What Is There to Photograph?

As a working photojournalist, I either propose stories or I am assigned a shoot. Publications have space to ?ll every month, so stories must be generated by sta? or from outside story proposals. Part of the luxury of being assigned a story is that the subject material has been researched and found to be credible and having interest for the readership. Upon accepting the assignment, the photographer goes into research mode, deciding how to visualize the story. Every publication is di?erent in its makeup, in what visual ?ow the photographer is trying to create. What story are you trying to tell?

I’ve found one major concern for aspiring photographers is determining what to photograph. I teach my own series of photographic workshops (www.firstlightworkshop.com), and we provide assignments for the participants in the area where we are hosting the workshop. These assignments have been arranged beforehand on a scouting trip. (FirstLight has hosted workshops in France, Scotland, Spain, the Eastern Shore of Maryland, and Dubois, Wyoming, with many other locations slated.) But you don’t have to venture too far, because there is a lot to shoot in your own neighborhood. Check out your local newspaper to see what outdoor events are going on, such as street fairs, community events, or youth soccer games. These can provide an abundance of photographic subjects. If a national or state park is nearby, venture out to check the location, deciding where you want to be at the Golden Hour, that time of day in the late afternoon when the sun bathes everything in a golden glow. It takes only a bit of research to come up with many such locations.

The camera is a tremendous passport, not a barrier, as I’ve heard a lot of aspiring photographers claim. Countless times, I’ve walked up to people, domestically or internationally, and used words or gestures to ask if I can take their photo. I have made friends around the world as a result of this simple and direct act of showing interest. Next time out, if you take a deep breath and approach a person you’d like to photograph, you’ll probably get the okay, and one of the ?rst steps toward becoming a better photographer will have been accomplished. Everyone has a comfort zone—a distance where coming closer becomes an invasion of space. Time will teach you how closely you can work with a person, so you’re not invading his or her zone. And, above all, create a photograph that will do justice to your subject.

We are a nation of photographers, and throughout this book, we will give you hints, show you tools, and—we hope—inspire you to take this marvelous craft to greater heights.