Jerod Foster - Storytellers: A Photographers Guide to Developing Themes and Creating Stories with Pictures

A Photographers Guide to Developing Themes and Creating Stories with Pictures

Jerod Foster

Storytellers:
A Photographers Guide to Developing Themes and Creating Stories with Pictures

Jerod Foster

New Riders
1249 Eighth Street
Berkeley, CA 94710
510/524-2178
510/524-2221 (fax)

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New Riders is an imprint of Peachpit, a division of Pearson Education

Copyright 2012 by Jerod Foster

Acquisitions Editor: Ted Waitt
Project Editor: Susan Rimerman
Developmental/Copy Editor: Peggy Nauts
Proofer: Elaine Merrill
Indexer: James Minkin
Production Editor: Danielle Foster
Interior Design and Composition: Kim Scott, Bumpy Design
Cover Design: Aren Straiger

Notice of Rights

All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact .

Notice of Liability

The information in this book is distributed on an As Is basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it.

Trademarks

Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book.

ISBN-13: 978-0-321-80356-6
ISBN10: 0-321-80356-6

9 8 7 6 5 4 3 2 1

Printed and bound in the United States of America

To my daughter, Eva Korynn,
Your life is your story.
All my love.

I would like to offer deep thanks to everyone at Peachpit and New Riders. Thank you for providing the opportunity to share what I love to do day in and day out and for offering such strong resources for a large international photography community. Your contributions to the world of visual storytelling matter each time someone turns one of your books pages.

Particularly, Id like to acknowledge this books production team. Books like this arent put together solely by the author. Rather, a supportive and extremely knowledgeable group of individuals works together to make my words and images flow as smoothly as possible. I couldnt ask for a better team to work with for my first book.

Ted Waitt, Peachpits acquisitions editor, is at the core of this project. Im ever thankful that his interest in my blog posts prompted our conversations on photography, lighting, and ultimately, the topic of visual storytelling.

My editor, Susan Rimerman, has been at the helm of this project since the beginning, providing guidance every step of the way. From trans-Atlantic phone calls to our hundreds of e-mails since the book was in proposal stage, Susan has continuously offered her expertise in transforming ideas into an extended production.

Peggy Nauts, my developmental editor, worked extra hard to make sure my words made sense. She helped hold my sanity together while putting up with my jokes and Texasisms.

Danielle Foster, the books production editor (and probably a distant cousin given how small this world is), kept the wheels greased, and proofreader Elaine Merrill finessed my copy and paid attention to the details.

Kim Scott, the books interior designer, and Aren Straiger, the cover designer, presented my images and text in a way that dresses both up. Visual stories are often not told alone, and Kim and Aren did a great job putting this one together.

To each and every person and animal Ive photographed and will continue to tell stories about, your generosity in allowing me to observe and capture parts of your lives and activities makes for a special experience each time I go on assignment or happen upon story. I wont forget the landscapes and places that have invited me in.

Among friends and colleagues around the world who pick up a camera every day to tell visual stories, particular thanks to Wyman Meinzer, who saw in my work something that could piece together a part of the larger narrative that surrounds a people and a place.

To all the readers of this book, thanks for not only your interest but ultimately your initiative to contribute to the stories that keep this world turning.

My appreciation goes to the College of Mass Communications at Texas Tech University for providing me the chance several years ago to share what I do professionally in an educational setting. I hope that teaching what I do encourages others to pursue opportunities in visual storytelling.

My familys support over the years has meant a great deal. Everyone from my parents, Jay and Marsha, to both sets of grandparents and beyond has taught me how to work hard and nurture my creative enterprise.

I thank my wife, Amanda Waters Foster, for her inspiration and loving support. Every day I understand more clearly why I call her my hero.

Last but certainly not least, I would like to thank God. Without him, the grand story of life wouldnt exist.

A couple years ago, I started a new series on my blog called Field Lighting. At the time, I thought it was simply a way for me to relay useful information for the next time readers were on a shoot. It also appealed to those who were interested in the behind-the-scenes production side of editorial and natural history shooting. I enjoyed writing this quasi-regular column (still do), and it even helped me pick up a few assignments along the way. I couldnt argue with that.

As it turned out, the Field Lighting series was not just a collection of posts about how to light a building or see the subtle variation in how composition affects how we light certain subject matter. The series was ultimately a collection of instructions and practical information on how to better tell story. I wasnt necessarily trying to emphasize how to light. Rather, I was more interested in showing how light contributes heavily to how photographers actually go about saying somethinghow using light can make us better storytellers. Story was the core of the posts.

When Peachpit expressed interest in my blog and I had the opportunity to write this book, I wanted it to complement the how-to books out there, explaining what it is that we really do when we pick up a camera, put it to our eyes, and trip the shutter. As a photography instructor, I teach about the technical handling of the tools of the trade. Theres quite a bit of value in learning your gear to the point that it becomes almost second nature. However, as a professional photographer, I also understand that just knowing how to operate the shutter speed and aperture dials alone wont create images that truly speak to an audience beyond the photographer and the photography community. Making a living at it depends on how well those images speak to an outside audience.

No matter whether were shooting a huge assignment for a national magazine or our family reunion, theres a story to be told. The notion of visual storytelling has a buzz these days, and for good reason. Story is the next stage in the conversation about how to develop your creative photographic vision.