Vous êtes à la tête d’un reportage de dernière minute. Comment faites-vous pour que les photographes saisissent votre vision éditoriale ?

Ideally any photographer I assign will be experienced and know what is expected from the brief given to them. They will understand the editorial guidelines and vision expected, as well as being objective in their coverage. Most important is to have the brief information accurate , eg times, place, contacts, and deadlines. If it’s hard news eg fires, crime scenes, natural disasters safety is paramount.

Two separate sets of directions: 1. Formal Composition Your photograph must first be powerful in its visual organization. Laws of Pragnatz. The principles of simplicity. Proximity, Similarity, Continuity, Closure, and Continuation A fundamental Gestalt psychology law concerning how humans process visual information. Your photographer must also speak this language. 2. Storytelling Use a mind map. With your concept in the center. Doing this activity with your photographer is ideal. If not you can give him yours and let him add to it remotely. Understanding of each other is a natural by product. A good icebreaker for new designer/photographer realtions.

1. Creative Consciousness: Being aware of the surroundings of breaking news stories and intuitively working on composition to tell the event, grasp the editorial clarity, and communicate it, for Ex. Concerning the social setup. 2. Identification of good spots and key moments: Ability to be mindful of situating in a stance where the news and story are delivered simultaneously. For Ex. Pulitzer Prize-winning photographer Doug Mills on his iconic photo of a bullet passing by former President Trump's ear and the chaos he witnessed at the rally in Butler, Pennsylvania.

Here are some practical tips: Start with a detailed briefing on the story’s context, key elements, and the specific shots you envision. Describe the tone and message you want to convey. Provide examples of photos that reflect the style or angle you're aiming for. Create a list of essential shots and angles that are crucial to the story. Highlight the main aspects of the story you want to emphasize. For instance, if it’s a human interest piece, stress capturing emotions and personal stories. If possible, be on location or stay in close communication to give real-time feedback and direction as the situation evolves. Allow some room for photographers to use their expertise and creativity. They might capture something unique

La fotografía documental tiene un discurso propio, no es una mera ilustración de la información escrita. El discurso visual y el escrito de en tener carácter complementario. Esto generalmente lo tienen presente los y las fotodocumentalistas, no así en todas las redacciones de los medios de comunicación, que en demasiadas ocasiones utilizan las imágenes como mero recurso visual. La labor de la edición gráfica es fundamental entre la entrega del material gráfico y su compaginación física y/o virtual realizada por el equipo de dirección de arte/ compaginación.

I disagree about raising the issue of lighting with them, a good photographer knows how to tell a good story through the lens of the camera make use of either artificial lighting or natural. They usually have a feel of most situations, and will capture them as close to the truth as possible, that’s what someone with a good ‘eye’ does. Remember the saying, a photograph can tell a thousand words - sorry, don’t have the exact quotation at hand.

La luz, la composición y el enfoque son muy importantes dependiendo como se los utilice. Pero antes de llegar a utilizar o ser conciente de estos elementos dentro del fotoperiodismo hay que recorrer un largo camino.

I think building a strong visual narrative for your photographer is important by briefing them on your overall goals for the shoot, but being aware that the final product may not come out as planned. I am a strong believer that your vision is only the foundation for good content; strong organic content is created when there aren’t too many parameters to follow and the business and photographer can work together to create their media.

Yes, but again this was obviously written by A.I. - situational awareness and safety comes with experience, and also investing in photojournalists prior to sending them into volatile environments. Adequate training and insurance would be nice investments by publications hiring photographers, rather than the current situation which seems to be mostly just who is there without regard for their training, experience or insurance.

Siempre la seguridad es lo primero. Pero tambiém el respeto por el otro/a. Cuantas veces nos sumergimos en medio de palos, piedrazos o malos tratos pero cuantas otras veces el fotoperiodismo atropella a las formas.

Real-time updates will encourage trust and boost efficiency especially in b2b & b2c companies. With technology at our fingertips, we have numerous ways to communicate efficiently & effectively. Find the communication method that works for you and your team and make sure everyone can utilize it. Since our workforce is more virtual-based than it’s ever been, real-time updates are more crucial than ever. There are so many instances where questions come up in the middle of a project and everyone needs to be on board to course correct so the client doesn’t feel a lag.

Um bom fluxo de comunicação é importante, pequenas checagens durante o processo e reforçando sobre o que é prioridade no briefing faz reduzir problemas na entrega do material final. Mas criar um ambiente de confiança e responsabilidade faz todos entenderem a sua importância no trabalho. Comunicação em excesso é um ponto a ser melhorado, isso costuma tirar a concentraçao e atrapalhar no andamento do trabalho.

UM ponto importante sobre a ética é respeitar padrões éticos e considerar possíveis eventos que fogem do conhecimento que temos. Eventos de religiões diferentes da nossa, crenças populares e aspectos sociais devem ser levantados e ter sempre o bom senso sobre como agir. A ignorância sobre fatos como esse podem gerar desconforto e todo o trabalho imparcial ser desconsiderado e a integridade dos fatos abalada.

I’ve definitely found that being transparent and authentic are imperative when guiding a project. I always start an open conversation with my business partners (photographers included) and clarify beforehand my expectations of the roadmap and final result. I will also add that I will give feedback in the moment so we can course correct in real-time. One more thing that has worked is asking the photographer (client) how they want to be addressed and how they like to receive feedback. Listening to them and simply being transparent goes a long way in any partnership.