Black Star Rising.
For Photographers, the Future Is Storytelling
Most still photographers say their best pictures tell stories. To a limited degree, this is true. But photographers need to start thinking about more complete and complex stories, not just the best story they can tell in a single frame. This is where the opportunities lie.
Currently, there is such an abundance of single-frame stories, created by amateurs as well as professionals, that the market is saturated. It has become difficult to compete. Amateurs are taking a significant share of the market for this type of imagery.
Telling Customers’ Stories
Some still photographers are reluctant to get into multimedia or video because they see amateurs producing videos for YouTube and expect the competition in that arena to be just as fierce as it is in the stills market. However, many of these videographers are either telling their own story, or not much of a story at all.
The key to success for the professional videographer — and there will be lots of growing demand for this — will be in finding customers who have a story they want told and telling that story effectively.
Here is one example of where demand will be: 80 percent of those who travel go online for travel information. Those who view a video online are 20 percent more likely to visit the destination. Will all types of vacation and travel facilities be anxious to tell their story with a video or multimedia presentation?
Multi-frame stories with sound, narration and sequence are much more complex to produce than a still image. Consequently, those who can produce such stories are likely to face less competition from amateurs.
The Evolution of the Picture Story
Fifty years ago a picture story was a 10- to 15-page epic in Life or Look, usually with brief captions, and maybe seven to 20 images. These stories gave the reader a larger understanding of a situation or event than any single image could convey.
Today, such still-photo picture stories have all but disappeared due to lack of space in print publications. Now, the pictures in magazines and newspapers are usually one shot supporting a long text piece.
There is a movement in the publishing business to show more still images related to a story on their websites, but the pictures and the text (other than captions) usually aren’t directly connected. Some publications are also putting videos on their sites.
In some instances still pictures are very powerful, but seldom, if ever, will a single still image supply as much information as a sequence of images supported by sound, music and an appropriate verbal story.
An Unmet Demand
The only thing that is holding back an explosive demand for multimedia and video content is the ability of creative people to think in terms of telling stories rather than producing single images.
It was clear from the seminar offerings at last month’s PhotoPlus Expo that many image producers are trying to learn more about video and multimedia. Most of the seminars on these subjects were packed.
By contrast, no one showed much interest in stock. There used to be a whole track on stock at PhotoPlus. This year there was one seminar and it was on microstock. On the trade show floor there was no evidence whatsoever of anything relating to stock photography.
One thing that came through loud and clear for anyone interested in getting into video was that it will not be an easy transition. It is not just a matter of buying new equipment. There is a lot to learn about storytelling that most of today’s photographers have either forgotten or never learned.
A Different Mindset
Producing a multimedia or video story requires a totally different approach and mindset from that used by most still shooters.
When shooting for print, photographers tend to assess a situation, determine the prime or most important angle and ignore photographing any other aspect of the situation. Their focus is to capture single, exciting, dramatic moments in time.
After they have captured their “moment,” someone else will write a story that may or may not closely relate to the photographer’s moment.
With a multimedia or video story, words and imagery must support each other and be harmonious. At the outset, the photographer needs to have a clear understanding of the story that needs to be told and how the images will relate to and support the words, and vice versa.
In her PhotoPlus Expo presentation, Paula Lerner pointed out that sound is at least as important as the images in any story. A story with so-so images and great sound will be fine. One with great images and so-so sound will likely lose viewers’ interest.
Words and Images in Harmony
Lerner often does her interviews first, edits the audio and on commercial jobs gets approval of the audio before she starts shooting. Then she illustrates the audio story.
To understand more about how this is done, and where future demand lies, look at some of the stories on the experiences of individual students that Paula produced and shot for Boston University Sargent College and BU Admissions.
Producing a story by doing the audio first isn’t always possible, although Paula finds it preferable. Often it is necessary to shoot as the story develops. When working in this way, it is important to shoot wide, medium and close-up shots of every situation in order to have visuals that will cut with the audio and cover every aspect of the story thoroughly.
In multimedia stories, most images will only be seen for two or three seconds — sometimes less. If a sentence or a paragraph goes on for 10 or 15 seconds to make a certain point, it is necessary to have a variety of related images that amplify the point in order to hold the viewer’s interest.
Because each image is viewed for such a short period of time, every image must be easy to read. Sequence becomes much more important than having an image that someone might examine in all its subtleties if it were displayed in print or on an art gallery wall.
This often means simpler images, each one showing a different aspect of the overall situation. When strung together properly, such a sequence can have more information-conveying power than any single still image. Appropriate images will also be needed when transitioning from one point to another in the audio.
Getting Started
Lerner suggests that still photographers start out by learning sound and editing and using stills for the visuals before moving to video. Shooting video with pans, dollies, follow focus and maybe a whole different type of lighting adds another whole level of complexity to the production that can easily overwhelm those just starting out.
