Comments on: The Opener http://www.aphotoeditor.com/2008/02/11/the-opener/ Photography Director Rob Haggart Fri, 21 Nov 2008 05:22:49 +0000 http://wordpress.org/?v=2.6.1 By: A Photo Editor http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8499 A Photo Editor Tue, 12 Feb 2008 21:13:58 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8499 It's very subjective and ultimately up to the designer or creative director to make it work so I think the best method is to look at the other openers and determine what type of opener they're into. Graphic, works-with-the-headline, arresting, obvious, tells-the-story or varies-by-story-type. Somebody in a position of power at the publication has very specific ideas what the opener should be. It’s very subjective and ultimately up to the designer or creative director to make it work so I think the best method is to look at the other openers and determine what type of opener they’re into. Graphic, works-with-the-headline, arresting, obvious, tells-the-story or varies-by-story-type. Somebody in a position of power at the publication has very specific ideas what the opener should be.

]]> By: Robert Wright http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8494 Robert Wright Tue, 12 Feb 2008 20:49:48 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8494 interesting that the current story I just finished for nyt on fragrance bombers, the opener was not at any of the locations they had arranged. writers are notoriously bad location scouts, and photo editors are stuck behind the desk. that means that the photographer is usually behind the 8-ball from the start. interesting that the current story I just finished for nyt on fragrance bombers, the opener was not at any of the locations they had arranged. writers are notoriously bad location scouts, and photo editors are stuck behind the desk. that means that the photographer is usually behind the 8-ball from the start.

]]> By: Mahesh Shantaram http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8483 Mahesh Shantaram Tue, 12 Feb 2008 19:59:21 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8483 Rob, this is all very useful. It'll be even more helpful if you could give examples of what you consider are good openers and why. How do I know an opener when I see one? I think that's where professionals making their baby steps into editorial photography falter. In one assignment, I had an opener but didn't included it in my edited submission... before an experience photographer pointed it out. Sure enough, that's the image that opened the story in the magazine (Marie Claire India). Rob, this is all very useful. It’ll be even more helpful if you could give examples of what you consider are good openers and why.

How do I know an opener when I see one? I think that’s where professionals making their baby steps into editorial photography falter. In one assignment, I had an opener but didn’t included it in my edited submission… before an experience photographer pointed it out. Sure enough, that’s the image that opened the story in the magazine (Marie Claire India).

]]> By: scott Rex Ely http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8474 scott Rex Ely Tue, 12 Feb 2008 19:05:49 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8474 Rob@8 " but it behooves you to throw all the other shots out the window in favor of smashing openers that you will be remembered for and receive a fat display credit for." I'm sorry I thought that was obvious, apparently not. One more reinforcement relative to your previous threads about the need for photographers to be good editors. Rob@8 ” but it behooves you to throw all the other shots out the window in favor of smashing openers that you will be remembered for and receive a fat display credit for.”
I’m sorry I thought that was obvious, apparently not. One more reinforcement relative to your previous threads about the need for photographers to be good editors.

]]> By: A Photo Editor http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8467 A Photo Editor Tue, 12 Feb 2008 18:47:14 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8467 This post is more about office politics and photo industry politics rather than how consumers look at stories and it's certainly depends on the client but it behooves you to throw all the other shots out the window in favor of smashing openers that you will be remembered for and receive a fat display credit for. This post is more about office politics and photo industry politics rather than how consumers look at stories and it’s certainly depends on the client but it behooves you to throw all the other shots out the window in favor of smashing openers that you will be remembered for and receive a fat display credit for.

]]> By: scott Rex Ely http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8460 scott Rex Ely Tue, 12 Feb 2008 17:46:20 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8460 Rob, why don't you go through the World Press Photos of the Year post you link to and under the category of Stories select one or two stories from the first , second and third place winners and tell us which one of the images you would select as an "Opener"? Your insights are interesting but I'm kinda thinking you feel appetizers are more important than the main courses. Or their importance relative to the whole meal is exceptional. I personally have never NOT looked at the rest of a picture story because the opener was mediocre. Is there a category in any photo contest for "Openers"? I don't think it's really feasible to detach any photograph from its' presentation as an integral part of a collection, if it's used in the same issue, and assign more weight to it. I sometimes like the inside images better than the cover, but i always am pleased to find a favorite out of the bunch, but I don't care where it is in the magazine. Rob, why don’t you go through the World Press Photos of the Year post you link to and under the category of Stories select one or two stories from the first , second and third place winners and tell us which one of the images you would select as an “Opener”? Your insights are interesting but I’m kinda thinking you feel appetizers are more important than the main courses. Or their importance relative to the whole meal is exceptional. I personally have never NOT looked at the rest of a picture story because the opener was mediocre. Is there a category in any photo contest for “Openers”? I don’t think it’s really feasible to detach any photograph from its’ presentation as an integral part of a collection, if it’s used in the same issue, and assign more weight to it. I sometimes like the inside images better than the cover, but i always am pleased to find a favorite out of the bunch, but I don’t care where it is in the magazine.

