94Lesson 13: Gaining TrustQueen’s garden party, rooftop view.Saudi Arabian woman.
95:RPDQ UHÀHFWHG LQ ZLQGRZPublic performance of geisha.
96Lesson 13: Gaining TrustGeisha laughing.Geisha.
97Child weavers, India.
98Lesson 14: Uncover the Human ConditionUncover the Human ConditionLesson 14Baseball player and coach, Los Angeles.
99Woman reading Italian newspaper.Young couple.
100Lesson 14: Uncover the Human ConditionMass wedding, Taiwan.Cowboy and pickup truck, Texas.
101Boy selling jewelry, Ethiopia.
102Lesson 14: Uncover the Human ConditionBrothers in truck.Cowboy shadow.
103Ira Block—People in Their EnvironmentsLessons 15–16Many photographers start out shooting landscapes rather than people. Landscapes enable you to practice composition, learn to ¿OO \RXU IUDPH HIIHFWLYHO\ DQG WUDLQ \RXU H\H WR VHH SLFWXUHV LQ D different way. But it’s also true that you can make more emotional pictures by adding people. Of course, one of the keys to photographing people is to interact well with them. Talk to your subjects about what they know or what LQWHUHVWV WKHP $IWHU \RX¶YH JDLQHG WKHLU FRQ¿GHQFH \RX FDQ VRPHWLPHV become invisible, allowing you to get natural shots of people in their everyday environments.Light, Composition, and MomentWhen photographing people in their environments, don’t just point and shoot. Think and shoot. You still need good light, good composition, and a good moment or gesture. Working with light—for example, using silhouettes and shadows—adds drama to your photographs. Sometimes natural light is all you need, but you don’t have to depend on it. Add your own light sources—even candlelight or headlights from a car—or put lights in odd places to add interest to your images. Introducing your own light sources helps you balance your subjects with the backgrounds. These days, you can boost the ISO on your camera up to a high number and shoot in any kind of light, but be aware of the quality of the light: harsh or soft, scattered or focused, and so on.Of the three elements of a good photograph, composition is the one you have WKH PRVW FRQWURO RYHU VR WDNH DGYDQWDJH RI WKDW ¿UVW %H DZDUH RI DOO WKH small positive elements that can help make a good image. If you’re shooting a portrait, try having the subject look both into the camera and off to the side. Shoot subjects from a low angle to eliminate a cluttered background, and get down on the same eye level as children. Remember, too, that an angular composition has more impact than a horizontal or vertical one.
104Lessons 15–16: Ira Block—People in Their EnvironmentsBesides light and composition, moment or gesture is important in SKRWRJUDSKV /RRN IRU LQWHUHVWLQJ ERG\ ODQJXDJH LQ \RXU VXEMHFWV RU ¿QG odd or strange elements, such as masks or stilts, in the environment. Such elements intrigue viewers, prompting them to wonder what’s going on in your photographs. Keep in mind, too, that you don’t always need a face; some images can be emblematic, showing the tools of your subjects’ trade RU WKH SURGXFWV RI WKHLU ODERU (YHQ MXVW WKH FRZER\ KDWV DW D URGHR FDQ WHOO D story without ever showing a face.When the right light, composition, and moment come together, you know you will have a good image. But you need to be ready for those situations to occur. Sometimes, you may get lucky, but for the most part, you need to make your own luck—be aware of your surroundings and be on the ORRNRXW IRU VRPHWKLQJ LQWHUHVWLQJ WR KDSSHQ <RX PLJKW WU\ ¿QGLQJ D JRRG background, then waiting for someone to walk into it.Environments and ActivitiesLike any story told with pictures, those that include people should capture the feeling of their environments and activities. With an explorer, for example, you want viewers to see the lonely and harsh environment in which he works, as well as his jubilation when he reaches his goal. Photographing people allows you to step into different cultures and lifestyles, broadening your own perspective on the world and the perspectives of your viewers. If you’re shooting at an event, look for images that are a little less obvious, ZKLFK PD\ PHDQ VKRRWLQJ DURXQG WKH HYHQW <RX PD\ ¿QG JUHDW OLJKW ¿OWHULQJ WKURXJK D WUHH D JURXS RI SHUIRUPHUV WDONLQJ EHIRUH JRLQJ RQVWDJH the activity of a waiting child, or beautiful costumes. Again, you might DOVR WU\ ¿QGLQJ D JRRG EDFNJURXQG DW WKH HYHQW DQG ZDLWLQJ IRU VRPHWKLQJ interesting to happen in front of it. Such shots don’t capture the event itself, but they tell viewers about it. Surprising ImagesWhen you’re photographing people, you need to be ready for surprising expressions or other great moments to happen. In a sense, a photographer is like an athlete—warmed up and in tune with the rhythm of the sport. When the ball comes, the athlete is ready to catch it. The same thing is true for a
105photographer. You don’t want to be fumbling with your camera when a great moment occurs. Wherever you are, keep taking pictures to keep yourself warmed up. With digital cameras, you can shoot much more when you’re in the action and later eliminate the pictures that don’t work for you.On many occasions, you may have a preconceived notion of the kind of images you want to shoot, but it’s important stay open-minded. For example, you might be interested in the colorful costumes of a group of dancers, but you PD\ WKHQ ¿QG WKDW D VKRW RI MXVW WKHLU KDQGV WXUQV RXW WR EH WKH EHVW ,Q RWKHU VLWXDWLRQV \RX PD\ WKLQN \RX KDYH WKH ULJKW SKRWR DQG WKHQ ¿QG VRPHWKLQJ VXUSULVLQJ DURXQG WKH FRUQHU $JDLQ VWD\ ZLWK WKH VLWXDWLRQ GRQ¶W EH VDWLV¿HG Shoot in different ways and from different angles; sometimes, only slight differences can make a stronger image. When you’re in the heat of shooting, LW¶V GLI¿FXOW WR WHOO ZKLFK SLFWXUH LV EHVW 😃LW XQWLO \RX¶UH EDFN KRPH DQG FDQ look through your images quietly to see which ones speak to you.1. Use someone you know as a model and try photographing that person in front of different backgrounds and from various angles. Be aware of the light and what’s going on in the background. For a second challenge, ¿QG D EROG EDFNJURXQG DQG ZDLW IRU SHRSOH WR ZDON E\ WR VHH ZKDW NLQG of pictures you can make.Assignment
106Lesson 15: Build RelationshipsBuild RelationshipsLesson 15All images in Lessons 15 and 16 © Ira Block.Monk lighting candles.
