Join Paul Taggart for an in-depth discussion in this video The meeting and first shots, part of Shooting a Photo Essay: An Artist at Work.
- View Offline
(MUSIC). I've shot a lot of photo essays, and a lot…of photo stories all over the world for different magazine clients and newspapers.…And also as collaborations with the people that I'm shooting.…And I know there's certain elements that I've gotta get.…I don't exactly how many pictures I'm going to have in my final essay, but I do…know that I want a good number of maybe 10 to 30 so I can use it for different purposes.…And I can also have a fun time playing with those when editing with the sequence.…
So that said, I know that I'm going to want to get some landscape pictures to…establish a place. I'm going to want to get different styles…of portraiture, maybe some environmental portraiture.…And some more formal portraits with some lighting and different vantage points.…probably some detail shots of like, living spaces or if he has artwork, we've got one…that shoots artwork in some interesting ways.…And so we try to get all of the different genres and styles of photography.…that way, I can, you know, in two days, cause I've only got forty eight hours of…
Paul, whose work has appeared in publications such the New York Times and National Geographic, shares insights into how he prepares for an assignment, how he engages his subject, and how he takes advantage of unpredictable and unforeseen situations. The course concludes with a look at how the final essay might be sequenced and distributed.