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Week Five – The Photo Essay

“It is difficult to get the news from poems, yet men die miserably every day for lack of what is found there.”

― William Carlos Williams

PHOTO ESSAY EXAMPLES:

• Trouble Shared (Brenda Ann Kennelly/ New York Times/Lens)
• A Country Doctor (W. Eugene Smith/Magnum for Life)
• A Young Father’s Balancing Act (Benjamin Norman/The New York Times)
• New York City Coffeehouse (Dima Gavrysh/Lens)
• Where Beauty Softens Your Grief (Gianni Cipriano/ICP)
• Gun Nation (Zed Nelson)
• What the World Eats (Time)
• Last Supper (2004; Celia A. Shapiro/Mother Jones)
• The Bitter Sweet Pill – GMB Akash
• Happy Horsemeat (Alex Soth)

UNUSUAL PHOTO ESSAYS

• Febuary Assignment: Photographing Pictures in Reflection
• Magic in the Nearly Forgotten Mailbox
• Andrew Moore Detroit
• Superheroes – Dulce Pinzon
• A Photo Fright Most Viral
• Jump Book – Phillippe Halsman

Let’s work through an example to illustrate each category below. Let’s say National Geographic s sending you to into southern Tunisia to do a story on an ancient and unique kind of weaving practiced by a Berber tribe. You are taken by a ‘fixer’ — a paid translator, driver and social planner — to a village made up of several small huts and a central bungalow with three ancient looms and the equipment for making the dies. Likely it would be women doing the weaving.  You’d probably have a working shotlist in your head (or written). It would include photos in each of the categories below:

• Signature photo : A photo that summarizes the entire issue and illustrates essential elements of the story. This might be a photo of woman — maybe your main character — weaving at a loom in the bungalow. Ideally, you’d be able to frame the shot to provide some context, maybe other women, the village in the background, etc.
• Establishing or overall shot : a wide-angle (sometimes even aerial) shot to establish the scene. If you’re shooting for National Geographic it’s entirely possible they would rent a helicopter and you’d take an aerial shot of the village. Or, if on a tighter budget, maybe the village from a nearby dune. The idea of the establishing shot is this: When you do a photo story your are taking our viewers on a journey. You need to give them a sense of where they are going, an image that allows them to understand the rest of the story in a geographic context.
• Close-up : A detail shot to highlight a specific element of the story. Close-up, sometimes called detail shots, don’t carry a lot of narrative. Meaning, they often don’t do a lot to inform the viewer on a literal level but they do a great deal to dramatize a story. Perhaps the weavers hands or a sample of a rug or the bowls in which the dies are mixed. For reasons we’ll come back to when we talk about multimedia in week 12, it’s ALWAYS a good idea to shoot lots of close-ups.
• Portrait : this can be either a tight head shot or a more environment portrait in a context relevant to the story. As mentioned above, photo essays are build around characters. You need to have good portrait that introduces the viewers to the character. I always shoot a variety of portraits, some candids and some posed.
• Interaction : focuses on the subject in a group during an activity. Images of your character interacting with others — kids, others in the village, sellers — all helps give a human dimension to your character. It’s likely that our weaver(s) also raise families, which means cooking cleaning, etc. Think about reactions too.
• How-to sequence : This is photo or group of photos that offer a how-to about some specific element of the story or process. With our example maybe we would telescope in for a few images on how the dyes are made or the making of a specific element of the textile
• The Clincher : A photo that can be used to close the story, one that says “the end.” Essentially, our example is a process piece. What’s the end of the process? Maybe an image of a camel caravan loaded with textiles and heading off into the sunset on the way to market.

I want to introduce a few basic ideas here about editing essays in general and slideshows in particular. As outlined above, variety is key. The first few images are especially important and often include a combination of the following:

• An establishing shot : Often a wide-angle image to give a sense of place, a sense of environment to give the view a sense of place.
• A portrait : An online slideshow needs to be humanized quickly. We need to be introduced to our character as a sort of travelling companion on our journey.
• A close-up : A telling detail shot early on is both graphically appealing and an opportunity to focus the viewer in on what the story is about.

There are several conventional ways to structure the narrative of a story, sometimes photographers will use a combination of the options presented below:

• Process : essentially the photographer is showing how something is done from beginning to end. How a sculpture is made. A sports competition. Even an arrest and court case.
• Chronology : real or implied, you can let time structure your story. A very typical way to structure a story through time is as a ‘day in the life’ piece.
• Highlights : in reality all photo stories are highlights stories in that the photographer should always seek to relay the most important visual elements of a story. But some stories are structure less to illustrate  a clear story line and more to show the peak moments or most dramatic aspects of the topic. For example, a year-in-review story or coverage of a natural disaster or a story after the death of a public figure that highlights the most significant moments in his or her career.  When news organizations do this kind of story often the work of several photographers — and maybe even crowd-sourced photos — are used.

