short essay on photography

Essays About Photography: Top 5 Examples Plus Prompts

Discover the joy of photography by reading our guide on how to write essays about photography, including top essay examples and writing prompts. 

It is truly remarkable what pictures can tell you about the time they were taken and their subjects. For example, a well-taken photograph can expose the horrors of conflict in a war-torn country or the pain endured by victims of racial persecution. At the same time, it can also evoke a mother’s joy after seeing her newborn baby for the first time. Photography is crucial to preserving precious moments that deserve to be remembered.

Photography can be considered a form of art. So much intent is put into a picture’s composition, subject, angle, and lighting. There is a lot of talent, thought, and hard work that goes into photography to produce such thought-provoking images, 

If you are writing essays about photography, you can start by reading some examples. 

5 Essay Examples To Inspire You

1. why photography is a great hobby by lillie lane, 2. the importance of photography by emily holty, 3. why i love photography by bob locher.

• 4.  The Shocking History Of Death Photography by Yewande Ade
• 5. ​​Fashion photography by Sara Page

5 Helpful Prompts On Essays About Photography

1. what is your favorite thing to photograph, 2. why is photography so important, 3. should photography be considered an art form, 4. different types of photography, 5. interpretations of photographs.

“Be imaginative when writing your shots. Photography is about the impact of your chances. The odds are good that nobody will care to check over your picture When it is an item in a background. Discover how to produce a fantastic photograph, and take these skills and use them.”

Lane gives readers tips on taking better photos in this essay. These include keeping balance, choosing a subject widely, investing in certain pieces of equipment, and using the appropriate settings for taking pictures. She stresses that photos must appear as natural as possible, and following her advice may help people to get good pictures. 

“No matter where you go photography plays into your life somehow. We don’t realize how big of an impact photography truly has on us until we see the details of our life hidden in a photograph. When you flip through your photo album and start looking for those details you suddenly realize you are truly blessed. A photograph keeps a moment frozen in time so we have it forever. Something like joy becomes clearer as we look deeper into the photograph.”

Holty does an excellent job of describing what makes photography so appealing to many people. You can take a picture of anything you want if you want to remember it, and photos help us look at the intricacies and details of what we see around us every day. Photography also helps us keep memories in our heads and hearts as time passes by, and most of all, it allows us to document the greatness of our world. It is ever-present in our lives, and we will keep taking photos the more adventures we have. 

“Every day in normal circumstances people take thousands of pictures of the Grand Canyon. It takes very little thought to realize that few if any of these pictures will be in any way noteworthy above pictures already taken. But that said, they are OUR pictures, our personal affirmation of the wonderful scene stretched out below us, and that gives them a special validity for us.”

Locher reflects on the role photography played in his life and why he enjoys it so much, partly due to his spirituality. He previously worked in the photographic equipment business and rekindled his love for photography in his 60s. Photography, to him, is a way of affirming and acknowledging God’s creations around him and appreciating the natural world. He also briefly discusses the importance of equipment and post-editing; however, no photo is perfect. 

4.   The Shocking History Of Death Photography by Yewande Ade

“In fact, it was easier for the photographer if the dead person was in a sleeping position because there would be no need to put him or her in an appropriate position or prop the eyes open. The restful pose gave some families comfort because it made them believe that their loved one(s) had passed on happily and to a more peaceful realm. It gave the semblance of death as a painless act like sleep.”

An interesting phenomenon in the history of the camera is post-mortem photography, in which deceased people, usually children, were posed and made to look “alive,” to an extent, so their loved ones could remember them. This was done as a way of mourning; the subjects were made to look as if they were merely asleep to give their loved ones comfort that they had passed on peacefully and happily. Eventually, a reduction in the death rate led to the end of this practice. 

5. ​​ Fashion photography by Sara Page

“Modern fashion photography differs because photographers aim to be extraordinary with their work, they know that extra ordinary will interest the audience much more It is extremely evident that fashion photography has changed and developed throughout the years, however there is not just reason. It is clear that fashion photography has changed and developed because of advancements in technology, change in attitudes and the introduction of celebrities.”

Page’s essay focuses on the history of fashion photography and some techniques used in practice. It dated back to 1911 and astonished the public with glamorous photos of people wearing perfectly-styled outfits. As the years have gone on, photographers have taken the lighting of the photos more into account, as well as their settings. In addition, editing software such as Photoshop has allowed even better photos to be produced. Fashion photography has only become more extravagant with the current social culture. 

In your essay, write about your favorite subject when you take pictures- is it people, landscapes, objects, or something else? Explain why, give examples, and perhaps elaborate on your camera settings or the lighting you look for when taking photos.  

Photography is an important invention that has helped us immensely throughout the years- how exactly? Explain why photography rivals painting and why it is essential. Then, write about its importance to you, the entire world, and humanity. 

Some say photography pales compared to the intricacies of music, painting, sculpture, and even cinema and should not be considered a form of art. For an interesting argumentative essay, determine whether photography is genuine art or not and defend your position. Explore both sides of the topic and give a strong rebuttal against the opposing viewpoint. 

From street photography to food photography to portraiture, many different types of photography are classified according to the subject being captured. Write about at least three types of photography that interest you and what they entail. You may also discuss some similarities between them if any. Check out our list of the top CreativeLive photography courses .

Like other works of art, a photograph can be interpreted differently. Choose a photo you find exciting and describe how you feel about it. What is being portrayed? What emotions are being evoked? What did the photographer want to show here? Reflect on your chosen work and perhaps connect it with your personal life. 

For help with your essays, check out our round-up of the best essay checkers . If you are interested in learning more, check out our essay writing tips !

Martin is an avid writer specializing in editing and proofreading. He also enjoys literary analysis and writing about food and travel.

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Essay on Photography

Students are often asked to write an essay on Photography in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Photography

What is photography.

Photography is the art of capturing pictures using a camera. A camera is like a box that keeps a moment from running away. When you take a photo, you save a memory that you can see later.

Types of Photography

There are many kinds of photography. Some people take photos of nature, like mountains and rivers. Others click pictures of cities or people. Some even capture stars at night. Each type tells a different story.

The Importance of Photography

Photos are important because they help us remember past times. They show us how things were and how they have changed. Photos can make us feel happy or sad by reminding us of different moments.

Learning Photography

Anyone can learn photography. You start by learning how to use a camera. Then you practice taking photos. Over time, you get better at making your pictures look nice. It’s fun to learn and can become a hobby or a job.

Also check:

• Paragraph on Photography

250 Words Essay on Photography

Photography is the art of capturing light with a camera to create a picture. This can be done using a digital camera or even a phone today. In the past, people used film cameras that had to be developed in a dark room.

The Magic of Cameras

A camera is a tool that takes in light through a lens and saves the image. In old cameras, light hit a film to create a photo. Now, digital cameras use electronic sensors to record the image. The sensors work like our eyes, catching light and colors.

There are many kinds of photography. Some people take pictures of nature, like forests and animals. Others like to take photos of cities and buildings. There are also photographers who take pictures of people and capture their emotions and moments.

To be good at photography, you need to learn how to use a camera well. You also need to understand light and how it affects your photos. Practice is important. The more you take pictures, the better you get at it.

Sharing Photos

After taking pictures, people often share them with others. They might put them on the internet, in a photo album, or hang them on a wall. Sharing photos lets others see the world through your eyes.

Photography is a fun and creative way to show how you see the world. It can be a hobby or a job, and it helps us remember special times and places.

500 Words Essay on Photography

Photography is the art of capturing light with a camera to create an image. This can be done using a digital camera that stores pictures electronically or an old-fashioned film camera that records them on film. When you take a photo, you freeze a moment in time, which you can look back on later.

The History of Photography

The story of photography began hundreds of years ago with simple cameras called pinhole cameras. Over time, inventors created better cameras and ways to make pictures clearer and more colorful. In the past, taking a photo was not easy; it took a long time for the picture to be ready. But now, thanks to modern technology, we can take pictures instantly with digital cameras and even our phones.

There are many kinds of photography. Some people take pictures of nature, like mountains, flowers, or animals. This is called nature photography. Others enjoy taking pictures of buildings or cities, known as architectural photography. Then there are photographers who like to take pictures of people. This can be portraits of one person or family photos with lots of people. Another exciting type is sports photography, where photographers capture fast-moving action at sports events.

How Photography Works

A camera works a bit like our eyes. When we look at something, light enters our eyes and helps us see. Similarly, when you take a picture, light comes into the camera through a hole called the lens. Inside the camera, the light hits a part that is sensitive to light, either film or a digital sensor, and creates an image.

Photography is important for many reasons. It helps us remember special moments like birthdays or holidays. It also lets us see places we’ve never been to and learn about different people and animals. Newspapers and websites use photos to show us what is happening in the world. Photography can even be a way for people to express their feelings and tell stories without using words.

Anyone can learn to take good photos. It’s not just about having an expensive camera. It’s about looking carefully at what you want to photograph and thinking about where to place things in the picture. It’s also about practicing a lot. The more photos you take, the better you get at it. There are also many books and videos that can teach you how to be a better photographer.

The Fun of Photography

Photography can be a lot of fun. It lets you be creative and can even turn into a hobby or a job. You can take pictures of your friends, pets, or trips you go on. With photography, you can explore new places and meet new people. The best part is, you can start at any age and keep learning and enjoying it your whole life.

In conclusion, photography is a powerful form of art that lets us capture memories, explore the world, and share stories. It’s a skill that anyone can learn and enjoy. Whether you’re taking a picture of a beautiful sunset or snapping a photo of your best friend laughing, photography helps us save those special moments forever.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

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194 Photography Essay Topic Ideas & Examples

🏆 best photography topic ideas & essay examples, 👍 good essay topics on photography, 🎓 simple & easy photography essay titles, 💡 most interesting photography topics to write about, 🔍 interesting topics to write about photography, ❓ photography essay questions.

