{"id":64,"date":"2022-08-07T21:43:13","date_gmt":"2022-08-07T21:43:13","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/?post_type=chapter&#038;p=64"},"modified":"2022-08-20T21:46:19","modified_gmt":"2022-08-20T21:46:19","slug":"photographing-interesting-people-in-your-community-a-guide-to-taking-portraits-from-the-new-york-times","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/chapter\/photographing-interesting-people-in-your-community-a-guide-to-taking-portraits-from-the-new-york-times\/","title":{"raw":"Chapter 16: Photographing Interesting People in Your Community: A Guide to Taking Portraits (from the New York Times)","rendered":"Chapter 16: Photographing Interesting People in Your Community: A Guide to Taking Portraits (from the New York Times)"},"content":{"raw":"<h2 id=\"article-summary\"><span style=\"font-size: 1.602em\">Follow these five steps to learn how to take photos that capture your subject\u2019s background and personality.<\/span><\/h2>\r\n<header>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div><img style=\"height: auto;width: 600px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/10\/17\/fashion\/15upnext-alexis1-LN\/15upnext-alexis1-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Paulina Alexis, an Indigenous Canadian actress, at a skate park on the Alexis Nakota Sioux Nation Reserve in Alberta, Canada. A &lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/10\/15\/style\/paulina-alexis-reservation-dogs-ghostbusters.html&quot;&gt;profile of Ms. Alexis&lt;\/a&gt; appeared in The Times\u2019s Up Next series.\" width=\"600\" height=\"750\" \/><\/div>\r\n<figcaption><span aria-hidden=\"true\">Paulina Alexis, an Indigenous Canadian actress, at a skate park on the Alexis Nakota Sioux Nation Reserve in Alberta, Canada. A\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/10\/15\/style\/paulina-alexis-reservation-dogs-ghostbusters.html\">profile of Ms. Alexis<\/a>\u00a0appeared in The Times\u2019s Up Next series.\u00a0<\/span>Credit...Amber Bracken for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n<div>\r\n\r\nBy\u00a0Kate Plows,\u00a0Donna Schou\u00a0and\u00a0<a href=\"https:\/\/www.nytimes.com\/by\/natalie-proulx\">Natalie Proulx<\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>Published Jan. 4, 2022 in the <a href=\"https:\/\/www.nytimes.com\/2022\/01\/04\/learning\/lesson-plans\/photographing-interesting-people-in-your-community-a-guide-to-taking-portraits.html\">New York Times Lesson Plans series<\/a>, which provides free lesson plans, writing prompts and activities for students, all base on Times journalism.<\/div>\r\n<\/header><section>\r\n<div>\r\n<div>\r\n\r\nWhat can a photograph reveal about someone\u2019s personality, background, work, hobbies or passions?\r\n\r\nIn this step-by-step guide to taking portraits, we\u2019ll show you how you can use the camera on your smartphone to tell a person\u2019s story.\r\n\r\nThis is part of a suite of resources to help teachers and students participate in The Learning Network\u2019s first-ever\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/12\/02\/learning\/putting-personality-on-paper-our-new-profile-contest.html\">Profile Contest<\/a>, which invites young people to choose an interesting person in their community to research, interview, photograph and write about.\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2022\/01\/04\/learning\/interview-edit-and-shape-a-step-by-step-guide-to-participating-in-our-profile-contest.html\">Here you can find a similar guide to conducting an interview and shaping the results into a compelling Q. and A.\u00a0<\/a>Both are designed for students and teachers who have no previous journalism or photography experience, though we hope many of the tips we offer will be useful to seasoned student journalists as well.\r\n\r\nIn this guide, we\u2019ll focus on \u201cenvironmental portraits,\u201d and we\u2019ll show you plenty of examples from The New York Times \u2014 starting with the one at the top of this post. Then, we\u2019ll walk you through taking environmental portraits of your own. We\u2019ll teach you some basic composition tips; share advice from a Times photographer on how to conduct a photo shoot; make suggestions for selecting, editing and captioning your photos; and challenge you with a few activities for practicing all these skills as you go.\r\n\r\nQuestions? Let us know in the comments, or by writing to LNFeedback@nytimes.com. We can\u2019t wait to see what you\u2019ll send us.\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\n<hr \/>\r\n\r\n<h2 id=\"link-78b4748\">Step 1: Understand the \u2018Environmental Portrait\u2019<\/h2>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img src=\"https:\/\/static01.nyt.com\/images\/2018\/09\/09\/nyregion\/09character-LN\/merlin_143317428_9f043848-8cb6-417d-9483-1a73c28d0ec3-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption>Credit...Johnny Milano for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\nWhen you read profiles, you\u2019ll see that they are nearly always accompanied by photographs of the subject. These photos give readers important information about the person \u2014 information that can\u2019t always be conveyed in words alone.\r\n\r\nThis type of photo is called an\u00a0<strong>environmental portrait<\/strong>. While a typical portrait focuses mainly on a person (often using a plain background and flattering lighting), an environmental portrait includes the person\u2019s surroundings, or environment. The location, the lighting, the angle and the items included within the frame all provide readers with vital visual clues about the subject.\r\n\r\nTake a look, for example, at the photo above of Martin Lewison, who was profiled in The New York Times\u2019s\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/column\/character-study\">Character Study<\/a>\u00a0column. What can you tell about Mr. Lewison from this photograph? What might his personality be like? What might be his interests or hobbies? What kind of job do you think he has? What do you see in the photograph that makes you say that?\r\n\r\nNow, read the first four paragraphs of\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/09\/06\/nyregion\/professor-roller-coaster.html\">Mr. Lewison\u2019s profile<\/a>. How close were your guesses?\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\nBefore you start planning how you\u2019re going to photograph the subject of the profile you are writing, let\u2019s take a look at a few more examples.\r\n\r\n<strong>Activity: Guessing Game<\/strong>\r\n\r\nTry the exercise you just did with Mr. Lewison\u2019s photo with several other environmental portraits from Times profiles. First, select two of the\u00a0<a title=\"\" href=\"https:\/\/int.nyt.com\/data\/documenttools\/environmental-portrait-activity\/6d9d617e1a2f466d\/full.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">images in this PDF<\/a>\u00a0to study closely. For each photo, list at least five things you can infer about the subject, as well as the clues in the photo that helped you draw those conclusions.\r\n\r\nYou might also try to guess the tone or mood of the profile based on the image. Do you think it is serious? Lighthearted? Inspiring? Something else? Why?\r\n\r\nHere are some clues to consider as you view your selected images:\r\n<ul>\r\n \t<li>The person\u2019s pose<\/li>\r\n \t<li>The person\u2019s expression<\/li>\r\n \t<li>The person\u2019s clothing<\/li>\r\n \t<li>The cropping of the photo (what the photographer chose to include or omit)<\/li>\r\n \t<li>The angle of the photo (where the photographer is standing in relation to the subject)<\/li>\r\n \t<li>Where the person\u2019s eyes are looking<\/li>\r\n \t<li>The lighting<\/li>\r\n \t<li>The framing (how the image ensures that the subject is the center of interest)<\/li>\r\n \t<li>Items in the photo<\/li>\r\n \t<li>The setting of the photo<\/li>\r\n<\/ul>\r\nAfter you\u2019ve made your inferences, read the first few paragraphs of the profile by clicking the \u201cRelated Article\u201d link below each photo. How close were your guesses?\r\n\r\nFinally, share your opinion. How strong were the photos you chose? What drew you to them? What specific techniques worked well? Did the photos give you accurate clues as to who the person was and what the profile was about?\r\n\r\nWhat, if anything, do you think the photographer could have done to make the photo stronger \u2014 either in technical terms or from a storytelling perspective? If you had taken the photo, what would you have done differently and why?\r\n<h2 id=\"link-43ebf63c\">Step 2: Learn Some Basic Photo Composition Techniques<\/h2>\r\nWhat makes a strong environmental portrait? The answer to that question may in part be subjective, since what you like isn\u2019t necessarily what someone else likes. But when a photograph makes you more interested in a story or evokes an emotion, that usually has not happened by accident. Photojournalists use\u00a0<strong>composition techniques<\/strong>,<strong>\u00a0<\/strong>which involve the careful placement of the subject within a frame, to catch viewers\u2019 eyes and create images that have mean.\r\n\r\nHere are six basic composition techniques you can try.\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n<h3><strong>1. Rule of Thirds<\/strong><\/h3>\r\nWhen the subject of a photo is in the center of the frame, our eyes sometimes get stuck there, missing the rest of the storytelling details in the photo. The rule of thirds is a fundamental composition technique that guides photographers to place subjects\u00a0<em>away<\/em>\u00a0from the center of the shot.\r\n\r\nImagine a tic-tac-toe board placed over the frame of your photograph. This divides your frame into nine equal rectangles with two vertical and two horizontal lines. The lines intersect at four points. Try to place your subject near one of these intersections. In portrait photography, aim to align the subject\u2019s eyes along one of the lines or at one of the intersection points. Even when you see a subject positioned in the center of the shot, the person\u2019s head or eyes will usually be aligned along one of the vertical or horizontal lines.\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2018\/08\/12\/nyregion\/12CHARACTER-LN\/12CHARACTER-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2018\/08\/08\/nyregion\/guarding-the-throats-of-broadway.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2018\/08\/08\/nyregion\/guarding-the-throats-of-broadway.html\">Related Article<\/a><\/span>Credit...Rick Loomis for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img src=\"https:\/\/static01.nyt.com\/images\/2021\/12\/13\/learning\/13NineGridLN\/13NineGridLN-articleLarge.png?quality=75&amp;auto=webp&amp;disable=upscale\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n<h3><strong>2. Angle<\/strong><\/h3>\r\nApproaching your subject from an angle that is different from the usual eye-level perspective can help to tell a powerful story. While shooting straight on is always an option, you might try to consider your subject from a different perspective.\r\n\r\nFor instance, photographs taken from a\u00a0<strong>worm\u2019s-eye angle\u00a0<\/strong>are captured from below, looking up at the subject. This angle can make your subject look bigger or more powerful. You can crouch down and aim upward, or even sit or lie on the ground for a dramatic shot.\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/14\/nyregion\/14geriatricrikers1-LN\/merlin_197567010_61d980bb-44f6-42bc-8a09-b085b7c36e8c-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/12\/nyregion\/rikers-older-prisoners.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/11\/12\/nyregion\/rikers-older-prisoners.html\">Related Article<\/a><\/span>Credit...Brittainy Newman for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/09\/18\/sports\/16nba-siakam3-print-LN\/merlin_194278356_37f1f703-36ae-460b-a7de-4158a79487c3-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/09\/16\/sports\/basketball\/pascal-siakam-toronto-raptors.