In the commercial world online publications frequently present something called a ‘flipbook.’ This might be series of images of this season’s most popular style of purses  or the ten best-selling flatscreen TVs.

The series is a set of similar images designed to illustrate a comparative point: for example a series of portraits or of new cars or phones or homes. Images in a series should be stylistically similar to further illustrate the comparison.

In week three we looked at images from two portrait series: Richard Avedon’s ‘In the American West’ and Jill Greenberg’s ‘End Times.’  We also looked at some of Steve McCurry’s amazing portrait work.

A portrait series is not the only kind of series. The two series below are examples of the technique that go beyond the simple portrait.

You needn’t get to crazy about making every image in series EXACTLY like the others. Sometimes it’s just not possible. But here are a few things to keep in mind:

• Angle of View – When possible, try and keep the angle of view consistent in a series. Meaning, if one picture is taken from eye-level, try and take them all from eye-level. Focal Length – Try and be consistent in the focal length of your lens. This will ensure a consistent perspective.
• Framing – All of the images should be framed about the same way. If focal length stays the same, you may need to step farther away for larger objects (or people with bigger heads) and closer for smaller object.
• Color and Image Quality – If possible, avoid using a flash with some images and not others. Try and be consistent with ISO, white balance and depth-of-field.

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Lens: photography, video and visual journalism, follow lens:.

View Slide Show 13 Photographs

Single mother, pioneering photographer: the remarkable life of bayard wootten.

Credit Bayard Wootten/North Carolina Collection, UNC Chapel Hill Libraries

In 1904, Bayard Wootten, a divorced single mother in North Carolina, first borrowed a camera. She went on to make more than a million images. Read more »

Recent Posts

View Slide Show 14 Photographs

Punk music, bronx style.

Credit Roy Baizan

Roy Baizan has been chronicling the rock, punk, rap, trap and hip-hop scene in the Bronx, including shows produced by a new collective, Hydro Punk. Read more »

View Slide Show 17 Photographs

Grasping rio’s beauty and tragedy.

Credit João Pina

João Pina’s photographs of Rio de Janeiro show how life remained a struggle for many residents during Brazil’s boom years. His book’s title? “46570,” a reference to the number of murders in the city in the decade leading up to the 2016 Olympic Games. Read more »

The Age of Gold and Daguerreotypes

Credit Canadian Photography Institute

A collection of images showcases the intensity of the Gold Rush in the 19th century, around the same time the daguerreotype enjoyed a similar surge in popularity. Some of the images evoke a certain Brooklyn demographic. Read more »

View Slide Show 24 Photographs

Migration stories from the stoops of pittsburgh.

Credit Lynn Johnson

Through images and interviews, Brian Cohen and his collective of photographers tell the stories of the immigrants of the city. Read more »

View Slide Show 21 Photographs

A father, a son, a disease and a camera.

Credit Cheney Orr

A Father, a Son, a Disease, and a Camera

Cheney Orr knew that Alzheimer’s would take his father away. Photography helped him get to know the man. Read more »

View Slide Show 12 Photographs

Roger fenton: the first great war photographer.

Credit Roger Fenton/Royal Collection Trust/HM Queen Elizabeth II 2017

Roger Fenton: the First Great War Photographer

Images by Roger Fenton, the originator of the war photography genre, from the Crimean War are featured in a new book. Read more »

View Slide Show 22 Photographs

A photographer captures his community in a changing chicago barrio.

Credit Sebastián Hidalgo

Sebastian Hidalgo documents Pilsen, the old Chicago neighborhood where he grew up, hoping to capture the community before it is altered by rapid gentrification. Read more »

View Slide Show 10 Photographs

What martin luther king jr. meant to new york.