• Photograph Description: Nature The photograph reflects a marvelous landscape combining the elements of human interference in the form of buildings; it is necessary to underline the fact that the picture is to be referred to as representational […]
• Is Photography an Art and Why? In brief, photography is an art since it uses a variety of human actions to create aural, visual, or performative artifacts that show the author’s creativity or technical proficiency and are intended to be admired […] We will write a custom essay specifically for you by our professional experts 808 writers online Learn More
• Pathos, Ethos, and Logos in Photography The audience’s personal experiences affects its interpretation of what the picture depicts, it might be close to the communication the photographer had wished to convey or a totally different perspective.
• Eastman Kodak and Photographic Film Industry Major Changes This kind of study enables the marketer to evaluate the performance of the company in the market. Therefore, the application of the model is inevitable in case the market is to understand the performance of […]
• Impacts of Photography on Advertising So as to discuss this topic, this paper shall: trace the development of photography on advertising; discuss the positive impacts of photography on advertising; and discuss the negative impacts of photography on advertising.
• Personal Interest in Photography Most of Cotton’s photographs were devoted to the exploration of the serenity and beauty in the natural world, as can be seen in the photographs below.
• Invention of Photography and Its Social Impact Although photography was invented in its full form only in 1835, an understanding of the social impact that was a result of the invention of photography is rightly portrayed by Azoulay in his article “The […]
• Steve McCurry’s Photographs This approach has revealed the impacts of war on the lives of many people across the globe. McCurry had the opportunity to capture the portrait of a monk in Tibet.
• Photography as a Mass Medium To demonstrate this fact, the study explores the works of Sontag in her article titled, On Photography, and shows how digital photography changes her analysis about the “photographic way of seeing” life.
• Photography as a Career It is of essence to note that a number of variations exist in the field of photography, for example, self-employment and commercial photographing are just some of the ways one can successfully earn a living […]
• Sports Photography and Its Evolution The death of Niepce was announced in 1833, but the experiment was still been performed by Daguerre and he succeeded in the development of the daguerreotype finally in 1837.
• Reflection of Photographic Arts The knowledge influences the choice of image and the position of the subject in the photograph. The knowledge of the fundamentals of photographic arts creates a world of possibilities.
• Note-Taking and Crime Scene Photography Concerning the effectiveness of notes, generally, they should contain a high level of detail, and straightforwardness and cover all areas of the crime scene.
• Photography in the E-Business: Marketing Strategy Business owners or those in the photography business are now thinking of possible and probably the best way to reach a wider market in the most fashionable and quickest way.
• The Connection of History and Photography Overall, photography falls under the visual sources of chronological data that historians can use to understand and write about recorded events.
• Gordon Parks, an American Photographer After the death of his mother in 1926, Parks was forced to move to Minneapolis, where he made a living by affiliating himself with a number of odd jobs, such as the job of a […]
• Photography: Critical Analysis The vertical, restive position of the pencil in each of the slides is indicative of a resort to have finished a particular task, presumably that of writing on the foolscap, with the pencil resting in […]
• Imogen Cunningham, an American Female Photographer The high contrast and neutral tones of the image bring to the viewer’s attention a variety of details, including the woman’s hair, her wrinkles, and the unevenness of her skin.
• Concept of Documentary Photography The purpose of composition in this case is to bring out a distinction between the different elements of a work that is being portrayed in such a manner that the elements of the work that […]
• The Development of Lithography and Photography in the Nineteenth Century For this reason, when the reproduction techniques of lithography and photography came up, most of the artists at the time viewed this as a gold mine. As to whether lithography and photography resulted in a […]
• Photography Comparison and Contrast The focus on the naked parts of the body, like dirty and scratched hands, necks, and faces, allows for learning about the terror and horror of that period. In my photo, the style differs due […]
• Photographer Diane Arbus’ Creativity Analysis Therefore, Arbus showed consistency with the portrayed ugliness of the subjects in the photographs. This enabled Arbus to capture moments that genuinely depicted the feelings of the people in their environment.
• Melancholy Objects in Photography The purpose of this paper is to develop a critical evaluation of Sontag’s claim of melancholy and Photography, with reference to a photograph taken for a tombstone in a cemetery. In fact, the grave looks […]
• Privacy and Photography in Public Places According to the protectors of privacy, it is inappropriate to take photographs and circulate them without the consent of the individuals.
• Jeff Wall, a Contemporary Photographer and His Works Most of the photographer’s works are staged, depicting everyday scenes related to the problems of representation and the history of art.
• Photography: An Artist Statement In the first image, I arranged the details in the composition to guide the observer through the place I captured by the camera. With the help of the play of the light and shadow, I […]
• Photography Exhibition: Examples of the Works This is an outstanding piece of art which made me, for instance, think of our world and humanity: first of all I thought about the perfection of the both, and then I passed to contemplations […]
• Yosemite National Park and Connecting With the History of Photography By the time the Yosemite series was started, Carleton Watkins was a famous master of the so called wet-collodion technique that made use of the “mammoth” plates made of glass to allow for the better […]
• Visual Art and Photography Ice Sculpting is truly an art of its own, and even though this style of art is not permanent, unless a person were to place the item into the freezer, this would still be categorized […]
• Nikki S. Lee and Photography Considered to be one of a kind, the unique nature of this exhibition placed her in the limelight. In ‘The Seniors Project’, Lee managed to transform herself to fit the image of an old woman […]
• Social Documentary Photography Then and Now In the first place, he tried to inform people about the diversity of life in the city, which was a common trend for the beginning of the twentieth century.
• Photography Company’s Public Relations Campaign The accomplishment of each aim will be performed following the specificity of the targeted audience that is supposed to be composed of the middle-class population of the Seattle Area. In the meantime, they expect that […]
• Child Labor, Great Depression and World War II in Photographs The impression is of isolation and yearning for daylight, freedom, and a childhood foregone, in the midst of a machine-dominated world.
• Lighting in Painting, Film, and Photography Due to the lack of detail and the unobstructed silhouette lighting, the viewer can witness the anguish of the photography’s subject. Finally, “The Entombment of Christ” is a famous example of chiaroscuro lighting in art.
• The “Close Enough” Exhibition of Photographs Each of the authors presents their vision of connections and relations in global moments, communities, and individual subjects.”Close Enough” deserves a lot of attention in the context of its importance and significance to the world […]
• The Photograph “Melissa Shook in a Lonely Home” by Elizabeth Hammer Munemura The presentation of the idea of malnourished flowers in the room depicts the state of homelessness in the series. The photograph was taken behind the scenes to familiarize the actors and actresses involved in the […]
• Matthew Brandt’s Approach to Photography The artist labors over the production of his images, turning the creation of his work into grueling physical labor by utilizing long-forgotten techniques acquired from the earliest photographers in the tradition of photography, making his […]
• Walter Benjamin’s Article: The Invention of Photography In “The Work of Art in the Age of Mechanical Reproduction”, Walter Benjamin discusses how the invention of photography and other mechanical reproduction forms has changed how people perceive works of art.
• Dharker’s Postcards From God Book and Carter’s Family Photograph Human poverty might have many colors, and the worth of the chosen non-literary work is in the possibility of conveying the struggle in the face of inevitability.
• Canadian Regional Geography in Photographs Because of the combination of two types of climate and the terrain, there is a wide difference of ecosystems. The second image is likely Atlantic Canada, as there are fishermen on it, while the most […]
• Photography as Quick-Paced Creative Medium Photography is interesting since it helps keeps memories alive and prosperous because it freezes a scene that lasts forever. In capturing moments of importance and beauty, photography helps one revisit memories in a way otherwise […]
• The Background of Photography and the History of Racial Strife Overall, Ardizonne argues that Day’s work was destructive to the political discourse, based on an assessment of the pictures and the content of the anthropological section.
• The Visual Argument in the Photograph The photograph and the remark appeal to pathos, striving to first show the emotions of the child in the picture and then accentuating how the words shown through the hand around the boy’s neck can […]
• The Ellen Terry Photograph by Julia Margaret Cameron The value of the artwork is that it reminds the world that people are all the same. An interesting fact about the artwork is that the picture was taken during the honeymoon of the actress.
• The Search for Truth: Early Photography, Realism, and Impressionism European colonialism led to the popularity of ethnography and the emergence of Orientalism the Western representation of the Middle East visually or literary.
• Photographs Depicting Sufferings of Real People Recording reality may run counter to the goals and ideals of the person making the recording. The dilemma of reaction to shocking photographs is often limited by the viewer’s psychological predisposition and internal values.
• Photography of Global Disasters: Violence or Not? There is a moral dilemma in people’s urge to respond to suffering photographs of others by either just looking at the pictures or doing something to stop the disaster.
• Special Features of the Photography by Luc Delahaye and Ansel Adams The above photograph is one of the works by Ansel Adams, who is recognized as a pioneer in the evolutionary field of expertise.
• Significance of the Photographs Created by T. Simon and J. Riis In turn, Riis presents a unique perspective on the immorality of the Victorian neighborhoods serving as evidence of erroneous people’s attitudes towards appropriateness.
• Photographer Lene and The Heart Project Lene has had an opportunity to work in a large variety of creative mediums, utilizing the skills acquired in a number of projects. The use of paint, charcoal, and mosaic in her art creates a […]
• “Tom Torlino Student File” Photograph Analysis The before and after photo of a native American student is vivid evidence of American influence on the disappearing cultural heritage. What was the impact of such boarding schools on the identity and values of […]
• Photography: Art Creation & Reflection The thematic connection between the two pieces is based on the illusionary vision of the simple scenes and experimental approach to the art of photography.
• An Analysis of a Photograph By Mike Wells This spread of technology-enabled many people to document the environment around them and allowed millions of people to relate to stories of others told through photographs.”A Starving Boy and a Missionary” is one of the […]
• The History of Photography of the Nineteenth and Twentieth Century They assured the recognition of photography as a kind of art. Alfred Stieglitz created a series of clouds photographs that combined the technical and aesthetic principles of his work.
• Ethics in the Age of Digital Photography by Long In his article, ‘Ethics in the age of digital photography,’ Long expresses his concern over the problem of “the public…losing faith” in photojournalists.
• Composing With Light or Color in Photography Light, shadow and color are the components of an image. The balance between each element affects the quality of the image.
• Photography, Impression and Alfred Stieglitz A striking example of this is the emergence of photography as a category of art after the invention of the camera.
• Macro Photography: Features, Techniques, and Common Mistakes It is customary to call macro photography the shooting of objects comparable in size to the size of a film frame or much smaller than it.
• Town Photography Studio Online Branding In order to convince our potential customers about the quality of our new product, we need to use attractive images of the new product which can easily capture the attention of our potential customers.
• Dream Deferred: Timeless Relevance. Poem and Photograph Review The relevance of showcasing social inequality through voices and faces of the Afro-Americans in the United States draws the parallel between the historical and contemporary context.
• The Beauty of Photography: An Opinion However, ultimately, I leaned toward the DSLR cameras and still photography rather than the motion of the film. As a result, good photos make one look at the situation from a different angle, capturing a […]
• Chris Hondros: War Photographer This leads the author of the current paper to discovering the key three topics that have to be covered in order to evaluate Hondros’ contribution to war photography during the first decade of the 21st […]
• Jack Dykinga’s Photography In addition, this use of light adds to the beauty of color harmony and color saturation in the picture. Because of the duly chosen perspective and the angle of shooting along with the time of […]
• Margaret Bourke-White: A Historically Significant Photographer Among Bourke-White’s exclusive works are the photos of the First Five-Year Plan in the Soviet Union, the daily struggle of the Allied infantrymen in the Italian campaign, the siege of Moscow, and the conflict between […]
• Julia Margaret Cameron: A British Photographer As the photographer later wrote in her unfinished memoir “Annals of my glass house”, from the moment of the first shot, the camera had become a link to the world of artists, scientists, and writers.
• History in Abbass Studios Ltd. Fonds’ Photographs The approximate creation date of the collection is mentioned as 1940 the year when the eldest of the Abbass brothers became interested in photography. George was in charge of the office and the studio.
• HDRI and Tonal Mapping in Photography The science of High dynamic range imaging has developed the dynamic range of processing, transmission, and representation of imaging photography beyond the traditional forms.
• Photography: Robin Fox’s Proof of Concept The subject and concept of the exhibition is as unique as it can be and the gallery is the best place where the photos can be exhibited.
• Horst Wackerbath and His Great Photography This mystic twist in Wackerbath’s work keeps people looking out for more of his works in a bid to try to understand not only how he manages to pull such a delicate feat, but also […]
• Knowing Andy Warhol’s Life and Photography The Post-Modernist Movement of pop art and culture in the latter half of the twentieth century was a revolutionary movement and it was started by the American artist Andy Warhol’s very amundane’ looking paintings of […]
• Without Sanctuary: Lynching Photography The photographs in Without Sanctuary provide a record of the intolerance and racism that was standard in the United States at the turn of the twentieth century.
• Ansel Adams and John Sexton: World Photography The first assumption that we can make about these works is that both of them achieve an effect of optical illusion and this is one of the most difficult tasks for a photographer to carry […]
• Has Digital Technology Improved the Quality of Photographs? In the case of our apple, most of the wavelengths are absorbed with the exception of those that lie on the red end of the spectrum.
• Photograph Works by Laura McPhee This particular feature in the works of Laura McPhee impresses the viewer owing to the mastership of the photographer in playing with the background and foreground.
• Evaluating Evidence: Paperwork and Photographs The paperwork evidence is one of the main evidence, as it is the prejudicial evidence of the witness, who walked the cemetery and saw the act of vandalism of the tomb.
• Photography Exhibition “Threads” in Melbourne The subject matter of the photograph under consideration is the nature of identity or, to be more exact, the exploration of it.
• Pia Johnson’s Photography Exhibition The main aim of the photographer is to stop the time and to make people to be delighted by the beauty of the picture, as the time is the substance which flows fast and the […]
• Three Questions About Photography If they do, it is through the main webpage where it is displayed and the user is not allowed to copy the image.
• Photo Art: Photographic Exhibition This is the photo produced by Samantha Everton in 2009 as a part of her Vintage Dolls series: The photo is installed in a frame during the exhibition to ensure the considerable attention the viewers […]
• Photographic Exhibition in Melbourne Australia The concept of space in the exhibit depicts that of loose and un-articulated. But nowhere in the exhibit were photos shown of men or women building gabions baskets, or showing the river.
• The Exhibition “The Arlen Ness Photographic Exhibition” Watching the landscape in reality and the same view on the photo, the viewer may not notice the difference as the professional photographer, the artist tries to make his/her photos so realistic and inconceivable that […]
• “China and Its People in Early Photographs” by John Thompson In spite of the fact the majority of his works are believed to be documentaries, Johnson is often referred to a photojournalist, because he often focused attention on the social aspect of human relationships, it […]
• Atta Kim: Presentation of a Photographer While many techniques Atta uses are not new, in some context the works of Atta can be considered as a philosophical opinion that was visualized using photography.
• Photography: Brief History of Invention At that time all images produced were in black and white and eventually all masters of the art came to believe that the only artistic way to record photographic images was in black and white. […]
• Photographic Pioneer: Paul Strand One of her eyes is a stone eye and with the other eye she is trying to view something on her left side.
• Edward Steichen in History of Photography Edward Steichen is one of the central figures in the history of photos. The astonishing sale charge of the print is, in part, featured to its one-of-a-kind personality and to its curiosity.
• Contribution of Modernity to Photography and Film Movements Modernity in visual arts and cinema is part of the ever-changing world, wherein the establishment of ideas, different people in the world of art participates in experimenting with the forms and styles of art, thus […]
• History of Photography: Brief Overview of the Most Exciting and Impressive Ways of Cultural Representation Photography is one of the most interesting and impressive ways and techniques of culture representation. For instance, photography documented the culture of the 1920s and world wars, the Great Depression-era, and the liberation movement.
• History of Photography: Road and Poplar Trees Analysis The picture artistically depicts the distance between the poplar trees making the trees on the right side to be smaller than the left side.
• Snapshot vs. Fine-Art Photography in Digital Age The scale of distribution of everyday photography is associated with the improvement of photographic technology and the spread of electronic and digital technologies, making exploring snapshot photography particularly relevant. To analyse the functions of snapshot […]
• Publishing Controversial Photographs: To Be or Not To Be? Harte took some pictures of the rescue operation, including an image capturing the moment when the rescuers found the body of a drowned boy and showed it to the family.
• Edward Weston’s Modernist Photographs More attention should be paid to the analysis of Weston’s photographs and the comparison of their style to my photographs. The object in my black-and-white photograph looks like a kind of tubes, which texture is […]
• Photography & Folk Art: America in the 1930s Exhibition The exhibition “Photography + Folk Art: Looking for America in the 1930s” is a remarkable venue where visitors can see and even feel the atmosphere of the years of the Great Depression in the United […]
• ”Preferences for Photographic Art Among Hospitalized Patients With Cancer” by Hanson ET Al. The opinions of stakeholders, who are patients and nursing staff, as well as the outcomes of treatment, are factors that influence the response to the research question.
• Philosophy of Photography as an Art In conclusion, it is necessary to stress that photography is a specific form of art that involves the use of technology.
• Photographs and Danto’s View on Art This argument comes from the idea of the philosophic meaning of art and its ability to impact viewers by representing some objects of reality in unusual ways.
• Robinson, Emerson, and Photography as an Art Both of them viewed the newly created form of image capture as a medium for the expression of art, but their views on the nature of the movement were radically different.
• “The Valley of the Shadow of Death” the Photography by Roger Fenton Finally, from the standpoint of war, such a large number of cannonballs on the road testifies to the scale of the hostilities, which also makes one wonder about the alarming consequences of attacks. Therefore, the […]
• Photography Changes Who We Think We Might Be This essay is interesting and was chosen because Bergen is famous for her acting and not for photography, yet she clearly has a passion for this trade.
• A Distinct Camera Vision in Jacques-Henri Lartigue’s Photograph Also, there is no focus on the man’s feet because the camera concentrated on the leap in water, and the feet remain out of the water.
• Moholy Nagy’s “Laci and Lucia” Photography In order to make it fit the life in the 21st century, the famous quote by Laszlo Moholy Nagy can be rewritten in the following way: “The illiterate of the future will be the one […]
• Andreas Gursky’s “The Rhine II” Photography In The Rhine II, the photographer attempts to deliver “an accurate image of a modern river” and invites viewers to see the river enclosed in the deep-colored stripes of grass, concrete, and the clouded sky.
• Nature and Animals in Photographs In the picture, a viewer sees the glassy and smooth water surface, the banks and fir trees covered with snow, and a high dome of the mountain in the center of the photograph.
• Photography: Is It Possible to Recapture the Past? The problem of photography is twofold: the problem of representation, and the presumption of reality that the photographic images elicits in the viewer the pervasive belief that a photograph depicts a referent, a real “how […]
• Photography: A Cultural History In the middle of the 1850s, there were many photographers, whose projects caused people’s admiration, and the works of Edouard Baldus, Imperial Library of the Louvre, and Roger Fenton, Rievaulx Abbey, may be considered as […]
• A Critique of a Photographer’s Works: Matthew Abbott Matthew Abbott underlines one simple fact that Istanbul is the only place where East has all chances to meet West, this is why it is hard to predict the traditions and interests of Turkish people, […]
• Richard Drew’s Photography: Visualizing September 11 This would have ensured that I had accommodated the rights of media, clients, society, and other stakeholders while still adhering to media ethics.
• Hector Mediavilla Photographic Series “The Congolese Sape” The photographer’s decision to organize the order of photographs influences the viewer’s interpretation of the image. The photographer captures an image from a focal position; the decision to capture the image is influenced by the […]
• “Memorial Day” by Anthony Suau: Photography Analysis The background of the image is blurry, indicating that when Suau took the photograph, he had one central area of focus and opted to indiscriminately isolate the other items in the shot.
• Photography and Society Through History: Political and Ideological Functions Another example of a thoroughly politicized photo, which during the course of the thirties was meant to promote the cause of Communism, is Alexander Rodchenko’s Pioneer with Trumpet:
• Photography and Its History This is termed as documentary photography in which a value of a photograph is measured by its worth of objectivity, which depends on the subject matter, the perception of why it is taken, and the […]
• Michael Lesy’s Wisconsin Death Trip: Photograph Analysis As highlighted by the focus of the light and the enlargement of the image, this makes the ribs of the horse to be the photo’s point of focus.
• Modern Art: Painting, Sculpture, Architecture, Photography Duchamp and his work have a connection through the refusal to accept the views of the majority of artists and art lovers.
• Photographs in a Written Society Visual literature requires one to have the ability to analyze, interpret, and understand images with the aim of acquiring meaning through the cultural context in which the image exists.
• Perspectives on Photography In his essay, John Berger states that the war in Vietnam was one of the most influential transformations of the world.
• “Film und Foto” Exhibition and Surrealism in Photography Surrealism is considered to be a cultural movement of the early twentieth century and is commonly reflected in the works of art and writings.
• The History of War Photography The purpose of this report is to identify basic trends in the development of war photography and determine the conceptual, stylistic, and technical changes observed in the course of its formation.
• Fascination With Crime Through the Art of Photography The image is not for the faint of heart; however, it is fascinating in a way it is shot. It is evident that the robber fired a bullet into the camera to hide his identity.
• Photography: The Art of Seeing The images that she deals with are associated with saucer magnolia blossoms and she aims to capture the exquisiteness of trees hence bringing-forth that magnificence to the attention of her audience.
• Timothy Hogan’s Photography Taking into consideration the infinite backing from the greatest producers, retouchers, and workshops in the professional photography niche, it is quite reasonable that Hogan and his team managed to furnace the lifelong contacts that provide […]
• Photography Ethics, Reliability, and Principles As a result, it is often possible to guarantee that the photo provided in the news is not a product of Photoshop.
• The “We Are All Equal” Photography by Haley Bell In spite of the fact that the photograph is rather straightforward in its message, it is important to focus on this image of a young white woman’s hand with words saying that we are all […]
• The Photograph Description and Criticism In this picture, the foreground is where the woman is seated and the background depicts transparent window of the apartment The photograph was likely taken in a broad daylight since outside the apartment to be […]
• Hine’s Indianapolis and Kruger’s Help! Photography Nevertheless, unlike Lewis Hine, Barbara Kruger chooses to combine different media, and in this way, she departs from the canons of the modernist art. Overall, this comparison indicates that the works of Lewis Hine and […]
• The Photography Gallery in Melbourne The photos are mounted on glass and owing to the fact that the setting is indoor, a lot of lighting is applied to prevent any darkness.
• Melbourne’ Keith Gallery: Photography Analysis However, at the entrance of the gallery, I took a picture that shows the entry of the gallery that has photos on it.
• The Basic Critical Theory for Photography According to Berger, images depend on the way of seeing of the person who has taken them. Berger insists that ‘publicity images’ and ‘advertising images’ have the same meanings.
• Andy Goldsworthy: Sculptor and Photographer Besides, the vast majority of artworks of this sculptor are installed in nature in the woods, fields, plains, at the ponds, or rivers.
• Lewis Hine’s Photography Art Being born at the age of great changes and stresses, Lewis since his childhood was interested in the imprinting of some great moments of the history of American society.
• Technologies: Amateur Film vs. Cell Phone Photography An analysis of the advantages and disadvantages of the two forms of photography concludes the paper. Cellphone and film cameras have apertures that regulate the quantity of light passing to the sensor and film, respectively.
• Photographic Representation of War Photography captures the moments that are gone, portrays the reality of the past, and preserves the images that used to be real at the second when the photo was taken.
• Photography in Arabic Countries New and new tendencies and fashion took over the generations of European and American photographers, while for the photographers of Arabic and Middle Eastern countries the art of taking pictures was still new.
• The Pool’ Pictures Balance in Photography Because of the unique combination of urban background and the green elements, as well as the presence of such details as the cast iron, the change in the pictures of the pool not only shows […]
• The Photography of the Arctic Ice Panoramic View The vivid play of light and color in the picture brings out the striking separation of the detached mass from the main iceberg.
• Photograph Discussion: Physical Elements and Content Telling from the photograph, the three boys were part of the group playing games in the background and were called to attention by the photographer.
• Photography: Finding Beauty in the Ordinary Therefore, the beauty that the photo represents is largely derived from the actual object. While Sontang acknowledges that the close-up is a reflection of truth, it is still subject to the photographer’s viewpoint.
• The Photographic Approaches Towards American Culture of Robert Frank and Gary Winogrand Frank practiced many forms of photography and he did photography both for the commercial and fashion purposes and was considered an influential American photographer who was also a mentor to many young American artists.
• Photographic Approaches for Manuel Alvarez Bravo and Ann Parker In this review, a comparison is made of the photographic approaches of Ann Parker and Manuel Alvarez Bravo, looking for similarities and differences in their art.
• Surrealist Photography and Experimental Photography These two techniques showcase objects in an in-depth manner, concentrating specifically on the surroundings of the image and creation of an abstract form of art that shaped the history of photography.
• Photography and Beauty Perception His resistance stemmed from the fact that in the early decades of photography, photographs were meant to idealize images and for a picture to be considered beautiful, its subject had to be something beautiful.
• Araki Nobuyoshi and Photography He promoted a new genre of art which is up to date cherished in Japan and other parts of the world.
• Photographic Approaches Towards Landscapes: Peter Henry Emerson He insisted that science was a core part of art and photography and thus, he endeavored to prove how the two were completely dependent. He was able to capture the economical effects of the depression […]
• A Comparison of Photographic Approaches Towards American Culture Siskind, on the other hand, used photography as a skylight into the subconscious minds of Americans and a technique to react to the dirty happenings experienced in World War II.
• Photography of High-End Art However, in order to capture the beauty and uniqueness of the original artwork, as well as incorporate a range of innuendoes concerning the artist, the era that the art was created in, etc, very specific […]
• The Description of Nature in Jack Dykinga’ Photographs There are several aspects of these photographs that I would like to discuss, namely the interplay of light and shadow and structured space. This is the main lesson that I learned from the works of […]
• Jack Dykinga’s Outdoor Photography The works of Jack Dykinga have longed appealed to because this photographer is always able to emphasize the beauty of nature by paying attention to color patterns and space.
• Photography’s Impact on Society The pictures taken from scenes of dying soldiers in the American civil war are some of the reasons that evoked strong emotions, which led to the end of the war.
• The Impact of Nineteenth Century Photography on Visual Representation and the Development of Visual Culture The essay concludes with a showcasing of a number of nineteenth century photographs that illustrate the wide range of uses, particularly in the realm of portraiture, that photographers of the nineteenth century employed the photographic […]
• Weegee and Goldin’s Photography This paper compares Weegee and Goldin’s photography to address the connection between the middle years of the twentieth century, when photography began to expose realities in life, and the modern distrustful era.
• Mads Nissen, a Danish Documentary Photographer He has helped in expressing the plight of the minority groups in the society and also in championing of human rights of the people all over the world.
• History of Photography Culture Thus, as a result of the credibility, reliability and realism of photography, the development of photography was closely related to the industrial revolution, the scientific revolution and advancement in philosophy.
• Critical Analysis of Barthes’s Camera Lucida-Reflections on Photography He maintained that a picture has a potential to create deceitfulness in the fantasy of ‘what is’, where the description of ‘What was’ is so specific.
• “Escaping to Reality: Fashion Photography in the 1990s” by Elliot Smedley Written by Elliot Smedley, “Escaping to Reality: Fashion Photography in the 1990s” explores how contemporary fashion photography is adopting realistic styles by using realistic activities contrary to ideal styles that had dominated art and photography […]
• Surrealism in Photography Surrealism, which started after the World War I, in photography is one of the indicators of most important revolutions that have taken place over the history in the area of photography.
• The Art of Photography: Seizing the Moment Flying The vividness of the gender stereotypes which the art of photography disclosed was incredible, because of the new ideas of gender gap and the gender prejudices which the boldest photographers dared to take picture of.
• Critique of a Photographer, Tom Williams The major point is that the works of Tom Williams can be found in both private and public collections, this is why the popularity of his works raises day by day, and, it is quite […]
• Exhibitions at the International Center of Photography Focusing on the photographs by Chim, it is possible to feel as the part of the European society between the 1930s and 1950s.
• Photographer Jeff Wall and His Paintings The room is clearly in a state of disarray as the dishes and several other things in the room are unattended to.
• Photography Art in 20th Century In its turn, this reflected the fact that during the course of the 20th century’s initial phase, the classical conventions of physics have been thoroughly revised, due to the emergence of the Theory of Relativity.
• Photography: Jimmy Nelson’s Piece of Art According to Nelson, the Maasai are part of the few tribes in the world that are quickly fading due to civilization and the increasing need for the world to form a global community.
• Photographer – Robert Frank This element is evidenced by Rodeo which was taken in 1954 in New York city because one can not identify the face of the guy who is leaning on the dustbin but since Robert’s photos […]
• Social Uses of Photography: Post-Mortem Photographs The art of photography was invented by Louis Daguerre in the 18th century; this invention promoted the representatives of the middle class family with an opportunity to memorize the events and people and not to […]
• The Exhibit Twilight Visions at the International Center of Photography The medium of photography in the post World War I period was almost too deliciously convenient a vehicle for certain proponents of the Dadaists and the Surrealists.
• Evolution of Photography: Trying to Seize the Moment In his book A Concise History of Photography, Helmut Gernsheim takes the reader onto a time travel, explaining the origins of photography and telling about the opportunities that photography offers.
• What Is the Difference Between Film and Digital Photography?
• What Is the Most Popular Photography Website?
• How Does Photography Affect the Social and Political Arena?
• How Photography Has Changed Our View of the World?
• Why Was Post-Mortem Photography Popular?
• When Was Photography First Invented?
• How Romanticism and Photography Shaped Western Modernitymodern?
• What Was Photography Originally Called?
• How Digital Processes Change Photography?
• What Photography Can and Really Should Document?
• What Is the Best Photography Course for Beginners?
• Why Photography Is an Art?
• What Would the World Be Like Without Photography?
• How Photography Has Changed Changing Business Environment?
• How Did Joseph Nicephore Contribute to the Early Development of Photography?
• What Is the Target Market for Portrait Photography?
• What Are the 4 Styles of Photography?
• How Has Fashion Photography Changed and Developed Over the Years?
• How Did Photography Reflect the Values and Stereotypes That Underlay European Colonialism?
• Why Is Photography So Important?
• How Does Photography Affect Our Lives?
• Which Type of Camera Is Best for Photography?
• Why Is Digital Photography Better Than Traditional?
• How Are Music and Photography Related?
• What Are the 7 Principles of Photography?
• How Did Female Surrealists Aim to Subvert the Male Gaze Within Surrealist Photography?
• How Photography Works and Has Evolved?
• How Have Photography and Photojournalism Transformed Media?
• What Was the Effect of Photography on Painting in the Nineteenth Century?
• What Makes a Good Food Photography?
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Essay on Photography

