Before And After Magazine - How To Say What The Camera Can't.pdf - Before & After Magazine - pcdoctor03

WORKING WITH PHOTOS

How to say what the camera can’t

Every photo has a story inside, but it needs your help to get it out.

Make the most of each photo:

You had to be there

A recorder of the physical scene and nothing

more, a camera can’t see what we see. As with

most meetings, the real action here was mainly

cerebral. To bring the stories home, designer

and editor have three good tools: cropping,

page layout and English—all will be needed.

DELETE NONCONTRIBUTING OBJECTS

At a busy meeting, photos are taken catch-

as-catch-can; in this case, the lectern and

wall paneling just happened to be there;

they really have nothing to do with the honor

being bestowed and so should be deleted.

How to lay out the annual meeting:

We tend to think of a big meeting as a single

event, but it is more accurately many mini-

events, each with activity of its own. Deal with

each one individually. Because you have stories

to tell, it is critical that you take the text seri-

ously; if you don’t you will fail. The reason why

is best illustrated by television news: While you

watch the picture, note that the actual story is

conveyed in the voice-over. In most cases the

voice-over would succeed without the ilm, but

rarely would it work the other way around! Here

are three approaches to design:

A N N U A L M E E T I N G H I G H L I G H T S

Friday’s presentation on

scholarships and grants

helped me to

be a better

counselor for

my students.

—Hope Estes

CREATE NEWS KIOSKS

This approach opens

the page with an intro-

ductory overview, then

breaks the activity into

a half-dozen or more

kiosks, each contain-

ing a complete story.

Note that the layout is

free of traditional col-

umns, which have no

value here; instead,

the spread is a mural

on which the reader is

free to move without

restriction. Note the

alternating white and

gray backgrounds, and

that the photos some-

times extend beyond

the borders.

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Williard Smith Keynote Speaker

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The seminar on

scholarships and grants

helped me to

be a better

counselor for

my students.

—Hope Estes

VARY THE PACE

Readers fare better

with variety; here,

large, bold quota-

tions pull double

duty—they provide

both a visual and

editorial change of

pace. Photo-in-a-

circle—as well as

different column

widths—are similar

pace-changers.

PERS Panel Argue Benefit Packages

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Salisbury Scholar

Award Given

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Budget Crunch Survival Symposium

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This was the

first Annual

Meeting that

I’ve been able

to attend. I plan to come

back every year!

—Doug Cook

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Before & A f t e r

M A G A Z I N E

This article was originally published in Before & After magazine issue 16.

To learn more about B&A’s great design solutions, and to order subscriptions

and back issues, go to www.bamagazine.com.

323 Lincoln Street,

Roseville, CA 95678

www.bamagazine.com

in whole or in part without written permission of the publisher. Write to: mailbox@bamagazine.com.

1 of 2

friends to be made.Your photographer

was ready and you were expecting great

things, but what came back was a disap-

pointment; on the ilm was a jumble of

hairdos, draperies, uncleared tables, the

backs of heads—not exactly the stuff of

Life magazine. The photos didn’t do jus-

tice to the event!

Now what?

A camera is a funny thing. While we

people experience life on many levels at

once, a camera does not; it is a recorder

of the physical scene, and nothing more.

To expect beauty from photos like these

is to miss the story; there’s no way you’re

going to make these photos pretty.

As a visual communicator, your job is

to convey the substance of the event, as

well as its texture and tone. To do that,

you (and the editor) must ill in what the

camera couldn’t see:

KEYNOTE SPEAKER

MAGGIE

KURTZ

EXAGGERATE THE ACTION

Crop out empty chairs to convert light atten-

dance into a packed house. What you’re

doing is shifting the focus, which is different

from just deleting things; photos cropped

for this purpose can take many shapes.

FIND TWO (OR MORE) PHOTOS IN ONE

The speakers were interesting but the room

was a snooze. Before discarding the photo,

lift out the good parts to use elsewhere. You

can sometimes ind a half-dozen images

this way! Look carefully.

CROP WITH HEADLINES ALREADY IN MIND

Wide-format cropping sets the eye reso-

lutely on the speaker and makes a useful

backdrop for type. You can get away with

this when the wall is blank. As a rule, keep

the type size smaller than the person.

MAKE A MOVIE

Here’s what to do if no editor’s available. Anytime you can

get photos lined up in a neat, linear sequence you’ll create

a strong, visual line and the sense of an un-

folding story. This is true with or without the

ilm strip (try placing the photos along the

extreme top or bottom of a page, or down a

side). The ilm strip is a bonus; it underscores the feeling of

action.To heighten its effect, zoom in and out from one

photo to the next. If you can, shift backgrounds from light

to dark and back—remember, the eye likes variety. Note

that each frame has been keyed by letter to a caption.

WRITE A BOOK

Season a windy topic with thumbnail-size

cameos. This technique is useful:

• if you have a lot to say,

• if the speakers were most important,

• if your on-the-set photos were terrible.

Note bold, descriptive text surrounds each

inset photo; it looks great but takes timing

to get words and pictures in balance.

Before & A f t e r

M A G A Z I N E

This article was originally published in Before & After magazine issue 16.

To learn more about B&A’s great design solutions, and to order subscriptions

and back issues, go to www.bamagazine.com.

323 Lincoln Street,

Roseville, CA 95678

www.bamagazine.com

in whole or in part without written permission of the publisher. Write to: mailbox@bamagazine.com.

2 of 2

anticipation was high. There were

ideas to introduce, goals to reach,

T he annual meeting was coming and

Before And After Magazine - How To Say What The Camera Can't.pdf

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