Talking with pictures
Photo experts offer tips on how to better
tell your co-op story with strong photos
By Dan Campbell, Editor
good photograph not only communicates visually,
it can also attract readers to an article they
might otherwise pass by, in much the same way
an effective sign or window display beckons to
customers and draws them inside a business. A
strong communications program is essential for a cooperative
to keep its members informed and committed to their co-op,
and good photography can play an essential role in improving
the quality of co-op publications be they newsletters,
newspapers, magazines or Web sites.
But what makes a strong photograph?
This question
was recently
addressed by a panel
of three photography
experts who
evaluated nearly 200
co-op photos and
publications as part
of an annual communications
competition
sponsored by the Cooperative Communicators Association
(CCA). CCA is an organization of some 350
communications specialists who work for cooperatives in the
United States and some foreign nations. The photo judges
included Earl Dotter, a prize-winning photo journalist based
in Maryland, Bonnie Stutski, photo editor for Smithsonian
magazine, and Susan Moeller, a photojournalism professor
at the University of Maryland.
Asked for their overall impressions of the photos they
judged in an all-day session at USDA headquarters in Washington,
D.C., the judges said they were impressed even surprised
at the overall high quality of the work. But they also
saw room for improvement and offered a number of constructive
criticisms and “photo philosophy” that can help
refine the approach to the way we talk to our members
through pictures.
Portraying your “human capital”
“I would stress that the strong suite of the co-op is the
human capital the people who are the members,” says Dotter.
“Next in importance is the product they create that provides
for their well-being and supports their communities
and lifestyle. I would really encourage the photographers to
explain to their subjects that we want you to live out your
life, rather than act it out, in front of the camera. We want to
photograph you with the dirt under your fingernails, because
that’s how you make your living. We want to photograph you
in a way that projects the honest labor that you perform.”
A photo assignment, Dotter continues, is a collaborative
effort between the photographer and their subjects. So take a
little time to get to know the subject before beginning to
photograph them.
“The rules of common courtesy apply in rural America,”
Dotter says. “I let you know who I am and, if I’m lucky, the
favor will be returned. Give your subjects a basic understanding
of why you are there to take their picture: to show the
accomplishments and hard work that create the food on the
table and the sustenance for America. That’s what you really
want to capture. To a large degree, you see a surface view of
life rather than the inside, intimate story. It’s the photographer’s
challenge to get behind the closed door or inside the farmgate
in a way that really projects a sense of the life and work
and rewards of that experience.
A good photographer, Dotter says, engenders a sense of
collaboration, so the subject knows what you are looking for.
“I have to let you know who I am, and you need to have a
sense of trust in who I am. Sometimes that involves just sitting
down with a cup of coffee at the kitchen table with the
camera still in the car before you take the first shot.”
This process need not necessarily be a long one. “Sometimes
you can get to know your subject fairly quickly,” adds
Stutski. This might help you show subjects from a perspective
we wouldn’t normally see.
“Think about how you can make something more interesting
than a straight-on snapshot, either by virtue of lighting or
background,” Stutski says. “You want photos that people will
say‘How did they do that, or catch that moment?’”
Wearing two hats poses big challenge
For many co-op publications, the reporter/writer is also
acting as the photographer, which greatly increases the challenge
of getting good photos. “You finish your interview, you
put down your notepad and say, ‘OK, now I’ll take a few pictures.
Why don’t you stand there, hold this and smile,” says
Moeller. “It’s very difficult to do both. It’s a big problem. But
when you have a small budget and small staff, you may not
be able to get around it.”
A combination reporter/photographer may have to come
into an assignment with a different mind-set. “Maybe it
means coming back twice,” Moeller says. “Or thinking
through the photos in a way that many of these photos (that
we saw today) were not thought through.”
Too often, she said, the thinking is ‘I am going to go out
and report on this, and I’ll take what photos arise.” Instead,
try to think like a photojournalist who thinks in advance
about the images wanted, she advises.