Learning to put together a story, get quality sound and learning to use Final Cut Pro or other editing software is more than enough of a challenge for the beginning storyteller. Once you’re comfortable with these skills, start adding video to your repertoire.
Some other sites that can provide insights into how stills can be used effectively in multimedia projects include:
- The work of Brian Storm’s MediaStorm. Be sure to look at the “Intended Consequences” and “Common Ground” pieces. Many of these pieces were done for non-profit organizations. Some people think that “non-profit” means doing the work for little or no money. However, many non-profits are prepared to pay competitive rates and find that good multimedia presentations are very helpful in their fundraising efforts.
- The New York Times is doing an extended series of multimedia presentations called “1 in 8 Million,” which chronicles the lives of individual New Yorkers in their everyday jobs.
- Also be sure to look at Lerner’s series on “The Women of Kabul.” Lerner says that editorial work is no longer a way to make money, but she does it to tell stories she feels strongly about. Having these pieces in her portfolio has also helped her get the more lucrative commercial and non-profit work.
Luminous Landscape
Currently, there is such an abundance of single-frame stories, created by amateurs as well as professionals, that the market is saturated. It has become difficult to compete. Amateurs are taking a significant share of the market for this type of imagery.
Telling Customers’ Stories
Some still photographers are reluctant to get into multimedia or video because they see amateurs producing videos for YouTube and expect the competition in that arena to be just as fierce as it is in the stills market. However, many of these videographers are either telling their own story, or not much of a story at all.
The key to success for the professional videographer — and there will be lots of growing demand for this — will be in finding customers who have a story they want told and telling that story effectively.
Here is one example of where demand will be: 80 percent of those who travel go online for travel information. Those who view a video online are 20 percent more likely to visit the destination. Will all types of vacation and travel facilities be anxious to tell their story with a video or multimedia presentation?
Multi-frame stories with sound, narration and sequence are much more complex to produce than a still image. Consequently, those who can produce such stories are likely to face less competition from amateurs.
The Evolution of the Picture Story
Fifty years ago a picture story was a 10- to 15-page epic in Life or Look, usually with brief captions, and maybe seven to 20 images. These stories gave the reader a larger understanding of a situation or event than any single image could convey.
Today, such still-photo picture stories have all but disappeared due to lack of space in print publications. Now, the pictures in magazines and newspapers are usually one shot supporting a long text piece.
There is a movement in the publishing business to show more still images related to a story on their websites, but the pictures and the text (other than captions) usually aren’t directly connected. Some publications are also putting videos on their sites.
In some instances still pictures are very powerful, but seldom, if ever, will a single still image supply as much information as a sequence of images supported by sound, music and an appropriate verbal story.
An Unmet Demand
The only thing that is holding back an explosive demand for multimedia and video content is the ability of creative people to think in terms of telling stories rather than producing single images.
It was clear from the seminar offerings at last month’s PhotoPlus Expo that many image producers are trying to learn more about video and multimedia. Most of the seminars on these subjects were packed.
By contrast, no one showed much interest in stock. There used to be a whole track on stock at PhotoPlus. This year there was one seminar and it was on microstock. On the trade show floor there was no evidence whatsoever of anything relating to stock photography.
One thing that came through loud and clear for anyone interested in getting into video was that it will not be an easy transition. It is not just a matter of buying new equipment. There is a lot to learn about storytelling that most of today’s photographers have either forgotten or never learned.
A Different Mindset
Producing a multimedia or video story requires a totally different approach and mindset from that used by most still shooters.
When shooting for print, photographers tend to assess a situation, determine the prime or most important angle and ignore photographing any other aspect of the situation. Their focus is to capture single, exciting, dramatic moments in time.
After they have captured their “moment,” someone else will write a story that may or may not closely relate to the photographer’s moment.
With a multimedia or video story, words and imagery must support each other and be harmonious. At the outset, the photographer needs to have a clear understanding of the story that needs to be told and how the images will relate to and support the words, and vice versa.
In her PhotoPlus Expo presentation, Paula Lerner pointed out that sound is at least as important as the images in any story. A story with so-so images and great sound will be fine. One with great images and so-so sound will likely lose viewers’ interest.
Words and Images in Harmony
Lerner often does her interviews first, edits the audio and on commercial jobs gets approval of the audio before she starts shooting. Then she illustrates the audio story.
To understand more about how this is done, and where future demand lies, look at some of the stories on the experiences of individual students that Paula produced and shot for Boston University Sargent College and BU Admissions.
Producing a story by doing the audio first isn’t always possible, although Paula finds it preferable. Often it is necessary to shoot as the story develops. When working in this way, it is important to shoot wide, medium and close-up shots of every situation in order to have visuals that will cut with the audio and cover every aspect of the story thoroughly.