Photography is the art of capturing light with a camera, usually via a digital sensor or film, to create an image. The word “photography” comes from the Greek words “photos” meaning “light” and “graphos” meaning “drawing” or “writing.” It is a form of visual communication that has become an integral part of our daily lives.

Photography is an art form that involves capturing light with a camera to create a visual representation of a moment or scene. This art form has evolved significantly since its inception in the early 19th century and continues to evolve as technology advances.

One of the defining characteristics of photography is its ability to capture a moment in time. Unlike other art forms such as painting or sculpture, photography allows for a precise and exact representation of a moment. In photojournalism, photographers actively document events and news stories, creating a historical record of unfolding events.

Another unique aspect of photography is its ability to manipulate light and composition to create a desired effect. Through the use of various camera settings and techniques, such as depth of field and exposure, photographers can create dramatic and expressive images. The use of light can also be used to create a sense of mood or atmosphere in an image, drawing the viewer in and evoking a response.

In addition to capturing moments and manipulating light, photography also has the power to tell a story. Through the use of composition and framing, photographers can create images that convey a message or convey emotion. This can be seen in documentary photography, where photographers document social or political issues, raising awareness and sparking conversation.

The evolution of technology has also had a significant impact on photography. The introduction of digital cameras has made photography more accessible and allows for instant feedback and editing. This has opened up the art form to a wider audience and has led to the creation of new forms of photography such as smartphone photography.

Photography allows us to freeze a moment in time and preserve it for future generations. It allows us to capture the beauty of a sunset, the innocence of a child’s smile, or the majesty of a mountain landscape. Photography captures and documents important events like weddings, birthdays, and graduations, allowing us to reminisce and cherish those memories for years to come.

Photography not only preserves memories but also tells stories and conveys messages. A skilled photographer can use composition, lighting, and other techniques to create an image that captures the essence of a subject and evokes emotion in the viewer. In photojournalism, the utilization of photographs to document and draw attention to crucial events and global issues can be particularly powerful.

Since Joseph Nicéphore Niépce created the first permanent photograph in 1826, modern photography has traversed a remarkable journey. With the advent of digital technology, photography has become more accessible than ever before. Anyone with a smartphone can take a photo and share it with the world in an instant. This has led to the rise of social media, where millions of people share their photos every day.

However, with the ease of taking and sharing photos comes the challenge of standing out in a crowded field. To be a successful photographer, one must have a unique vision and the technical skills to bring that vision to life. This often requires learning about composition, lighting, and post-processing techniques, as well as mastering the use of a camera and other equipment.

Photography is a powerful art form that allows us to capture and preserve memories, tell stories, and convey messages. It has become an integral part of our daily lives, and with the rise of digital technology, it has become more accessible than ever before. Unlock a world of beauty and creativity through the lens of a camera, whether you’re a professional photographer or an avid photo enthusiast. Discover the wonders that await as you capture moments and unleash your artistic vision.

In conclusion, photography is a unique and powerful art form that captures moments, manipulates light, tells stories, and continues to evolve with technology. Its ability to document and communicate has made it a valuable tool for capturing and sharing the world around us.

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How to Create an Engaging Photo Essay (with Examples)

Photo essays tell a story in pictures. They're a great way to improve at photography and story-telling skills at once. Learn how to do create a great one.

Learn | Photography Guides | By Ana Mireles

Photography is a medium used to tell stories – sometimes they are told in one picture, sometimes you need a whole series. Those series can be photo essays.

If you’ve never done a photo essay before, or you’re simply struggling to find your next project, this article will be of help. I’ll be showing you what a photo essay is and how to go about doing one.

You’ll also find plenty of photo essay ideas and some famous photo essay examples from recent times that will serve you as inspiration.

If you’re ready to get started, let’s jump right in!

Table of Contents

What is a Photo Essay?

A photo essay is a series of images that share an overarching theme as well as a visual and technical coherence to tell a story. Some people refer to a photo essay as a photo series or a photo story – this often happens in photography competitions.

Photographic history is full of famous photo essays. Think about The Great Depression by Dorothea Lange, Like Brother Like Sister by Wolfgang Tillmans, Gandhi’s funeral by Henri Cartier Bresson, amongst others.

What are the types of photo essay?

Despite popular belief, the type of photo essay doesn’t depend on the type of photography that you do – in other words, journalism, documentary, fine art, or any other photographic genre is not a type of photo essay.

Instead, there are two main types of photo essays: narrative and thematic .

As you have probably already guessed, the thematic one presents images pulled together by a topic – for example, global warming. The images can be about animals and nature as well as natural disasters devastating cities. They can happen all over the world or in the same location, and they can be captured in different moments in time – there’s a lot of flexibility.

A narrative photo essa y, on the other hand, tells the story of a character (human or not), portraying a place or an event. For example, a narrative photo essay on coffee would document the process from the planting and harvesting – to the roasting and grinding until it reaches your morning cup.

What are some of the key elements of a photo essay?

• Tell a unique story – A unique story doesn’t mean that you have to photograph something that nobody has done before – that would be almost impossible! It means that you should consider what you’re bringing to the table on a particular topic.
• Put yourself into the work – One of the best ways to make a compelling photo essay is by adding your point of view, which can only be done with your life experiences and the way you see the world.
• Add depth to the concept – The best photo essays are the ones that go past the obvious and dig deeper in the story, going behind the scenes, or examining a day in the life of the subject matter – that’s what pulls in the spectator.
• Nail the technique – Even if the concept and the story are the most important part of a photo essay, it won’t have the same success if it’s poorly executed.
• Build a structure – A photo essay is about telling a thought-provoking story – so, think about it in a narrative way. Which images are going to introduce the topic? Which ones represent a climax? How is it going to end – how do you want the viewer to feel after seeing your photo series?
• Make strong choices – If you really want to convey an emotion and a unique point of view, you’re going to need to make some hard decisions. Which light are you using? Which lens? How many images will there be in the series? etc., and most importantly for a great photo essay is the why behind those choices.