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/09\/16\/sports\/basketball\/pascal-siakam-toronto-raptors.html\">Related Article<\/a><\/span>Credit...Jessica Lehrman for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\nPhotographs taken from a<strong>\u00a0bird\u2019s-eye angle\u00a0<\/strong>are captured from above the subject. This angle can imply a sense of power over the subject or make the subject look more diminutive. To capture a bird\u2019s-eye shot, stand on an elevated surface \u2014 like a chair, table or ladder \u2014 to aim your camera down at your subject.\r\n\r\n<\/div>\r\n<aside aria-label=\"companion column\"><\/aside><\/div>\r\n<div>\r\n<div id=\"story-ad-4-wrapper\">\r\n<div id=\"story-ad-4-slug\"><\/div>\r\n<div id=\"story-ad-4\" data-google-query-id=\"COGK7LPD5_YCFWDMGAId8EUMSw\">\r\n<div id=\"google_ads_iframe_\/29390238\/nyt\/learning\/lessonplans_6__container__\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/09\/06\/pageoneplus\/02a2_itt-surfers-LN\/02a2_itt-surfers-articleLarge-v2.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/interactive\/2021\/08\/31\/sports\/black-surfers.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\"><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/interactive\/2021\/08\/31\/sports\/black-surfers.html\">Related Article<\/a><\/span>Credit...Joshua Kissi for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/10\/21\/fashion\/21KENDALL-WERTS-1-LN\/merlin_195973344_cd2ffaca-14ac-42e3-af18-ee6f604b726d-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/10\/21\/fashion\/kendall-werts-jeffries.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/10\/21\/fashion\/kendall-werts-jeffries.html\">Related Article<\/a><\/span>Credit...Elliott Verdier for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n<h3><strong>3. Depth of Field<\/strong><\/h3>\r\nPhotojournalists use depth of field to describe how much of the background is in sharp focus. When a photograph has a\u00a0<strong>shallow depth of field,<\/strong>\u00a0the subject is in sharp focus and most of the background is blurred. A\u00a0<strong>wide depth of field\u00a0<\/strong>puts most of the scene in sharp focus.\r\n\r\nAs a photojournalist, you should carefully consider how important the background details are to your story. A shallow depth of field will focus attention on your subject, with the background providing a general sense of ambience or scene. If you want the viewer to notice important details of the background, consider a wide depth of field.\r\n\r\n<\/div>\r\n<aside aria-label=\"companion column\"><\/aside><\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/06\/multimedia\/06sp-wta-swiatek-inyt2-LN\/merlin_195242232_315a9151-ea69-46e7-867e-a384e3286606-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Shallow depth of field &lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/05\/sports\/tennis\/iga-swiatek-wta-finals.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\">Shallow depth of field\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/05\/sports\/tennis\/iga-swiatek-wta-finals.html\">Related Article<\/a><\/span>Credit...David W Cerny\/Reuters<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/09\/science\/00sci-genetherapy2-LN\/merlin_196909752_3bbd4c55-59f5-4057-beb2-fc8b5002094e-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Wide depth of field &lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/04\/health\/sharif-tabebordbar-gene-therapy.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\">Wide depth of field\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/04\/health\/sharif-tabebordbar-gene-therapy.html\">Related Article<\/a><\/span>Credit...Simon Simard for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\n<strong>4. Leading Lines<\/strong>\r\n\r\nPhotojournalists know how to use natural lines in the setting to lead the viewer\u2019s eye into the photo and toward the subject. Common examples of leading lines include traffic lanes, architectural elements and any sort of path. Leading lines can also be implied, such as the direction of a subject\u2019s gaze.\r\n\r\nLook for interesting lines in the environment and consider placing your subject where those lines direct or intersect. This technique often combines naturally with the rule of thirds.\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/28\/travel\/22renters1-LN\/merlin_197632425_22440d35-add6-4c4d-817a-6476cb9792bb-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/22\/realestate\/long-island-city-afghanistan-zahra-sahebzada.html%20&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/11\/22\/realestate\/long-island-city-afghanistan-zahra-sahebzada.html%20\">Related Article<\/a><\/span>Credit...Gabriela Bhaskar\/The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2017\/12\/31\/nyregion\/31CHARACTER1-LN\/31CHARACTER1-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2017\/12\/28\/nyregion\/running-an-indie-bookstore-with-churchillian-resolve.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2017\/12\/28\/nyregion\/running-an-indie-bookstore-with-churchillian-resolve.html\">Related Article<\/a><\/span>Credit...Edu Bayer for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\n<strong>5. Subframing<\/strong>\r\n\r\nSubframing is the compositional technique of using a natural frame within the space of the photo \u2014 like a doorway, window or landscape elements \u2014 to accentuate the subject. The frame can add helpful contextual information about the setting of the photo, as well as direct the viewer\u2019s attention to the subject.\r\n\r\n<\/div>\r\n<aside aria-label=\"companion column\"><\/aside><\/div>\r\n<div>\r\n<div id=\"story-ad-5-wrapper\">\r\n<div id=\"story-ad-5-slug\"><\/div>\r\n<div id=\"story-ad-5\" data-google-query-id=\"CJHgw7TD5_YCFVzgGAIdDUYD-Q\">\r\n<div id=\"google_ads_iframe_\/29390238\/nyt\/learning\/lessonplans_7__container__\">Once you start to notice subframes, you will see them everywhere. Architecture, trees, bodies and even shadows and light can create interesting subframes that help your viewer to notice the interesting context of your subject.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div><\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2020\/07\/24\/world\/24taiwan-laundry1a-LN\/merlin_174888354_cae974a1-0311-4912-827f-e631000138ca-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2020\/07\/24\/world\/asia\/taiwan-octogenarian-couple-instagram-laundry.html%20&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2020\/07\/24\/world\/asia\/taiwan-octogenarian-couple-instagram-laundry.html%20\">Related Article<\/a><\/span>Credit...Reef Chang<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/28\/realestate\/23WHATILOVE-SALIE-slide-D2UQ-LN\/23WHATILOVE-SALIE-slide-D2UQ-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/23\/realestate\/why-an-npr-quiz-show-panelist-loves-her-messy-apartment.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/11\/23\/realestate\/why-an-npr-quiz-show-panelist-loves-her-messy-apartment.html\">Related Article<\/a><\/span>Credit...Katherine Marks for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\n<strong>6. Distance<\/strong>\r\n\r\nThink about capturing your subject from varying distances. Photojournalists often take photos from wide, midrange and close-up distances. You can combine photos of different distances to tell a story.\r\n\r\nConsider, for example, the three photos below from the article \u201c<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/08\/31\/style\/martha-prewitt-opera-farm-kentucky.html\">It\u2019s Never Too Late to Ditch the City and Run a Farm<\/a>,\u201d a profile of Martha Prewitt, a former opera singer who quit to run her family\u2019s farm. The wide shot sets the scene, the midrange shot establishes Ms. Prewitt as the subject of the story and the close-up shot gives us insight into what her job on the farm is like.\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img src=\"https:\/\/static01.nyt.com\/images\/2021\/08\/31\/fashion\/31NeverTooLate-Farmer1\/31NeverTooLate-Farmer1-articleLarge-v2.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption>Credit...Morgan Hornsby for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img src=\"https:\/\/static01.nyt.com\/images\/2021\/08\/31\/fashion\/31NeverTooLate-Farmer11-LN\/31NeverTooLate-Farmer11-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption>Credit...Morgan Hornsby for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<button data-testid=\"photoviewer-expand-button\" aria-label=\"Expand this image\"><\/button><img src=\"https:\/\/static01.nyt.com\/images\/2021\/08\/31\/fashion\/31NeverTooLate-Farmer4-LN\/31NeverTooLate-Farmer4-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" \/>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\"><figcaption>Credit...Morgan Hornsby for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div id=\"story-ad-6-wrapper\">\r\n<div id=\"story-ad-6-slug\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\n<strong>Activity: Scavenger Hunt<\/strong>\r\n\r\nYou will see all of these composition techniques appear throughout the photojournalism in The New York Times. See how many you can spot in a scavenger hunt.\r\n\r\nCreate a slide show of images from The Times that demonstrates each of the composition techniques you learned about above:\r\n<ul>\r\n \t<li>Rule of thirds<\/li>\r\n \t<li>Angle (straight-on, worm\u2019s-eye and bird\u2019s-eye)<\/li>\r\n \t<li>Depth of field (shallow and wide)<\/li>\r\n \t<li>Leading lines<\/li>\r\n \t<li>Subframing<\/li>\r\n \t<li>Distance (wide, midrange and close-up shots)<\/li>\r\n<\/ul>\r\nOn each slide, copy and paste an image that demonstrates the technique and describe how the technique is used. Additionally, explain how the technique contributes to the photograph\u2019s story. For example, if you were to explain how the use of a wide depth of field contributes to the story of the image of the man in the laboratory, you might say, \u201cThe photographer uses a wide depth of field so viewers can see all the details of the laboratory. These details show us that his job is probably in science and that it is complicated.\u201d\r\n\r\nIf you have a subscription to The New York Times, you can explore the website on your own. If not, you can hunt through the free articles below to find examples of each technique.\r\n<ul>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/01\/26\/nyregion\/the-pin-chaser-in-charge.html\">The Pin Chaser in Charge<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/05\/world\/europe\/germany-black-woman-bundestag.html\">First Black Woman in Bundestag Wants to Change Image of \u2018Germanness\u2019<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/22\/sports\/magnus-carlsen-chess.html\">Magnus Inc.: The Business of Being World Chess Champion<\/a><\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/19\/arts\/dance\/berries-and-cream-tik-tok.html\">The Little Lad? Berries and Cream? Call It Performance Art.