Today Christina Nichole Dickson looks at the topic of Photo Essays. Christina is a photojournalist for Revolutionary Media. She is also an instructor with the Institute in Photographic Studies. Her work may be found at Christina Nichole Photography.
In the last twenty years, video and film have become the predominant forms of modern storytelling. But before video, there was photography. And for the last one hundred years photography and storytelling went hand in hand.
Now more than ever, the power of storytelling ought to be harnessed. But telling a story with photos takes more than just a skillful photographer. An impacting photo story can only be developed by skillful photographers who understand the emotions and concepts behind ever-great story.
The form of such a story is called the photo essay.
What is a Photo Essay?
A photo essay is very simply a collection of images that are placed in a specific order to tell the progression of events, emotions, and concepts. Used by world class photojournalists such as Lauren Greenfield and James Nachtwey, and Joachim Ladefoged to name a few, the photo essay takes the same story telling techniques as a normal essay, translated into visual images.
5 Photo Essay Tips
A photo essay isn’t simply for photojournalists however. Every human being is drawn to stories. Whether you are an amateur or a professional, the photo essay is a brilliant way to bring your images to life and touch your family, friends, and coworkers.
1. Find a topic: Photo essays are most dynamic when you as the photographer care about the subject. Whether you choose to document the first month of a newborn in the family, the process of a school drama production, or even a birthday party, make your topic something in which you find interest.
2. Do your researchh: If you document a newborn’s first month, spend time with the family. Discover who the parents are, what culture they are from, whether they are upper or lower class. If you cover the process of a school’s drama production, talk with the teachers, actors and stage hands; investigate the general interest of the student body; find out how they are financing the production and keeping costs down. If you photograph a birthday party, check out the theme, the decorations they plan on using, what the birthday kid hopes to get for his or her gifts. All of these factors will help you in planning out the type of shots you set up for your story.
3. Find the “real story”: After your research, you can determine the angle you want to take your story. Is the newborn the first son of a wealthy family on whom the family legacy will continue? Or does the baby have a rare heart condition? Is the drama production an effort to bring the student body together? Or is it featuring a child star? Is the birthday party for an adolescent turning 13, or the last birthday of a dying cancer patient? Though each story idea is the same, the main factors of each story create an incredibly unique story.
4. Every dynamic story is built on a set of core values and emotions that touch the heart of its audience. Anger. Joy. Fear. Hurt. Excitement. The best way you can connect your photo essay with its audience is to draw out the emotions within the story and utilize them in your shots. This does not mean that you manipulate your audience’s emotions. You merely use emotion as a connecting point.
5.Plan your shots: Whether you decide to sit down and extensively visualize each shot of the story, or simply walk through the venue in your mind, you will want to think about the type of shots that will work best to tell your story. I recommend beginners first start out by creating a “shot list” for the story. Each shot will work like a sentence in a one-paragraph story. Typically, you can start with 10 shots. Each shot must emphasize a different concept or emotion that can be woven together with the other images for the final draft of the story.
Remember that story telling takes practice. You don’t have to be an incredible writer to pull off a powerful photo essay. All you need is a bit of photographic technique, some creativity, and a lot of heart. And once you begin taking pictures in stories, your images will never be the same.
In part II of this series on Photo Essays, I will give a practical example of how I apply these techniques in a photo essay of my own.
This month's Photojournalism Links collection highlights 10 excellent photo essays from across the world spanning five continents, including Pete Muller's powerful work shot in the Ebola-ridden Sierra Leone. His two sets of photographs, featured below, were made on assignment for National Geographic, and are the first two in a four-part series examining the epidemic in West Africa. Muller's pictures document the battle fought by medical workers, body collectors, and burial teams to bring the crisis ravaging Freetown and the country, under control. The story and images from the city's King Tom cemetery are particularly harrowing; in just a few months, it has been expanded to three times its former size and the large number of fresh burial mounds make it look more like a construction site than a typical graveyard.
Pete Muller: How Ebola Found Fertile Ground in Sierra Leone's Chaotic Capital | How the Fight Against Ebola Tested a Culture’s Traditions (National Geographic News)
Uriel Sinai: In Africa, Mosquito Nets Are Putting Fish at Risk (The New York Times) These stunning photographs by Uriel Sinai from Kenya, Tanzania, and Zambia, show how mosquito nets meant for Malaria protection have ended up being widely used in fishing, since they are cheaper than actual fishing nets and can be even more effective, especially in shallow waters.
Andy Spyra: The enemy within: Boko Haram’s reign of terror across Northern Nigeria | The enemy within: A closer look at survivors of Boko Haram attacks across Northern Nigeria (The Washington Post In Sight) The German photographer has spent more than three years documenting the northern Nigeria. His pictures provide a rare view into communities under Boko Haram's terror.
Mosa'ab Elshamy: Exploring the Mawlids of Egypt (TIME LightBox) These excellent photographs capture spiritual celebrations within Egyptian Sufism.
Manu Brabo: In Ukraine, The Frozen Tears of Donetsk (Paris Match L'Instant) The Spanish photographer, known for his work in Syria, is now in Ukraine to document the upsurge in fighting. | See also Brabo's work on the MSNBC and Al Jazeera America websites
Lynn Johnson: Healing Soldiers (The National Geographic) Compelling portraits of U.S. soldiers treating their war traumas by participating in art therapy, where they create painted masks to express how they feel. The images painted on them symbolize themes such as death, physical pain, and patriotism.
George Steinmetz: Treading Water (The National Geographic) These pictures from Florida's southeastern coastline capture a region with a lot to lose as sea levels continue to rise.
Álvaro Laiz: Ninjas: Gold Rush In Mongolia (Wired Raw File) These photographs document the hard and dangerous work of amateur gold miners.
Mark Abramson: An Immigrant’s Dream for a Better Life (The New York Times Lens)Extraordinary, in-depth photo essay that follows the life of a young Mexican immigrant woman and her family in California.
Emanuele Satolli: In the Bag for North (TIME LightBox) Revealing still life images of Central American migrants' sparse belonging on their journey toward the United States.