boy, I'm not there on the list, man. I did a review of both of them. Okay. Back when they came and boy, I really enjoyed playing with those,
Krisanne Johnson (31:04):
Those, yeah. And so much like a little lighter, I'm excited for just getting out there with my 28 and just, yeah, it's gonna be nice to to do some, some string and some spring street photography.
Ant Pruitt (31:17):
Oh God.
Krisanne Johnson (31:17):
It's cold today.
Ant Pruitt (31:19):
Be great. And, and, and, and also mentioning Canon, you are one of their candidates, explorers of light. So, so wow. Tell us a little bit about that. That's, that's a pretty big title to have and pretty big responsibility to have too, right?
Krisanne Johnson (31:35):
It is. Yeah. I gotta get that. R five working.
Speaker 6 (31:39):
Just kidding.
Krisanne Johnson (31:40):
No, I'm I mean that happened, you know, this past year and I've used Canon since my, my Canon film cameras when I started in film. I think the Canon Elon, or I'm trying to remember my first one, but yeah, I've, I've used can my entire career. So when I was asked to be a can of Explorer of light, it was a bit of a, a really, you know, beautiful moment and they're just amazing to work with and just, you know, it's just kind of a new thing. So we're just starting out. But yeah, very grateful for the experience
Ant Pruitt (32:14):
I am. I am so jealous of I'm so jealous. I've spoken to a handful of the EOLs explorers of like, and they're all just like you to just go great, great photographers. Yes. But they're also just great people doing good things out there with their art. So it's, it's, it's an awesome group of folks and I nothing but kudos and respect for all of you.
Krisanne Johnson (32:37):
Thank you. That's very nice.
Ant Pruitt (32:39):
Now, before we get outta here, I want to give you the opportunity to share anything that you're working on that we may see in the future or anything that you, anything else that you'd like to plug?
Krisanne Johnson (32:50):
Gosh, it's been a tough couple of years with the pandemic, but I currently am going to be showing some new work that I kind of had to put on hold since 2017, but it's work that looking at sort of life in Cape town and affordable housing. And I'm gonna be premiering that at a festival in Italy, in June. So I'm excited to get some prints done and show that work. And then hopefully this year I I'll be able to go back and keep working on the project. It's very close to my heart. I've spent a lot of time in South Africa, so yeah. And then obviously I need to figure out another New York city project, cuz it's just special here. So I kinda get that going as well.
Ant Pruitt (33:32):
So, so with those new new projects, I'm assuming we'll have this on your newly updated website, quick folks, that's an inside joke. Sorry,
Krisanne Johnson (33:43):
Gonna update that website real soon.
Ant Pruitt (33:47):
I'm looking forward to it,
Krisanne Johnson (33:50):
To it.
Ant Pruitt (33:50):
Thanks miss Krisanne. Thank you so much for your time. This has been a lot of fun and again, I, I, I told you I wanted to talk to you. I didn't want to interview and I hope that has this been a great time for you as well? I really do appreciate the tips and the tricks that you shared with me as well as everybody here in the Hands-On Photography audience really do appreciate you.
Krisanne Johnson (34:10):
Aw, thanks so much.
Ant Pruitt (34:11):
All right, well, so that is going to do it for this week's episode. Exhale, exhale, calm. Okay. We're good. We're good. We're gonna close this girl. This show strong. I really do appreciate Miss Krisanne joining me this week. Sharing all of her tips and tricks. Hey, if you got any questions for me, shoot an email over to hop TWiT.tv. If you have any feedback, some images you'd like for me to look at, or you wanna share us some of your street photography, go ahead and share 'em with me. Just shoot an old school email to hop@TWiT.tv or feel free to give me a following tag on the social media platforms cuz I'm out there too. I am Ant underscore Pruitt on Twitter. I am also Ant underscore Pruitt on Instagram. I do have a lot of fun chatting with you folks on social media.
Ant Pruitt (35:01):
You, because y'all say some crazy stuff, you say some crazy stuff and I enjoy it. I really do. But yeah, just, just hit me up either way and I'd love to hear from you, but that's gonna do it for this week, folks. Thank you again to my man, Mr. Victor for making me look and sound good each and every week. One more. Thanks to miss Krisanne and more thanks to you. The loyal listener for sharing the show out with everybody else so they can get on the Hands-On Photography community and help grow. This community really does mean a lot. Really do appreciate your support. All right, until next time folks safely create and dominate. We'll see you next time.
Mikah Sargent (35:41):
I, is that an iPhone in your hand? Wait a second. Is that an apple watch on your wrist and do I, do I see an iPad sitting there on the table? Oh my goodness. You are the perfect person to be watching iOS today. The show where Rosemary orchard and I, Mikah Sargent talk, all things IOS, TV OS, watch OS, Homepod OS. It's all the OSS that Apple has on offer and we show you how to make the most of those gadgets. Just head to TWiT.tv/ios to check it out.