9 Tips for Creating a Photo Essay

Credit: Laura James

1. Choose something you know

To make a good photo essay, you don’t need to travel to an exotic location or document a civil war – I mean, it’s great if you can, but you can start close to home.

Depending on the type of photography you do and the topic you’re looking for in your photographic essay, you can photograph a local event or visit an abandoned building outside your town.

It will be much easier for you to find a unique perspective and tell a better story if you’re already familiar with the subject. Also, consider that you might have to return a few times to the same location to get all the photos you need.

2. Follow your passion

Most photo essays take dedication and passion. If you choose a subject that might be easy, but you’re not really into it – the results won’t be as exciting. Taking photos will always be easier and more fun if you’re covering something you’re passionate about.

3. Take your time

A great photo essay is not done in a few hours. You need to put in the time to research it, conceptualizing it, editing, etc. That’s why I previously recommended following your passion because it takes a lot of dedication, and if you’re not passionate about it – it’s difficult to push through.

4. Write a summary or statement

Photo essays are always accompanied by some text. You can do this in the form of an introduction, write captions for each photo or write it as a conclusion. That’s up to you and how you want to present the work.

5. Learn from the masters

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Making a photographic essay takes a lot of practice and knowledge. A great way to become a better photographer and improve your storytelling skills is by studying the work of others. You can go to art shows, review books and magazines and look at the winners in photo contests – most of the time, there’s a category for photo series.

6. Get a wide variety of photos

Think about a story – a literary one. It usually tells you where the story is happening, who is the main character, and it gives you a few details to make you engage with it, right?

The same thing happens with a visual story in a photo essay – you can do some wide-angle shots to establish the scenes and some close-ups to show the details. Make a shot list to ensure you cover all the different angles.

Some of your pictures should guide the viewer in, while others are more climatic and regard the experience they are taking out of your photos.

7. Follow a consistent look

Both in style and aesthetics, all the images in your series need to be coherent. You can achieve this in different ways, from the choice of lighting, the mood, the post-processing, etc.

8. Be self-critical

Once you have all the photos, make sure you edit them with a good dose of self-criticism. Not all the pictures that you took belong in the photo essay. Choose only the best ones and make sure they tell the full story.

9. Ask for constructive feedback

Often, when we’re working on a photo essay project for a long time, everything makes perfect sense in our heads. However, someone outside the project might not be getting the idea. It’s important that you get honest and constructive criticism to improve your photography.

How to Create a Photo Essay in 5 Steps

Credit: Quang Nguyen Vinh

1. Choose your topic

This is the first step that you need to take to decide if your photo essay is going to be narrative or thematic. Then, choose what is it going to be about?

Ideally, it should be something that you’re interested in, that you have something to say about it, and it can connect with other people.

2. Research your topic

To tell a good story about something, you need to be familiar with that something. This is especially true when you want to go deeper and make a compelling photo essay. Day in the life photo essays are a popular choice, since often, these can be performed with friends and family, whom you already should know well.

3. Plan your photoshoot

Depending on what you’re photographing, this step can be very different from one project to the next. For a fine art project, you might need to find a location, props, models, a shot list, etc., while a documentary photo essay is about planning the best time to do the photos, what gear to bring with you, finding a local guide, etc.

Every photo essay will need different planning, so before taking pictures, put in the required time to get things right.

4. Experiment

It’s one thing to plan your photo shoot and having a shot list that you have to get, or else the photo essay won’t be complete. It’s another thing to miss out on some amazing photo opportunities that you couldn’t foresee.

So, be prepared but also stay open-minded and experiment with different settings, different perspectives, etc.

5. Make a final selection

Editing your work can be one of the hardest parts of doing a photo essay. Sometimes we can be overly critical, and others, we get attached to bad photos because we put a lot of effort into them or we had a great time doing them.

Try to be as objective as possible, don’t be afraid to ask for opinions and make various revisions before settling down on a final cut.

7 Photo Essay Topics, Ideas & Examples

Credit: Michelle Leman

• Architectural photo essay

Using architecture as your main subject, there are tons of photo essay ideas that you can do. For some inspiration, you can check out the work of Francisco Marin – who was trained as an architect and then turned to photography to “explore a different way to perceive things”.

You can also lookup Luisa Lambri. Amongst her series, you’ll find many photo essay examples in which architecture is the subject she uses to explore the relationship between photography and space.

• Process and transformation photo essay

This is one of the best photo essay topics for beginners because the story tells itself. Pick something that has a beginning and an end, for example, pregnancy, the metamorphosis of a butterfly, the life-cycle of a plant, etc.

Keep in mind that these topics are linear and give you an easy way into the narrative flow – however, it might be difficult to find an interesting perspective and a unique point of view.

• A day in the life of ‘X’ photo essay

There are tons of interesting photo essay ideas in this category – you can follow around a celebrity, a worker, your child, etc. You don’t even have to do it about a human subject – think about doing a photo essay about a day in the life of a racing horse, for example – find something that’s interesting for you.

• Time passing by photo essay

It can be a natural site or a landmark photo essay – whatever is close to you will work best as you’ll need to come back multiple times to capture time passing by. For example, how this place changes throughout the seasons or maybe even over the years.

A fun option if you live with family is to document a birthday party each year, seeing how the subject changes over time. This can be combined with a transformation essay or sorts, documenting the changes in interpersonal relationships over time.

• Travel photo essay

Do you want to make the jump from tourist snapshots into a travel photo essay? Research the place you’re going to be travelling to. Then, choose a topic.

If you’re having trouble with how to do this, check out any travel magazine – National Geographic, for example. They won’t do a generic article about Texas – they do an article about the beach life on the Texas Gulf Coast and another one about the diverse flavors of Texas.

The more specific you get, the deeper you can go with the story.

• Socio-political issues photo essay

This is one of the most popular photo essay examples – it falls under the category of photojournalism or documental photography. They are usually thematic, although it’s also possible to do a narrative one.

Depending on your topic of interest, you can choose topics that involve nature – for example, document the effects of global warming. Another idea is to photograph protests or make an education photo essay.

It doesn’t have to be a big global issue; you can choose something specific to your community – are there too many stray dogs? Make a photo essay about a local animal shelter. The topics are endless.

• Behind the scenes photo essay

A behind-the-scenes always make for a good photo story – people are curious to know what happens and how everything comes together before a show.

Depending on your own interests, this can be a photo essay about a fashion show, a theatre play, a concert, and so on. You’ll probably need to get some permissions, though, not only to shoot but also to showcase or publish those images.

4 Best Photo Essays in Recent times

Now that you know all the techniques about it, it might be helpful to look at some photo essay examples to see how you can put the concept into practice. Here are some famous photo essays from recent times to give you some inspiration.

Habibi by Antonio Faccilongo

This photo essay wan the World Press Photo Story of the Year in 2021. Faccilongo explores a very big conflict from a very specific and intimate point of view – how the Israeli-Palestinian war affects the families.

He chose to use a square format because it allows him to give order to things and eliminate unnecessary elements in his pictures.

With this long-term photo essay, he wanted to highlight the sense of absence and melancholy women and families feel towards their husbands away at war.

The project then became a book edited by Sarah Leen and the graphics of Ramon Pez.

Picture This: New Orleans by Mary Ellen Mark

The last assignment before her passing, Mary Ellen Mark travelled to New Orleans to register the city after a decade after Hurricane Katrina.

The images of the project “bring to life the rebirth and resilience of the people at the heart of this tale”, – says CNNMoney, commissioner of the work.

Each survivor of the hurricane has a story, and Mary Ellen Mark was there to record it. Some of them have heartbreaking stories about everything they had to leave behind.

Others have a story of hope – like Sam and Ben, two eight-year-olds born from frozen embryos kept in a hospital that lost power supply during the hurricane, yet they managed to survive.

Selfie by Cindy Sherman

Cindy Sherman is an American photographer whose work is mainly done through self-portraits. With them, she explores the concept of identity, gender stereotypes, as well as visual and cultural codes.

One of her latest photo essays was a collaboration with W Magazine entitled Selfie. In it, the author explores the concept of planned candid photos (‘plandid’).

The work was made for Instagram, as the platform is well known for the conflict between the ‘real self’ and the one people present online. Sherman started using Facetune, Perfect365 and YouCam to alter her appearance on selfies – in Photoshop, you can modify everything, but these apps were designed specifically to “make things prettier”- she says, and that’s what she wants to explore in this photo essay.

Tokyo Compression by Michael Wolf

Michael Wolf has an interest in the broad-gauge topic Life in Cities. From there, many photo essays have been derived – amongst them – Tokyo Compression .

He was horrified by the way people in Tokyo are forced to move to the suburbs because of the high prices of the city. Therefore, they are required to make long commutes facing 1,5 hours of train to start their 8+ hour workday followed by another 1,5 hours to get back home.

To portray this way of life, he photographed the people inside the train pressed against the windows looking exhausted, angry or simply absent due to this way of life.

You can visit his website to see other photo essays that revolve around the topic of life in megacities.

Final Words

It’s not easy to make photo essays, so don’t expect to be great at it right from your first project.

Start off small by choosing a specific subject that’s interesting to you –  that will come from an honest place, and it will be a great practice for some bigger projects along the line.

Whether you like to shoot still life or you’re a travel photographer, I hope these photo essay tips and photo essay examples can help you get started and grow in your photography.

Let us know which topics you are working on right now – we’ll love to hear from you!

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Ana Mireles is a Mexican researcher that specializes in photography and communications for the arts and culture sector.

Penelope G. To Ana Mireles Such a well written and helpful article for an writer who wants to inclue photo essay in her memoir. Thank you. I will get to work on this new skill. Penelope G.

Herman Krieger Photo essays in black and white

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WALTER BENJAMIN’S “SHORT HISTORY OF PHOTOGRAPHY ”

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WALTER BENJAMIN’S ESSAY “KLEINE GESCHICHTE der Photographie,” was published in the September 18 and 25 and October 2, 1931, issues of the periodical Literarische Welt. It precedes by almost five years his better-known essay translated as “The Work of Art in the Age of Mechanical Reproduction.” This study—translated here for the first time in the United States—is an extraordinary document in the history of photographic criticism, a remarkably prescient description of the limits and potentials of the medium.

Benjamin’s essay sparkles with intriguing and provocative aperçus. His admiration for and understanding of Atget, Sander, and Blossfeldt is far ahead of its time and rooted in close observation of the photographs themselves. The remarks on photo captions near the end of this essay are both true and ironic: a few years after Benjamin was writing, picture magazines like Life appeared and proved the power of captions to direct meaning. Benjamin’s uneasiness with aggressively esthetic notions of photography, his understanding of the social and political meanings of the medium, and his explication of the concept of “aura,” powerfully define basic issues for photographic criticism. In the future, Benjamin may become as inescapable a presence for anyone trying to understand photography as the photographic genius to whom he was most sensitive: Atget.

Benjamin’s German is divided into paragraphs only rarely. Many additional paragraph breaks have been introduced here for ease in reading. Benjamin’s own notes are indicated with numbers, translator’s notes with letters.

— Phil Patton

With that step were established conditions for a continually accelerated pace of development which for a long time prevented any look backward. And so the historical or perhaps philosophical questions which accompany the rise and fall of photography for decades went unconsidered. If those questions are beginning to enter our consciousness today it is for a specific reason. The most recent literature seizes on the striking fact that the flowering of photography, the achievement of Hill and Cameron, of Hugo and Nadar—occurs in its first decade.^^a^^ That is the decade which preceded its industrialization. Not to say, of course, that in this early period the peddlers and charlatans had not gotten hold of the new technology and turned it to profit; they did that on a massive scale. But that was closer to the methods of the marketplace, where even today photography is at home, than to those of industry.

Photography first conquered the field with the visiting card, whose first producer, significantly, became a millionaire. It would not be astonishing if the types of photography which today direct our attention back to that preindustrial flourishing of photography were found to be fundamentally related to the convulsions of capitalist industry.

Nothing is easier than to utilize the attractions of pictures presented in recent publications of old photography 1 for insights into photography’s basic nature. Theoretical efforts to master photography have all been thoroughly rudimentary. And however many debates were conducted about it in the last century, none broke fundamentally free from the wretched schema with which a chauvinistic little publication, the Leipzig City Advertiser , thought to have confronted the infernal French art early on. “To fix fleeting reflections,” it was written there, “is not only impossible, as has been shown by thoroughgoing German research, but to wish to do it is blasphemy. Man is created in the image of God and God’s image cannot be held fast by a human machine. At the most the pious artist—enraptured by heavenly inspiration—may at the higher command of his genius dare to reproduce those divine/human features in an instant of highest dedication, without mechanical help.”

Here, with all the weight of its dullness, enters the philistine’s concept of art , to which any technical development is totally foreign, which, with the provocative challenge of the new technology, feels its own end nearing. Nevertheless it was this fetishistic, fundamentally anti-technological concept of art with which the theoreticians of photography sought for almost a hundred years to do battle, naturally without coming to the slightest result. For this view understood nothing except to accredit the photographer before the exact tribunal he had overthrown.

An entirely different air, however, breathes through the argument which the physicist Arago, as spokesman for the invention of Daguerre, put before the chamber of deputies on the third of July 1839. The beauty of this speech is how it pointed out photography’s applications to all aspects of human activity. The panorama it sketches out is broad enough to make painting’s doubts about photography’s credentials—doubts not absent from the speech itself—seem inconsequential, as well as to hint at the breadth of the invention’s usefulness. “When the inventors of a new instrument,” Arago said, “turn it to the observation of nature, what they had hoped for from it always seems tiny in comparison to the succession of subsequent discoveries which it contributes.” This speech traverses the broad spectrum of the new technology, from astrophysics to philology; beside the prospects of photography of the stars stands the idea of assembling a body of Egyptian hieroglyphics by photography.

Daguerre’s photographs were iodized silver plates exposed in the camera obscura which could be turned back and forth until, in the proper light, one could make out a delicate, light gray image. They were unique and they cost, on the average, 25 gold francs per plate. They were frequently kept in cases as decorations. In the hands of many painters they became technical aids. Just as 70 years later, Utrillo created his fascinating views of the houses on the edges of Paris not from nature but from landscape photos, so the respected English portrait painter, David Octavius Hill, based his painting of the first general synod of the Scottish church in 1843 on a large group of portrait photographs.

But he made these photographs himself. Modestly conceived as aids for his own use, they are what gave his name historical significance, while as a painter he is forgotten. To be sure, there are a few studies which reveal more about the new medium than that series of heads: not the portraits but nameless images of people. There had been such faces in painting for a long time. If they remained in the possession of the family, then people inquired after the identity of the people represented time and time again. But after two or three generations such interest subsided: the pictures, inasmuch as they survived, did so only as testimony to the art of the painter.

In photography, however, one encounters something strange and new: in that fishwife from Newhaven who looks at the ground with such relaxed and seductive shame something remains that does not testify merely to the art of the photographer Hill, something that is not to be silenced, something demanding the name of the person who had lived then, who even now is still real and will never entirely perish into art . “Und ich frage: wie hat dieser haare zier / und dieses blickes die frueheren wesen umzingelt / wie dieser mund hier geküsst zu dem die begier / sinnlos hinan als rauch ohne flamme sich ringelt.”^^b^^ Or one comes upon the picture of Dauthendey—the photographer and father of the poet—from around the time of his wedding, seen with the wife whom one day shortly after the birth of their sixth child he found in the bedroom of his Moscow house with arteries slashed. She is seen beside him here, he holds her; her glance, however, goes past him, directed into an unhealthy distance. If one concentrated long enough on this picture one would recognize how sharply the opposites touch here. This most exact technique can give the presentation a magical value that a painted picture can never again possess for us. All the artistic preparations of the photographer and all the design in the positioning of his model to the contrary, the viewer feels an irresistible compulsion to seek the tiny spark of accident, the here and now.