<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/19\/style\/love-on-the-spectrum-jodi-rodgers.html\">We Could All Use a Jodi in Our Lives<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/06\/01\/nyregion\/the-exacting-art-of-saxophone-repair.html\">The Exacting Art of Saxophone Repair<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/19\/fashion\/gifts-himmeli-straw-ornaments-finland.html\">In Finland, Turning Straw Into Magic<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/10\/26\/sports\/alex-honnold-mother-el-capitan.html\">It\u2019s Never Too Late to Climb That Mountain<\/a><\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/10\/08\/world\/europe\/lamont-jacobs-italy-sprinter.html\">A Surprise Sports Hero Broadens Italy\u2019s Image of Itself<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/06\/27\/nyregion\/manhole-impressionist.html\">Manhole Impressionist<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/09\/03\/world\/africa\/nigeria-delta-pollution-mangroves-agbani.html\">The Nigerian Activist Trying to Sell Plants to the Oil Company That Destroyed Them<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2019\/12\/05\/learning\/a-portrait-of-gen-z-winners-of-our-second-annual-student-photo-contest.html\">A Portrait of Gen Z: Winners of Our Second Annual Student Photo Contest<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/12\/03\/style\/dannie-lynn-fountain-kaitlyn-murphy-wedding.html\">Captivated by Her Yellow Glow<\/a><\/li>\r\n \t<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/07\/16\/nyregion\/novella-ford-Schomburg.html\">How a Champion of Black Culture Spends Her Sundays<\/a><\/li>\r\n<\/ul>\r\n<h2 id=\"link-789e9cd6\">Step 3: Practice With the Tools on Your Smartphone<\/h2>\r\n<\/div>\r\n<aside aria-label=\"companion column\"><\/aside><\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 600px\" src=\"https:\/\/static01.nyt.com\/images\/2020\/03\/04\/technology\/personaltech\/04TECHTIP_03-LN\/04TECHTIP_02-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Find more tips for taking photos with your phone in the article \u201c&lt;a href=&quot;https:\/\/www.nytimes.com\/2020\/03\/04\/technology\/personaltech\/iphone-pixel-camera-tips.html&quot;&gt;Get the Most Out of Your Fancy Smartphone Camera&lt;\/a&gt;.\u201d\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\">Find more tips for taking photos with your phone in the article \u201c<a title=\"\" href=\"https:\/\/www.nytimes.com\/2020\/03\/04\/technology\/personaltech\/iphone-pixel-camera-tips.html\">Get the Most Out of Your Fancy Smartphone Camera<\/a>.\u201d<\/span>Credit...The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\nNow that you know some composition techniques, it\u2019s time to practice them.\r\n\r\nThere are many methods you could use to photograph your subject. If you are an experienced photographer, you might think about the \u201cvisual concept\u201d of your profile and decide what kind of camera or technique you want to use to capture your subject. (We\u2019ll explain this more in the next section.)\r\n\r\nBut we\u2019re going to stick with a tool that most young people have access to: the camera on your smartphone.\r\n\r\nBelow, we share a few basic tips for achieving the effects you learned about in Step 2. You can read \u201c<a title=\"\" href=\"https:\/\/www.nytimes.com\/2020\/03\/04\/technology\/personaltech\/iphone-pixel-camera-tips.html\">Get the Most Out of Your Fancy Smartphone Camera<\/a>\u201d for even more detailed advice.\r\n<ul>\r\n \t<li><strong>Zoom with your feet.\u00a0<\/strong>You probably know how to zoom in with your smartphone by pinching the screen \u2014 but it is generally a good idea to avoid this and move closer to your subject instead. Digital zoom works by enlarging the pixels in your image, so capturing your image that way will often result in some pixelation.<\/li>\r\n \t<li><strong>Take time to focus.\u00a0<\/strong>The best photojournalism uses sharp focus to identify the subject of the shot. On a smartphone screen, tap on your subject to focus on this area of the image. Many smartphones now also have a \u201cportrait mode\u201d feature that keeps the subject in sharp focus while softening or blurring the background. As the photojournalist, you need to decide how much of the background of your environmental portrait is key to telling the story. If the viewer should notice important details in the setting, take care not to overuse portrait mode.<\/li>\r\n \t<li><strong>Compose your best shot.\u00a0<\/strong>Many smartphone cameras have a function that activates a grid on the camera screen to help you use rule of thirds to compose your shot. Go to the settings on your camera and select the grid option (make sure it is a nine-square grid). Remember to place the subject\u2019s eyes near one of the intersections.<\/li>\r\n \t<li><strong>Make the most of lighting.\u00a0<\/strong>Photojournalists know how to take advantage of natural lighting whenever possible. Natural light is generally softer and more flattering than indoor fluorescents. If it makes sense for the story you are documenting, take your photographs outdoors. The first few hours of the morning and the last few hours before sunset often provide the most inviting light.If an indoor setting is most appropriate for your subject, consider how you can use the light from a window or doorway in your scene. When additional lighting is necessary to enhance your subject in a darker space, use soft bulbs, or even consider draping artificial light with translucent fabric to soften the glare. You\u2019ll want the light in front of, not behind, your subject.Your smartphone camera allows you to increase or decrease the\u00a0<strong>exposure<\/strong>,<strong>\u00a0<\/strong>or brightness, of the shot. With an iPhone, tap on your subject on the screen, then use the slider to increase or decrease the exposure. On an Android phone, use the three-dot overflow button to find the square button with plus and minus signs. Tap the +1 or +2 to increase the exposure and the -1 or -2 to decrease it.<\/li>\r\n \t<li><strong>Turn your camera.<\/strong>\u00a0If you often take photos vertically, try to take a few shots horizontally and vice versa. This simple trick can help smartphone photographers be intentional about composition. Study the difference between portrait and landscape framing for your shots. Which direction tells the most complete story about your subject?<\/li>\r\n<\/ul>\r\n<strong>Activity: Practice, Practice, Practice<\/strong>\r\n\r\nTo get familiar with your camera, practice taking photos that clearly demonstrate the various composition techniques you\u2019ve learned. For an initial practice round, use a toy or other small object as your subject. Then practice with a willing family member or friend.\r\n\r\nThe biggest advantage to digital and smartphone photography is that you will never run out of film. So, with every decision you make about the composition of your photos, take multiple shots. If you adjust the subject\u2019s position, take several shots as you explore depth of field and exposure. If you change your angle or try a new composition guideline, shoot multiple photos as you zoom with your feet to get closer to and farther from your subject.\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\nAnd, if you want to go further, attend a school or local event and practice taking photos on location. Shooting \u201cin the field\u201d is a great exercise to develop your eye for finding beautiful compositions in any environment.\r\n<h2 id=\"link-10b72962\">Step 4: Photograph Your Subject (With Tips From a Times Photographer)<\/h2>\r\n<\/div>\r\n<aside aria-label=\"companion column\"><\/aside><\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 600px\" src=\"https:\/\/static01.nyt.com\/images\/2019\/12\/19\/insider\/19insider-willets-1-LN\/19insider-willets-1-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Todd Heisler, a Times photographer, photographing in Willets Point, Queens. &lt;a href=&quot;https:\/\/www.nytimes.com\/2019\/12\/18\/reader-center\/willets-point-workers-photography.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\">Todd Heisler, a Times photographer, photographing in Willets Point, Queens.\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2019\/12\/18\/reader-center\/willets-point-workers-photography.html\">Related Article<\/a><\/span>Credit...Jeffrey Furticella\/The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n\r\nYou know some composition techniques. You\u2019re familiar with the tools on your camera. Now you\u2019re ready to take photos of the subject of your profile.\r\n\r\nThe photo shoot involves more than going out and just snapping a few photos. In addition to thinking about the technical aspects of your photography, you\u2019ll also have to think about how to make your subject comfortable and how you can get creative to bring out the aspects of the person\u2019s personality and life story that are most important to your profile.\r\n\r\nBelow, we offer some questions to ask yourself before and during the photo shoot, along with advice from\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/by\/todd-heisler\">Todd Heisler<\/a>, a staff photographer for The New York Times, adapted from what he told us on The Learning Network\u2019s\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/18\/learning\/live-webinar-teach-profile-writing-with-the-new-york-times.html\">webinar on teaching profile writing<\/a>. You can\u00a0<a title=\"\" href=\"https:\/\/event.on24.com\/wcc\/r\/3391397\/5270D53F04545CB8A81F25E0E37C55FF?partnerref=announcement\" target=\"_blank\" rel=\"noopener noreferrer\">watch the full webinar on demand<\/a>\u00a0to hear even more of Mr. Heisler\u2019s tips.\r\n\r\n<strong>Questions to Ask Yourself Before the Photo Shoot<\/strong>\r\n<ul>\r\n \t<li><em>What is the focus of my profile?<\/em>\u00a0You or your partner will need to conduct the interview, or at least talk to your subject, ahead of time to get some sense of who the person is and what is interesting about him or her. This information will help you determine the \u201cvisual concept\u201d of your story, as well as where you\u2019ll photograph your subject.Mr. Heisler says that sometimes he and the reporter will go to the interview together. Other times, he\u2019ll read the reporter\u2019s story ahead of time so he knows what to focus on in his photography.<\/li>\r\n \t<li><em>What is the visual concept of my profile?\u00a0<\/em>Mr. Heisler says that he always asks himself: \u201cWhat\u2019s the story? What kind of photographs do I want to make? What does it feel like?\u201dFor example, for a\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2019\/12\/18\/reader-center\/willets-point-workers-photography.html\">story about the auto body shops of Willets Point, Queens<\/a>, that had been around since the 1930s and were being cleared for development, the photographers, including Mr. Heisler, wanted to capture the shops\u2019 historical value. So, instead of digital photography, they decided to use 19th-century-style tintypes to \u201ccreate an authentic, respectful portrait of a gritty, bygone part of New York City.\u201d<\/li>\r\n \t<li><em>Where is the best place to photograph my subject to tell the story?<\/em>\u00a0You will want to get photos of subjects in their environments. Take a look at these\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/interactive\/2021\/07\/20\/nyregion\/ny-service-workers-covid.html\">photos of service workers<\/a>\u00a0\u2014 cabdrivers, movers, chefs and housekeepers \u2014 at the places they work to see examples.Mr. Heisler says he usually doesn\u2019t want people to completely clear their schedules for him. \u201cThere\u2019s nothing worse than knowing that I want to make photographs about what somebody\u2019s day is like, and I show up and they say, \u2018Well, I cleared all my activities for the day so we could spend time together.\u2019 Then, it\u2019s somebody sitting on the couch all day, which is not what I want.\u201d<\/li>\r\n<\/ul>\r\n<strong>Questions to Ask Yourself During the Photo Shoot<\/strong>\r\n<ul>\r\n \t<li><em>Where specifically might the photographs happen?\u00a0<\/em>Once Mr. Heisler gets on location, he said, he thinks about framing, composition, and, most important, lighting. He asks himself: \u201cIf it\u2019s a portrait, where would I put them? How does the light hit their face?\u201d And he asks his subjects: \u201cWhere are you comfortable? What is meaningful to you?\u201dIf possible, you might take some photos in the environment from different perspectives before the subject arrives. Remember, every item matters in an environmental portrait, so move things you don\u2019t want in the shot out of the way. Try also to keep an eye on what\u2019s in the background so that nothing appears to be sticking out of the subject\u2019s head.<\/li>\r\n \t<li><em>How can I make my subject comfortable?