]]> By: A Photo Editor http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8454 A Photo Editor Tue, 12 Feb 2008 17:03:27 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8454 Sure, the blame for these dropped openers can be traced back to editors who send writers on fishing trips (not sure what the story is but we can just root around for a bit and something is sure to turn up). I've greatly simplified the whole process here but I'm advising photographers to spend the majority of their time and effort on a path to discover and shoot the opener instead of covering all the details with the hope that an opener will appear or that someone will have that conversation in a meeting (I would ask assigning editors what they thought the opener would be in front of the editor in hopes that he would see how half-baked their plan was and demand they get more info out of the writer) and call to tell you what it is. I see it all the time where stories are expertly covered with little effort put into options for the opener. Of course, this is not a problem if you are a "named" photographer because I can always say "are you really not giving "special photographer" the opener?" and that usually fixes it. Sure, the blame for these dropped openers can be traced back to editors who send writers on fishing trips (not sure what the story is but we can just root around for a bit and something is sure to turn up). I’ve greatly simplified the whole process here but I’m advising photographers to spend the majority of their time and effort on a path to discover and shoot the opener instead of covering all the details with the hope that an opener will appear or that someone will have that conversation in a meeting (I would ask assigning editors what they thought the opener would be in front of the editor in hopes that he would see how half-baked their plan was and demand they get more info out of the writer) and call to tell you what it is. I see it all the time where stories are expertly covered with little effort put into options for the opener. Of course, this is not a problem if you are a “named” photographer because I can always say “are you really not giving “special photographer” the opener?” and that usually fixes it.

]]> By: Robert Wright http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8438 Robert Wright Tue, 12 Feb 2008 15:28:45 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8438 This is good advice but often it has nothing to do with the photographer or what they shot or didn't shoot. It has to do with the writing, which is often in progress during the shoot or ends up being revised or refocused. Photographers would be happy to shoot the opener if you just told them what you think it would be. I did a long story on Cancer for Fortune way back and this is how it went, the story was being written as I was shooting it. I would cross paths with the writer several times as we both flew around the country collecting material. It was never clear what the focus was and apart from assigning specific portraits to shoot there was no "concept" of what the story would look like. When the story was published it was a mish-mash of my photographs, some stock and the opener was a double page spread of type. You can imagine my disappointment to see this since I felt I had made strong work and none of my interpretation of their theme "war on cancer" had made it to the page. I think some of it was too uncomfortable actually. I wrote a letter that I never sent expressing my dismay at the treatment of the material. I really don't know what the problem was, but there was a ton of miscommunication and I was only getting snippets of it from my editor. In my experience photographers are given very very little to work with, and even if they are given the text of the story there is the whole other design and edit side and their opinions to contend with. I think it is therefore simplistic to say "shoot the opener first". If it was only that easy. This is good advice but often it has nothing to do with the photographer or what they shot or didn’t shoot. It has to do with the writing, which is often in progress during the shoot or ends up being revised or refocused. Photographers would be happy to shoot the opener if you just told them what you think it would be. I did a long story on Cancer for Fortune way back and this is how it went, the story was being written as I was shooting it. I would cross paths with the writer several times as we both flew around the country collecting material. It was never clear what the focus was and apart from assigning specific portraits to shoot there was no “concept” of what the story would look like. When the story was published it was a mish-mash of my photographs, some stock and the opener was a double page spread of type. You can imagine my disappointment to see this since I felt I had made strong work and none of my interpretation of their theme “war on cancer” had made it to the page. I think some of it was too uncomfortable actually. I wrote a letter that I never sent expressing my dismay at the treatment of the material. I really don’t know what the problem was, but there was a ton of miscommunication and I was only getting snippets of it from my editor.
In my experience photographers are given very very little to work with, and even if they are given the text of the story there is the whole other design and edit side and their opinions to contend with. I think it is therefore simplistic to say “shoot the opener first”. If it was only that easy.

