Often a scene of negotiations and compromises

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The great underlying work of a director of photography is almost always (often quietly and below the surface) educating. Educating editors to appreciate pictures and talking about their best use. Sometimes a simple photograph makes the best statement, while at other times, a complex picture in a carefully orchestrated setting compliments the story telling. In some magazines, that extends to “educating” an art director who holds much power along with the editor.

Rich Clarkson – What should photographers know? via The Photo Society.

There Are 2 Comments On This Article.

  1. Great article and great look into the back workings at National Geographic. I always research and learn about my corporate assignments in photography, because I have felt knowing my subject would give me the best start at capturing what they do. Nice to see I have not been alone in that approach.

  2. I echo Gordon’s sentiments about behind the curtain look. I think it is true: “Doing research and homework is crucial to getting an assignment. Good people, with intelligence, commitment and “fire in the belly” just stand out.”

    “I have always been more interested in the personality than the portfolio.” I wonder how true that rings to other Editors, creative directors, and the lot? Rob?

    The fire in side rules if you let it!