<\/em>\u00a0As Mr. Heisler phrased it in our webinar: \u201cShowing up, I\u2019m a stranger, coming into this strange place. You have to get in with people.\u201dOnce your subject is in the perfect spot, put your camera down and talk to him or her. What\u2019s the person\u2019s story? Can you find something you have in common to talk about? Then start shooting\u00a0<em>while<\/em>\u00a0you continue to talk to your subject. Take photos when he or she is thinking of an answer to a question, or laughing. You\u2019re trying to get the person to relax and enjoy the process while you capture genuine expressions that feel comfortable, not forced.And, remember, you are in charge. Your subject will be trusting you to tell him or her if something doesn\u2019t look right. Don\u2019t be afraid to ask your subject to move, but don\u2019t touch the person. Show directions by using hand gestures.<\/li>\r\n \t<li><em>How can I tell the story of this person?<\/em>\u00a0Mr. Heisler suggests thinking about this in a variety of ways. \u201cIf this is something where I can tell the story in multiple photographs, I\u2019m thinking about details. I\u2019m thinking about, \u2018What is a sense of place?\u2019 \u2026 And then moving in a little closer, \u2018What is the person like?\u2019 And trying to find some expression, or a moment: some action.\u201dSee how Mr. Heisler strikes that balance in the article \u201c<a title=\"\" href=\"https:\/\/www.nytimes.com\/interactive\/2021\/09\/30\/sports\/montana-skateboarding-jeff-ament.html\">A Rock Star\u2019s Next Act: Making Montana a Skateboarding Oasis<\/a>.\u201d He said he made sure to capture the scenery surrounding the skate park because the location, Montana, was an important part of the story.Consider how you can use the compositional techniques you learned to bring out your subject\u2019s personality. For example, if your subject is a woodworker, maybe you want to have some close-ups of the person\u2019s hands doing their craft. If the person is an important community member, you can make him or her look powerful by shooting with a worm\u2019s eye angle.<\/li>\r\n \t<li><em>How can I keep my photographs interesting?\u00a0<\/em>Take lots of shots and move around, Mr. Heisler suggests. \u201cTry to make a photograph in a way you\u2019re not used to doing it,\u201d he said. \u201cIf you\u2019re used to hitting something from a certain angle, get up and try it from the other side and just see how the light plays.<\/li>\r\n<\/ul>\r\n<strong>Activity: Photo Shoot<\/strong>\r\n\r\nPut everything that you\u2019ve learned so far into practice. Pick a place and time that works for you and your subject (remember to consider natural lighting when determining the time of the shoot).\r\n\r\n<\/div>\r\n<div>\r\n\r\nThen, take a series of photos of your subject. Experiment with various angles, framing, props, positions and actions that show different expressions or different sides of the person\u2019s personality. Take as many shots as you can: The more photos you have to choose from as you begin to select your best shots and edit, the better your final photojournalism project will be.\r\n\r\nIf possible to do it safely \u2014 for example, outdoors or masked \u2014 we hope you\u2019ll photograph your subject in person. But if not, this\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2020\/05\/14\/reader-center\/coronavirus-remote-photo.html\">Times Insider article from a Times photographer<\/a>\u00a0has advice on how to shoot in a socially distant way without sacrificing intimacy.\r\n<div>\r\n<div>\r\n<h2 id=\"link-4f3338e7\">Step 5: Choose, Edit and Caption the Photos for Your Profile<\/h2>\r\n<\/div>\r\n<aside aria-label=\"companion column\"><\/aside><\/div>\r\n<div>\r\n<div data-testid=\"photoviewer-wrapper\">\r\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<div data-testid=\"photoviewer-overlay\">\r\n<div data-testid=\"photoviewer-captionblock\"><\/div>\r\n<div>\r\n<div>\r\n<div data-testid=\"lazy-image\"><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div data-testid=\"photoviewer-children\">\r\n<figure role=\"group\" aria-label=\"media\">\r\n<div>\r\n<div data-testid=\"lazy-image\">\r\n<div data-testid=\"lazyimage-container\"><img style=\"height: auto;width: 600px\" src=\"https:\/\/static01.nyt.com\/images\/2018\/10\/09\/science\/09SCI-KIVELSON4-LN\/merlin_143373921_aa47126e-95b6-42ca-b910-1bfdb820b975-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Margaret Kivelson, a physicist who was featured in The Times\u2019s Profiles in Science column. &lt;a href=&quot;https:\/\/www.nytimes.com\/2018\/10\/08\/science\/margaret-kivelson-europa.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\r\n<\/div>\r\n<\/div>\r\n<figcaption><span aria-hidden=\"true\">Margaret Kivelson, a physicist who was featured in The Times\u2019s Profiles in Science column.\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/10\/08\/science\/margaret-kivelson-europa.html\">Related Article<\/a><\/span>Credit...Jenna Schoenefeld for The New York Times<\/figcaption><\/figure>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div>\r\n<div>\r\n\r\nNow that you\u2019ve taken a variety of photographs of your subject, you will need to select and edit the ones you want to use for your profile. If you are submitting to our Profile Contest, you must include at least one photo in your profile, and you can include up to three.\r\n\r\n<strong>Selection<\/strong>\r\n\r\nAs you select the photos you want to include, consider the story you want them to tell about your subject. Because these photos are for a profile, at least one of them should clearly show your subject\u2019s face. For the others, you might consider how you can use distance \u2014 like a wide shot to show the environment or a close-up to show more intimate details \u2014 to reveal the most important aspects of the person\u2019s story.\r\n\r\nYou should also consider tone. Is the subject you are writing about serious? Lighthearted? Inspiring? Gritty? The lighting, the colors and the subject\u2019s expression and movement will all contribute to the mood you are trying to create\r\n\r\n<strong>Editing<\/strong>\r\n\r\n<\/div>\r\n<\/div>\r\n<div>\r\n\r\nOnce you have selected your photos, you will need to edit them. Your editing should focus on enhancing the quality of the photo, but you should not alter the reality of the photo in any way. Here are some things to consider:\r\n<ul>\r\n \t<li><em>Crop carefully.<\/em>\u00a0In an environmental portrait, every part of the picture is important. Crop your photos carefully to eliminate any space that doesn\u2019t help tell the story. You can also use cropping to cut out distracting background information.Consider the photo above of Margaret Kivelson, a physicist, from her 2018\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/10\/08\/science\/margaret-kivelson-europa.html\">feature in Profiles in Science<\/a>. Although there was probably much more to see along the campus street, the photographer, Jenna Schoenefeld, cropped this shot to frame Ms. Kivelson along the rule of thirds and to eliminate any space that did not contribute to the story.It is generally a good idea to use a standard aspect ratio when cropping. Most smartphone cameras have ratios like 1:1 (square), 7:5, 4:3, 16:9 and others embedded in the cropping tool. Cropping to a standard aspect ensures that your photo will fit in standard publication guides or frames.<\/li>\r\n \t<li><em>Consider photojournalism ethics.\u00a0<\/em>Since the photos for your profile story are journalistic, they should present an accurate representation of your subject without any tricks or manipulation. Please keep digital manipulation and postprocessing to a minimum. (That is, you may use editing software for minor corrections such as one might make in a darkroom \u2014 like cropping, adjusting brightness and balancing colors \u2014 but please do not alter the reality of the photo in any way.) If you are using a camera phone, please do not use filter effects. Submit your photos as individual images, not as collages or photo illustrations.Review the section on Photography and Imagery in The New York Times\u2019s\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/editorial-standards\/guidelines-on-integrity.html\">Guidelines on Integrity<\/a>\u00a0to ensure your photos meet these important standards.<\/li>\r\n \t<li><em>Use editing tools thoughtfully.\u00a0<\/em>There are many photo editing tools at your fingertips on a smartphone or personal computer. Simple built-in tools on your smartphone\u2019s camera can adjust exposure and contrast, brighten the shadows or soften the highlights, or even enhance a photo\u2019s sharpness. Apps like Snapseed and Lightroom Mobile add even more options to your editing toolbox.<\/li>\r\n<\/ul>\r\n<strong>Captions<\/strong>\r\n\r\nPhotojournalists use captions to describe the storytelling details of their photos. A caption usually includes information about the \u201cFive W\u2019s\u201d of each photo \u2014 who, what, when, where and why. Include details that are most important to your story.\r\n\r\nA caption should usually explain what readers cannot see for themselves in the picture and omit the obvious. For example, the top photo in\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/03\/20\/science\/david-reich-human-migrations.html\">this Times profile<\/a>\u00a0of David Reich has a detailed caption that describes what the technician is doing \u2014 a process that is not obvious from the photograph.\r\n<div class=\"css-1lw3v26 e1e7j8ap0\">\r\n<div>\r\n\r\nKate Plows teaches media arts and coaches the yearbook at Strath Haven High School in Wallingford, Pa. She was a member of the 2020-21 cohort of The New York Times Teaching Project.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"css-1lw3v26 e1e7j8ap0\">\r\n<div>\r\n\r\nDonna Schou teaches photography at Lynnwood High School in\u00a0Bothell, Wash.\u00a0She previously worked as a professional photographer. She was a member of the 2020-21 cohort of The New York Times Teaching Project.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"css-1lw3v26 e1e7j8ap0\">\r\n<div>\r\n\r\nNatalie Proulx joined The Learning Network as a staff editor in 2017 after working as an English language arts teacher and curriculum writer.\r\n<div class=\"css-s99gbd StoryBodyCompanionColumn\">\r\n<div class=\"css-53u6y8\">\r\n<p class=\"css-at9mc1 evys1bk0\"><strong class=\"css-8qgvsz ebyp5n10\">Activity: Select, edit, and caption your photos.<\/strong><\/p>\r\n<p class=\"css-at9mc1 evys1bk0\">Choose and edit the one to three photos you would like to include in your profile.<\/p>\r\n<p class=\"css-at9mc1 evys1bk0\">To make sure the subject of your profile comes across the way you want him or her to in your photos, you might try an exercise like the one you did in Step 1 of this lesson. Share your photo selections with a partner and have him or her try to guess some attributes of your subject. Is your partner able to infer some information about your subject\u2019s personality or the focus of your profile? The guesses don\u2019t have to be 100 percent correct, but they should be fairly close.<\/p>\r\n<p class=\"css-at9mc1 evys1bk0\">If your partner\u2019s guesses are way off, or she or he doesn\u2019t feel like there are enough visual clues to make a guess, return to your pool of photos and see if you can find others that better represent your subject.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div><\/div>\r\n<div class=\"css-s99gbd StoryBodyCompanionColumn\">\r\n<div class=\"css-53u6y8\">\r\n<p class=\"css-at9mc1 evys1bk0\">Finally, once you have your final selections, add a one-sentence caption to each photo explaining the image.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/section>","rendered":"<h2 id=\"article-summary\"><span style=\"font-size: 1.602em\">Follow these five steps to learn how to take photos that capture your subject\u2019s background and personality.