As a contributing editor for American Way, the in-flight magazine of American Airlines, I was asked to come up with story ideas. I would research story ideas in or near cities to which the airlines flew. One story I proposed to the editors was on the Palio di Siena, in Siena, Italy. This twice-annual horse race has been run since the 11th century and was an event I’d always wanted to see. A race track is created in the village square, the Piazza del Campo, with tons of dirt being trucked in to cover the ancient brickwork. The 17 contrade—neighborhoods or city wards—are each represented by a horse and rider who will tear around the piazza at breakneck speed. The winning horse can even be riderless. It is utter and wonderful mayhem.
I’d contacted the tourist office in Siena and arranged a meeting with the director. He in turn put me in contact with a few contrade directors, and I made sure I at least introduced myself to them prior to the weeklong events leading up to the July race.
This is an overview of how I shot the story and how it was constructed as a finished piece.
Step 1
Needing an opening photo that introduces the Palio to the reader, we wanted to use a strong dynamic photo with enough photographic tension (see Chapter 6 for a discussion of tension) to stop and draw the viewer
into the image.
Step 2
Having made a graphic entrance into the story with
the opening photo, I then immediately brought in the main element—the horse and the flag theme contin- ued from the first photo—that is also carried to the
next image. This created a visual narrative by establish- ing a palette of colors and shapes.
Step 3
With this photo, the visual narrative of the palette continues, but it brings the human element into the story. I like the idea of the contrade colors being
common to the first three photos.
Step 5
I’ve teased the viewer with some very nice images of specific events happening in Siena; now I wanted to bring a view of the town, the track, the race, and the
crowd. There’s a lot going on in this photo, but it actu- ally is quite simple—and necessary to show the reader where I was. That detail does not always have to be up front in the story.
Step 4
A photographer friend, Jeffrey Aaronson, told me once that if something makes us laugh or go “Oh, wow!” we
should be photographing that subject. Historically in the Palio, each contrada’s horse is taken into the neighbor-
hood church to be blessed. You don’t see that every day in Topeka. It’s always nice to be able to introduce humor into the piece.
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Figure 17:
Another repeating theme, and this is what Figure 18:
the event is all about: the race itself. In the
magazine layout, we actually used these four
photos as a series. This corner of the track Figure 19:
is notorious for horrendous crashes, and it
happened during this race. I had to purchase Figure 20:
a very, very narrow seat with an overview of This is our closing photograph. Small fires are this spot—it was not cheap, but, as you can lit atop a few buildings to celebrate the race,
see, it was well worth it. and I talked my way atop a hotel nearby to get
Figure 15: this important overview. Is working on a story tiring? Yes. Is it exhausting? Yes. Is it worth it?
Figure 16: Yes!
Figure 21:
Step 6
Providing more continuity, as I did with the palette theme, I use the crowd from the previous photo in this image. But I bring the human element into it with the beautiful young lady.
Step 7
As with the opening three photos, I use three crowd photos, but each has a totally different feeling and
place in the narrative. The main focus of this photo is the two kids watching the race; the crowd is the sup- porting cast.
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End How To
Step 8
Another repeating theme, and this is what the event is all about: the race itself. In the magazine layout, we actually used these four photos as a series. This cor- ner of the track is notorious for horrendous crashes, and it happened during this race. I had to purchase
a very, very narrow seat with an overview of this spot—it was not cheap, but, as you can see, it was well worth it.
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Step 9
This contrada had not won the Palio for a number of
years, so it was an emotional event for the neighborhood members. Following them back to their church where
the winners have historically gone, I found this woman emotionally celebrating the win.
Step 10
After giving thanks in the church, the contrada carries the winning jockey through the streets of Siena. This is purposely shot at a slow shutter speed with a flash to get the movement, while freezing the jockey’s face.
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Step 11
This is our closing photograph. Small fires are lit atop a few buildings to celebrate the race, and I talked my way atop a
hotel nearby to get this important overview. Is working on a story tiring? Yes. Is it exhausting? Yes. Is it worth it? Yes!