In such a picture, that spark has, as it were, burned through the person in the image with reality, finding the indiscernible place in the condition of that long past minute where the future is nesting, even today, so eloquently that we looking back can discover it. It is a different nature which speaks to the camera than speaks to the eye: so different that in place of a space consciously woven together by a man on the spot there enters a space held together unconsciously. While it is possible to give an account of how people walk, if only in the most inexact way, all the same we know nothing definite of the positions involved in the fraction of a second when the step is taken.

Photography, however, with its time lapses, enlargements, etc. makes such knowledge possible. Through these methods one first learns of this optical unconscious, just as one learns of the drives of the unconscious through psychoanalysis. Concern with structure, cell forms, the improvement of medicine through these techniques: the camera is ultimately more closely related to these than to the moody landscape or the soulful portrait. At the same time, however, photography opens up in this material the physiognomic aspects of the world of images, which reside in the smallest details, clear and yet hidden enough to have found shelter in daydreams. Now, however, large and formulatable as they have grown, they are able to establish the difference between technology and magic as a thoroughly historical variable. Thus Blossfeldt, 2 with his astonishing photographs of plants, brought out the forms of ancient columns in horsetails, the bishop’s staff in a bunch of flowers, totem poles in chestnut and acorn sprouts enlarged ten times, gothic tracery in teasel.

Therefore, too, Hill’s models are certainly not far from the truth when they admit that to them “the phenomenon of photography” was still “a great secret experience,” even if what that meant was only the consciousness of standing “before an apparatus which in almost no time could produce an image of the visible world that seemed as lifelike and truthful as nature itself.” It has been said that Hill’s camera maintained a discreet reserve. But his models, for their part, are no less reserved; they maintain a certain shyness in the face of the apparatus. The motto of a later photographer, from the period of photography’s bloom—”Never look at the camera”—could have been derived from their stance. But by that was not meant the same “looking at you” of animals, men, or babies all crowded together, which involves the customer in such an unsavory manner and to which nothing can better be contrasted than the sense with which old Dauthendey spoke of the daguerreotype: “At first one does not trust himself,” he reported, “to look for very long at the first pictures he has made. One shies away from the sharpness of these people, feels that the puny little faces of the people in the pictures can see him, so staggering is the effect on everyone of the unaccustomed clarity and the fidelity to nature of the first daguerreotypes.”

These first to be photographed enter the viewing space unfamed or, rather, uncaptioned. Newspapers, then, were still items of luxury, which one seldom bought but rather looked at in cafes. The photographic procedure had not yet become a tool of theirs; the fewest possible people even saw their names in print. The human face had a silence about it in which its glance rested. In short, all possibilities of this portrait art rested upon the fact that the connection between actuality and photo had not yet been entered upon. Many images by Hill were taken at the Edinburgh cemetery of Greyfriars. Nothing is more representative of this early period: it is as if the models were at home in this cemetery. And the cemetery, according to one picture that Hill made, is itself like an interior, a delineated, constricted space where gravestones lean on dividing walls and rise out of the grass floor—gravestones hollowed out like fireplaces showing in their hearts the strokes of letters instead of tongues of flame.

But this place could never have achieved its great effect had not its selection been for technical reasons. The lower sensitivity to light of the early plates made necessary a long period of exposure in the open. This, on the other hand, made it desirable to station the model as well as possible in a place where nothing stood in the way of quiet exposure. “The synthesis of expression which was achieved through the long immobility of the model,” Orlik says of the early photographs, “is the chief reason besides their simplicity why these photographs, like well drawn or painted likenesses, exercise a more penetrating, longer-lasting effect on the observer than photographs taken more recently.” The procedure itself caused the models to live, not out of the instant, but into it; during the long exposure they grew, as it were, into the image.

They can be sharply contrasted to the snapshot, which corresponds to the changed environment in which, as Kracauer has accurately remarked, the same fraction of a second that the exposure lasts determines “whether an athlete becomes famous enough for the photographers of the illustrated magazines to take his picture.”

Everything in these early pictures was set up to last; not only the incomparable grouping of the people—whose disappearance was certainly one of the most precise symptoms of what happened to society in the second half of the century—even the folds that a garment takes in these images persists longer. One needs only look at Schelling’s coat; it enters almost unnoticed into immortality; the forms which it assumes on its wearer are not unworthy of the folds in his face. In short, everything speaks to the fact that Bernhard van Brentano suspected: “that a photographer of 1850 was on the highest level of his instrument”—for the first and for a long time for the last time.

In order to understand the powerful effect of the daguerreotype in the age immediately following its discovery one must consider that the plein air painting of that time had begun to show entirely new perspectives to the most advanced painters. Aware that even in this area photography had to take the torch from painting, Arago said in a historical review of the early experiments of Giovanni Battista Porta: “As far as concerns the effect which depends on the incomplete transparency of our atmosphere (and which has been labeled with the inaccurate expression ‘air perspective’), the practiced painter does not hope that the camera obscura”—he means of the copying of the images that appear in the camera obscura—”could be helpful to him in reproducing this effect exactly.” At the moment when Daguerre succeeded in fixing the images in the camera obscura the painter had been distinguished on this point from the technician.

The genuine victim of photography, however, was not landscape painting but the miniature portrait. Things developed so swiftly that as early as 1840 most of the innumerable painters of miniatures had become professional photographers, at first only on the side but soon, however, exclusively. At the same time the experience of their original profession came in handy. It was not their preparation in art but in craft to which the high level of their photographic accomplishments must be credited. Very gradually this transitional generation disappeared; indeed there seems to have been a sort of Biblical blessing on those first photographers: Nadar, Stelzner, Pierson, Bayard all lived to ninety or a hundred. Finally, however, businessmen from everywhere entered the ranks of professional photographers. Later, when retouching of the negative—through which bad painters took their revenge on photography—gradually became practiced, a sudden decline in taste set in. Then was the time when photograph albums began to appear. In the coldest places in the house, on consoles or gueridons in the drawing room, they were most likely to be found: leather covered with metal latches and gilt-edged pages as thick as a finger on which the foolishly draped or embellished figures were distributed—Uncle Alex and Aunt Riekehe, Trudy when she was little, Papa in his first semester. And finally to make the shame complete, we ourselves: as salon Tiroleans, yodeling, hats swinging against painted firs, or as sailors, one leg straight and the other bent, as is appropriate, leaning against an upholstered post.

The accessories in such portraits, with the columns, balustrades and little oval tables, recall the time when one had to give the models points of support so they could remain steady during the long exposure. If in the beginning people were satisfied simply with head holders or knee braces, soon additional accessories followed, such as were present in famous paintings and therefore had to be artistic. Next came the columns or the curtain. Even in the ’60s accomplished men protested against this junk. It was said at the time in an English professional journal: “In painted pictures the columns appear plausible, but the manner in which they are applied to photography is absurd, for they usually stand on a rug. But as everyone knows, marble or stone columns are not commonly built with carpet as their base.” At that time arose the ateliers with their draperies and palms, gobelins and easels, which stand so ambivalently between execution and representation, torture chamber and throne room, as an early portrait of Kafka testifies.

There in a narrow, almost humiliating child’s suit, overburdened with braid, stands the boy, about six years old, in a sort of winter garden landscape. Palm fronds stand frozen in the background. And as if it were important to make these upholstered tropics even more sticky and sultry, the model holds a huge hat with broad brim like those Spaniards wear in his left hand. He would surely vanish into this arrangement were not the boundlessly sad eyes trying so hard to master this predetermined landscape.

This picture in its immeasurable sadness forms a pendant to the early photographs in which people did not yet look out into a world as isolated and godforsaken as the boy here. There was an aura around them, a medium that gives their glance the depth and certainty which permeates it. And again the technical equivalent lay close at hand; it was the absolute continuum from brightest light to darkest shadow. Here, too, the law holds good concerning the advance announcement of new achievements in the older technology, in that portrait painting—before its decline—had produced a unique flourishing of the mezzotint.

The mezzotint method involves a technique of reproduction such as was united only later with the new photographic one. As in mezzotints the light in Hill’s work torturously wrestles its way out of the dark: Orlik speaks of the “light’s holding together” because of the long duration of the exposure which gives “these early photographs their greatness.” And among the contemporaries of the invention, Delaroche remarked on the “delicate, innovative” impression which “in no way disturbed the repose of the masses.” So much for the technical conditions of this auralike impression.

Many group pictures in particular retain a fleeting togetherness which appeared for a short while in the plate, before it disappeared in the original subject. It is this breathy halo, circumscribed beautifully and thoughtfully by the now outmoded oval shape of the frame. Therefore these incunabula of photography are often misrepresented by emphasis on the artistic perfection or tastefulness in them. These images were taken in rooms where every customer came to the photographer as a technician of the newest school. The photographer, however, came to every customer as a member of a rising class and enclosed him in an aura which extended even to the folds of his coat or the turn of his bow tie. For that aura is not simply the product of a primitive camera. At that early stage, object and technique corresponded to each other as decisively as they diverged from one another in the immediately subsequent period of decline. Soon, improved optics commanded instruments which completely conquered darkness and distinguished appearances as sharply as a mirror.

The photographers in the period after 1880 saw their task in simulating that aura through all the arts of retouching, in particular through what was called offsetting. The conquest of darkness by increased illumination had eliminated the aura from the picture as thoroughly as the increasing alienation of the imperialist bourgeoisie had eliminated it from reality. So a duskier tone, interrupted by artistic reflections, became fashionable, as in Jugendstil . Despite the weak light, the pose was always more clearly defined; its stiffness betrayed the impotence of that generation in the face of technical progress.

Thus, what is decisive in these photographs is always the relation of the photographer to his technique. Camille Recht indicated as much in a nice image. “The violinist,” he wrote, “must form the tone himself, must seek it, find it quick as lightning; the pianist strikes the key: the tone resounds. An instrument is at the disposal of the painter as well as the photographer. The drawing and coloring of the painter correspond to the tone formation of the violin; the photographer shares with the pianist a mechanism which is subject to laws of limitation that the violinist is not. No Paderewski will ever earn the fame or work the almost legendary magic of a Paganini.”

Continuing the comparison, however, there is a Busoni of photography, and that is Atget.^^c^^ Both were virtuosos but at the same time forerunners. They hold in common an unmatched devotion connected with the highest precision. Even their features were similar. Atget was an actor who became disgusted with that pursuit, took off his mask and then went on to strip the makeup from reality as well. He lived in Paris poor and unknown. He gave his photographs away to admirers who could hardly have been less eccentric than he, and he died having left behind an oeuvre of more than 4,000 photographs. Berenice Abbot from New York collected these, and a selection of them has appeared in a marvelously beautiful volume published by Camille Recht. 3

Contemporary journalism “knew nothing of the man who mostly went around the ateliers with his pictures, throwing them away for a few pennies, often only for the price of one of those picture postcards, such as showed the sights of the city around 1900, beautifully dipped in blue night, with retouched moon. He reached the pole of the highest mastery; but in the obstinate capacity of one of great ability who always lived in the shadows, he neglected to plant his flag there. So many may believe to have discovered the pole which Atget reached before them.”

In fact, Atget’s Paris photographs are the forerunners of Surrealist photography, advance troops of the broader columns Surrealism was able to field. As the pioneer, he disinfected the sticky atmosphere spread by conventional portrait photography in that period of decline. He cleansed this atmosphere, he cleared it; he began the liberation of the object from the aura, which has been the achievement of the most recent school of photography. When Bifur or Variété periodicals of the avant-garde, were showing mere details under the captions “Westminster,” “Lille,” “Antwerp,” or “Breslau,” a piece of a balustrade, a bare treetop whose twigs cut across a gas lantern, a stone wall, or a candelabra with a life ring on which the name of the city is written, they are showing nothing but refinements of motifs which Atget discovered. He sought the forgotten and the neglected, so such pictures turn reality against the exotic, romantic, show-offish resonance of the city name; they suck the aura from reality like water from a sinking ship.

What is aura? A strange web of time and space: the unique appearance of a distance, however close at hand. On a summer noon, resting, to follow the line of a mountain range on the horizon or a twig which throws its shadow on the observer, until the moment or hour begins to be a part of its appearance—that is to breathe the aura of those mountains, that twig. Now to bring things themselves closer—and closer to the masses—is as passionate a contemporary trend as is the conquest of unique things in every situation by their reproduction. Day by day the need becomes greater to take possession of the object—from the closest proximity—in an image and the reproductions of an image. And the reproduction, as it appears in illustrated newspapers and weeklies, is perceptibly different from the original. Uniqueness and duration are as closely entwined in the latter as transience and reproducibility in the former. The removal of the object from its shell, the fragmentation of the aura, is the signature of a perception whose sensitivity for similarity has so grown that by means of reproduction it defeats even the unique.

Atget almost always passed by the “great sights and the so-called landmarks.” He did not, however, pass by a long row of boot lasts, or by the Parisian courtyards where from evening until morning hand-wagons stand in rows and groups; or by the uncleared tables and the uncollected dishes, which were there at the same time by the hundred thousands all over; or by the bordello at rue . . . no. 5, whose gigantic five appears in four different places on the facade. More noticeably, however, almost all of these pictures are empty. The Porte d’Arcueil fortifications are empty, as are the regal steps, the courts, the terrace cafes, and as is appropriate, the Place du Tertre, all empty.

They are not lonely but voiceless; the city in these pictures is swept clean like a house which has not yet found its new tenant. These are the sort of effects with which Surrealist photography established a healthy alienation between environment and man, opening the field for politically educated sight, in the face of which all intimacies fall in favor of the illumination of details. It is plain that this new vision had least absorbed what one would otherwise most understandably indulge in—the devalued representative portrait. On the other hand, the renunciation of the human image is the most difficult of all things for photography. The best Russian films taught those who did not know this that milieu and landscape only make themselves accessible to photographers who know how to grasp them in the nameless manifestations which they take in the face. Even the possibility of that is conditioned by the subject of the photograph. It was a generation which had no ambition to go down for posterity in pictures, but rather withdrew in the face of such possibilities into its living space, somewhat shyly—like Schopenhauer, in the Frankfurt picture of around 1850, receding into the depths of his armchair. Just for that reason this generation let its living space enter with it into the picture, but it did not bequeath its graces. Then for the first time in decades the Russian film provided an opportunity to show people in front of the camera who were not being photographed for their own purposes. And suddenly the human face entered the image with a new, immeasurable significance. But it was no longer a portrait. What was it?

It is the supreme accomplishment of a German photographer to have answered this question. August Sander 4 put together a series of faces that in no way stand beneath the powerful physiognomic galleries that an Eisenstein or a Pudovkin revealed, and he did so from a scientific standpoint. “His total work forms seven groups, which correspond to the existing order of society, and are to be published in about 45 portfolios of 12 photos each.”^^d^^ Sander goes from farmers, the earthbound men, and takes the viewer through all levels and professions up on one hand to the highest representatives of civilization and down on the other to idiots. The creator came to this task not as a scholar nor instructed by racial theoreticians or social researchers, but, as the publisher says, “from direct experience.” The observation is certainly an unprejudiced one, but clever, also, and tender and sensitive in the sense of Goethe’s statement: “There is a sensitive empiricism which makes itself most inwardly identical with the object and thereby becomes genuine theory.” Therefore it is completely in order that an observer like Döblin struck straightaway onto the scientific aspects in this work and remarked: “As there is a comparative anatomy by virtue of which we come to a conception of nature and a history of organs, so this photographer pursues comparative photography and thereby achieves a scientific standpoint above and beyond that of photographic details.”