<\/span><\/h2>\n<header>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div><img loading=\"lazy\" decoding=\"async\" style=\"height: auto;width: 600px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/10\/17\/fashion\/15upnext-alexis1-LN\/15upnext-alexis1-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Paulina Alexis, an Indigenous Canadian actress, at a skate park on the Alexis Nakota Sioux Nation Reserve in Alberta, Canada. A &lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/10\/15\/style\/paulina-alexis-reservation-dogs-ghostbusters.html&quot;&gt;profile of Ms. Alexis&lt;\/a&gt; appeared in The Times\u2019s Up Next series.\" width=\"600\" height=\"750\" \/><\/div><figcaption><span aria-hidden=\"true\">Paulina Alexis, an Indigenous Canadian actress, at a skate park on the Alexis Nakota Sioux Nation Reserve in Alberta, Canada. A\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/10\/15\/style\/paulina-alexis-reservation-dogs-ghostbusters.html\">profile of Ms. Alexis<\/a>\u00a0appeared in The Times\u2019s Up Next series.\u00a0<\/span>Credit&#8230;Amber Bracken for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<p>By\u00a0Kate Plows,\u00a0Donna Schou\u00a0and\u00a0<a href=\"https:\/\/www.nytimes.com\/by\/natalie-proulx\">Natalie Proulx<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>Published Jan. 4, 2022 in the <a href=\"https:\/\/www.nytimes.com\/2022\/01\/04\/learning\/lesson-plans\/photographing-interesting-people-in-your-community-a-guide-to-taking-portraits.html\">New York Times Lesson Plans series<\/a>, which provides free lesson plans, writing prompts and activities for students, all base on Times journalism.<\/div>\n<\/header>\n<section>\n<div>\n<div>\n<p>What can a photograph reveal about someone\u2019s personality, background, work, hobbies or passions?<\/p>\n<p>In this step-by-step guide to taking portraits, we\u2019ll show you how you can use the camera on your smartphone to tell a person\u2019s story.<\/p>\n<p>This is part of a suite of resources to help teachers and students participate in The Learning Network\u2019s first-ever\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/12\/02\/learning\/putting-personality-on-paper-our-new-profile-contest.html\">Profile Contest<\/a>, which invites young people to choose an interesting person in their community to research, interview, photograph and write about.\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2022\/01\/04\/learning\/interview-edit-and-shape-a-step-by-step-guide-to-participating-in-our-profile-contest.html\">Here you can find a similar guide to conducting an interview and shaping the results into a compelling Q. and A.\u00a0<\/a>Both are designed for students and teachers who have no previous journalism or photography experience, though we hope many of the tips we offer will be useful to seasoned student journalists as well.<\/p>\n<p>In this guide, we\u2019ll focus on \u201cenvironmental portraits,\u201d and we\u2019ll show you plenty of examples from The New York Times \u2014 starting with the one at the top of this post. Then, we\u2019ll walk you through taking environmental portraits of your own. We\u2019ll teach you some basic composition tips; share advice from a Times photographer on how to conduct a photo shoot; make suggestions for selecting, editing and captioning your photos; and challenge you with a few activities for practicing all these skills as you go.<\/p>\n<p>Questions? Let us know in the comments, or by writing to LNFeedback@nytimes.com. We can\u2019t wait to see what you\u2019ll send us.<\/p>\n<\/div>\n<\/div>\n<div>\n<div>\n<hr \/>\n<h2 id=\"link-78b4748\">Step 1: Understand the \u2018Environmental Portrait\u2019<\/h2>\n<\/div>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" src=\"https:\/\/static01.nyt.com\/images\/2018\/09\/09\/nyregion\/09character-LN\/merlin_143317428_9f043848-8cb6-417d-9483-1a73c28d0ec3-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"image\" \/><\/div>\n<\/div>\n<\/div><figcaption>Credit&#8230;Johnny Milano for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<p>When you read profiles, you\u2019ll see that they are nearly always accompanied by photographs of the subject. These photos give readers important information about the person \u2014 information that can\u2019t always be conveyed in words alone.<\/p>\n<p>This type of photo is called an\u00a0<strong>environmental portrait<\/strong>. While a typical portrait focuses mainly on a person (often using a plain background and flattering lighting), an environmental portrait includes the person\u2019s surroundings, or environment. The location, the lighting, the angle and the items included within the frame all provide readers with vital visual clues about the subject.<\/p>\n<p>Take a look, for example, at the photo above of Martin Lewison, who was profiled in The New York Times\u2019s\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/column\/character-study\">Character Study<\/a>\u00a0column. What can you tell about Mr. Lewison from this photograph? What might his personality be like? What might be his interests or hobbies? What kind of job do you think he has? What do you see in the photograph that makes you say that?<\/p>\n<p>Now, read the first four paragraphs of\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/09\/06\/nyregion\/professor-roller-coaster.html\">Mr. Lewison\u2019s profile<\/a>. How close were your guesses?<\/p>\n<\/div>\n<\/div>\n<div>\n<div>\n<p>Before you start planning how you\u2019re going to photograph the subject of the profile you are writing, let\u2019s take a look at a few more examples.<\/p>\n<p><strong>Activity: Guessing Game<\/strong><\/p>\n<p>Try the exercise you just did with Mr. Lewison\u2019s photo with several other environmental portraits from Times profiles. First, select two of the\u00a0<a title=\"\" href=\"https:\/\/int.nyt.com\/data\/documenttools\/environmental-portrait-activity\/6d9d617e1a2f466d\/full.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">images in this PDF<\/a>\u00a0to study closely. For each photo, list at least five things you can infer about the subject, as well as the clues in the photo that helped you draw those conclusions.<\/p>\n<p>You might also try to guess the tone or mood of the profile based on the image. Do you think it is serious? Lighthearted? Inspiring? Something else? Why?<\/p>\n<p>Here are some clues to consider as you view your selected images:<\/p>\n<ul>\n<li>The person\u2019s pose<\/li>\n<li>The person\u2019s expression<\/li>\n<li>The person\u2019s clothing<\/li>\n<li>The cropping of the photo (what the photographer chose to include or omit)<\/li>\n<li>The angle of the photo (where the photographer is standing in relation to the subject)<\/li>\n<li>Where the person\u2019s eyes are looking<\/li>\n<li>The lighting<\/li>\n<li>The framing (how the image ensures that the subject is the center of interest)<\/li>\n<li>Items in the photo<\/li>\n<li>The setting of the photo<\/li>\n<\/ul>\n<p>After you\u2019ve made your inferences, read the first few paragraphs of the profile by clicking the \u201cRelated Article\u201d link below each photo. How close were your guesses?<\/p>\n<p>Finally, share your opinion. How strong were the photos you chose? What drew you to them? What specific techniques worked well? Did the photos give you accurate clues as to who the person was and what the profile was about?<\/p>\n<p>What, if anything, do you think the photographer could have done to make the photo stronger \u2014 either in technical terms or from a storytelling perspective? If you had taken the photo, what would you have done differently and why?<\/p>\n<h2 id=\"link-43ebf63c\">Step 2: Learn Some Basic Photo Composition Techniques<\/h2>\n<p>What makes a strong environmental portrait? The answer to that question may in part be subjective, since what you like isn\u2019t necessarily what someone else likes. But when a photograph makes you more interested in a story or evokes an emotion, that usually has not happened by accident. Photojournalists use\u00a0<strong>composition techniques<\/strong>,<strong>\u00a0<\/strong>which involve the careful placement of the subject within a frame, to catch viewers\u2019 eyes and create images that have mean.<\/p>\n<p>Here are six basic composition techniques you can try.<\/p>\n<\/div>\n<\/div>\n<div>\n<div>\n<h3><strong>1. Rule of Thirds<\/strong><\/h3>\n<p>When the subject of a photo is in the center of the frame, our eyes sometimes get stuck there, missing the rest of the storytelling details in the photo. The rule of thirds is a fundamental composition technique that guides photographers to place subjects\u00a0<em>away<\/em>\u00a0from the center of the shot.<\/p>\n<p>Imagine a tic-tac-toe board placed over the frame of your photograph. This divides your frame into nine equal rectangles with two vertical and two horizontal lines. The lines intersect at four points. Try to place your subject near one of these intersections. In portrait photography, aim to align the subject\u2019s eyes along one of the lines or at one of the intersection points. Even when you see a subject positioned in the center of the shot, the person\u2019s head or eyes will usually be aligned along one of the vertical or horizontal lines.<\/p>\n<\/div>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2018\/08\/12\/nyregion\/12CHARACTER-LN\/12CHARACTER-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2018\/08\/08\/nyregion\/guarding-the-throats-of-broadway.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2018\/08\/08\/nyregion\/guarding-the-throats-of-broadway.html\">Related Article<\/a><\/span>Credit&#8230;Rick Loomis for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" src=\"https:\/\/static01.nyt.com\/images\/2021\/12\/13\/learning\/13NineGridLN\/13NineGridLN-articleLarge.png?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"image\" \/><\/div>\n<\/div>\n<\/div><figcaption><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<h3><strong>2. Angle<\/strong><\/h3>\n<p>Approaching your subject from an angle that is different from the usual eye-level perspective can help to tell a powerful story. While shooting straight on is always an option, you might try to consider your subject from a different perspective.<\/p>\n<p>For instance, photographs taken from a\u00a0<strong>worm\u2019s-eye angle\u00a0<\/strong>are captured from below, looking up at the subject. This angle can make your subject look bigger or more powerful. You can crouch down and aim upward, or even sit or lie on the ground for a dramatic shot.<\/p>\n<\/div>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/14\/nyregion\/14geriatricrikers1-LN\/merlin_197567010_61d980bb-44f6-42bc-8a09-b085b7c36e8c-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/12\/nyregion\/rikers-older-prisoners.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/11\/12\/nyregion\/rikers-older-prisoners.html\">Related Article<\/a><\/span>Credit&#8230;Brittainy Newman for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/09\/18\/sports\/16nba-siakam3-print-LN\/merlin_194278356_37f1f703-36ae-460b-a7de-4158a79487c3-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/09\/16\/sports\/basketball\/pascal-siakam-toronto-raptors.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/09\/16\/sports\/basketball\/pascal-siakam-toronto-raptors.html\">Related Article<\/a><\/span>Credit&#8230;Jessica Lehrman for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<p>Photographs taken from a<strong>\u00a0bird\u2019s-eye angle\u00a0<\/strong>are captured from above the subject. This angle can imply a sense of power over the subject or make the subject look more diminutive. To capture a bird\u2019s-eye shot, stand on an elevated surface \u2014 like a chair, table or ladder \u2014 to aim your camera down at your subject.<\/p>\n<\/div>\n<aside aria-label=\"companion column\"><\/aside>\n<\/div>\n<div>\n<div id=\"story-ad-4-wrapper\">\n<div id=\"story-ad-4-slug\"><\/div>\n<div id=\"story-ad-4\" data-google-query-id=\"COGK7LPD5_YCFWDMGAId8EUMSw\">\n<div id=\"google_ads_iframe_\/29390238\/nyt\/learning\/lessonplans_6__container__\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/09\/06\/pageoneplus\/02a2_itt-surfers-LN\/02a2_itt-surfers-articleLarge-v2.