The way photo or story assignments are made can also
impact success or failure, Dotter says. One way to transcend
that difficulty of serving as photographer and
reporter is for the photographer’s boss to give them
enough discretionary time to work on some ongoing
assignments where they can take pictures on a member’s
farm for example throughout the year to develop a
strong photo essay. “You may catch him in the midst of
some crisis that reveals the life of a working farmer in a
way that is a little bit unexpected. In this way, you are not
starting from point zero, and you will have time to
get inside a story. This can work well for a publication
where you may “cross paths” with the subject with some
regularity in your travels.
Avoid “grip and grins”
“We saw two types of photographers here some with
tremendous amount of talent, who seem to have a facility
to take a wide range of photos of different subjects,”
Moeller says. But too many “are taking grip and grins
(where the subject poses, smiling into the camera, perhaps
holding some object central to the story).” These, she says,
tend to be very static photos that do not do justice to the
subjects.
The judges saw a tendency in the publications to be dominated
by these snapshot-style photos of “smiley-face individuals
looking right down the lens barrel.” A much more truthful
attitude would be conveyed if the photographer took time
to photograph people in real working situations capturing
them on film as they go about their daily routine, or whatever
activity is the focus of the story.
As a rule, this will create a much stronger photo than
will subjects standing and looking happy in front of the
camera, they said. Of course, time and other restrictions
often mean that this won’t be possible, and a set-up shot
will be required. With care and a little imagination, this
can often be accomplished in a way that they don’t look too
forced or staged.
Dottter urges photographers to capture the best light
whenever possible by shooting very early in the morning, as
the sun is rising, or in the evening as it is setting. Whenever
possible, he stresses, avoid shooting photos in mid-day, when
the sun is directly overhead and the sky is hazy or cloudy.
In many instances, the judges felt the layout of the publications
they reviewed (for the photo essay and best use of
photos in a publication categories) did not live up to the standard
of the photography. Moeller said the layouts were often
“very busy” meaning there are too many graphic elements
competing for the reader’s attention.
“I also saw periodicals that don’t know what to do with
good photographs when they have them that don’t use
them well,” Moeller said. “We’ve all worked in newsprint,
and know the limitations of low budgets there are constraints.
But you can still get more creative than we are seeing
here in terms of playing what you’ve got.”
“Overall, I was surprised at seeing so much good work,”
Stutski says. “Some of these photographers work with light
very well and have a great eye for composition, good feeling
for different perspectives. Not always the straight on shot of
someone looking at camera and grinning.”
Benefitting from risk
Sometimes the best photos arise from taking chances
trying for something unusual. “I’d be hard pressed to name
any image we saw today that struck me as a risky image
where the photographer really was pushing themself and the
subject,” Moeller said. “I’d also be hard pressed to come up
with more than a couple of emotions that I saw depicted. For
the most part, these are upbeat magazines, speaking to the
converted and they may not want to show the dark side or
something extreme. But you can still get beyond the
PollyAnna-ish images of people.
“Every photo contest judge always says this, but it is worth
repeating: editors need to be looking at other periodicals and
photos. Get in their heads and see what they do. And sometimes
it might mean taking photo spreads that they loved in
other periodicals and mimicking them. Learn why something
works. Why was this a great spread in Vanity Fair, or in
Smithsonian or National Geographic? What doesn’t work?
Portraits
1st Place, Portraits -"Kenny Davis,
Row Crop Farmer"
By Glen Liford, Tennessee Farmers Cooperative.
Judge's comments:
"The farmer comes off very sculptural, like an amber statue in the field. He rises up in the field like
presence in his environment. I don't usually like the subject looking into the camera, but
sometimes it is the strongest protrait, rather than trying to get the subject to do some action that doesn't look natural.
You feel his pride and the fun he is having as a farmer."
2nd Place, Portraits - "Warm Season Grass
Rancher"
By James Fashing, MFA Inc.
Judges' comments:
"Nice perspective, has good sense of scale of landscape and movement that draws your eye through
the landscape. Nice dynamic quality and great depth to it. An environmental potrait like this usually
stronger than straight on shot."
3rd Place- "Mr. Simmons"
By Robin Conover, Tennessee Association of Electric Co-ops.