107First haircut ceremony.Woman washing her face.
108Lesson 15: Build RelationshipsPortrait of a woman, Buddha series.Monks having lunch.
109Three masked boys, Peruvian Andes.Young woman and shadows.
110Lesson 15: Build RelationshipsEmblems of olive growing.
111Use the BackgroundLesson 16Man with blanket, Abu Dhabi.
112Lesson 16: Use the BackgroundDancers before a performance.Soldier kissing queen’s guard.
113Rodeo.Native American women.
114Lesson 16: Use the BackgroundDancer, Thailand.Girl and bus, Cuba.
115Girl with doll.
116Lessons 17–18: Michael Melford—Color and LightMichael Melford—Color and LightLessons 17–18(very great photograph encompasses three elements: subject or content, composition, and light. You don’t need any particularly complex gear to make a great photograph, and you don’t need anything more than natural light, but it’s helpful to understand the different kinds of light photographers look for and the effects light can lend to your images. In these lessons, we’ll look at four kinds of light: diffuse light, side light, backlight, and magic light. We’ll see which type of light is best for VKRRWLQJ YDULRXV VXEMHFWV DQG ZH¶OO OHDUQ VRPH VSHFL¿F WLSV IRU ZRUNLQJ LQ D range of lighting situations.Diffuse LightBeautiful, soft diffuse light is found on rainy, overcast days or foggy days. This is also the type of light you sometimes see after a storm has cleared and D PLVW IRUPV $QG \RX FDQ ¿QG GLIIXVH OLJKW LQ WKH HDUO\ PRUQLQJ²EHIRUH WKH sun comes up—or in the evening—just before it gets dark. At dusk, the sky lends an intense blue color to everything in the environment. ’LIIXVH OLJKW LV WKH EHVW IRU SKRWRJUDSKLQJ ÀRZHUV DQG IROLDJH LQ IDFW LI you photograph in a forest on a sunny day, you will not get good results. On sunny days, our eyes can see the difference between shadowy areas and bright areas, but the camera cannot. The result is overexposed images. If \RX¶UH VKRRWLQJ ÀRZHUV RQ D VXQQ\ GD\ SRVLWLRQ \RXUVHOI LQ IURQW RI WKH VXQ to create a shadow and your own diffuse light.On days when you have diffuse light, try putting your camera on a tripod. If it’s windy, experiment with various slow shutter speeds to blur certain elements in your image and show motion. This is a good trick to try when photographing animals, too. Side LightSide light is found on sunny days—generally early in the morning or late in the afternoon—when the sun is at a right angle to you, rather than directly
117overhead. This light often gives you nice detail in the foreground. Because it provides more contrast than diffuse light, side lighting can lend a kind of chiaroscuro effect to your images.Side lighting is excellent for photographing people and animals. When you’re shooting people and you can control the situation, try to have the light come across part of their faces, if possible.7U\ XVLQJ D SRODUL]LQJ ¿OWHU ZLWK VLGH OLJKW 7KHVH ¿OWHUV OLQH XS VFDWWHUHG light in the atmosphere, eliminating the scattering. They cut glare in your images and enhance colors, particularly of the sky or water.BacklightBacklight is also interesting to work with, but it’s a little tricky because you’re looking at the source of light. This type of lighting gives you interesting shadows and silhouettes. Keep in mind, though, that when you’re photographing backlit people or animals, you may need to open the exposure a bit to get detail.6KRRWLQJ LQWR WKH VXQ FDQ VRPHWLPHV FDXVH OHQV ÀDUH FUHDWLQJ VPDOO VSRWV LQ the camera. To eliminate this, cover up the sun with your hand as it falls on the front lens element. If you use a tripod, you can step out in front of your lens so that your shadow falls on it. You might also try hiding the sun behind something, such as a tree. When the sun is just coming up or going down, WKH DWPRVSKHUH LV VRPHWLPHV VR PRLVW DQG GHQVH WKDW \RX GRQ¶W JHW OHQV ÀDUH and you can actually shoot right into the sun.Backlighting sometimes results in a situation where the sky is much brighter than the foreground. Again, your eye can see the difference between the highlights and the shadows, but the camera, in general, cannot. In these VLWXDWLRQV WU\ D JUDGXDWHG QHXWUDOGHQVLW\ ¿OWHU ,W ZLOO GDUNHQ WKH VN\ VR WKDW you can actually record it in the camera and avoid having to adjust it later with software.