It would be a shame if economic conditions prevented the further publication of this extraordinary corpus. To the publisher, however, we can offer a more specific encouragement in addition to general ones: overnight, works like those of Sander can grow into unsuspected actuality. Power shifts, such as we face, generally allow the education and sharpening of the physiognomic conception into a vital necessity. One may come from the right or from the left—he will have to get used to being viewed according to where he comes from. One will have to see others the same way. Sander’s work is more than a book of pictures: it is a book of exercises.

“There is no work of art in our age so attentively viewed as the portrait photography of oneself, one’s closest friends and relatives, one’s beloved,” Lichtwark wrote as early as 1907, and thereby moved the investigation out of the realm of esthetic distinctions into that of social functions. Only from that angle can it strike out further. It is significant that the debate becomes stubborn chiefly where the esthetics of photography as art are involved, while for example the much more certain social significance of art as photography is hardly accorded a glance.

And the effect of photographic reproduction of works of art is of much greater importance for the function of art than the more or less artistic figuration of an event which falls prey to the camera. Indeed the amateur returning home with his mess of artistic photographs is more gratified than the hunter who comes back from his encounters with masses of animals which are useful only to the trader. And the day seems to stand before the door when there will be more illustrated periodicals for photographers than game and poultry shops. So much for snapshots.

But the accents change completely if we turn from looking at photography as art to art as photography. Anyone will be able to observe how much more easily a painting and above all, a sculpture, or architecture, can be grasped in photographs than in reality. The temptation is to attribute this to the decay of contemporary artistic perception. But preventing it is the recognition that at about the same time as the formation of the technology for reproduction the conception of great works was changing. One can no longer view them as the productions of individuals; they have become collective images, so powerful that capacity to assimilate them is related to the condition of reducing them in size. In the final effect, the mechanical methods of reproduction are a technology of miniaturization and help man to a degree of mastery over the works without which they no longer are useful.

If any one of the current relations between art and photography is clear, it is the unsettled tension which comes between the two through the photography of works of art. Many of those photographers who determine the current aspects of this technique came from painting. They turned their backs on that medium of expression after efforts to put it in a clear, living connection with contemporary life. The more aware their sense of the nature of the times, the more problematic has grown their point of departure. For again, as 80 years ago, photography picked up the torch from painting. “The creative possibilities of the new,” Moholy Nagy said, “are mostly discovered slowly, through old forms, old instruments, old structures which are fundamentally injured by the appearance of new things but which, under the pressure of the new, emerging things, are driven up into a last, euphoric flourishing.

“So, for example, futurist painting delineated the self-destructive, tightly constricted problematic of simultaneity of motion, the figuration of the moment in time; and this at a moment when film was known but for a long time would still not be understood. Just so, one can—with caution—view a few of the painters working today in representative, objective modes (Neoclassicists and veristes) as forerunners of a new, representative, optical figuration which uses only mechanical, technical means.” And Tristan Tzara, 1922: “When everything that called itself art grew palsied, the photographer ignited his thousand-candle-power lamp and step by step the light sensitive paper absorbed the blackness of a few useful objects. He discovered the carrying power of a tender delicate untouched flash, which was more important than all the constellations given us to soothe our sight.” The photographers who came to photography out of the comfort of the plastic arts, not out of opportunistic daring, not accidentally, today form the avant-garde among their colleagues, because they are to some degree assured by their course of development against the greatest danger of current photography, the tendency toward the applied arts. “Photography as art,” says Sasha Stone, “is very dangerous territory.”

When photography has extracted itself from the connections that a Sander, a Germaine Krull, a Blossfeldt gave it, when it has emancipated itself from physiognomic, political, scientific interests—that is when it becomes “creative.”

Concern for the objective becomes merely juxtaposition ; the photographic artist’s smock makes its entrance. “Spirit, conquering mechanics, gives a new interpretation to the likenesses of life.” The more the crisis of current social order expands, the more firmly moments enter into oppositions against each other, the more the creative principle—by nature a deep yearning for variants, contradiction its father, imitation its mother—is made a fetish, whose features owe their life only to fashionable changes of lighting. The “creative” principle in photography is its surrender to fashion. Its motto: the world is beautiful. In it is unmasked photography, which raises every tin can into the realm of the All but cannot grasp any of the human connections that it enters into, and which, even in its most dreamy subject, is more a function of its merchandisability than of its discovery. Because, however, the true face of this photographic creativity is advertising or association; therefore its correct opposite is unmasking or construction. For the situation, Brecht says, is complicated by the fact that less than ever does a simple reproduction of reality express something about reality.

A photograph of the Krupp works or of the A.E.G. reveals almost nothing about these institutions. The real reality has shifted over into the functional. The reification of human relations, for instance in industry, makes the latter no longer revealing. Thus in fact it is to build something up , something artistic, created.” The accomplishment of Surrealism was to have pioneered such photographic construction. A further stage in the opposition between creative and constructive photography is shown by Russian film. It is not too much to say that the great accomplishments of its directors were only possible in a country where photography did not proceed on impulse and suggestion but on experiment and instruction. In this sense—and only in it—can we still make sense today of the greeting which the rough idealist painter Antoine Wiertz offered photography in 1855: “The fame of our age was born a few years ago: a machine which, day in and day out, has been the astonishment of our thought and the terror of our eyes. Before a century has passed, this machine will be the brush, palette, colors, grace, experience, patience, dexterity, sureness, hue, varnish, sketch, completion, extract of painting. If you do not believe that the daguerreotype kills art, well, when the daguerreotype, this giant child, has grown up, when all its art and strength have been revealed, then genius will suddenly slap a hand on the back of its neck and call out loud: Here, you belong to me now! We will work together.”

How sober, even pessimistic, on the other hand, are the words in which Baudelaire, in the Salon of 1857 , two years later, acquainted his readers with the new techniques. No more than the preceding words can they be read without a gentle shift of accent. But while they imply the opposite of Wiertz’s words, they have kept their good sense as the sharpest rebuke to all the usurpations of artistic photography: “In these lamentable days a new industry has emerged, which has helped not a little in strengthening plain stupidity in its belief . . . that art is nothing other than—and can be nothing other than—the exact reproduction of nature. . . . A vengeful God has heeded the voices of the crowd. Daguerre is becoming its messiah.” And: “If photography is allowed to help complete art in a few of its functions, then art will be as quickly ruined and cast out by it, thanks to the natural alliance which will grow up between photography and the crowd. It must therefore return to its own duty, which consists in being a servant girl to the sciences and the arts.”

One thing, however, was not grasped either by Wiertz or by Baudelaire, and that is the direction implicit in the authenticity of the photograph. It will not always be possible to link this authenticity with reportage, whose clichés associate themselves only verbally in the viewer. The camera will become smaller and smaller, more and more prepared to grasp fleeting, secret images whose shock will bring the mechanism of association in the viewer to a complete halt. At this point captions must begin to function, captions which understand the photography which turns all the relations of life into literature, and without which all photographic construction must remain bound in coincidences.

Not for nothing were pictures of Atget compared with those of the scene of a crime. But is not every spot of our cities the scene of a crime? every passerby a perpetrator? Does not the photographer—descendant of augurers and haruspices—uncover guilt in his pictures? It has been said that “not he who is ignorant of writing but ignorant of photography will be the illiterate of the future.” But isn’t a photographer who can’t read his own pictures worth less than an illiterate? Will not captions become the essential component of pictures? Those are the questions in which the gap of 90 years that separates today from the age of the daguerreotype discharges its historical tension. It is in the light of these sparks that the first photographs emerge so beautifully, so unapproachably from the darkness of our grandfathers’ days.

———————-

1. Helmuth Th. Bossert and Heinrich Guttmann, Aus der Frühzeit der Photographie , 1840–1870. A Volume of Pictures From 200 Originals. Frankfurt, 1930. Heinrich Schwarz, David Octavius Hill, der Meister der Photographie . With 80 plates. Leipzig, 1931.

2. Karl Blossfeldt, Urformen der Kunst . Photographs of Plants. Published with an introduction by Karl Nierendorf. 120 plates. Berlin, 1930.

3. Atget, Photographs . Published by Camille Recht, Paris and Leipzig, 1931.

4. August Sander, Das Antlitz der Zeit , Berlin, 1930.

—————-

Translator’s Notes

a. “Its first decade” is an exaggeration. Of the photographers Benjamin refers to Hill was the earliest (1839–49); Cameron and Nadar were not even active until the late fifties and sixties.

b. “And I ask: how did that former being surround this delicate hair, this glance; how did it kiss this mouth, around which desire curls insensibly, like smoke without a flame “

c. Busoni (1866–1924) was known for bringing an almost mystic form of romanticism to piano playing and composition. He experimented with exotic scales, worked out a new system of notation expressly for piano, and as a performer was praised for his sense of color and tone. He was also a teacher of Kurt Weill, who of course collaborated with Benjamin’s friend Bertolt Brecht.

d. Since Benjamin’s death, Sander’s photographs have been published in Europe and in the United States in the volume Men Without Masks , Greenwich, Connecticut: New York Graphic Society, 1973.

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Advancing Your Photography With Photographic Essays

We usually see a photograph as a solitary work, a passing moment in time captured to be examined on its own. However, creating a coherent story through a body of work can lift your photography up to a new level.

There’s much more to creating a photographic essay than grouping together your photos. An essay is the deliberate telling of a narrative through a series of photos that work together, putting across your point of view. Typically, it is something powerful, evoking both potent thoughts and strong emotions.

However, there is so much more to it than a collection of images on a single theme.

An image from an essay I am starting documenting the local fishing fleet, it examines the clash between tourism, the fishing industry, and wildlife in a small coastal town.

Fantastic Essays and Where to Find Them

Photographic essays aren't necessarily photojournalism. Nevertheless, it was newspapers were places where they first appeared, replacing pages of solid text that was rarely interrupted by the occasional woodblock engraving print. Possibly the original example was the Daily Mirror’s coverage of the siege of Sidney Street, London in January 1911 . You can view more of those images here . Together, that collection of photographs told a narrative that shook the country. Almost every significant event since has been recorded in collections of photographs that tell their stories.

Whatever the genre, photos comprising an essay should make sense when viewed together. Furthermore, the entire collection will be more than just the sum of its parts. Take, for example, the Omaha Beach D-Day photos of Robert Capa , or Dorothea Lange’s Great Depression essay, those coherent collections have more meaning than any single one of their images, great though each individual photograph is.

Of course, there have been hundreds of thousands of tremendous collections of photographic stories over the years, and not all of them are by well-known photographers. For example, here in the UK, the Royal Photographic Society’s qualifications rely on the photographers creating displays of their work set out in a way that shows images in a rational order, and other organizations around the world have similar requirements for their awards. Studying them is a great way to discover and learn from other lesser-known but, nonetheless, excellent photographers.

Another good contemporary source of essays is the glossy magazine. Most of those feature series of single-themed photos within each article. Although they are not as abundant as they were twenty years ago, there are still publications that concentrate on specialist subjects, and it's worth browsing those that interest you.

Wedding Albums are Photographic Essays

The simplest and most common example of an essay is a well-constructed wedding album. Documenting a wedding, contemporary albums often start from the preparation and finish with the bride and groom departing for their honeymoon. Wedding albums, of course, mostly have the same plotline as every other, with just the characters changing with each one, and it would be disappointing if that didn't happen. But, they are an essay that gives the point of view of the photographer, a point of view that is a happy one.

A wedding album usually shows the complete story of the magic day.

How to Display Your Essay

Although there is an expectation that wedding albums display images in chronological order, that doesn’t necessarily have to be the case for other collections. Having images that cohere with one another, and progress visually, is more important than the time when they were taken.

Most image hosting websites only allow for the telling of photographic essays by grouping images together in folders or galleries. However, this method has limitations as the display is linear; one image follows another in a strict order. This may work in many circumstances, but there are other options.

In contrast to viewing images online, physical galleries, and, to some extent, photo-books, allow for a non-linear display of your work. Photographs can be exhibited horizontally and vertically, as well as diagonally. One can even display three-dimensionally, with linked photographs sitting opposite or perpendicular to each other. They can even overlap. Furthermore, some photographs can be printed at different sizes, emphasizing relative importance, or showing smaller images as the children of larger ones.

For me, photographs cry out to be seen in print, set free from the constraints of the 2-D screen. Slowly viewing photographs in a gallery and leafing through the pages of a well-made book adds something to the photographs that isn’t there when viewed on a VDU. In print, there’s a feeling of quality, value, and permanence.  

With the boom of print-on-demand publishing, it has become easier for photographers to turn their essays into books. The best if these have continuity, and overall narrative, that is not just a collection of photos on a similar theme.

It might not get as many views, but there is something special about having images displayed in an album or photo book that sets them above displaying them online.

Adding Context With Words

A good essay expresses your opinion. Nevertheless, photographs are open to interpretation. The message you try to put across when you publish them might not be the same as the meaning your viewer reads. That ambiguity is something you want to either embrace or avoid. However, if you want your story to be explicitly clear, then there is nothing wrong with accompanying your photographs with the written word. 

Although those words might only be a title, they can go further. You could include a short explanation of what the viewer is seeing, or several hundred words of prose. Alternatively, poems are often illustrated with images, so there is no reason why your photographs cannot be illustrated with your poems. On the other hand, you could use quotes, and even have your images accompanied by songs or music that help add an extra dimension to your photography. (If you are not using your own words or music, please do be aware of copyright restrictions.)

Not every photo will carry the same meaning for the photographer as the viewer. Furthermore, for a photo essay, the images should fit with the story. As part of a study on urban decay, this photo would work, but it might not fit in an essay about respecting the casualties of war.

How Many Images Should I include in My Essay?

This is a how long is a piece of string question. You could call a triptych a photographic essay, or, you could publish a book that is 200 or more pages. Answer that question with another: how many photographs will it take to put my story across?

How to Plan Your Essay

Years ago, I used to instruct on leadership courses. We had a mnemonic for methodically planning: NAOMIE. That stood for Needs, Aims, Objectives, Method, Implementation, and Evaluation. Here’s a very simple example showing how it works.

This is why the project should happen e.g. The Mayor has asked you for a series of photos to highlight the historical importance of your town that he wants to display in the town hall.

  This is a general description of how you will meet those needs e.g. Your aim is to take a series of photographs telling the story of the historical aspects of our town’s architecture.

  These are the more precise details of what is required to fulfill the aims. e.g. You are going to photograph the town hall, the church, the fountain, the war memorial, the old school, the park etc.

 This is the precise plan of how you are going to do it. e.g. Apply for funding from sources X, Y and Z, Aim for three months to complete the project. All photographs are going to be shot in black and white in a 1 x 1 format to give a timeless feel. The photos will be all shot at f/4 and 25mm to give a consistent look to them. All will be taken within the hour of sunrise. If the light direction is not good at that time, then an hour before sunset will be used instead. Collaborate with Freda, the local poet, and with Ibrahim, the still life photographer. Engage with the town’s historical re-enactment society to provide models for the shots. Besides the main photos, five smaller images highlighting features of each edifice. Create prints for the wall of the town hall. Publish the photographs, in a book.

Implementation

 Go out and do it.

 Ask yourself what went well, what could be improved, were there any new needs for projects that arose from shooting this one.

There are plenty of other planning structures you can follow.

Ideas for Photographic Essays

The most important thing is to create an essay that enthralls you. Do you think there is something worth telling the world about? For example, while moving into landscape photography, the now late Fay Godwin discovered how much of the British countryside was closed off and inaccessible to the public. As a result, she created an outstanding collection of photos entitled Our Forbidden Land . It was a story that she had a passion for telling.