Credit Courtesy of Steven Kasher Gallery

The civil rights leader was stabbed, honored and given a student pastoral assignment. He also led one of his biggest marches, against the war. Read more »

Exploring the History of Afro-Mexicans

Credit Mara Sanchez Renero

Through interpretive photos, Mara Sanchez Renero explored her conversations and encounters with Afro-Mexicans in various communities in the Costa Chica region of Guerrero and Oaxaca. Read more »

Behind the Iron Curtain: Intimate Views of Life in Communist Hungary

Credit Andras Bankuti

Andras Bankuti’s images of Hungary straddle the country’s complex communist period, showing struggling families, rousing political gatherings and a punk movement. Read more »

Pictures of the Week

The Week in Pictures: June 23, 2017

Credit Pablo Blazquez Dominguez/Getty Images

View Slide Show 15 Photographs

The week in pictures: june 16, 2017.

Credit Adam Dean for The New York Times

The Week in Pictures: June 9, 2017

Credit Ivor Prickett for The New York Times

View Slide Show 11 Photographs

The week in pictures: june 2, 2017.

Credit European Pressphoto Agency

View all Pictures of the Week

Lens is the photojournalism blog of The New York Times, presenting the finest and most interesting visual and multimedia reporting -- photographs, videos and slide shows. A showcase for Times photographers, it also seeks to highlight the best work of other newspapers, magazines and news and picture agencies; in print, in books, in galleries, in museums and on the Web. And it will draw on The Times's own pictorial archive, numbering in the millions of images and going back to the early 20th century. E-mail us tips, story suggestions and ideas to [email protected].

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February 14, 2023 by Gary Price

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NY Times Publishes “A Love Letter to Libraries, Long Overdue” (Photo Essay)

From The NY Times:

The New York Times sent photographers to seven states to document the thrum and buzz in buildings once known for silence. [Clip] It was impossible to look at these pictures and not feel hopeful about the state of humanity, especially with several seasons of isolation still fresh in our minds. Remember when you were craving the casual comfort of strangers? Remember when the simple act of checking out a book felt like a small miracle? Sitting in a windowless room in Times Square, scrolling from library to library, state to state, we were unexpectedly moved by the color, light and joy at our fingertips. These glimpses into lives of strangers were a reminder that copies of the books piled on our desks at the Book Review will soon land on shelves in libraries across the country and, eventually, in the hands of readers. You’ll pass them to other people, and on and on. We all know that books connect us, that language has quiet power. To see the concentration, curiosity and peace on faces lit by words is to know — beyond a shadow of a doubt, in a time rife with shadows — that libraries are the beating hearts of our communities. What we borrow from them pales in comparison to what we keep. How often we pause to appreciate their bounty is up to us.

Learn More, View the Photographs, Read the Text

Filed under: Libraries , News

About Gary Price

Gary Price ( [email protected] ) is a librarian, writer, consultant, and frequent conference speaker based in the Washington D.C. metro area. He earned his MLIS degree from Wayne State University in Detroit. Price has won several awards including the SLA Innovations in Technology Award and Alumnus of the Year from the Wayne St. University Library and Information Science Program. From 2006-2009 he was Director of Online Information Services at Ask.com.

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• Competitions

Who We Are: A Photo Essay Contest 2024 by The New York Times [Ages 13-19; Free Publication]: Submit by March 20

• Priyanka Barik
• Feb 19, 2024

Submissions are invited for Who We Are: A Photo Essay Contest 20224 by The New York Times. The last date of submission is March 20, 2024.

The New York Times (NYT0 Company is an American mass media company that publishes The New York Times newspaper. Their headquarters are located in Manhattan, New York City.

Contest Details

Inspired by the immersive New York Times series Where We Are,” which focuses on young people and the spaces where they create community , they invite students to work alone or with others to make photo essays about the communities that interest them.

You can document any kind of offline community you like and feature people of any age. Your photo essay must include:

• Six to eight photographs.
• A caption of no more than 50 words for each image.
• A brief introduction of upto 300 words.
• At least one quote from a community member.
• Find, interview and photograph any offline community of your choice.
• This contest is open to students ages 13 to 19 in middle or high school anywhere in the world.
• You can work alone or in a group of up to four people, but each student is allowed only one submission.
• Your work must be original for this contest.

Having your work published on The Learning Network and being eligible to be chosen to have your work published in the print editions of The New York Times.

How to Submit?

Interested students can submit online via this link .

Submission Deadline

The last date of submission is March 20, 2024.

Email: LNFeedback[at]nytimes[dot]com.

What is a photo essay? How does it differ from just a series of photos?

A photo essay tells a story through a series of images. These images work together and build on each other to explore a theme of some kind. The photo essays in the Where We Are series, for instance, focus on the themes of community and coming-of-age, but each through a different lens, as the three images published here illustrate. 

How do I choose a good subject for this?

The  Student Opinion forum  can help via its many questions that encourage you to brainstorm local, offline communities of all kinds.

