Join Douglas Kirkland for an in-depth discussion in this video Documentary coverage critique, part of Douglas Kirkland on Photography: Editorial Assignment.
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Douglas Kirkland> You have seen my process in making an editorial portrait, but…there's so much more required in an editorial story such as we're telling here.…You have got to tell how it happens, because you're giving information in…your pictures.…So let me take you through a process.…Here is Hannie working and actually stitching these needles under the edge of…her work. Part of her process.…It's tremendously exciting to watch her.…But are there different ways you could look at this?…I made some close-ups, yes!…But I thought it was more interesting to see the environment she was in,…because she works on her sofa in her living room, very simple.…
I got up a box that I had there with a wide-angle lens, and did the best I could…to frame it and get what I felt was right.…Very simple lighting. I just have two strobes going off the ceiling, because…I wanted it all to look very natural, not like it was setup or too overly dramatic.…So I was able to get this image, but ultimately I felt that it should be…
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.