118Lessons 17–18: Michael Melford—Color and LightMagic LightMagic light occurs when the sun comes through the clouds and puts a spotlight on the landscape, lighting part of a scene in the same way that spotlights are used in the theater. It can happen at any time.Capturing magic light results from a combination of luck and readiness. You have to move quickly when magic light occurs, but you can sometimes anticipate it by closely observing the clouds. Look for holes in the clouds where the sun is likely to peek through, then set up your shot and wait for the magic light to appear.Preparing and PrevisualizingBefore you travel to someplace new or even visit a new site in your town, do some scouting of the location. Go online and learn about the weather FRQGLWLRQV VSHFLDO HYHQWV WKDW WDNH SODFH DW WKH VLWH DQG VR RQ 2QFH \RX ¿QG a good location, previsualize an image you would like to make there. For example, if you’re photographing a river, you might want to get an image RI VRPHRQH À\ ¿VKLQJ WKHUH DW VXQULVH <RX PD\ QRW JHW WKDW H[DFW VKRW EXW previsualizing will help focus your mind.Patience and PerseveranceOne of the most important qualities of a photographer is patience. It’s very rare to walk into a scene, take a picture, and capture a National Geographic moment. Most of the time, when you see a scene you think might make a good image, you have to stick with it. Settle down, watch the light change, and adjust your position with the light. Often, when you’re shooting a sunset and the sun hits the horizon line, other photographers will pack up their gear and leave. But that’s the time when the lighting usually starts to get good. Your best bet is to stay put and keep working the shot.As you’re working a scene, use different lenses—wide angle, telephoto, and normal—to try to see something different. Observe the clouds to anticipate the light. Adjust your own position to shift the composition. Keep checking the display on the back of the camera and ask yourself: How can I make this VKRW EHWWHU" ,I \RX¶YH IUR]HQ WKH DFWLRQ WU\ VORZLQJ GRZQ WKH VKXWWHU VSHHG to capture some movement.
119You may have to stay at a site for several hours or revisit it over the course RI D GD\ RU WZR ,I \RX ¿QG WKDW RQH SDUWLFXODU VFHQH LVQ¶W ZRUNLQJ GULYH a short distance away and look for a new location. Your perseverance and patience will pay off. At the very least, you’ve spent some enjoyable time experiencing nature and at the best, you have a beautiful image to frame and hang on your wall.1. Find a subject near your home and photograph it repeatedly in different lighting situations—early sunrise, middle of the day, sunset, and so on. Try this assignment with a tree in your backyard. Get out of bed at 5:00 a.m. and start photographing the tree—it’s a great way to start the day.Assignment
120Lesson 17: Good, Bad, and Magic LightGood, Bad, and Magic LightLesson 17All images in Lessons 17 and 18 © Michael Melford.Side-lit owl.
121Water droplets on leaves.Side-lit sand dunes, Glen Canyon.
122Lesson 17: Good, Bad, and Magic LightGuide boat, Adirondacks.Backlit deer.
123Calving glacier, Alaska.Light coming under clouds.
124Lesson 17: Good, Bad, and Magic LightMagic light on water.
125Wait and Work the ShotLesson 18Death Valley.
126Lesson 18: Wait and Work the ShotWinter scene, Delaware.Mountain stream.
127Mountain scene.Beach, New Zealand.
128Lesson 18: Wait and Work the ShotCrashing waves.Moving surf.
129Moving clouds.
130/HVVRQV ± $QQLH *ULI¿WKV²&RORU DQG /LJKW$QQLH *ULI¿WKV²&RORU DQG /LJKWLessons 19–20As we all know, light is the most elemental part of any photograph, yet it’s easy to neglect. The word photograph actually means “writing with light,” and we can all learn to write better by exploring and understanding light. We’re also all familiar with the color wheel that shows primary colors and complementary or clashing colors. Strong colors of either kind provide powerful bursts in your images, but primary and complementary colors also come in softer hues, lending images a sense of quiet and elegance. As you experiment with light and color in your photographs, you’ll come to appreciate the range of emotions these two elements can communicate.The Effects of Light on ColorWe all know that the light in the morning and the evening is very colorful, especially if it’s been dusty or after a storm. That’s because the atmosphere actually comes through the dust or water in the sky and refracts light, creating colors. Dust tends to create oranges, and water tends to create pinks and purples. Bad weather often makes great pictures, in part because certain colors that can set a mood appear only in bad weather. Think about the feeling of cold conveyed by pure white ice or the intimate softness created by a snowfall. In a blizzard, the snow can blow so hard that it actually washes out the colors in the environment, again, showing viewers how cold and threatening the scene really is.Experimenting with ColorTry putting a very vivid color against its opposite color in the spectrum. But be careful in your composition to ensure that nothing competes with the colors. You don’t want anything to distract from the palette you’ve chosen. Try to plan where you place color in an image as much as possible.Softer hues create a different kind of palette from strong primary or complementary colors—one that is often a little more elegant. You can