Judges' comments:
"A charming picture that gives you a feeling of his joy in playing violin.
Composition works everything is going towards his face: you follow the violin strings to the man's face.
Eyes really do resonate behind his spectacles, and that's not an easy accomplishment".
Honorable Mention, Protraits "Responsibility"
By Sheryl Meshke, AMPI.
Judges comments:
"Handles difficult lighting situation effectively. Good depth of field. A bit more fill light might have calmed down the
background more. Natural action, even if it was a set up shot."
Honorable Mention "The New Face of West Texas Agriculture"
By Lynette Cockerell, Plains Cotton Coop Association.
Judges' comment:
"I like the perspective, looking up at her. You see that she's a real farmer there's dirt on her shoes. The
back-lit quality gives a feeling that she's almost ethereal. I like her looking into the distance like that instead of into camera.
She breaks the mold of the stereotypical femal farmer. She's mud-spattered and obviously a hands-on farmer. Photo projects that she makes
a real contribution to the farm."
News
1st Place, News - "Lost Harvest"
By Sheryl Meshke, AMPI.
Judges' comments:
"A provocative image. Nice use of a close up and a high impact photo that makes the point about drought's impact. Close
composition allows image to project well on printed page. Depth of field makes the main area of interest live.
Camera's point of view is a bit different than you might expect. Comes from long tradition of using
close-up on elements to stand for a larger whole. Hands stand for all farmers facing drought, and one ear of corn represents fields of corn".
2nd Place, News- "Bustin' Broncs"
By Bob McEowen, Missouri Association of Electric Co-ops.
Judges' comments:
"Captures decisive moment in a contest: strong expression on rider and horse, as well as body
language. Backgroud supports the foreground interest: captured the apex of the action and gesture, angle of the light at time of day highlights the
main subjects. I like the dirt flying around horses hooves. Also, the background is nice with repetition of the cowboy hats, one guy hats,
one guy in upper right corner has hand up to head, as if going "Oh my gosh."
Feature
1st Place, Feature- "Twilight at the Picutre Show
"By Bob McEown, Missouri Association of Electric Co-ops.
Judges' comments:
"Strong shot with a lot going on. Neon colors are great we love it!"
3rd Place, Feature - "Down, and Give Me 10"
By Bob McEown, Missouri Association of Electric Co-ops.
Judges' comments:
"Good color quality - we like the monochomatic background against the stark color of the troops' uniform.
A strong panorma shot."
Honorable Mention, Feature - "Dentist's Office"
By Bob McEown, Missouri Association of Electric Co-ops.
Judges' comments:
"Stong composition that has everything going toward the boy's face. Black and white photography is still a very effective media,
it should be used more often."
Scenic
2nd Place, Scenic "Little Pigion River"
By Robin Conover, Tennessee Association of Electric Co-ops.
Judges' comments:
"This is kind of standard shot but very pretty handled well. Has that little something extra that makes it evocative and gives it some mystery.
slow shutter speed gives movement, but not overdone. Plays well with mist or fog lifting up in back."
3rd Place, Scenic - "Sugar Coated"
By David Lundquits, CHS/Land O' Lakes.
Judges' comments:
"Triangular composition is strong. Caption is perfect."
Best Cover
1st Place, Best Cover - "Life's Simple Pleasures"
By David Lundquist (photog.), Steve Richter, (editor) CHS/Land O' Lakes.
Judges'comments:
"Would have like to see the cover headline in a hand script, because photo is lyrical.
On all three of these (finalists), the drop-in headlines die. Could all be much more
sophisticated. A very striking photo and clean layout."
2nd Place, Best Cover, "Cardinals in Winter"
By Robin Conover, Tennessee Association of Electric Cooperatives.
Judges' comments:
"Would have like to see the cover headline in a script font, because the photo is so lyrical. Could all be much more sophisticated. Photographer
must have shivered to get this shot. A dialogue in red. Might have placed cardinals in winter first on basis of just photo.
but when look at all elements, it gets knocked down a notch. "life's Simple Pleasure" is a cleaner cover, more striking."