There would be little point in setting out to photograph soccer matches if they bore you silly. However, there is an argument for creating images that challenge your own beliefs: if you are a vegetarian, photograph a beef farm; if you are a Christian, photograph a synagogue; if you are a coal miner, photograph the effects of climate change.

You probably have a good idea of the topic you want to cover, something you have a passion for. If not, starting with a title is a good way to focus your project. Here are some ideas for Photographic Essays which you can adapt to fit your personal circumstances.

• My Growing Child
• The Same Tree on the Same Day Every Week
• Morning Light on the Mountains
• Independent Shopkeepers at Closing Time
• A Day in a Life

The Fishing Fleet

• People on the High Street
• Aiming to be Champions
• The Destruction of the Forest
• What I See at Dawn  

Photographic Essays to Explore

Here are a few photographic essays available in different formats, from which you might find inspiration.

Ireland's Wildlife: A Photographic Essay  by Mike Brown, Dick Warner

Photo essay: Exposing the Underground Animal Trade by Patrick Brown.

The Badger Diaries by Tesni Ward

Street Photography

Humans of New York

Landscape Photography Architectural Photography

Annie Barahona Cultural Landscape Photo Essay

I hope you found that useful. Have you ever created a photographic essay or seen any that you would recommend to me? Is it something you would consider doing yourself, or have done in the past?  Please let me know in the comments, it would be great to hear about your work too.

Earning a living as a photographer, website developer, and writer and Based in the North East of England, much of Ivor's work is training others; helping people become better photographers. He has a special interest in supporting people with their mental well-being through photography. In 2023 he became a brand ambassador for the OM System

I absolutely love photo graphic essays, with a collection of images on the same subject matter or theme.

However, as much as I love grouping images in this way, in the 13 years that I have been licensing my wildlife photos, I have only had a few times when a publisher was interested in licensing a collection of similar images from me, for the purpose of presenting them together as an essay. In fact, I can only recall two such instances at the moment. One was a photo essay on Elk for an Elk hunting magazine, and the other was a collection of duck photos, for a feature article showcasing the various wild duck species native to inland New England.

Conversely, there have been thousands upon thousands of times when a publisher wanted to license a single image, to be used alone, or with images from other contributing photographers.

So I guess my point is that as much as I love this form of image presentation, there is very little commercial demand for images to be grouped and licensed this way. Which is a darn shame.

Thanks for the useful comment, Tom, and for supporting the idea of photographic essays. I love them too.

I get what you are saying about having a series of photos accepted by publishers. Fortunately, for all creators and artists, it is now much easier to self-publish with small print runs and, especially, print on demand. Also, community-based galleries are becoming more common.

It's not just photographers turning to self-publication. I recently photographed a client's art for their book about meditation. They have already sold 250 copies with relatively little promotion, and they have more than covered their costs - they haven't even put it on Amazon yet. I suspect that is the way to go if publishers are not interested and photographers are keen to get their work seen in print.

When I was 10, I wanted to be a writer like Mary Shelley, Bram Stoker, or Edgar Allen Poe. When I married at age 21, I was giving up playing rock and roll, and knew I needed some kind of hobby. So I took up photography with the idea that I could use the camera to record places, or people, and be inspired to write about them. But I learned that the photographic image can tell its own story.

Now, decades later, the journey has come full circle; and I use many of my images as inspiration for a story. And am working on publishing a book of that work.

I'm not sure if this allowed - if it isn't I'm sure I'll be censored - but I'll share a link to that work: https://www.thereareplacesphotography.com/blog

Thanks for sharing that, BubbA. Super image too. I'll enjoy browsing through your site. (I don't know if links are allowed or not, but I won't tell anyone if you don't! :D )

A Short History of Photography by Walter Benjamin

• Language Russian
• Edition 3000
• Binding Paperback
• Price 300 RUB

A new edition of the book, a joint publication between Garage Museum of Contemporary Art and Ad Marginem Press in 2013.

The anthology includes three works by German philosopher, critic, writer, and translator Walter Benjamin, which speculate on photography: A Short History of Photography; Paris, Capital of the Nineteenth Century; and The Work of Art in the Age of Mechanical Reproduction . The afterword is supplied by well-known photography historian Vladimir Levashov.

In his essay A Short History of Photography (1931), Walter Benjamin did not seek to chronicle the development of photography; rather, he contemplated the important consequences of the invention of photography for the global culture: "At about the same time as the formation of the technology for reproduction, the conception of great works was changing. One can no longer view them as the productions of individuals; they have become collective images, so powerful that capacity to assimilate them is related to the condition of reducing them in size." The essay introduced several concepts that Benjamin would later elaborate in his most famous piece, The Work of Art in the Age of Mechanical Reproduction - in particular, the notion of "aura". The author provided insight into the influence that the early photography technology had exerted on the formation of its aura as well as into separate genres and individual artists such as David Octavius Hill, August Sander and Eugene Atget (the latter viewed by Benjamin as a precursor to Surrealism).

In his essay Paris, Capital of the Nineteenth Centur y (1935), Benjamin studied new relationships between art and technology during the era of rapid technological progress. Apart from visual art, he discussed architecture, which had seen the first applications of construction in iron, the invention of panoramic paintings, and the formation of the entertainment industry at World Exhibitions in the 19th century. According to Benjamin, the emergence of photography brought about the renewal of artistic language and intensified formal explorations: "As the scope of communications increased, the informational importance of painting diminished. The latter began, in reaction to photography, firstly to emphasize the coloured elements of the image. As Impressionism gave way to Cubism, painting created for itself a broader domain, into which for the time being photography could not follow it."

Photography, in turn, from the middle of the 19th century onwards, had enormously extended its marketability and, in Benjamin's opinion, eventually separated from art to become a commodity. Attempting to isolate art from the development of technology and prevent the former's surrender to the market, non-conformists created the conception of the total work of art and rallied around the banner of L'art pour l'art .

The anthology concludes with Walter Benjamin's most acclaimed publication, The Work of Art in the Age of Mechanical Reproduction (1936). In this essay, he evolved his own term "aura," the "here and now" of an art object, its unique existence in space and time, which defines its authenticity. Reproduction destroys the aura and depreciates the object's historical value and authority. According to Benjamin, the destruction of the aura was socially driven; the process resulted from two circumstances related to the increasing significance of the masses, characterised by the "ardent ... bent toward overcoming the uniqueness of every reality by accepting its reproduction ... [The] ‘sense of the universal equality of things' has increased to such a degree that [the masses] extract it even from a unique object by means of reproduction."

A committed Marxist philosopher, Benjamin was fascinated by the ever-increasing influence of the masses on the role of art: "The mass is a matrix from which all traditional behavior toward works of art issues today in a new form. Quantity has been transmuted into quality. The greatly increased mass of participants has produced a change in the mode of participation." The masses seek collective distraction, whereas art demands individual concentration from the spectator - hence the rising popularity of cinema at the expense of painting.

Benjamin emphasized that art's functions tended to change over time. For instance, he pointed out that mechanical reproduction emancipated the works of art from their parasitical dependence on ritual and removed the semblance of art's autonomy forever. It was photographic technology that reversed "the total function of art ... Instead of being based on ritual, it begins to be based on another practice - politics." In this regard, particularly interesting are the author's thoughts on the fundamental differences between Fascism and Communism in treating politics and art - especially if we agree with him that all efforts to render politics aesthetic culminate in war.

Walter Benjamin  (1892 – 1940) was a German philosopher, theoretician of culture, literary critic, writer and translator. His early works are devoted to German romanticism and German baroque drama. He became famous through the reception of his essay ‘The Work of Art in the Age of Mechanical Reproduction’ and his manuscript ‘On the Concept of History’, which was published posthumously.

How To Create a Meaningful Photography Essay In 5 Steps

The storytelling nature of photography is no secret. It has been used for a century to narrate stories in a very peculiar and effective way. Narrative photographic projects have great power, and regardless of the level of experience and maturity of the photographer, they are very appealing. Find out how to create a meaningful photography essay in 5 steps.

Photography is an amazing art form that portrays interesting stories, events, adventures, life stories, experiences, history and has been around for a very long time having great influence in human life and emotions. Photography freezes the moment and records real life happenings that can be cherished for a lifetime and beyond. To make a good photograph, the photographer needs to look for perfect locations, light, subjects and add a little creativity to it.

Rather than a single image, a set or collections of images are always more powerful in telling a story, bringing in emotions within the viewer and taking/guiding the viewer through the path of the story. It is self consistent, self explanatory and doesn't another person to help with any form of narration. Besides these, photography essays can be a powerful source to bring out suppressed problems in the societies and other issues that are often overlooked.

Photographic essays invite us to research a topic or a theme in depth. Documentary photography is perhaps one of the closest things to “narrative” as we traditionally know it. Even though times have changed, and photography has been open to more independent photographers who don't have the same resource bonanza as the editorial or journalistic photographers of previous decades, this new democracy opens the door to the freedom of speech – a freedom that doesn't have to obey any media interests whatsoever.

Alright, But What Is A Photography Essay In The First Place?

A photo essay is a narrative that uses a group or series of photographs to tell a story, evoke emotions or emphasize a specific concept. The camera plays a utilitarian role, and is pretty far from what the final result can convey to those who read it (either completely or just partially). Photography essays can be either just photographs or photographs with comments, captions or text that accompany them to complete the story.

Some examples of photography essays include collage (simplest form of telling a story), an article, a book, an art show or exhibition, part of a website or a dedicated website and so on. Earlier photography essays were printed in the printing press, but in recent times they have moved to the web which is better in terms of easy access, but will not have a similar effect to looking and reading one physically.

What Elements Should A Photography Essay Include?

Being a narrative in a very holistic form, a photography essay should include the following elements in the most extreme cases:

• Introduction
• Contextualization
• Development
• Continuation

Not all essays will allow such a complex storyline, but we can take some of these elements to formulate an idea of what an essay should include. Therefore, a photo essay is a way to tell a story from beginning to end, with substance and a meaningful content.

Most photographic essays require preparation, organization and direction. Photographic essays began to be published in the 1930s after magazines saw that a story could best be told if text was accompanied by photographs. It is no coincidence that, by this time, cameras had evolved such that they could capture images quickly enough to freeze motion.

Also around this time, portability came into the picture, thanks to the practical nature of 35mm film . It was LIFE magazine that coined the term “Photographic Essay”. One of the most classic photography essays they published is “ Country Doctor ” by W. Eugene Smith . This essay documented Dr. Ceriani’s working life as a traveling doctor in rural areas of the United States.

An essay can be short, mid- or long-term according to various factors that can affect the image recording process. After achieving a certain number of images, the editing process can take place and the story can begin its narrative course. Some things that can affect the recording process are the limited resources we endure while working abroad, and limited access to the subject or the circumstances-recurrence ratio.

Here Are The 5 Steps Involved In Creating A Photography Essay:

1. pick a topic.

Obvious indeed, but choosing a good topic can be difficult without prior research. This is perhaps the hardest part of creating a photographic essay.

The wisest way to approach this is to select a topic that won't be so hard to access – not just because it might be easy. Since it will be accessible, the risk of frustration will be lower than it is when handling a difficult topic. Experience will eventually lead us into working with trickier subjects.

A photo essay doesn't need to always be dramatic and dense. They can be done just for the fun of it, or to discover new possibilities for the photographic narrative. Some topics that are generous when they are addressed are:

• Everyday Work  

2. Choosing The Subjects Correctly

When working on a photographic essay, it is important to choose subjects correctly to keep ourselves within a certain scope. Check to see if your subjects are suitable or the story you are planning to tell and if the stories made with them will be interesting for your target audience.

Even if you don't have a human subject to portray, making use of personification can always be a good guide to avoid losing course. For example, you can focus on silence by stating that the images attempted to capture the presence of silence.

Also, solitude can be addressed without any human elements, but still maintain the purpose of capturing “the human footprint”, for example.

3. Quantity Of Images

It is important to define the number of pictures we are willing to present on our final essay. Defining that number is important for a couple of reasons.

• The first one is because it will set the bar of our project's scope (critical when we start to consider our resources).
• The second one is our readers. The story should be told from start to finish with high impact, just like a short novel or a story. If we stuff our essay with “filler” images, it will ultimately lose its power.  

4. Execution

Let the fun part begin! After defining the previous three elements, we can start shooting to create a great storytelling essay.   Shooting story telling photographs for a photography essay need to be powerful just like how you would shoot individual images to tell a story. Look for perfect light, relevant locations relating to the story to be told, perfect subjects for the story and also compositional guidelines.

Always have introductory and closing images just like how you would have an introduction and conclusion to any essay. Shoot at different light, angles, perspectives, etc. and finalise during the editing part the images that will work together to complete the photography essay.

Editing must not be confused with post-processing, which is an important element of the production of the final photographs. Editing refers to the precise selection of the images that will be included in the essay. There is no perfect quantity or order. You (or your editor) will have to be very objective to select the perfect mix to tell the story the way you want it to be told.

Ak yourself questions like, do the photographs speak the story or will they require accompanying text, is the sequence or series logical, do they stand together and complete the story from start to finish, etc. Try and tell the story with minimal images by avoiding repetition as that can bore the viewers.

Who Can Create A Photography Essay?

Some photographers believe that only photojournalists or documentary photographers can create photography essays. That is not the case – photo essays can be created on any topics like nature, wedding, events, portraits, travel, etc.

Constant planning, execution and checking can and should be applied to all the stages discussed above. You will need to have a powerful title and written text that is strong and concise. Sometimes longer text may be required.

Photo essays are a great way to improve not just as photographers, but as storytellers, too. Viewing photo essays with a reader's mindset will give you a better feeling of photography’s storytelling power.

About Author

Federico has a decade of experience in documentary photography , and is a University Professor in photography and research methodology . He's a scientist studying the social uses of photography in contemporary culture who writes about photography and develops documentary projects. Other activities Federico is involved in photography are curation, critique, education, mentoring, outreach and reviews. Get to know him better here .

Dear Federico, this is a very informative, to the point article for everyone who wants to enter the world of creating photo essays. Currently, I am teaching photography at one of the well known institutes in India and I am playing a role of a honeybee. I am creating a blend of my experience along with such articles and letting the student know what are the pros and cons of various genres of photography and how to go about it. I am obviously giving you credit for this article. Thanks and you are welcome to India. You will love my country!

Frederico, thank you for this article about photo essays! I am both a digital photographer and a freelance writer, and this idea combines both of my passions. What are the most successful photo essays that you have done that you can share?

Hi, Thank you for the article, very interesting, something I would really love to try. I do have one question though, how do I know whether a photo essay would be a success, who would judge it?

I have emailed Frederico asking permission to reprint this article in my photo club’s digital newsletter (www.spsphoto.org). I would like your permission as well. We are having a photo essay competition this month. I will include links to the original article, as well as yours and Federico’s website. Thank you.

Fine by us, Linda. Thanks for asking first.

Thank you, and Federico, for permission to reprint. I am sure my photo club members will appreciate this timely article for our annual photo essay competition !

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Pictures That Tell Stories: Photo Essay Examples

Like any other type of artist, a photographer’s job is to tell a story through their pictures. While some of the most creative among us can invoke emotion or convey a thought with one single photo, the rest of us will rely on a photo essay.

In the following article, we’ll go into detail about what a photo essay is and how to craft one while providing some detailed photo essay examples.

What is a Photo Essay? 

A photo essay is a series of photographs that, when assembled in a particular order, tell a unique and compelling story. While some photographers choose only to use pictures in their presentations, others will incorporate captions, comments, or even full paragraphs of text to provide more exposition for the scene they are unfolding.