Click here to view the official notification of Who We Are: A Photo Essay Contest 2024 by The New York Times.

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tags: Asylum , AVEF , Highlights , Migrant Caravan , AVEF , Press Releases

Powerful New York Times Photo Essay Exposes Humanitarian Crisis at the Border

by AV Press Releases on December 3, 2018

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A new photo essay from Miriam Jordan and Ilana Panich-Linsman of the New York Times reveals the ongoing humanitarian crisis at our border – a crisis created by the Trump administration, and yet the President refuses to even lift a finger to resolve it.

As a rainstorm wreaked havoc on the immigrants, the photos captured and coinciding reporting remind us of the lives at stake. A short excerpt is included below.

Read the full essay (with photos) online here.

There was a plan by Mexican authorities to open another shelter before the storm. But it didn’t materialize in time. Migrants helped their neighbors protect tents that were being soaked with rain. Angeli Guadalupe, 11, whose little brother slept inside, shivered as she watched them. But it was no use: Rain water seeped in from above and below. Limbs and shoes were kept out of tents to avoid bringing mud inside during the downpour. At one tent, an ailing man hung his head outside to vomit. A group of migrants who found refuge under a large open-sided tent slept close together on the dirt to keep warm. The sound of rain and coughing could be heard everywhere. Mothers picked lice, which have infested the camp, out of their children’s hair. …Arlen Cruz, 22, cradled her 2-year-old daughter and tried to draw strength from a Bible her husband offered her. But praying did little to slow the rain water, which swept both garbage and treasured belongings down through the camp in rushing currents.

• Press Releases
• Immigration 101
• Reform is Urgent

Opinion Welcomes New Deputy Editors for Guest Essays

The opinion team announces two new deputies to help guide the report. Read more in this note from Vanessa Mobley.

For the guest essay operation in Opinion, I’m excited to announce two new deputies to help lead our team. Lauren Kelley , who is now our Op-Ed editor leading reproductive rights coverage, will become Deputy, News, and Ariel Kaminer , rejoining The Times from BuzzFeed, will be Deputy, Ideas & Investigations.

Starting Sept. 26, Lauren will be Deputy, News. Lauren, who led Op-Ed’s coverage of the Dobbs decision and has worked in Opinion for almost five years, has approached the biggest questions about reproductive rights and restrictions in America, and their impact on the country , with rigor and probity . She will bring her incisive editing and astute judgment, as well as her empathic and generous leadership, to this new position. She is committed to producing a timely and relevant report that reflects the core conflicts that drive the news, from a range of political and ideological perspectives.

Originally from Dallas, Lauren has a B.A. in English from Texas Christian University. Before joining The Times’s editorial board in 2018, she was the politics editor at Rolling Stone, where she led coverage of the 2016 elections.

Starting Sept. 19, Ariel Kaminer returns to the Times in the role of Deputy, Ideas & Investigations, after seven years at BuzzFeed News, most recently as executive editor for investigations. Her 16-person team punched above its weight, with projects such as the FinCEN files investigation and a deep dive into the alleged kidnapping plot against Gov. Gretchen Whitmer. Their award-winning work captured international attention, shook up corporate policies, challenged conventional wisdom and resulted in laws being changed. Ariel is an exceptional editor, experienced in both politics and culture, investigations and personal essays. Her previous positions at The Times included story editor at the Magazine, where she edited an investigation into sexual abuse at the Horace Mann School; Arts & Leisure editor; digital deputy of the Culture desk; and Metro reporter covering higher education, where she explored complicated campus politics and revealed the brutal working conditions at N.Y.U.’s glittering Abu Dhabi campus. She also wrote the City Critic and Ethicist columns. Her role in Opinion will be as a catalyst for the deep and satisfying conversations that Opinion convenes around ideas.

Originally from Tenafly, N.J., Ariel is a graduate of Princeton University.

Please join us in congratulating Lauren and offering a warm welcome to Ariel.

Explore Further

Vanessa mobley joins opinion to lead op-ed team, adrienne shih and adam westbrook join opinion, eleanor barkhorn joining opinion.

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One NYU Student's 2024 Move-In Journey: A Photo Essay

For any first year student, move-in marks a major transition, whether the journey starts across the world or just a few miles uptown.

All photos by Jonathan King.

This year, NYU photographer Jonathan King tagged along with incoming Tisch musical theatre student Brooke Gomez Saturday, August 24 as she left her family home in the Bronx to start her  #NYU2028  adventure at Lipton Hall on Washington Square.