131XVXDOO\ ¿QG VRIW HOHJDQW FRORUV EHIRUH WKH VXQ ULVHV RU DIWHU LW VHWV 6LWXDWLRQV in which there isn’t much color can also be lovely; think of the limited palette of the desert and the quiet mood it conveys.There are times when just a small pop of color will complete an image or liven up a scene that’s not particularly interesting. Imagine, for example, a dull, gray sky with a blue balloon sailing by. In a scene with a limited palette, look for a dash of color to make the image stronger. A pop of color can draw the eye to something that viewers might otherwise miss or serve as a leading line through an image. Color can also be used to frame the edges of an image that has a monochromatic palette.If you want the focus of an image to be a person’s expression or a moment in time, you may want the palette of that image to be very simple. In fact, it’s always smart to eliminate anything that will distract from a beautiful moment in a photograph. Sometimes, the only way you can limit your palette is by JHWWLQJ YHU\ FORVH ([FOXGH GLVWUDFWLRQV LQ WKH VXUURXQGLQJV E\ PDLQWDLQLQJ D tight focus on your subject and the color you’re trying to capture. <RX PLJKW DOVR WU\ WR ¿QG D ORFDWLRQ ZLWK DQ DSSHDOLQJ FRORU SDOHWWH DQG just wait there for something interesting to happen. Visit the spot at different times of the day—in the early morning before there are too many people or cars around, at night if you know the scene will be lit, or in the late afternoon as the light gets softer. Stay with the scene, follow the light and the colors throughout the day, and look for different compositions to present themselves.The Personalities of ColorOf course, color provokes emotional reactions in viewers and can communicate subtle messages. For example, images of a quinceañera might feature pink because such celebrations signify the coming out of a daughter among Hispanic populations. Learning to understand the feeling that colors evoke in people will help you know how to deliver information with color alone.Have fun exploring the different personalities of colors. For example, a deep, frosty blue makes viewers shiver; other blues can be calming or cooling. Red
132/HVVRQV ± $QQLH *ULI¿WKV²&RORU DQG /LJKWLV SDVVLRQDWH SRZHUIXO DQG ¿HU\ 7U\ SOD\LQJ ZLWK UHG DW D VORZHU H[SRVXUH and letting it move. Photograph some dancers costumed in red, and let the colors be imperfect and blended. Use the personalities of color to your DGYDQWDJH E\ FKRRVLQJ D FRPSRVLWLRQ ZLWKLQ D VSHFL¿F FRORU SDOHWWH Two colors that are often neglected in discussing color photography are EODFN DQG ZKLWH (YHQ ZLWK FRORU ¿OP EODFN DQG ZKLWH FDQ FUHDWH D PRRG\ or frightening image. Using white can lend an elegant, soft feel to images, evoking innocence, stillness, simplicity, and beauty. Black and white can be useful in an image because they don’t distract viewers from the point you’re trying to make with lots of competing colors. There are also many tonalities within blacks and whites, and those tonalities can help you learn about tonalities in other colors. Following the LightAn interesting challenge to set for yourself is to follow the light in the scenes you’re photographing and allow it to choose what you shoot. You’ll often ¿QG WKDW OLJKW FDQ OHDG YLHZHUV WKURXJK DQ LPDJH DQG VHUYH DV WKH HOHPHQW that holds a composition together. Try placing your subject in a puddle of light and allowing the rest of the image to go dark. Or shoot a landscape on a cloudy day, when the light is coming and going; photograph different parts of the scene as the light touches them. Another fun exercise is to look for balance in light—when the inside light starts to match the outside light.Light is imperfect—it moves and changes; it can be dappled or fractured. Dappled light—like that coming through the leaves of trees—can be particularly appealing, adding little sparkles of light throughout an image.When you’re photographing a person, remember the importance of capturing a catch light in the eye. To viewers, this little bead of light feels like a window to the soul and makes them feel closer to the subject. Have your VXEMHFW IROORZ \RXU ¿QJHU DV \RX PRYH LW XQWLO \RX VHH WKH FDWFK OLJKW LQ KLV or her eyes.Silhouettes and BacklightingBacklighting is among the most beautiful kinds of light. Silhouettes are, of course, the ultimate use of backlighting, but it can also be used as a kind of
133rim or frame for a subject. Nature photographers often use backlighting on days when the sun is harsh, and fashion photographers also use it frequently, for example, lighting a model from behind to show the softness of her hair. Backlighting and silhouette sometimes lend an intimate, spiritual feel to subjects and can show details that you might otherwise not notice.If you’re making a silhouette, look for a moment when the subject comes LQWR VRPH NLQG RI DFWLRQ RU DFWLYLW\ VR WKDW \RX FDQ VHH WKH FKDUDFWHU GH¿QHG 7U\ VKRRWLQJ VLOKRXHWWHV ZKHQ \RX KDYH VXEMHFWV WKDW FDQ EH GH¿QHG E\ FRORU and light. For example, shoot right into the sun to get a deep, deep red, and let your subject turn to silhouette completely. If the subject is a recognizable shape, you can often underexpose the frame to get richer color. Try working on either side of the correct exposure to play with colors.Other Lighting Considerations7KH EHVW DGYLFH \RX JHW DERXW ÀDVK LV WKLV 7XUQ LW RII ,Q PDQ\ FDVHV ÀDVK LV XQQHFHVVDU\ LI \RX¶UH SD\LQJ DWWHQWLRQ WR QDWXUDO OLJKW 7KH JRDO ZLWK ÀDVK should be that the viewer doesn’t realize that it’s been used in an image. /HDUQ WR ZRUN ZLWK VKXWWHU VSHHG DQG SRS MXVW D OLWWOH ELW RI ÀDVK RQWR WKH scene if necessary.Open shade exists where there is shade apart from the sun. It’s even and beautiful—very much like studio light. Usually, if you can move people into a doorway or beside a window, you’ll get open shade and a much lovelier SLFWXUH ([SRVH IRU WKH IDFH DQG ÀHVK WRQHV DQG OHW WKH EDFNJURXQG EH GDUN behind your subjects. Finally, whenever you’re photographing an event or you’re in a staged setting, remember that a lighting engineer has usually been there before you. Your job is to capture the light that the engineer has carefully designed and created.
134/HVVRQV ± $QQLH *ULI¿WKV²&RORU DQG /LJKW1. Choose a subject you’re passionate about, perhaps your children or even your pet. Then, try out some of the color and lighting concepts discussed in these lessons. For example, try a silhouette; play with exposure of the silhouette during the daytime and in the evening. Or see what you can do with open shade. Try photographing your subject in the light of a window or door. Put your full passion into your work and try to stretch beyond anything you’ve done before. Assignment
135Compose with ColorLesson 19$OO LPDJHV LQ /HVVRQV DQG $QQLH ULI¿WKVSilhouetted giraffe.
