1. Improving your shot No Excuses Turkey Run Yearbook Workshop Sept. 13, 2013

2. Scanners aren’t readers until it’s earned. Scanners are hot wired for visuals (eye candy). Scanners see headlines, captions and photos as one unit. Text is last design element seen on the page. Photos help. Scanners become readers when there’s a relationship between photo, headline and lead.

3. Is dependable, trustworthy and organized. Plans ahead for the types of photos the publication might need. Anticipates what might happen and is willing to capture non- assigned shots. Attention on expression and reaction. Works to get a variety of people and avoids getting photos of only the popular people (usual suspects). Turns the camera vertical sometimes and finds new angles and perspectives. Avoid the 5’ 8” syndrome. Is resourceful in getting close without invading or interrupting. Discusses assignments with editors, designers and writers. Collects information for the caption. Has the desire to get beyond the obvious. Seeks to tell the whole story with “long” shots, “medium” shots and “close up” shots. “A good photograph is knowing where to stand.” -Ansel Adams

4. Daytimer/planner/calendar/Smart Phone Photo ID or staff ID or press credentials A notebook to get names and to write notes Watch the light. Best times to shoot are in morning or early evening. “North Light” is ideal. Phone numbers of editors/other photogs Extra batteries and memory cards External flash plus business card or diffuser. A cleaning cloth or lens wipes. Add Smart Phone apps to photo software. Don’t leave home with out it

5. Is un-posed (ideally). No one is looking at the camera or seem to be aware of it. When posed, is crop tightly with ‘penny- sized’ head proportions. Avoids that “I know I’m getting my picture taken” grin. Catches action or emotion or both. Tells a story/Captures a moment. Shows creativity and use of composition. Fills the frame - Get close “If your pictures aren’t good enough, you’re not close enough.” -Robert Capa

6. Shot from behind, no emotion, no faces, no interaction, shows no planning

7. Get in front, get close, wait for reaction

8. Too much contrast, “Who cares?” content, no interaction or telling of a story.

9. Shows interaction, good timing, close up

10. Too far way, attempts to be creative with angle but photo has no ‘focal point.’

11. Limit the number of people, get in tight, move toward faces, wait for expressive moment.

12. Not a good camera angle or expression. Focus is soft, background cluttered.

13. Tighter shot, in front (could try eye level or lower angle)

14. Too far away, nothing of interest to focus on

15. Limit subject to 1-3 people Show action or emotion Get close Crop tightly Use ‘shutter priority’ to capture motion. Use ‘aperture priority’ to capture depth of field.

16. Some emotion and subject framing, but too far away. Used zoom instead of over cropping -- grainy.

17. Staged/posed shot Get him doing something other than at his desk or at his computer from high/low angle.

18. No ‘picture purpose.’ Find a ‘Focal Point.’

19. Not in good position or angle Subject matter (of a coach) should be used rarely except in interaction with team

20. Posed rather than candid Smiling faces don’t tell a story. Get interaction… these two kids were volunteering… lots of opportunities to get them doing something.

21. Don’t be lazy. Watch the light. Best times to shoot are in morning or early evening. “North Light” is an ideal natural light source when shooting inside. Be clean and organized so you don’t misplace items or miss events. Always plan your shots and be flexible for extra opportunities. Remember: Be a bird AND a worm. Don’t be afraid to get close. Good photography is aggressive, but respectful. Remember that it is “not about you.” It’s up to you!

22. Composition 101 The ‘Focal Point’ is the main attention-getting spot in the photo. Every photo used in student publications needs one (or possibly two) focal points to communicate a central message (or emotion) to the reader. In the photo above, the focal point is the expression on the coach’s face.

23. Composition 101

26. ‘Foreground Framing’ is a technique used to create a feeling of depth and to add a sense of scale and emphasis to the subject.

27. Composition 101

29. The concept of ‘Rule of Thirds’ requires one to imagine the photograph in three equal parts, both vertically and horizon- tally. The rule says that a major element (or focal point) placed on one of the lines or at one of their junctions creates a more dynamic photo. This is an antidote for ‘bulls-eye” syndrome.

30. Composition 101

31. ‘Repeated Pattern’ refers to natural patterns in images that tend to repeat – often subtly. Think of such patterns as ‘visual echoes.’ When such patterns (such a geometric shapes or literal repetitions such as steps (or football helmets) are present, readers psychologically ‘connect’ these images.

32. Composition 101

33. ‘Leading Lines’ tend to draw the reader toward the focal point of the image. At the very least, these lines are strong visual elements that attract the readers’ attention toward the main message of the photo. In the next image, note how both leading lines and repeated patterns (telephone poles) combine to create a sense of scale and focus.

34. Composition 101

35. By using a radical ‘Camera Angle’ (bird’s eye, worm’s eye) the subject can be changed dramatically. One unique feature of photography is viewpoint, and sometimes the photographer’s camera angle is the single element in making an otherwise boring assignment interesting.

36. Composition 101 H enri Cartier-Bresson believed that “The Decisive Moment” was that split second of genius and inspiration that a photographer had to capture a certain moment. For example, that half of a second that you have when a man is jumping over a puddle, when a couple embraces for a kiss, or when a person points a finger at another. This moment is fleeting, meaning that once you miss that half of a second to capture that moment, it is gone forever. You can never recreate the same circumstances in terms of location and people.

41. Readers first are ______________. Readership is __________. What’s the first thing readers see on the page _____________? What’s the last thing readers see on the page _____________? What’s he best way to ensure that text is read _____________? What’s the difference between a ‘posed’ and ‘candid’ photo? Which is better and why? ______________________________. Name three techniques that will add interest to a candid photo? 1.________________ 2. ________________ 3. ____________ What’s the ‘decisive moment’ and how can you find it? What’s the biggest problem in capturing a decisive moment? What’s one thing you’ve learned today that could help your publication?