focusing on one person, you can still tell the story of
the ship, the department, and the division.
d . FOCUSING ON PEOPLE. Whatever
the story, chances are it can be made better and more
interesting when it is told in terms of people doing
something. Of course, it is possible to focus on an
inanimate object, such as an airplane, but readership
tests indicate that people are interested in people.
UNIVERSAL APPEAL. Before your
picture story can appear in a newspaper or magazine,
it must appeal to a large number of people.
PREPARING THE SHOOTING SCRIPT. To
begin shooting a picture story without an idea of what
you are trying to accomplish is a real gamble. The
shooting script is a record of your ideasa blueprint
from which you build the story. But remember, your
shooting script is a guide only, and it should be
flexible to some degree.
A shooting script should answer the following
questions regarding a picture story:
The name of the individual or sub-
ject to be photographed. His or her
job title and duty responsibilities
should be included.
The exact nature of what subject
action is to be performed in support
of the overall theme of the picture
The time and date when the subject
is to be photographed. Ensure the
subject is available at the time
The exact location(s) where the
photography is to take place.
The reason(s) why this story should
appeal to a given audience.
List the shots you plan to
makeActions, such as loading the
gun, rolling the fire hose, and so on.
This includes long shots, medium
shots, close-ups, high angle of view,
low angle of view; point of focus;
and any unusual lighting conditions.
Remember, the shooting script is used as a guide;
that is its only purpose. It is intended to keep you on
the right track. The shooting script permits you to
begin a picture-story assignment with confidence. The
time spent in preparing a shooting script is
compensated for by the time and confusion you save
at the scene when the pictures are made.
5. SHOOTING PHOTOGRAPHS. The actual
shooting of photographs for a picture story does not
present a problem for a competent photographer.
Since you have a shooting script, the decisions you
must make at the job location involve only exposure
calculations and camera operations. There is one
problem worth mentioning; it is not always possible to
capture the abstract qualities in a picture. Visual
interpretation of an abstract idea is difficult, if not
impossible, to achieve at times. Emotions and moods
are recorded on film only through skill, perseverance,
and cooperation between the subject and the
photographer. Sometimes the emotion or mood may
linger for only a fraction of a second. You must be
prepared to trip the shutter at the precise moment the
action takes place.
A picture story must have a beginning, a middle
(body), and an ending. A picture story begins with a
LEAD PHOTOGRAPH. The lead photograph is the
most important picture in the story. This photograph
should identify the subject matter, relate the subject
matter to the slant or desired approach of the story,
and create an impact. The attention-getting lead
photograph should create the desire to know more
about the subject.
The picture story should proceed in logical order
without undue repetition or too great a step in
photograph progression. Each successive photograph
should contribute something significant to the
development of the story and provide smooth
continuity. The photographs that comprise the BODY
of the story should have long shots, medium shots,
close-ups, and be made from various points of view.
The second most important photograph is the
LAST or ENDING photograph. This photograph
should present the feeling of finality. It can also help
the viewer to arrive at a conclusion. Although it has
the ability to sway the readers mind, a picture story
should be presented objectively.
The number of photographs in a picture story is a
matter of judgment on your part. Too few
photographs are as distracting as too many
photographs. The factor that should govern the