136Lesson 19: Compose with ColorPerformer.Dancers.
137Fireworks, Sydney harbor.Moody scene.
138Lesson 19: Compose with ColorSpider web.Man and horse in snow.
139Saint Louis arch.
140Lesson 20: Write with LightWrite with LightLesson 20%XWWHUÀLHV
141Girl in dappled light.Boy in hammock.
142Lesson 20: Write with LightMen working, silhouetted.
143Man at Victoria Falls.Church.
144Lesson 20: Write with LightMother and children.Rancher.
145William Albert Allard—StorytellingLessons 21–22Professional photographers often travel the world to produce photographic essays, but anyone can tell a story with pictures without buying a plane ticket to a faraway place. You can tell a story about the neighborhood you live in or your own backyard. The elements of lighting, composition, and other aspects of photography discussed in this course apply to wherever and whatever you decide your story will be. Building Stories through PicturesWhen you’re building a story through pictures—whether it’s about a country, a neighborhood, or a subculture—look for images that give the viewer a sense of place. This is vital to the story. You need pictures that say something about where you are, what it’s like to look around the place you’re in, what others might see there, and—if the picture is good enough—what it might feel like to be there. Think, too, about what the people who live in this place are like—not just how they dress, but how they look when they reveal themselves while working, at play, or in quiet, intimate moments.+RZ GR \RX JHW DFFHVV LQ D QHZ HQYLURQPHQW" 7HOO WKH VXEMHFW ZKR \RX DUH what you’re doing, and why you think it’s important to tell this particular story—perhaps to show a way of life that may be dissimilar to many others but may explain how certain people live, even though they’re vastly different.Using Portraits in StoriesPortraits are a wonderful addition to a photographic essay. You can think of portraits in your work as either found or produced. Found portraits include those of people you see in a café or on the street and with whom you usually have no communication. Produced portraits are those of people you approach and make arrangements to photograph. Many times, these are made in an interior, as opposed to outside. Very often, the strength of a portrait is found in the eyes, but that doesn’t mean your subject always has to be looking at WKH FDPHUD $ JRRG SRUWUDLW PD\ ¿QG LWV VWUHQJWK LQ D PRPHQW RU D JHVWXUH RU
146Lessons 21–22: William Albert Allard—Storytellingit may show good use of negative space. Look particularly to see where your subjects’ gestures lead the eyes of the viewers. When you make a portrait of someone in your story, do it with the hope that the viewer will connect with your subject in an intimate way. That’s aiming high, but if the portrait is well made, it can introduce the person in the photograph to a viewer who may live a continent away or speak a different language. Somehow, if the connection is strong enough, viewers may feel as if they have come to know something about the person in the photograph—perhaps even what that person might be like to know as a friend. When working on a photographic essay, your primary intent should be to show the people and the place with a sense of intimacy—to show the environment and the ambiance, whether it’s a landscape, a cityscape, or the interior of a home or café.Using Available LightOf course, light is really what photography is all about. It’s a fact that some of the most attractive light for photography can be had in the early and late hours of a sunny day because at those times, the shadows are long, and that low, skimming light can give form to your subject and bring warmth to color. The French have a wonderful saying about the soft light of dusk, with its subtleness and its questioning. They refer to dusk—the time when it’s neither light nor dark—as the time between dogs and wolves. %HDXWLIXO OLJKW FDQ DOVR FRPH IURP GLIIXVLRQ :KHQ OLJKW UHÀHFWV RQWR subjects, it carves around the shapes of their faces. But it’s also true that \RX FDQ PDNH JRRG SLFWXUHV LQ DOPRVW DQ\ OLJKW (YHQ LI LW¶V PLGGD\ DQG the shadows are hard and harsh, try to use them. In essence, there’s no such thing as bad light; the key is to know how to use the light you’re given to get a good picture. One of the most interesting aspects of photography is discovering how to use the available light in any situation.Staying with the ShotWhen you are in an environment with strong visual stimuli, it may seem that pictures are everywhere. It’s in those moments that you have to be careful as a photographer. Remind yourself to slow down and think about the pictures \RX¶UH PDNLQJ ,PDJLQH D TXDLO KXQWHU ¿ULQJ KLV JXQ DV D EHY\ RI ELUGV WDNHV
147ÀLJKW ,I KH GRHVQ¶W SLFN D WDUJHW²D ELUG²KH PD\ QRW JHW DQ\ JDPH :KHQ you’re surrounded by good pictures, pick a bird—stay with that picture for a while. And don’t be afraid to make mistakes. All photographers make mistakes, but the key is to look at your mistakes and see what makes them interesting so that you can learn from them in the future.$V \RX¶UH VKRRWLQJ \RX PD\ ¿QG WKDW PXFK RI \RXU ZRUN LV VHUHQGLSLWRXV <RX JR RXW ORRNLQJ IRU VRPHWKLQJ DQG \RX ¿QG VRPHWKLQJ HOVH WKDW¶V beyond your original expectations. You need to be able to react quickly to these situations. You should also remember to keep looking and moving the elements in your picture. Don’t make the same picture over and over again. 7KH GLIIHUHQFH EHWZHHQ D ¿QH SLFWXUH DQG D WUXO\ ¿QH SLFWXUH LV RIWHQ D PDWWHU of inches. Bend your knees or take a half step to the left. And always get rid of anything extraneous in your photographs. Think of a photograph as a SLHFH RI ZULWLQJ E\ +HPLQJZD\ (OLPLQDWH ZKDW \RX GRQ¶W QHHGAssembling the Puzzle:KHQ OD\LQJ RXW D SKRWRJUDSKLF HVVD\ ORRN ¿UVW IRU D OHDG SLFWXUH WKDW LV some image that sets a tone, presents a place, or announces a theme. This is the image that might best bring a sense of place to the story. Then, look for an image that seems suitable to bring the essay to an end. In between, think of yourself as assembling the pieces of a puzzle—one that might FRPH WRJHWKHU LQ DQ LQ¿QLWH QXPEHU RI ZD\V (DFK RI XV PD\ SXW WKDW SX]]OH together differently because we don’t all see in the same way.1. Take your camera to a place that you have never been before and where there are people you don’t know. Try a city block, a store, or a public park. Do a photographic essay on that place and the people who are there, making sure to get permission from the people you will SKRWRJUDSK ’RQ¶W WU\ WR ¿QLVK WKLV DVVLJQPHQW LQ D IHZ KRXUV GD\V RU HYHQ D PRQWK 3XUVXH WKH VXEMHFW IRU DV ORQJ DV \RX OLNH WU\LQJ WR ¿QG D VHQVH RI FRQQHFWLRQ DQG H[FLWHPHQW DERXW WKH FKDOOHQJH ,I WKH ¿UVW SODFH you choose doesn’t seem to work out, try another, but only if you think \RX¶YH H[KDXVWHG WKH ¿UVW FKRLFH :RUN KDUG EXW HQMR\ WKH DVVLJQPHQW and don’t be afraid to make mistakes.Assignment
148Lesson 21: 50 Years of Telling Stories50 Years of Telling StoriesLesson 21All images in Lessons 21 and 22 © William Albert Allard.Melvin Stoltfuz, Amish farmer, with his children.
