Photography for non-photographers

A picture is worth 1,000 words according to the old saying ... So it must have been a pretty average picture they were looking at.

The correct image is worth far more than 1,000 words to a communicator. A thousand words is just short of two pages of typed A4 from your laser printer. A thousand words is far too little to express all the subtly, clarity and emotion that can be added to your message with a well crafted image.

Photos are not space-fillers or decorative elements in your layout - they are powerful story-tellers working on your behalf. You should plan and execute them with the same care and craftsmanship that you apply to your whole communication. Your organisation has most likely spent a great deal of time to discover and communicate its brand values. Your selection of photography should too.

A good photograph will 'show' what you can't 'tell' through words.

Some consider photography a way to collect moments in family history (happy-snaps), some as a way to illustrate a story (press photographers), and others as art. There are many ways to judge what makes a good picture, but there are general rules to apply to every use of photography.

1. Content: Readers of your brochure, newsletter, magazine or newspaper will usually make a very quick - often subconscious - decision about whether or not to read your story based on the photo's appeal. The natural mistake most people make is to take the safe option with the content. Say your story is about a trade apprenticeship scheme. Rather than line up the HR Manager, tradesman and apprentice for a traditional shot in front of the company logo, why not instead get in closer and have the apprentice with sparks flying from an angle grinder with the tradesman behind, supervising? The 'slice of life' image draws your readers in and encourages them to read more.

Photos are not taken for those in the picture. A good photo is created to further delineate the scope of your story, to engage your reader and to better communicate your business. If you must recognise a group of people, do it in the story. Photos are like an advertisement for your body copy. Research shows that readers will always look at the photo before engaging with the copy. Use it to your advantage.

2. Contrast: Look for extremes in your content. Get your reader's attention with images that show both ends of a story spectrum.

If you are in the financial services industry, a receptionist wearing one pink ribbon to illustrate an article showing support for Breast Cancer Week is not as effective as a receptionist dressed in pink, with bunches of pink balloons filling the frame.

If you are illustrating a training message, an image of the older, experienced engineer who is close to retirement along with the young graduate engineer who is just starting his career is much more engaging. It speaks to the story about passing on knowledge, history and clearly points to the future of your company.

3. Point of view: Some of the most powerful images are created by pointing the camera directly at your subjects. But save that technique for when you have no other options and you can illustrate the connection between subject and reader with body language and environment.

Take your reader where they would not normally go. Find a new perspective. The most boring of subjects are made interesting by finding a new point of view. Move around. Get down on your knee or lay on the ground; climb a ladder or get on a balcony; shoot from the side or from behind; get in as close as you can or go wide and show the big picture. Angles create interesting images, interesting images result in engaged readers and engaged readers are most likely to get your message.

4. Time: You would not expect that a writer can write 1,000 (quality) words in under an hour. But people not exposed to the professional rigour of crafting great images often expect an outstanding photograph to be created in 15 minutes.

When you, the photographer, feels rushed, it will show in your images. You cannot work with your subject and get behind who they are and how they feel. Wait for that moment when your subject becomes comfortable and almost forget you are there. When they laugh, gaze off into the distance as they retell a story, as they smile confidently with their award ... or when the pain is obviously clear on their face. Capture that emotion. It requires patience and a bit of extra time, but it will be worth it.

5. Options: Even if you know you only have 15 minutes with a busy executive, always try to give yourself and your design team photographic options. First is your frame orientation - landscape/horizontal or portrait/vertical. Shoot both ... every time. It should be habitual.

Then, before you even get to the shoot, have at least three options in your mind about your composition and make it your goal to shoot all three options before you call an end to the shoot.

If possible, read the copy or story as you develop your composition options. If the shoot justifies the time, visit the location before the shoot and 'scout' out the possibilities. Ideally, try and make it at the same time of day as the shoot is planned because you'll get to see the natural lighting as it will be on the day.

Always overshoot a setting. You can't waste film with a digital camera, so there's nothing stopping you shooting three to five frames at each setting. There is always the risk of a blink or distraction that you don't notice at the time. So you can see how your image count can grow for just a single end shot. 3 settings x 2 orientations x 4 frames = 24 shots. If you feel embarrassed about taking so many shots, simply tell your subject as you are setting up. "We'll be doing three different settings today and I'll take about six shots at each."

Still not convinced? Ask your designers when you give them three or four high quality options. They will love you.

6. Traps to avoid

  • Don't ask your subject to point. Signs, buildings, contracts, paperwork, computer screens or other employees. Pointing looks stupid and is clichéd.
  • Never photograph computer screens. It's very hard to see what's on them and computer screens aren't new, intriguing or innovative. Computers are lifeless. Computers are clichéd.
  • Never use bad photos just because you have them. Online or on paper, space is critical and you are judged by how you use space. Waste valuable space on bad photos and you've lessened your credibility. Repeat this trap several times and you will have no readers. Bad photos waste money. Bad photos are clichéd.
  • Think before you release. Take a breather before going off to press and ask yourself these questions:

1. How does this photo advance the story?

2. Does the photo show something in a new way?

3. Is the photo technically accurate?

4. Can you communicate this message without a photo? Is a graph or chart better?

5. Will this photo connect with your reader?

Photography is a powerful weapon in your communication arsenal. Photography is a partner to the words. Use it wisely and it will serve you well.

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