]]> By: scott Rex Ely http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8429 scott Rex Ely Tue, 12 Feb 2008 13:41:32 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8429 I always did single one hit wonders for departments when I shot for magazines but I always have had this in the back of my mind when i ad the time to get past just a single portrait. This a formula that is probably older than me. Not everyone of these might be applicable for every assignment but I think it is till quite useful. What say yee, Rob?: Life formula for the photo essay Introductory or overall: usually a wide angle or aerial shot that establishes the scene. Medium: Focuses in on one element, like a person's face or an intricate detail of a building. Close-up: Zeroes in on one element, like a person's hands or an intricate detail of a building. Portrait: Usually either a dramatic, tight head shot or a person in his or her environmental setting. Interaction: People conversing or in action. Signature: Summarizes the situation getting all the key story-telling elements in one photo often called the decisive moment. Sequence: A how-to, before and after, or a series with a beginning, middle, and end (the sequence gives the essay a sense of action). Clincher: A closer that would end the story I always did single one hit wonders for departments when I shot for magazines but I always have had this in the back of my mind when i ad the time to get past just a single portrait. This a formula that is probably older than me. Not everyone of these might be applicable for every assignment but I think it is till quite useful. What say yee, Rob?:

Life formula for the photo essay

Introductory or overall: usually a wide angle or aerial shot that establishes the scene.

Medium: Focuses in on one element, like a person’s face or an intricate detail of a building.

Close-up: Zeroes in on one element, like a person’s hands or an intricate detail of a building.

Portrait: Usually either a dramatic, tight head shot or a person in his or her environmental setting.

Interaction: People conversing or in action.

Signature: Summarizes the situation getting all the key story-telling elements in one photo often called the decisive moment.

Sequence: A how-to, before and after, or a series with a beginning, middle, and end (the sequence gives the essay a sense of action).

Clincher: A closer that would end the story

]]> By: Bruce DeBoer http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8319 Bruce DeBoer Mon, 11 Feb 2008 21:28:18 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8319 Rob - this all sounds like a symptom of editorial experience (or lack of). Seems like you have a dilemma since you want trendy, edgy and experienced at a low price. That’s tough man; I’m glad I’m not in your shoes. Rob - this all sounds like a symptom of editorial experience (or lack of). Seems like you have a dilemma since you want trendy, edgy and experienced at a low price. That’s tough man; I’m glad I’m not in your shoes.

]]> By: Terence Patrick http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8305 Terence Patrick Mon, 11 Feb 2008 20:10:20 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8305 @1 Jonathan: It's really a combination of the three options you list, although the third option is ambiguous because you could say Platon/Robert Maxwell/Paolo Roversi are studio portraitists, but they deliver 100% of the time. If you're referring to Uncle Bob's portrait & wedding studio over on Main St., then there's a possibility they may not understand the need for headline space or crop room to fit a layout size. In any case, it's always good for the photo editor to remind the photographer about finding the lead shot first if it's someone who may have little to no editorial experience. For the younger photographers out there, remember to shoot the opening spread shot with the book's gutter in mind, meaning, don't put the subject's face/most important detail smack dab in the middle of the frame. Basically, keep the middle third of the frame clear. @1 Jonathan:

It’s really a combination of the three options you list, although the third option is ambiguous because you could say Platon/Robert Maxwell/Paolo Roversi are studio portraitists, but they deliver 100% of the time. If you’re referring to Uncle Bob’s portrait & wedding studio over on Main St., then there’s a possibility they may not understand the need for headline space or crop room to fit a layout size.

In any case, it’s always good for the photo editor to remind the photographer about finding the lead shot first if it’s someone who may have little to no editorial experience.

For the younger photographers out there, remember to shoot the opening spread shot with the book’s gutter in mind, meaning, don’t put the subject’s face/most important detail smack dab in the middle of the frame. Basically, keep the middle third of the frame clear.

]]> By: Jonathan Castner http://www.aphotoeditor.com/2008/02/11/the-opener/#comment-8290 Jonathan Castner Mon, 11 Feb 2008 17:17:36 +0000 http://aphotoeditor.com/2008/02/11/the-opener/#comment-8290 Rob do you find this problem is primarily when dealing with: 1) Young photographers 2) Photographers who are not experienced in producing photo packages/essays/stories 3) Photographers who are primarily studio/portraitists As a news/documentary photographer who very much into the long form visual story I am always looking for an opener. Thus your commentary strikes me as odd. If you are hiring a photographer to produce a package are these people experienced in photo stories? Rob do you find this problem is primarily when dealing with:

1) Young photographers
2) Photographers who are not experienced in producing photo packages/essays/stories
3) Photographers who are primarily studio/portraitists

As a news/documentary photographer who very much into the long form visual story I am always looking for an opener. Thus your commentary strikes me as odd. If you are hiring a photographer to produce a package are these people experienced in photo stories?

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