Start learning with our library of video tutorials taught by experts. Get started
Viewed by members. in countries. members currently watching.
In the Douglas Kirkland on Photography series, well-known photographer Douglas Kirkland explores a variety of real-world photographic scenarios, sharing technique insights and critiquing the results.
In this installment of the series, Douglas goes on location and shows how to shoot photographs for publications. He begins with a look at the planning and packing involved in an on-location editorial shoot. Next, he shows how to construct a photo that tells a story about its subject. He demonstrates how to light and position the subject and use props to best tell the story. After getting the shot that will be on the article’s opening pages, he shoots documentary photos that show the subject in action.
Finally, he reviews the best images from the shoot and shows how he uses Photoshop to complete his workflow and refine the images. Douglas also shows how the final images were used by the magazine’s art director and describes how editorial photographers must compose shots with page design in mind by leaving space for typography and other elements.
Douglas Kirkland> Doing editorial work, you are coming in and almost asking a favor of people, because she is not being paid to do this. She is being sort of... It's a salute to her, and because she is a genius, an expert at what she does, a master if you will. The magazine wants to convey that, but we are a guest in their home here and they are very, very polite, nice people. We want to upset things as little as possible, as always.
When we leave at the end of the day we want her to feel good and them to feel good, she and her husband. We brought a book for them, which I am going to sign. It's the book of my movie work, our movie work. Why have I worked for more than 50 years in the game? It's because I try to be sensitive to everything, including starting with Hanie herself. That who really is important. It all revolves around her and we must not do anything that extends any discomfort of any kind.
I'm sure it's going to work. I feel good about this. All right! Now, this is good, this is good, this is good. Yes, yes, yes, yes, yes, wonderful! Great! I coming over right away to show you, because I know it's such a nice beginning. That's the second frame we took. That's good, okay, just a second. Okay, now turn again your shoulders, yes, yes, yes, yes, that's nice, then lean forward a little that way, yes. Beautiful, beautiful. Okay, yes, wonderful.
I am just going to go down a little lower, excuse me. Good, wonderful! Great! Yes, it's pretty special. I am going to take my shoes off, if you don't mind. To be an artist like you who creates these. You know, you are the best of all worlds, because you create beauty but you are beautiful and it makes my job much easier. You're wonderful, okay. Yes, great, very good, yes, yes, yes. Sit up a little higher now. Now, can we raise that stool up please? Female Speaker> Do you want more? Douglas Kirkland> I like where it is.
I like what you're doing. I like what you're doing very much, very, very much. Yes, wonderful, yes, yes, yes, yes, yes, fantastic! Wow! You are good. I've got to show you this. I can't keep it to myself. You are good, you are very good. Yeah, I like what you're doing here, yes, yes, yes, yes, yes, yes. A slight smile would be nice. Wonderful, wonderful, wonderful! I am backing up a little again.
What happens is when I back up, the purpose is I go to a longer lens and that makes you bigger. Sometimes when I come in I am emphasizing your work more. That's with the camera thatt's what I am doing. But I love your position you're in, yes. You've got it such delicate? You remind me of Renaissance painting. You do, you really do. Yes, yes, yes, yes, yes. You have a very beautiful, classical look, wow! We will try something different here. Try the other hand maybe.
Make yourself comfortable, you find your spot. Oh! I love that. I love it, yes, yes, yes, yes, yes, yes. I've been doing this a long time, Hannie. You will see some pictures in those books but honestly I get the same buzz. I know it's a beautiful image being created as I did with Marilyn Monroe or any of the rest of them, yes, yes, yes. Leo! I am going to ask you a favor. Could you just walk in around behind the scene? I want to take a picture of two of you together for you. Just have to stand there, maybe get your heads fairly close together.
Yeah, put your arm around her, yeah. Yeah, that's the idea, yes, yes, yes. This is for you. Okay, nice. Okay, thank you Leo! I wanted to get a few with you there. This is not for the magazine. It's for you. Is there any other thing you want to do? You can't think of anything. You've done it all. Okay, I think we have done this picture. If you said you didn't like something there, honestly if you saw something, I would change it. We could do more pictures. But if you are comfortable here, and I am very comfortable. See all these seams here, these are bleeding into the picture and I love this form of this piece.
I love the colors. Female Speaker> Yeah I like that one. Close up. Douglas Kirkland> Yeah, that's really cool.
There are currently no FAQs about Douglas Kirkland on Photography: Editorial Assignment.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.