Page 14 - Cape-Camera-May-2022

May 2022 Cape Camera

WILL THIS STORY MAKE A GOOD PHOTO ESSAY
1. Is there a story arc?
Consider how the story will develop from the beginning
to the middle and end. Ideally there is a dear conflict and
a potential resolution.
2. What Is the fulcrum of the story?
Is the story centred on something you can see? Or does
it need to be heard or explained to be best appreciated?
Like all story mediums, photography has limitations. If a
story centres on sound or dense explanations, save it for
radio or written pieces.
3. Are there opportunities for compelling imagery?
Don’t embark on a story if you can’t envision at least three Amber has recently won the World Press Photo of the Year with
potential images that you’d be excited to make. For exam- the manificent image above.
ple, a story that’s focused in the online world may be dif-
ficult to translate to compelling photographs. "I think the more accessible photography is, the more we need
4. Is it a place you can photograph in? conscious practitioners. We need people who are trained in visual
journalism who can help cut through the noise of the absolute
There are many reasons why it might be impossible or inundation of visual imagery that we have. It takes a very skilled
very difficult to photograph in a place. It could be danger- practitioner to craft an image that captures the story in the right
ous, not allowed or taboo. Consider if it is possible for you way" - Amber
to get access to the people and places you would need to
photograph. More information on Amber Bracken
5. Is it an ongoing story?
Website: https://www.amberbracken.com/
Will you be able to photograph some of the story as it un- Instagram: @photobracken
folds? If the action of the story is in the past, photographic
opportunities are limited to artifacts, locations and por- Panelists
traits. Darren Calabrese: https://www.darrencalabrese.com/
Most of these issues can be overcome with creativity, but Instagram: @dbalabrese
you should not embark on a photo essay without weigh- Jen Osborne: https://jenosbornestudio.com/
ing these questions carefully. Instagram: @jen_osborne_photography
Tim Smith: http://www.timsmithphotography.ca/
Instagram: @othertimsmith

RULES OF ENGAGEMENT

1. Take the time needed 4. Honour our commiments
Understanding complex human realities requires patience, Long-term documentary projects require making ethical
perseverance, and a willingness to continually face our own and relational commitments and keeping the promises we
biases and assumptions. Often the most unsettling part of make. These commitments can shift over time as relation-
a documentary project is discovering how our own world- ships develop.
views are continually influencing our perception of reality, 5. Pay attention to the everyday
leading to blind spots and tunnel vision. Sometimes, complex realities are revealed in the mundane
2. Show genuine curiosity in others details of everyday life. Dramatic photos are often distorting.
Getting to know our participants not only facilitates relation- They can reinforce stereotypes if they are not counterbal-
ships, it also provides the contextual knowledge necessary anced by more nuanced images
to avoid creating caricatures of people and communities. 6. Expect surprises
3. Relationships are two-way streets Documentary stories tend to reveal themselves over time.
Compelling photographs are records of exchanges between We have to be open to the emergence of new questions and
photographer and subject. These exchanges are facilitated new insights. The unexpected is potentially always around
by our openness to reciprocate and share our own stories. the corner. Some of these surprises can be unsettling. Life is
messy.

Extract from Article "Lives in Motion - towards greater depth and empathy in visual storytelling" by Pieter De Vos. Click here for full
article.

13 Cape Town Photographic Society