I’m not much of a manifesto guy, but the last week has made me want to jump up on the barricades and take a stand for a particular type of photography.
I’ve just finished the Documentary Storytelling workshop with Pulitzer Prize-winning photojournalist Deanne Fitzmaurice at the Santa Fe Photography workshops. Over four days (that included class time), I shot and edited a story about French chef Jean-Luc Salles, who’s given up running high-end restaurants to cook excellent food from scratch that he serves out of a 1960s Airstream trailer called Le Pod that sits in a parking lot here in Santa Fe. (I’ll write a post about him and show more of the photos later).
I learned a great deal, met lots of good people, and the experience enhanced my love of documentary photography as the most powerful and compelling type of shooting (not to mention the hardest to do well).
Making it hard for yourself
When you’re shooting a portrait, your first instinct is to clean up the background, get in tight to the subject and show only their face (or perhaps show a full-length portrait against a neutral non-distracting background). A portrait photographer might well control also the light, give instructions on how the subject should pose, and take their time to get the shot they’re looking for.