In multimedia stories, most images will only be seen for two or three seconds — sometimes less. If a sentence or a paragraph goes on for 10 or 15 seconds to make a certain point, it is necessary to have a variety of related images that amplify the point in order to hold the viewer’s interest.
Because each image is viewed for such a short period of time, every image must be easy to read. Sequence becomes much more important than having an image that someone might examine in all its subtleties if it were displayed in print or on an art gallery wall.
This often means simpler images, each one showing a different aspect of the overall situation. When strung together properly, such a sequence can have more information-conveying power than any single still image. Appropriate images will also be needed when transitioning from one point to another in the audio.
Getting Started
Lerner suggests that still photographers start out by learning sound and editing and using stills for the visuals before moving to video. Shooting video with pans, dollies, follow focus and maybe a whole different type of lighting adds another whole level of complexity to the production that can easily overwhelm those just starting out.
Learning to put together a story, get quality sound and learning to use Final Cut Pro or other editing software is more than enough of a challenge for the beginning storyteller. Once you’re comfortable with these skills, start adding video to your repertoire.
Some other sites that can provide insights into how stills can be used effectively in multimedia projects include:
- The work of Brian Storm’s MediaStorm. Be sure to look at the “Intended Consequences” and “Common Ground” pieces. Many of these pieces were done for non-profit organizations. Some people think that “non-profit” means doing the work for little or no money. However, many non-profits are prepared to pay competitive rates and find that good multimedia presentations are very helpful in their fundraising efforts.
- The New York Times is doing an extended series of multimedia presentations called “1 in 8 Million,” which chronicles the lives of individual New Yorkers in their everyday jobs.
- Also be sure to look at Lerner’s series on “The Women of Kabul.” Lerner says that editorial work is no longer a way to make money, but she does it to tell stories she feels strongly about. Having these pieces in her portfolio has also helped her get the more lucrative commercial and non-profit work.
Luminous Landscape
Where Do We Go From Here?
Trying to forecast this industry (stills and video) is a mugs game. Not even the major companies with their marketing gurus and product specialists can accurately see more than a couple of quarters into the future. The rate of change of both technology and the marketplace is simply too fast for Five Year Plans, or even two years.
Clearly the revolution that started in photography some dozen years ago with the switch from film to sensor, continues to evolve unabated. During that period, just a decade or so, the video industry has seen the transition from tape to solid state, from SD to HD, and now from small sensors to large sensors. RED has shown that professionals want and need raw video, just as still photographers do, and its only a matter of time, now that the new generation of video cameras use much the same sensors as those in DSLRs, that raw video will become available from the major Asian players, not just Ari and RED.
Not long ago we thought that the revolution would come in the form of still cameras that could also shoot video. We weren't wrong in that. But still photographers aren't really interested in shooting video. Videomakers are interested in shooting video, and they want the best tools that they can get at the lowest possible price.
Till now the video DSLR has been their choice because it's been the only game in town at the sub-$7,000 price point. But that changes as of now, and it's likely that a year or two from now we'll see very few DSLRs being used in video production.
But, Panasonic and Sony are sitting in a commanding position when it comes to stills / video convergence. Sony has its E series lenses used on NEX stills and video cameras, and Panasonic its Micro Four Thirds lenses shared with its G series stills cameras and new AF series video cameras. Because of their short back focus distance (due to the mirrorless stills design) both company's stills and video cameras can also take a wide range of legacy lenses from many manufacturers, including the all-important PL mount from the movie industry.
It therefore seems that the decision by both Sony and Panasonic to pursue the mirrorless stills/video convergence market was a sound one, well thought out in advance, in broad stokes if not in specifics and timing. Both companies stand to benefit from this foresightedness.
What About Canon and Nikon?
Of course Nikon and Canon are two giants of the traditional DSLR industry. Neither is as diversified as Sony and Panasonic in consumer electronics, but Canon has long been a player in prosumer and prosumer video, as well as broadcast video optics. Nikon has world-class lenses, but has never been a player in the video world at any level. (Nikon used to make some pretty cool Super-8 film cameras though). Both companies also have sensor design capabilities, but of the two only Canon owns its own sensor fabrication plant.
Curiously, though Canon stumbled into becoming the leader thus far in larger sensor video DSLRs, and Nikon has been introducing video capable models at a fast clip as well, neither company has yet seen fit to release either a dedicated large sensor video camera or a mirrorless DSLR (for lack of a better name).
Whether this is because they are afraid of cannibalizing their own high margin DSLR market, or some other reason, the fact remains that the fastest growing market segment at the moment are mirrorless convergence cameras, and neither of the two industry stalwarts are playing (yet). It will be interesting to see if they allow Panasonic and Sony to continue to eat their lunch in this segment.