149One-room school.Amish barn raising.
150Lesson 21: 50 Years of Telling StoriesRainy street, Paris.Man with frock coat, Paris.
151Luther Allison.Willie Seabery, owner of Poor Monkey’s Lounge.
152Lesson 21: 50 Years of Telling StoriesBlues club.
153Moment, Gesture, PlaceLesson 22Self-portrait.
154Lesson 22: Moment, Gesture, PlaceDinner boat, Paris.Three Peruvian girls.
155Lovers in Paris.Henry Grey, rancher.
156Lesson 22: Moment, Gesture, PlaceThree matadors.Hands of a cowboy.
157Clarence Brown.
158Lessons 23–24: Ed Kashi—StorytellingEd Kashi—StorytellingLessons 23–24Caring, passion, and curiosity are the key elements to great storytelling. You must be genuinely interested in the stories and images you are pursuing; otherwise, you will not have the commitment needed to stay focused and engaged in your work. For many photographers, the overall goal of their work is to tell stories that illuminate the world and raise awareness of issues they care about.Planning a Story in PicturesStories usually start with one idea that piques your interest, such as the desire to learn about another culture. With that idea in mind, do as much research as you can to gain in-depth knowledge about your subject. If you’re LQWHUHVWHG LQ D FXOWXUH ¿QG RXW DERXW LWV KLVWRU\ SROLWLFV UHOLJLRQ OLWHUDWXUH art, and more. You might then create a shot list for yourself, derived from conversations with experts and other information gleaned from your research. Some ideas on your list may not pan out, but the list will serve as an ideal to work toward. Be open to serendipitous moments, too, where elements come together that you couldn’t plan but that say something about your story. Telling a story in photographs is a combination of thinking in advance about what you need and recognizing and seizing on opportunities.An all-important image for every story is a sense-of-place picture. What does WKH HQYLURQPHQW ORRN OLNH" +RZ FDQ \RX FUHDWH D PRRG DQG VKRZ ZKHUH WKH VWRU\ WDNHV SODFH" <RX DOVR QHHG LPDJHV WKDW LOOXVWUDWH WKH SULPDU\ DVSHFWV of your subject, such as the main issue you’re trying to call attention to. To deepen your story, include details and close-ups, as well—perhaps just the hands of your subject. Think of your images as a road map that takes your viewer on a visual journey.Layering and LightingAn important aspect of telling stories with photographs is to create layered images. Use the foreground, middle ground, and background of your photographs to tell a story within a story. For example, in a story about a
159family being displaced by the construction of a dam, integrate the dam into a portrait of the family. Consider lateral layering, as well, positioning elements across the frame so that the image reads coherently. It’s important, too, to pay attention to the edges of your frames; use your peripheral vision. Processing multiple levels of information at once is one of the critical abilities needed by photographers. When you’re making photographs, think of yourself as an animal on the hunt, using all your senses to be aware of everything that’s going on around you so that you’re ready when the right moment strikes.Another essential element in the language of photography is lighting. Try XVLQJ UHÀHFWLRQV IURP PXOWLSOH VXUIDFHV VXFK DV PLUURUV RU ZLQGRZV RU WU\ working with silhouettes. Imagine forms in the foreground of a photograph that might help tell the story or be visually interesting; set your subject in silhouette against an interesting backdrop. But be aware of the need to balance exposure and capture detail when you do a silhouette. You might also try using shadows to infer something about your story without actually showing it. Sometimes in photography, your goal should be to raise questions without necessarily providing answers.Advocacy JournalismAdvocacy journalism is a relatively new development in visual storytelling, bringing together the twin commitments to tell stories and effect change. 3URMHFWV LQ WKLV ¿HOG LQYROYH D ZLGH UDQJH RI WRSLFV IURP WKH HIIHFWV RI WR[LF FKHPLFDOV WR UDFLDO SUR¿OLQJ WR ZDWHU VKRUWDJHV DQG WKH QHHG IRU VXVWDLQDEOH development. For many photographers, this advocacy work is not about SRLQWLQJ WKH ¿QJHU RI EODPH EXW DERXW UDLVLQJ DZDUHQHVV DQG VXSSRUW IRU victims and those in need.The elements of good photography are as important in advocacy journalism as elsewhere. In considering composition, for example, place your subjects in the frame to enhance the drama and impact of your photographs. Use shadows as a compositional element or smoke to set a mood. Try shooting IURP GLIIHUHQW DQJOHV WR DFFHQWXDWH VLJQL¿FDQW HOHPHQWV WKDW FRQYH\ \RXU point. Look for unexpected qualities or elements that you can include in a frame, not only to tell the story but also to make your image more dynamic.