Brooke's day of farewells and hellos included a goodbye to the family's mini schnauzer Bruno, lugging suitcases in and out of elevators, making her new bed and finding the perfect placement for her Squishmallows, meeting her roommates, and, of course, one last tight squeeze from her mom (Keila), dad (Will), and brother (Ryan). More move-in rites of passage appear below.

• Photojournalism Links

The 10 Best Photo Essays of the Month

This month’s Photojournalism Links collection highlights 10 excellent photo essays from around the world, including Rubén Salgado Escudero ‘s stunning portraits of people using solar lanterns in India, Myanmar, and Uganda. The pictures, made on assignment for National Geographic magazine’s new climate change issue, demonstrate how the clean-energy lights are transforming lives in places where there’s no access to the electricity grid.

Rubén Salgado Escudero: How Solar Lanterns Are Giving Power to the People ( National Geographic )

Alex Majoli: A Tragedy Unfolds on Lesvos (The New Yorker Photo Booth) The Magnum photographer’s stark, flash-lit black-and-white pictures offer a different visual take on the refugee and migrant crisis on the Greek Island.

Mauricio Lima and Sergey Ponomarev: A Family Swept Up in the Migrant Tide (The New York Times ) Their powerful photographs document a Syrian refugee family’s journey through Europe. | See more photos on the Lens blog

James Nachtwey: The Journey of Hope (TIME LightBox) Great pictures by TIME’s veteran contract photographer, who followed migrants and refugees from Lesbos to the Balkans.

Josh Haner: Greenland Is Melting Away (The New York Times ) These striking stills and footage, made using a drone, show the very real effects of climate change. | See also the Times Insider piece about the challenges of using the drone in the harsh conditions .

Ciril Jazbec: How Melting Ice Changes One Country’s Way of Life ( National Geographic ) These compelling pictures capture how climate change is changing the lives of Greenland’s hunting communities.

Maria Turchenkova: Bearing Witness to the Victims of Yemen’s ‘Forgotten War’ (TIME LightBox) Turchenkova’s photographs highlight a conflict that continues to receive far too little attention.

Lorenzo Tugnoli: A Libyan Militia Confronts the World’s Migrant Crisis (The Washington Post) Fascinating story of Libya’s northernmost city, Zuwarah,which is trying to close down a smuggling route to Italy.

Andrew Quilty: Inside the MSF Hospital in Kunduz (Foreign Policy) Quilty presents devastating pictures from inside the Doctors Without Borders (MSF) hospital hit by a U.S. attack.

Ruth McDowall: The Young Survivors of Boko Haram (The New Yorker Photo Booth) Portraits and searing testimonies of young Nigerian Boko Haram survivors.

Mikko Takkunen is TIME.com’s International Photo Editor. Follow him on Twitter @photojournalism .

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• Long COVID Looks Different in Kids
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• The 32 Most Anticipated Books of Fall 2024

Contact us at [email protected]

Todd Heisler/The New York Times

In One Image The Next Generation By Todd Heisler with Tim Balk

Vice President Kamala Harris took the stage on Thursday night to accept her party’s nomination, capping a Democratic convention unlike any other in modern history.

Just four weeks after President Biden dropped out of the presidential race and gave his support to Ms. Harris, she set out to introduce herself to the American public.

As Ms. Harris detailed her mother’s influence on her own life, her great-niece Amara, 8, in a pink pantsuit and pigtails, watched from the front row of the crowded convention hall.

Ms. Harris emphasized her experience, her patriotism and the urgency of the moment.

She did not dwell on the historic nature of her candidacy. But for those watching like Amara, the significance of the moment was unmistakable.

Supported by

In one image

The Next Generation

It was perhaps the biggest speech of Kamala Harris’s life, the first time a Black or South Asian American woman would accept the Democratic nomination for president.

She had come to the stage at the United Center on Chicago’s West Side with an opportunity to share her story and vision with millions of Americans.

The crowd roared as the vice president’s entrance song, Beyoncé’s forceful “Freedom,” coursed through the building.

Ms. Harris, eschewing suffragette white in favor of a dark suit, beamed as she took in the scene: cheering delegates waving long blue signs bearing her name.

In the first row below the rostrum, Ms. Harris’s excited great-nieces Amara, 8, and Leela, 6, held up handmade signs.

As Ms. Harris began her speech, Amara peered up at the vice president. In a small buffer zone behind the girl, a photographer for The New York Times took a picture that captured the power of the moment. It quickly went viral.

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