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/interactive\/2021\/08\/31\/sports\/black-surfers.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\"><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/interactive\/2021\/08\/31\/sports\/black-surfers.html\">Related Article<\/a><\/span>Credit&#8230;Joshua Kissi for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/10\/21\/fashion\/21KENDALL-WERTS-1-LN\/merlin_195973344_cd2ffaca-14ac-42e3-af18-ee6f604b726d-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/10\/21\/fashion\/kendall-werts-jeffries.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/10\/21\/fashion\/kendall-werts-jeffries.html\">Related Article<\/a><\/span>Credit&#8230;Elliott Verdier for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<h3><strong>3. Depth of Field<\/strong><\/h3>\n<p>Photojournalists use depth of field to describe how much of the background is in sharp focus. When a photograph has a\u00a0<strong>shallow depth of field,<\/strong>\u00a0the subject is in sharp focus and most of the background is blurred. A\u00a0<strong>wide depth of field\u00a0<\/strong>puts most of the scene in sharp focus.<\/p>\n<p>As a photojournalist, you should carefully consider how important the background details are to your story. A shallow depth of field will focus attention on your subject, with the background providing a general sense of ambience or scene. If you want the viewer to notice important details of the background, consider a wide depth of field.<\/p>\n<\/div>\n<aside aria-label=\"companion column\"><\/aside>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/06\/multimedia\/06sp-wta-swiatek-inyt2-LN\/merlin_195242232_315a9151-ea69-46e7-867e-a384e3286606-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Shallow depth of field &lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/05\/sports\/tennis\/iga-swiatek-wta-finals.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\">Shallow depth of field\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/05\/sports\/tennis\/iga-swiatek-wta-finals.html\">Related Article<\/a><\/span>Credit&#8230;David W Cerny\/Reuters<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/09\/science\/00sci-genetherapy2-LN\/merlin_196909752_3bbd4c55-59f5-4057-beb2-fc8b5002094e-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Wide depth of field &lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/04\/health\/sharif-tabebordbar-gene-therapy.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\">Wide depth of field\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/04\/health\/sharif-tabebordbar-gene-therapy.html\">Related Article<\/a><\/span>Credit&#8230;Simon Simard for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<p><strong>4. Leading Lines<\/strong><\/p>\n<p>Photojournalists know how to use natural lines in the setting to lead the viewer\u2019s eye into the photo and toward the subject. Common examples of leading lines include traffic lanes, architectural elements and any sort of path. Leading lines can also be implied, such as the direction of a subject\u2019s gaze.<\/p>\n<p>Look for interesting lines in the environment and consider placing your subject where those lines direct or intersect. This technique often combines naturally with the rule of thirds.<\/p>\n<\/div>\n<\/div>\n<div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/28\/travel\/22renters1-LN\/merlin_197632425_22440d35-add6-4c4d-817a-6476cb9792bb-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/22\/realestate\/long-island-city-afghanistan-zahra-sahebzada.html%20&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/11\/22\/realestate\/long-island-city-afghanistan-zahra-sahebzada.html%20\">Related Article<\/a><\/span>Credit&#8230;Gabriela Bhaskar\/The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2017\/12\/31\/nyregion\/31CHARACTER1-LN\/31CHARACTER1-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2017\/12\/28\/nyregion\/running-an-indie-bookstore-with-churchillian-resolve.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2017\/12\/28\/nyregion\/running-an-indie-bookstore-with-churchillian-resolve.html\">Related Article<\/a><\/span>Credit&#8230;Edu Bayer for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<p><strong>5. Subframing<\/strong><\/p>\n<p>Subframing is the compositional technique of using a natural frame within the space of the photo \u2014 like a doorway, window or landscape elements \u2014 to accentuate the subject. The frame can add helpful contextual information about the setting of the photo, as well as direct the viewer\u2019s attention to the subject.<\/p>\n<\/div>\n<aside aria-label=\"companion column\"><\/aside>\n<\/div>\n<div>\n<div id=\"story-ad-5-wrapper\">\n<div id=\"story-ad-5-slug\"><\/div>\n<div id=\"story-ad-5\" data-google-query-id=\"CJHgw7TD5_YCFVzgGAIdDUYD-Q\">\n<div id=\"google_ads_iframe_\/29390238\/nyt\/learning\/lessonplans_7__container__\">Once you start to notice subframes, you will see them everywhere. Architecture, trees, bodies and even shadows and light can create interesting subframes that help your viewer to notice the interesting context of your subject.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div><\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2020\/07\/24\/world\/24taiwan-laundry1a-LN\/merlin_174888354_cae974a1-0311-4912-827f-e631000138ca-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2020\/07\/24\/world\/asia\/taiwan-octogenarian-couple-instagram-laundry.html%20&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2020\/07\/24\/world\/asia\/taiwan-octogenarian-couple-instagram-laundry.html%20\">Related Article<\/a><\/span>Credit&#8230;Reef Chang<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 465px\" src=\"https:\/\/static01.nyt.com\/images\/2021\/11\/28\/realestate\/23WHATILOVE-SALIE-slide-D2UQ-LN\/23WHATILOVE-SALIE-slide-D2UQ-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"&lt;a href=&quot;https:\/\/www.nytimes.com\/2021\/11\/23\/realestate\/why-an-npr-quiz-show-panelist-loves-her-messy-apartment.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\"><a href=\"https:\/\/www.nytimes.com\/2021\/11\/23\/realestate\/why-an-npr-quiz-show-panelist-loves-her-messy-apartment.html\">Related Article<\/a><\/span>Credit&#8230;Katherine Marks for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<p><strong>6. Distance<\/strong><\/p>\n<p>Think about capturing your subject from varying distances. Photojournalists often take photos from wide, midrange and close-up distances. You can combine photos of different distances to tell a story.<\/p>\n<p>Consider, for example, the three photos below from the article \u201c<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/08\/31\/style\/martha-prewitt-opera-farm-kentucky.html\">It\u2019s Never Too Late to Ditch the City and Run a Farm<\/a>,\u201d a profile of Martha Prewitt, a former opera singer who quit to run her family\u2019s farm. The wide shot sets the scene, the midrange shot establishes Ms. Prewitt as the subject of the story and the close-up shot gives us insight into what her job on the farm is like.<\/p>\n<\/div>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" src=\"https:\/\/static01.nyt.com\/images\/2021\/08\/31\/fashion\/31NeverTooLate-Farmer1\/31NeverTooLate-Farmer1-articleLarge-v2.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"image\" \/><\/div>\n<\/div>\n<\/div><figcaption>Credit&#8230;Morgan Hornsby for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" src=\"https:\/\/static01.nyt.com\/images\/2021\/08\/31\/fashion\/31NeverTooLate-Farmer11-LN\/31NeverTooLate-Farmer11-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"image\" \/><\/div>\n<\/div>\n<\/div><figcaption>Credit&#8230;Morgan Hornsby for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><\/div>\n<\/div>\n<\/div>\n<p><button data-testid=\"photoviewer-expand-button\" aria-label=\"Expand this image\"><\/button><img decoding=\"async\" src=\"https:\/\/static01.nyt.com\/images\/2021\/08\/31\/fashion\/31NeverTooLate-Farmer4-LN\/31NeverTooLate-Farmer4-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"image\" \/><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\"><figcaption>Credit&#8230;Morgan Hornsby for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div id=\"story-ad-6-wrapper\">\n<div id=\"story-ad-6-slug\"><\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<p><strong>Activity: Scavenger Hunt<\/strong><\/p>\n<p>You will see all of these composition techniques appear throughout the photojournalism in The New York Times. See how many you can spot in a scavenger hunt.<\/p>\n<p>Create a slide show of images from The Times that demonstrates each of the composition techniques you learned about above:<\/p>\n<ul>\n<li>Rule of thirds<\/li>\n<li>Angle (straight-on, worm\u2019s-eye and bird\u2019s-eye)<\/li>\n<li>Depth of field (shallow and wide)<\/li>\n<li>Leading lines<\/li>\n<li>Subframing<\/li>\n<li>Distance (wide, midrange and close-up shots)<\/li>\n<\/ul>\n<p>On each slide, copy and paste an image that demonstrates the technique and describe how the technique is used. Additionally, explain how the technique contributes to the photograph\u2019s story. For example, if you were to explain how the use of a wide depth of field contributes to the story of the image of the man in the laboratory, you might say, \u201cThe photographer uses a wide depth of field so viewers can see all the details of the laboratory. These details show us that his job is probably in science and that it is complicated.\u201d<\/p>\n<p>If you have a subscription to The New York Times, you can explore the website on your own. If not, you can hunt through the free articles below to find examples of each technique.<\/p>\n<ul>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/01\/26\/nyregion\/the-pin-chaser-in-charge.html\">The Pin Chaser in Charge<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/05\/world\/europe\/germany-black-woman-bundestag.html\">First Black Woman in Bundestag Wants to Change Image of \u2018Germanness\u2019<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/22\/sports\/magnus-carlsen-chess.html\">Magnus Inc.: The Business of Being World Chess Champion<\/a><\/li>\n<\/ul>\n<ul>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/19\/arts\/dance\/berries-and-cream-tik-tok.html\">The Little Lad? Berries and Cream? Call It Performance Art.<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/19\/style\/love-on-the-spectrum-jodi-rodgers.html\">We Could All Use a Jodi in Our Lives<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/06\/01\/nyregion\/the-exacting-art-of-saxophone-repair.html\">The Exacting Art of Saxophone Repair<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/19\/fashion\/gifts-himmeli-straw-ornaments-finland.html\">In Finland, Turning Straw Into Magic<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/10\/26\/sports\/alex-honnold-mother-el-capitan.html\">It\u2019s Never Too Late to Climb That Mountain<\/a><\/li>\n<\/ul>\n<ul>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/10\/08\/world\/europe\/lamont-jacobs-italy-sprinter.html\">A Surprise Sports Hero Broadens Italy\u2019s Image of Itself<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/06\/27\/nyregion\/manhole-impressionist.html\">Manhole Impressionist<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/09\/03\/world\/africa\/nigeria-delta-pollution-mangroves-agbani.html\">The Nigerian Activist Trying to Sell Plants to the Oil Company That Destroyed Them<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2019\/12\/05\/learning\/a-portrait-of-gen-z-winners-of-our-second-annual-student-photo-contest.html\">A Portrait of Gen Z: Winners of Our Second Annual Student Photo Contest<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/12\/03\/style\/dannie-lynn-fountain-kaitlyn-murphy-wedding.html\">Captivated by Her Yellow Glow<\/a><\/li>\n<li><a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/07\/16\/nyregion\/novella-ford-Schomburg.html\">How a Champion of Black Culture Spends Her Sundays<\/a><\/li>\n<\/ul>\n<h2 id=\"link-789e9cd6\">Step 3: Practice With the Tools on Your Smartphone<\/h2>\n<\/div>\n<aside aria-label=\"companion column\"><\/aside>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 600px\" src=\"https:\/\/static01.nyt.com\/images\/2020\/03\/04\/technology\/personaltech\/04TECHTIP_03-LN\/04TECHTIP_02-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Find more tips for taking photos with your phone in the article \u201c&lt;a href=&quot;https:\/\/www.nytimes.com\/2020\/03\/04\/technology\/personaltech\/iphone-pixel-camera-tips.html&quot;&gt;Get the Most Out of Your Fancy Smartphone Camera&lt;\/a&gt;.