160Lessons 23–24: Ed Kashi—StorytellingIn using photography to advocate for groups of people, it’s vital to act with sensitivity and humility. You never want to add to your subjects’ concerns or problems. These situations can be a test of your ability to interact and communicate well. Think about how you can position yourself to make compelling images while not abusing the good graces of people who are giving you access to intimate situations, and try to work quickly and respectfully. At times, you may become a propagandist for your subjects: 7KH\ VXSSO\ \RX ZLWK WKH LPDJHV \RX QHHG WR ÀHVK RXW \RXU QDUUDWLYH ZKLOH you bring their concerns or plights to the attention of the wider world. Visual JournalingOf course, not everyone is involved in advocacy journalism, but many people enjoy producing personal visual journals of their lives. With the introduction of mobile photography—through smartphone cameras and such applications as Instagram—you can share these journals immediately with family and friends. Smartphone cameras allow you to get close and intimate with your subjects in a way that’s not possible with larger-format cameras, and mobile photography applications enable you to combine images to tell your story. Best of all, mobile photography is accessible to all of us. You can use your camera phone to do a form of visual sketching, experimenting with composition and capturing color, shapes, and design anywhere you go.1. Find a subject within one mile of where you live that piques your curiosity. Your subject can relate to people, a place, or a thing. Use your camera to explore, to learn about, and ultimately, to document this VXEMHFW 2QFH \RX¶YH FKRVHQ \RXU VXEMHFW WKLQN ¿UVW DERXW KRZ \RX want to establish a sense of place. Then, you may want to include some SRUWUDLWV %H VXUH WR ¿QG WHOOLQJ GHWDLOV WKDW KLJKOLJKW HOHPHQWV RI WKH story you want to draw attention to. Try layering imagery to make your photographs complex. Above all, let your imagination run wild. Assignment
161Engaging the WorldLesson 23$OO LPDJHV LQ /HVVRQV DQG (G .DVKLNigerian checkpoint.
162Lesson 23: Engaging the WorldDisplaced Kurdish family.Kurdish bride.
1635HÀHFWLRQV IURP D PLUURU VKRSNigerian villager.
164Lesson 23: Engaging the World%DNLQJ WDSLRFD RYHU RLO ÀDUHVHands of a Nigerian oil worker.
165Women’s peace march.
166Lesson 24: Raising AwarenessRaising AwarenessLesson 24Rice farmer, Madagascar.
1679LFWLP RI UDFLDO SUR¿OLQJTeenage girls, Madagascar.
168Lesson 24: Raising Awareness9LOODJHUV ¿VKLQJ 0DGDJDVFDUMunicipal water tap, Madagascar.
169Sugarcane worker, Nicaragua.Leno, sugarcane worker, Nicaragua.
170Lesson 24: Raising AwarenessFuneral of sugarcane worker.
171BibliographyAbell, Sam. Seeing Gardens. Washington, DC: National Geographic Society, 2004.Adams, Ansel. Examples: The Making of 40 Photographs. Boston: Little, Brown, 1983.Allard, William Albert. William Albert Allard: Five Decades. Washington, DC: National Geographic Society/Focal Point, 2010.———. Portraits of America. Washington, DC: National Geographic Society/Focal Point, 2001.———. Time at the Lake: A Minnesota Album. Duluth, MN: 3¿HIHUHamilton Publishers, 1997.———. Vanishing Breed: Photographs of the Cowboy and the West. Boston; New York: Little, Brown; New York Graphic Society Books, 1981.Allard, William Albert, and Robert Laxalt. A Time We Knew: Images of Yesterday in the Basque Homeland. Reno and Las Vegas: University of Nevada Press, 1989.$OODUG :LOOLDP $OEHUW (UOD =ZLQJOH DQG +HQU\ +RUHQVWHLQ The Photographic Essay. Boston: /LWWOH %URZQ %XO¿QFK 3UHVV Anderson, Christopher. Son. Heidelberg; Berlin: Kehrer Verlag, 2013.%LEE (OL]DEHWK DQG 0LFKDHO <DPDVKLWD In the Japanese Garden. Golden, CO: Fulcrum Publishing, 1996. Brandenburg, Jim. Chased by the Light: A 90-Day Journey. 1st ed. Minnetonka, MN: Northwood Press, 1998.
172BibliographyBrandt, Nick. On This Earth: Photographs from East Africa. San Francisco: Chronicle Books, 2005.Caputo, Robert. National Geographic: The Ultimate Field Guide to Landscape Photography. Washington, DC: National Geographic Society, 2007.Casteret, Norbert. The Descent of Pierre Saint-Martin. New York: Philosophical Library, 1956.Cobb, Jodi. Geisha: The Life, the Voices, the Art. New York: A. A. Knopf, 1995.(GLWRUV RI LIFE. LIFE 75 Years: The Very Best of LIFE 1HZ <RUN /,)( Books, 2011.(VVLFN 3HWHU Our Beautiful, Fragile World: The Nature and Environmental Photographs of Peter Essick. Santa Barbara, CA: Rocky Nook, Inc., 2013.Fay, Mike, and Michael Nichols. The Last Place on Earth. Washington, DC: National Geographic Society, 2005.Frank, Robert, and Jack Kerouac. The Americans. Rev. ed. Gottingen: Steidl, 2008 (original edition by Robert Frank, published in 1959).Freeman, Michael. The Photographer’s Vision: Understanding and Appreciating Great Photography. Waltham, MA: Focal Press, 2011.ULI¿WKV $QQLH National Geographic Stunning Photographs. Washington, DC: National Geographic Society, forthcoming (October 2014).———. A Camera, Two Kids, and a Camel: My Journey in Photographs. Washington, DC: National Geographic Society, 2008.———. National Geographic Simply Beautiful Photographs. Washington, DC: Focal Point/National Geographic Society, 2010.