\u201d\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\">Find more tips for taking photos with your phone in the article \u201c<a title=\"\" href=\"https:\/\/www.nytimes.com\/2020\/03\/04\/technology\/personaltech\/iphone-pixel-camera-tips.html\">Get the Most Out of Your Fancy Smartphone Camera<\/a>.\u201d<\/span>Credit&#8230;The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<p>Now that you know some composition techniques, it\u2019s time to practice them.<\/p>\n<p>There are many methods you could use to photograph your subject. If you are an experienced photographer, you might think about the \u201cvisual concept\u201d of your profile and decide what kind of camera or technique you want to use to capture your subject. (We\u2019ll explain this more in the next section.)<\/p>\n<p>But we\u2019re going to stick with a tool that most young people have access to: the camera on your smartphone.<\/p>\n<p>Below, we share a few basic tips for achieving the effects you learned about in Step 2. You can read \u201c<a title=\"\" href=\"https:\/\/www.nytimes.com\/2020\/03\/04\/technology\/personaltech\/iphone-pixel-camera-tips.html\">Get the Most Out of Your Fancy Smartphone Camera<\/a>\u201d for even more detailed advice.<\/p>\n<ul>\n<li><strong>Zoom with your feet.\u00a0<\/strong>You probably know how to zoom in with your smartphone by pinching the screen \u2014 but it is generally a good idea to avoid this and move closer to your subject instead. Digital zoom works by enlarging the pixels in your image, so capturing your image that way will often result in some pixelation.<\/li>\n<li><strong>Take time to focus.\u00a0<\/strong>The best photojournalism uses sharp focus to identify the subject of the shot. On a smartphone screen, tap on your subject to focus on this area of the image. Many smartphones now also have a \u201cportrait mode\u201d feature that keeps the subject in sharp focus while softening or blurring the background. As the photojournalist, you need to decide how much of the background of your environmental portrait is key to telling the story. If the viewer should notice important details in the setting, take care not to overuse portrait mode.<\/li>\n<li><strong>Compose your best shot.\u00a0<\/strong>Many smartphone cameras have a function that activates a grid on the camera screen to help you use rule of thirds to compose your shot. Go to the settings on your camera and select the grid option (make sure it is a nine-square grid). Remember to place the subject\u2019s eyes near one of the intersections.<\/li>\n<li><strong>Make the most of lighting.\u00a0<\/strong>Photojournalists know how to take advantage of natural lighting whenever possible. Natural light is generally softer and more flattering than indoor fluorescents. If it makes sense for the story you are documenting, take your photographs outdoors. The first few hours of the morning and the last few hours before sunset often provide the most inviting light.If an indoor setting is most appropriate for your subject, consider how you can use the light from a window or doorway in your scene. When additional lighting is necessary to enhance your subject in a darker space, use soft bulbs, or even consider draping artificial light with translucent fabric to soften the glare. You\u2019ll want the light in front of, not behind, your subject.Your smartphone camera allows you to increase or decrease the\u00a0<strong>exposure<\/strong>,<strong>\u00a0<\/strong>or brightness, of the shot. With an iPhone, tap on your subject on the screen, then use the slider to increase or decrease the exposure. On an Android phone, use the three-dot overflow button to find the square button with plus and minus signs. Tap the +1 or +2 to increase the exposure and the -1 or -2 to decrease it.<\/li>\n<li><strong>Turn your camera.<\/strong>\u00a0If you often take photos vertically, try to take a few shots horizontally and vice versa. This simple trick can help smartphone photographers be intentional about composition. Study the difference between portrait and landscape framing for your shots. Which direction tells the most complete story about your subject?<\/li>\n<\/ul>\n<p><strong>Activity: Practice, Practice, Practice<\/strong><\/p>\n<p>To get familiar with your camera, practice taking photos that clearly demonstrate the various composition techniques you\u2019ve learned. For an initial practice round, use a toy or other small object as your subject. Then practice with a willing family member or friend.<\/p>\n<p>The biggest advantage to digital and smartphone photography is that you will never run out of film. So, with every decision you make about the composition of your photos, take multiple shots. If you adjust the subject\u2019s position, take several shots as you explore depth of field and exposure. If you change your angle or try a new composition guideline, shoot multiple photos as you zoom with your feet to get closer to and farther from your subject.<\/p>\n<\/div>\n<\/div>\n<div>\n<div>\n<p>And, if you want to go further, attend a school or local event and practice taking photos on location. Shooting \u201cin the field\u201d is a great exercise to develop your eye for finding beautiful compositions in any environment.<\/p>\n<h2 id=\"link-10b72962\">Step 4: Photograph Your Subject (With Tips From a Times Photographer)<\/h2>\n<\/div>\n<aside aria-label=\"companion column\"><\/aside>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 600px\" src=\"https:\/\/static01.nyt.com\/images\/2019\/12\/19\/insider\/19insider-willets-1-LN\/19insider-willets-1-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Todd Heisler, a Times photographer, photographing in Willets Point, Queens. &lt;a href=&quot;https:\/\/www.nytimes.com\/2019\/12\/18\/reader-center\/willets-point-workers-photography.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\">Todd Heisler, a Times photographer, photographing in Willets Point, Queens.\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2019\/12\/18\/reader-center\/willets-point-workers-photography.html\">Related Article<\/a><\/span>Credit&#8230;Jeffrey Furticella\/The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<p>You know some composition techniques. You\u2019re familiar with the tools on your camera. Now you\u2019re ready to take photos of the subject of your profile.<\/p>\n<p>The photo shoot involves more than going out and just snapping a few photos. In addition to thinking about the technical aspects of your photography, you\u2019ll also have to think about how to make your subject comfortable and how you can get creative to bring out the aspects of the person\u2019s personality and life story that are most important to your profile.<\/p>\n<p>Below, we offer some questions to ask yourself before and during the photo shoot, along with advice from\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/by\/todd-heisler\">Todd Heisler<\/a>, a staff photographer for The New York Times, adapted from what he told us on The Learning Network\u2019s\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2021\/11\/18\/learning\/live-webinar-teach-profile-writing-with-the-new-york-times.html\">webinar on teaching profile writing<\/a>. You can\u00a0<a title=\"\" href=\"https:\/\/event.on24.com\/wcc\/r\/3391397\/5270D53F04545CB8A81F25E0E37C55FF?partnerref=announcement\" target=\"_blank\" rel=\"noopener noreferrer\">watch the full webinar on demand<\/a>\u00a0to hear even more of Mr. Heisler\u2019s tips.<\/p>\n<p><strong>Questions to Ask Yourself Before the Photo Shoot<\/strong><\/p>\n<ul>\n<li><em>What is the focus of my profile?<\/em>\u00a0You or your partner will need to conduct the interview, or at least talk to your subject, ahead of time to get some sense of who the person is and what is interesting about him or her. This information will help you determine the \u201cvisual concept\u201d of your story, as well as where you\u2019ll photograph your subject.Mr. Heisler says that sometimes he and the reporter will go to the interview together. Other times, he\u2019ll read the reporter\u2019s story ahead of time so he knows what to focus on in his photography.<\/li>\n<li><em>What is the visual concept of my profile?\u00a0<\/em>Mr. Heisler says that he always asks himself: \u201cWhat\u2019s the story? What kind of photographs do I want to make? What does it feel like?\u201dFor example, for a\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2019\/12\/18\/reader-center\/willets-point-workers-photography.html\">story about the auto body shops of Willets Point, Queens<\/a>, that had been around since the 1930s and were being cleared for development, the photographers, including Mr. Heisler, wanted to capture the shops\u2019 historical value. So, instead of digital photography, they decided to use 19th-century-style tintypes to \u201ccreate an authentic, respectful portrait of a gritty, bygone part of New York City.\u201d<\/li>\n<li><em>Where is the best place to photograph my subject to tell the story?<\/em>\u00a0You will want to get photos of subjects in their environments. Take a look at these\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/interactive\/2021\/07\/20\/nyregion\/ny-service-workers-covid.html\">photos of service workers<\/a>\u00a0\u2014 cabdrivers, movers, chefs and housekeepers \u2014 at the places they work to see examples.Mr. Heisler says he usually doesn\u2019t want people to completely clear their schedules for him. \u201cThere\u2019s nothing worse than knowing that I want to make photographs about what somebody\u2019s day is like, and I show up and they say, \u2018Well, I cleared all my activities for the day so we could spend time together.\u2019 Then, it\u2019s somebody sitting on the couch all day, which is not what I want.\u201d<\/li>\n<\/ul>\n<p><strong>Questions to Ask Yourself During the Photo Shoot<\/strong><\/p>\n<ul>\n<li><em>Where specifically might the photographs happen?\u00a0<\/em>Once Mr. Heisler gets on location, he said, he thinks about framing, composition, and, most important, lighting. He asks himself: \u201cIf it\u2019s a portrait, where would I put them? How does the light hit their face?\u201d And he asks his subjects: \u201cWhere are you comfortable? What is meaningful to you?\u201dIf possible, you might take some photos in the environment from different perspectives before the subject arrives. Remember, every item matters in an environmental portrait, so move things you don\u2019t want in the shot out of the way. Try also to keep an eye on what\u2019s in the background so that nothing appears to be sticking out of the subject\u2019s head.<\/li>\n<li><em>How can I make my subject comfortable?<\/em>\u00a0As Mr. Heisler phrased it in our webinar: \u201cShowing up, I\u2019m a stranger, coming into this strange place. You have to get in with people.\u201dOnce your subject is in the perfect spot, put your camera down and talk to him or her. What\u2019s the person\u2019s story? Can you find something you have in common to talk about? Then start shooting\u00a0<em>while<\/em>\u00a0you continue to talk to your subject. Take photos when he or she is thinking of an answer to a question, or laughing. You\u2019re trying to get the person to relax and enjoy the process while you capture genuine expressions that feel comfortable, not forced.And, remember, you are in charge. Your subject will be trusting you to tell him or her if something doesn\u2019t look right. Don\u2019t be afraid to ask your subject to move, but don\u2019t touch the person. Show directions by using hand gestures.