173+DDV (UQVW The Creation. New York: Penguin Group, 1988.Harvey, David Alan. Divided Soul: A Journey from Iberia. New York: Phaidon, 2003.Hirsch, Robert. Seizing the Light: A Social History of Photography. New <RUN 0F*UDZ+LOO +LJKHU (GXFDWLRQ Hopkins, Ralph Lee. Digital Masters: Nature Photography: Documenting the Wild World. New York: Lark Books, 2010.Israel, Marvin (editor), Doon Arbus (editor), and Diane Arbus (photographer). Diane Arbus: An Aperture Monograph: Fortieth-Anniversary Edition. New York: Aperture Foundation, 2012.Jacobson, Jeff. My Fellow Americans. Albuquerque, NM: University of New Mexico Press; New York: Picture Project, 1991.Jenkins, Mark Collins. National Geographic The Covers: Iconic Photographs, Unforgettable Stories. Washington, DC: National Geographic Society, forthcoming (October 2014) DVKL (G Photojournalisms 7XFVRQ $= 1D]UDHOL 3UHVV ———. THREE. Brooklyn, NY: PowerHouse Books, 2009 DVKL (G DQG 0LFKDHO 😃WWV Curse of the Black Gold: 50 Years of Oil in the Niger Delta. Brooklyn, NY: PowerHouse Books, 2008 DVKL (G DQG -XOLH :LQRNXU Aging in America: The Years Ahead. Brooklyn, NY: PowerHouse Books, 2003.Krist, Bob. Digital Masters: Travel Photography: Documenting the World’s People and Places. New York: Lark Books, 2008.———. Spirit of Place: The Art of the Traveling Photographer. New York: Amphoto Books, 2000.
174BibliographyLawrence, Wayne. Orchard Beach: The Bronx Riviera. Munich; New York: Prestel, 2013.Maier, Vivian, John Maloof (editor), and Geoff Dyer (contributor). Vivian Maier: Street Photographer. Brooklyn, NY: PowerHouse Books, 2011.National Geographic. National Geographic Ultimate Field Guide to Photography. Rev. and exp. ed. Washington, DC: National Geographic Society, 2006.———. Through the Lens: National Geographic Greatest Photographs. Washington, DC: National Geographic Society, 2003.Nature Conservancy and Corcoran Gallery of Art. In Response to Place: Photographs from the Nature Conservancy’s Last Great Places. Curated by $QG\ *UXQGEHUJ %RVWRQ %XOO¿QFK 3UHVV /LWWOH %URZQ Nelson, Jimmy. Before They Pass Away. Kempen, Germany: teNeues, 2013.Newhall, Beaumont. The History of Photography: From 1839 to the Present. New York: Museum of Modern Art, 1982.Orvell, Miles. American Photography. Oxford; New York: Oxford University Press, 2003.Peterson, Bryan. Understanding Exposure: How to Shoot Great Photographs with Any Camera. 3rd ed. New York: Amphoto Books, 2010.5LFKDUGV (XJHQH Dorchester Days. London: Phaidon, 2000.Richardson, Jim. Dawn to Dark Photographs: The Magic of Light. Washington, DC: National Geographic Society, 2013.Rosenblum, Naomi. A World History of Photography. New York: Abbeville Press, 1984.
175Rowell, Galen. Galen Rowell’s Inner Game of Outdoor Photography. New York: W. W. Norton, 2010.———. The Art of Adventure. San Francisco: Collins Publishing, 1989.Salgado, Sebastião. Workers: An Archaeology of the Industrial Age. New York: Aperture Foundation, 2005.Sartore, Joel. Let’s Be Reasonable /LQFROQ 1( 8QLYHUVLW\ RI 1HEUDVND Press, 2011.———. RARE: Portraits of America’s Endangered Species. Washington, DC: National Geographic Society, 2010.———. Photographing Your Family: And All the Kids and Friends and Animals Who Wander through Too. Washington, DC: National Geographic Society, 2008.———. Nebraska: Under a Big Red Sky /LQFROQ 1( 8QLYHUVLW\ RI Nebraska Press, 2006.6PLWK : (XJHQH Minamata. New York: Holt, Rinehart, and Winston, 1975.Szarkowski, John. American Landscapes: Photographs from the Collection of the Museum of Modern Art. New York: Museum of Modern Art, 1981.Thesiger, Wilfred. Arabian Sands. New York: Dutton, 1959.Winter, Steve, and Sharon Guynup. Tigers Forever: Saving the World’s Most Endangered Big Cat. Washington, DC: National Geographic Society, 2013.Wolfe, Art. Light on the Land. Hillsboro, OR: Beyond Words Publishing, 1991.Yamashita, Michael. Marco Polo: A Photographer’s Journey. Vercelli, Italy: White Star Publishers, 2011.
176BibliographyYamashita, Michael, and William Lindesay. The Great Wall: From Beginning to End. New York: Sterling, 2007.