<\/li>\n<li><em>How can I tell the story of this person?<\/em>\u00a0Mr. Heisler suggests thinking about this in a variety of ways. \u201cIf this is something where I can tell the story in multiple photographs, I\u2019m thinking about details. I\u2019m thinking about, \u2018What is a sense of place?\u2019 \u2026 And then moving in a little closer, \u2018What is the person like?\u2019 And trying to find some expression, or a moment: some action.\u201dSee how Mr. Heisler strikes that balance in the article \u201c<a title=\"\" href=\"https:\/\/www.nytimes.com\/interactive\/2021\/09\/30\/sports\/montana-skateboarding-jeff-ament.html\">A Rock Star\u2019s Next Act: Making Montana a Skateboarding Oasis<\/a>.\u201d He said he made sure to capture the scenery surrounding the skate park because the location, Montana, was an important part of the story.Consider how you can use the compositional techniques you learned to bring out your subject\u2019s personality. For example, if your subject is a woodworker, maybe you want to have some close-ups of the person\u2019s hands doing their craft. If the person is an important community member, you can make him or her look powerful by shooting with a worm\u2019s eye angle.<\/li>\n<li><em>How can I keep my photographs interesting?\u00a0<\/em>Take lots of shots and move around, Mr. Heisler suggests. \u201cTry to make a photograph in a way you\u2019re not used to doing it,\u201d he said. \u201cIf you\u2019re used to hitting something from a certain angle, get up and try it from the other side and just see how the light plays.<\/li>\n<\/ul>\n<p><strong>Activity: Photo Shoot<\/strong><\/p>\n<p>Put everything that you\u2019ve learned so far into practice. Pick a place and time that works for you and your subject (remember to consider natural lighting when determining the time of the shoot).<\/p>\n<\/div>\n<div>\n<p>Then, take a series of photos of your subject. Experiment with various angles, framing, props, positions and actions that show different expressions or different sides of the person\u2019s personality. Take as many shots as you can: The more photos you have to choose from as you begin to select your best shots and edit, the better your final photojournalism project will be.<\/p>\n<p>If possible to do it safely \u2014 for example, outdoors or masked \u2014 we hope you\u2019ll photograph your subject in person. But if not, this\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2020\/05\/14\/reader-center\/coronavirus-remote-photo.html\">Times Insider article from a Times photographer<\/a>\u00a0has advice on how to shoot in a socially distant way without sacrificing intimacy.<\/p>\n<div>\n<div>\n<h2 id=\"link-4f3338e7\">Step 5: Choose, Edit and Caption the Photos for Your Profile<\/h2>\n<\/div>\n<aside aria-label=\"companion column\"><\/aside>\n<\/div>\n<div>\n<div data-testid=\"photoviewer-wrapper\">\n<div data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div data-testid=\"photoviewer-children\">\n<div data-testid=\"photoviewer-overlay\">\n<div data-testid=\"photoviewer-captionblock\"><\/div>\n<div>\n<div>\n<div data-testid=\"lazy-image\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"photoviewer-children\">\n<figure role=\"group\" aria-label=\"media\">\n<div>\n<div data-testid=\"lazy-image\">\n<div data-testid=\"lazyimage-container\"><img decoding=\"async\" style=\"height: auto;width: 600px\" src=\"https:\/\/static01.nyt.com\/images\/2018\/10\/09\/science\/09SCI-KIVELSON4-LN\/merlin_143373921_aa47126e-95b6-42ca-b910-1bfdb820b975-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" alt=\"Margaret Kivelson, a physicist who was featured in The Times\u2019s Profiles in Science column. &lt;a href=&quot;https:\/\/www.nytimes.com\/2018\/10\/08\/science\/margaret-kivelson-europa.html&quot;&gt;Related Article&lt;\/a&gt;\" \/><\/div>\n<\/div>\n<\/div><figcaption><span aria-hidden=\"true\">Margaret Kivelson, a physicist who was featured in The Times\u2019s Profiles in Science column.\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/10\/08\/science\/margaret-kivelson-europa.html\">Related Article<\/a><\/span>Credit&#8230;Jenna Schoenefeld for The New York Times<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<p>Now that you\u2019ve taken a variety of photographs of your subject, you will need to select and edit the ones you want to use for your profile. If you are submitting to our Profile Contest, you must include at least one photo in your profile, and you can include up to three.<\/p>\n<p><strong>Selection<\/strong><\/p>\n<p>As you select the photos you want to include, consider the story you want them to tell about your subject. Because these photos are for a profile, at least one of them should clearly show your subject\u2019s face. For the others, you might consider how you can use distance \u2014 like a wide shot to show the environment or a close-up to show more intimate details \u2014 to reveal the most important aspects of the person\u2019s story.<\/p>\n<p>You should also consider tone. Is the subject you are writing about serious? Lighthearted? Inspiring? Gritty? The lighting, the colors and the subject\u2019s expression and movement will all contribute to the mood you are trying to create<\/p>\n<p><strong>Editing<\/strong><\/p>\n<\/div>\n<\/div>\n<div>\n<p>Once you have selected your photos, you will need to edit them. Your editing should focus on enhancing the quality of the photo, but you should not alter the reality of the photo in any way. Here are some things to consider:<\/p>\n<ul>\n<li><em>Crop carefully.<\/em>\u00a0In an environmental portrait, every part of the picture is important. Crop your photos carefully to eliminate any space that doesn\u2019t help tell the story. You can also use cropping to cut out distracting background information.Consider the photo above of Margaret Kivelson, a physicist, from her 2018\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/10\/08\/science\/margaret-kivelson-europa.html\">feature in Profiles in Science<\/a>. Although there was probably much more to see along the campus street, the photographer, Jenna Schoenefeld, cropped this shot to frame Ms. Kivelson along the rule of thirds and to eliminate any space that did not contribute to the story.It is generally a good idea to use a standard aspect ratio when cropping. Most smartphone cameras have ratios like 1:1 (square), 7:5, 4:3, 16:9 and others embedded in the cropping tool. Cropping to a standard aspect ensures that your photo will fit in standard publication guides or frames.<\/li>\n<li><em>Consider photojournalism ethics.\u00a0<\/em>Since the photos for your profile story are journalistic, they should present an accurate representation of your subject without any tricks or manipulation. Please keep digital manipulation and postprocessing to a minimum. (That is, you may use editing software for minor corrections such as one might make in a darkroom \u2014 like cropping, adjusting brightness and balancing colors \u2014 but please do not alter the reality of the photo in any way.) If you are using a camera phone, please do not use filter effects. Submit your photos as individual images, not as collages or photo illustrations.Review the section on Photography and Imagery in The New York Times\u2019s\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/editorial-standards\/guidelines-on-integrity.html\">Guidelines on Integrity<\/a>\u00a0to ensure your photos meet these important standards.<\/li>\n<li><em>Use editing tools thoughtfully.\u00a0<\/em>There are many photo editing tools at your fingertips on a smartphone or personal computer. Simple built-in tools on your smartphone\u2019s camera can adjust exposure and contrast, brighten the shadows or soften the highlights, or even enhance a photo\u2019s sharpness. Apps like Snapseed and Lightroom Mobile add even more options to your editing toolbox.<\/li>\n<\/ul>\n<p><strong>Captions<\/strong><\/p>\n<p>Photojournalists use captions to describe the storytelling details of their photos. A caption usually includes information about the \u201cFive W\u2019s\u201d of each photo \u2014 who, what, when, where and why. Include details that are most important to your story.<\/p>\n<p>A caption should usually explain what readers cannot see for themselves in the picture and omit the obvious. For example, the top photo in\u00a0<a title=\"\" href=\"https:\/\/www.nytimes.com\/2018\/03\/20\/science\/david-reich-human-migrations.html\">this Times profile<\/a>\u00a0of David Reich has a detailed caption that describes what the technician is doing \u2014 a process that is not obvious from the photograph.<\/p>\n<div class=\"css-1lw3v26 e1e7j8ap0\">\n<div>\n<p>Kate Plows teaches media arts and coaches the yearbook at Strath Haven High School in Wallingford, Pa. She was a member of the 2020-21 cohort of The New York Times Teaching Project.<\/p>\n<\/div>\n<\/div>\n<div class=\"css-1lw3v26 e1e7j8ap0\">\n<div>\n<p>Donna Schou teaches photography at Lynnwood High School in\u00a0Bothell, Wash.\u00a0She previously worked as a professional photographer. She was a member of the 2020-21 cohort of The New York Times Teaching Project.<\/p>\n<\/div>\n<\/div>\n<div class=\"css-1lw3v26 e1e7j8ap0\">\n<div>\n<p>Natalie Proulx joined The Learning Network as a staff editor in 2017 after working as an English language arts teacher and curriculum writer.<\/p>\n<div class=\"css-s99gbd StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\"><strong class=\"css-8qgvsz ebyp5n10\">Activity: Select, edit, and caption your photos.<\/strong><\/p>\n<p class=\"css-at9mc1 evys1bk0\">Choose and edit the one to three photos you would like to include in your profile.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">To make sure the subject of your profile comes across the way you want him or her to in your photos, you might try an exercise like the one you did in Step 1 of this lesson. Share your photo selections with a partner and have him or her try to guess some attributes of your subject. Is your partner able to infer some information about your subject\u2019s personality or the focus of your profile? The guesses don\u2019t have to be 100 percent correct, but they should be fairly close.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">If your partner\u2019s guesses are way off, or she or he doesn\u2019t feel like there are enough visual clues to make a guess, return to your pool of photos and see if you can find others that better represent your subject.<\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div class=\"css-s99gbd StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Finally, once you have your final selections, add a one-sentence caption to each photo explaining the image.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n","protected":false},"author":53,"menu_order":16,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-64","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/pressbooks\/v2\/chapters\/64","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/wp\/v2\/users\/53"}],"version-history":[{"count":4,"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/pressbooks\/v2\/chapters\/64\/revisions"}],"predecessor-version":[{"id":149,"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/pressbooks\/v2\/chapters\/64\/revisions\/149"}],"part":[{"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/pressbooks\/v2\/chapters\/64\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/wp\/v2\/media?parent=64"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/pressbooks\/v2\/chapter-type?post=64"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/wp\/v2\/contributor?post=64"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/medianewsandreporting\/wp-json\/wp\/v2\/license?post=64"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}