A photo essay is a well-established part of photojournalism and have been used for decades to present a variety of information to the reader. Some of the most famous photo essayists include Ansel Adams , W. Eugene Smith, and James Nachtwey. Of course, there are thousands of photo essay examples out there from which you can draw inspiration.

Why Consider Creating a Photo Essay?

As the old saying goes, “a picture is worth 1000 words.” This adage is, for many photographers, reason enough to hold a photo essay in particularly high regard.

For others, a photo essay allow them to take pictures that are already interesting and construct intricate, emotionally-charged tales out of them. For all photographers, it is yet another skill they can master to become better at their craft.

As you might expect, the photo essay have had a long history of being associated with photojournalism. From the Great Depression to Civil Rights Marches and beyond, many compelling stories have been told through a combination of images and text, or photos alone. A photo essay often evokes an intense reaction, whether artistic in nature or designed to prove a socio-political point.

Below, we’ll list some famous photo essay samples to further illustrate the subject.

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Famous Photo Essays

“The Great Depression” by Dorothea Lange – Shot and arranged in the 1930s, this famous photo essay still serves as a stark reminder of The Great Depression and Dust Bowl America . Beautifully photographed, the black and white images offer a bleak insight to one of the country’s most difficult times.

“The Vietnam War” by Philip Jones Griffiths – Many artists consider the Griffiths’ photo essay works to be some of the most important records of the war in Vietnam. His photographs and great photo essays are particularly well-remembered for going against public opinion and showing the suffering of the “other side,” a novel concept when it came to war photography.

Various American Natural Sites by Ansel Adams – Adams bought the beauty of nature home to millions, photographing the American Southwest and places like Yosemite National Park in a way that made the photos seem huge, imposing, and beautiful.

“Everyday” by Noah Kalina – Is a series of photographs arranged into a video. This photo essay features daily photographs of the artist himself, who began taking capturing the images when he was 19 and continued to do so for six years.

“Signed, X” by Kate Ryan – This is a powerful photo essay put together to show the long-term effects of sexual violence and assault. This photo essay is special in that it remains ongoing, with more subjects being added every year.

Common Types of Photo Essays

While a photo essay do not have to conform to any specific format or design, there are two “umbrella terms” under which almost all genres of photo essays tend to fall. A photo essay is thematic and narrative. In the following section, we’ll give some details about the differences between the two types, and then cover some common genres used by many artists.

⬥ Thematic 

A thematic photo essay speak on a specific subject. For instance, numerous photo essays were put together in the 1930s to capture the ruin of The Great Depression. Though some of these presentations followed specific people or families, they mostly told the “story” of the entire event. There is much more freedom with a thematic photo essay, and you can utilize numerous locations and subjects. Text is less common with these types of presentations.

⬥ Narrative 

A narrative photo essay is much more specific than thematic essays, and they tend to tell a much more direct story. For instance, rather than show a number of scenes from a Great Depression Era town, the photographer might show the daily life of a person living in Dust Bowl America. There are few rules about how broad or narrow the scope needs to be, so photographers have endless creative freedom. These types of works frequently utilize text.

Common Photo Essay Genres

Walk a City – This photo essay is when you schedule a time to walk around a city, neighborhood, or natural site with the sole goal of taking photos. Usually thematic in nature, this type of photo essay allows you to capture a specific place, it’s energy, and its moods and then pass them along to others.

The Relationship Photo Essay – The interaction between families and loved ones if often a fascinating topic for a photo essay. This photo essay genre, in particular, gives photographers an excellent opportunity to capture complex emotions like love and abstract concepts like friendship. When paired with introspective text, the results can be quite stunning. 

The Timelapse Transformation Photo Essay – The goal of a transformation photo essay is to capture the way a subject changes over time. Some people take years or even decades putting together a transformation photo essay, with subjects ranging from people to buildings to trees to particular areas of a city.

Going Behind The Scenes Photo Essay – Many people are fascinated by what goes on behind the scenes of big events. Providing the photographer can get access; to an education photo essay can tell a very unique and compelling story to their viewers with this photo essay.

Photo Essay of a Special Event – There are always events and occasions going on that would make an interesting subject for a photo essay. Ideas for this photo essay include concerts, block parties, graduations, marches, and protests. Images from some of the latter were integral to the popularity of great photo essays.

The Daily Life Photo Essay – This type of photo essay often focus on a single subject and attempt to show “a day in the life” of that person or object through the photographs. This type of photo essay can be quite powerful depending on the subject matter and invoke many feelings in the people who view them.

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Photo Essay Ideas and Examples

One of the best ways to gain a better understanding of photo essays is to view some photo essay samples. If you take the time to study these executions in detail, you’ll see just how photo essays can make you a better photographer and offer you a better “voice” with which to speak to your audience.

Some of these photo essay ideas we’ve already touched on briefly, while others will be completely new to you. 

Cover a Protest or March  

Some of the best photo essay examples come from marches, protests, and other events associated with movements or socio-political statements. Such events allow you to take pictures of angry, happy, or otherwise empowered individuals in high-energy settings. The photo essay narrative can also be further enhanced by arriving early or staying long after the protest has ended to catch contrasting images. 

Photograph a Local Event  

Whether you know it or not, countless unique and interesting events are happening in and around your town this year. Such events provide photographers new opportunities to put together a compelling photo essay. From ethnic festivals to historical events to food and beverage celebrations, there are many different ways to capture and celebrate local life.

Visit an Abandoned Site or Building  

Old homes and historical sites are rich with detail and can sometimes appear dilapidated, overgrown by weeds, or broken down by time. These qualities make them a dynamic and exciting subject. Many great photo essay works of abandoned homes use a mix of far-away shots, close-ups, weird angles, and unique lighting. Such techniques help set a mood that the audience can feel through the photographic essay.

Chronicle a Pregnancy

Few photo essay topics could be more personal than telling the story of a pregnancy. Though this photo essay example can require some preparation and will take a lot of time, the results of a photographic essay like this are usually extremely emotionally-charged and touching. In some cases, photographers will continue the photo essay project as the child grows as well.

Photograph Unique Lifestyles  

People all over the world are embracing society’s changes in different ways. People live in vans or in “tiny houses,” living in the woods miles away from everyone else, and others are growing food on self-sustaining farms. Some of the best photo essay works have been born out of these new, inspiring movements.

Photograph Animals or Pets  

If you have a favorite animal (or one that you know very little about), you might want to arrange a way to see it up close and tell its story through images. You can take photos like this in a zoo or the animal’s natural habitat, depending on the type of animal you choose. Pets are another great topic for a photo essay and are among the most popular subjects for many photographers.

Show Body Positive Themes  

So much of modern photography is about showing the best looking, prettiest, or sexiest people at all times. Choosing a photo essay theme like body positivity, however, allows you to film a wide range of interesting-looking people from all walks of life.

Such a photo essay theme doesn’t just apply to women, as beauty can be found everywhere. As a photo essay photographer, it’s your job to find it!

Bring Social Issues to Life  

Some of the most impactful social photo essay examples are those where the photographer focuses on social issues. From discrimination to domestic violence to the injustices of the prison system, there are many ways that a creative photographer can highlight what’s wrong with the world. This type of photo essay can be incredibly powerful when paired with compelling subjects and some basic text.

Photograph Style and Fashion

If you live in or know of a particularly stylish locale or area, you can put together an excellent thematic photo essay by capturing impromptu shots of well-dressed people as they pass by. As with culture, style is easily identifiable and is as unifying as it is divisive. Great photo essay examples include people who’ve covered fashion sub-genres from all over the world, like urban hip hop or Japanese Visual Kei. 

Photograph Native Cultures and Traditions  

If you’ve ever opened up a copy of National Geographic, you’ve probably seen photo essay photos that fit this category. To many, the traditions, dress, religious ceremonies, and celebrations of native peoples and foreign cultures can be utterly captivating. For travel photographers, this photo essay is considered one of the best ways to tell a story with or without text.

Capture Seasonal Or Time Changes In A Landmark Photo Essay

Time-lapse photography is very compelling to most viewers. What they do in a few hours, however, others are doing over months, years, and even decades. If you know of an exciting landscape or scene, you can try to capture the same image in Winter, Spring, Summer, and Fall, and put that all together into one landmark photo essay.

Alternatively, you can photograph something being lost or ravaged by time or weather. The subject of your landmark photo essay can be as simple as the wall of an old building or as complex as an old house in the woods being taken over by nature. As always, there are countless transformation-based landmark photo essay works from which you can draw inspiration.

Photograph Humanitarian Efforts or Charity  

Humanitarian efforts by groups like Habitat for Humanity, the Red Cross, and Doctors Without Borders can invoke a powerful response through even the simplest of photos. While it can be hard to put yourself in a position to get the images, there are countless photo essay examples to serve as inspiration for your photo essay project.

How to Create a Photo Essay

There is no singular way to create a photo essay. As it is, ultimately, and artistic expression of the photographer, there is no right, wrong, good, or bad. However, like all stories, some tell them well and those who do not. Luckily, as with all things, practice does make perfect. Below, we’ve listed some basic steps outlining how to create a photo essay

Steps To Create A Photo Essay

Choose Your Topic – While some photo essayists will be able to “happen upon” a photo story and turn it into something compelling, most will want to choose their photo essay topics ahead of time. While the genres listed above should provide a great starting place, it’s essential to understand that photo essay topics can cover any event or occasion and any span of time

Do Some Research – The next step to creating a photo essay is to do some basic research. Examples could include learning the history of the area you’re shooting or the background of the person you photograph. If you’re photographing a new event, consider learning the story behind it. Doing so will give you ideas on what to look for when you’re shooting.  

Make a Storyboard – Storyboards are incredibly useful tools when you’re still in the process of deciding what photo story you want to tell. By laying out your ideas shot by shot, or even doing rough illustrations of what you’re trying to capture, you can prepare your photo story before you head out to take your photos.

This process is especially important if you have little to no control over your chosen subject. People who are participating in a march or protest, for instance, aren’t going to wait for you to get in position before offering up the perfect shot. You need to know what you’re looking for and be prepared to get it.

Get the Right Images – If you have a shot list or storyboard, you’ll be well-prepared to take on your photo essay. Make sure you give yourself enough time (where applicable) and take plenty of photos, so you have a lot from which to choose. It would also be a good idea to explore the area, show up early, and stay late. You never know when an idea might strike you.

Assemble Your Story – Once you develop or organize your photos on your computer, you need to choose the pictures that tell the most compelling photo story or stories. You might also find some great images that don’t fit your photo story These can still find a place in your portfolio, however, or perhaps a completely different photo essay you create later.

Depending on the type of photographer you are, you might choose to crop or digitally edit some of your photos to enhance the emotions they invoke. Doing so is completely at your discretion, but worth considering if you feel you can improve upon the naked image.

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Best Photo Essays Tips And Tricks

Before you approach the art of photo essaying for the first time, you might want to consider with these photo essay examples some techniques, tips, and tricks that can make your session more fun and your final results more interesting. Below, we’ve compiled a list of some of the best advice we could find on the subject of photo essays. 

⬥ Experiment All You Want 

You can, and should, plan your topic and your theme with as much attention to detail as possible. That said, some of the best photo essay examples come to us from photographers that got caught up in the moment and decided to experiment in different ways. Ideas for experimentation include the following: 

Angles – Citizen Kane is still revered today for the unique, dramatic angles used in the film. Though that was a motion picture and not photography, the same basic principles still apply. Don’t be afraid to photograph some different angles to see how they bring your subject to life in different ways.

Color – Some images have more gravitas in black in white or sepia tone. You can say the same for images that use color in an engaging, dynamic way. You always have room to experiment with color, both before and after the shoot.

Contrast – Dark and light, happy and sad, rich and poor – contrast is an instantly recognizable form of tension that you can easily include in your photo essay. In some cases, you can plan for dramatic contrasts. In other cases, you simply need to keep your eyes open.

Exposure Settings – You can play with light in terms of exposure as well, setting a number of different moods in the resulting photos. Some photographers even do random double exposures to create a photo essay that’s original.

Filters – There are endless post-production options available to photographers, particularly if they use digital cameras. Using different programs and apps, you can completely alter the look and feel of your image, changing it from warm to cool or altering dozens of different settings.

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If you’re using traditional film instead of a digital camera, you’re going to want to stock up. Getting the right shots for a photo essay usually involves taking hundreds of images that will end up in the rubbish bin. Taking extra pictures you won’t use is just the nature of the photography process. Luckily, there’s nothing better than coming home to realize that you managed to capture that one, perfect photograph. 

⬥ Set the Scene 

You’re not just telling a story to your audience – you’re writing it as well. If the scene you want to capture doesn’t have the look you want, don’t be afraid to move things around until it does. While this doesn’t often apply to photographing events that you have no control over, you shouldn’t be afraid to take a second to make an OK shot a great shot. 

⬥ Capture Now, Edit Later 

Editing, cropping, and digital effects can add a lot of drama and artistic flair to your photos. That said, you shouldn’t waste time on a shoot, thinking about how you can edit it later. Instead, make sure you’re capturing everything that you want and not missing out on any unique pictures. If you need to make changes later, you’ll have plenty of time! 

⬥ Make It Fun 

As photographers, we know that taking pictures is part art, part skill, and part performance. If you want to take the best photo essays, you need to loosen up and have fun. Again, you’ll want to plan for your topic as best as you can, but don’t be afraid to lose yourself in the experience. Once you let yourself relax, both the ideas and the opportunities will manifest.

⬥ It’s All in The Details 

When someone puts out a photographic essay for an audience, that work usually gets analyzed with great attention to detail. You need to apply this same level of scrutiny to the shots you choose to include in your photo essay. If something is out of place or (in the case of historical work) out of time, you can bet the audience will notice.

⬥ Consider Adding Text

While it isn’t necessary, a photographic essay can be more powerful by the addition of text. This is especially true of images with an interesting background story that can’t be conveyed through the image alone. If you don’t feel up to the task of writing content, consider partnering with another artist and allowing them tor bring your work to life.

Final Thoughts 

The world is waiting to tell us story after story. Through the best photo essays, we can capture the elements of those stories and create a photo essay that can invoke a variety of emotions in our audience.

No matter the type of cameras we choose, the techniques we embrace, or the topics we select, what really matters is that the photos say something about the people, objects, and events that make our world wonderful.

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Ten examples of immersive photo essays

By Marissa Sapega — Contributing Writer

Photo essays are one of the most powerful forms of storytelling in the last century. From the great depression photographer W. Eugene Smith to the photojournalism of National Geographic or Life Magazine , the best photo essays entertain, educate, and move readers more than words alone ever could. 

But photo essays have changed. Over the last decade, web publishing technologies — including web browsers and file formats — have improved by leaps and bounds. A good photo essays today is more than a collection of images. It’s a truly interactive, immersive, and multimedia experiences.

In this guide, we introduce 10 stunning examples of visually arresting interactive photo essays to fuel your creative juices.

Now, let's set the scene with a short introduction to immersive, interactive photo essays on the web.

What do the BBC, Tripadvisor, and Penguin have in common? They craft stunning, interactive web content with Shorthand. And so can you! Publish your first story for free — no code or web design skills required. Sign up now.

The rise of immersive, interactive photo essays

What is an immersive, interactive photo essay? Let's take these terms one at a time. 

An immersive photo essay uses rich media and story design to capture and keep the reader's attention. Immersive content is typically free of the most distracting elements of the web, such as pop-ups, skyscrapers, and other intrusions on the reading experience.

As a basic rule of thumb, immersive content respects the reader's attention. 

An interactive photo essay is one that allows the reader to control how the content appears. It may include interactive elements, like maps and embedded applications.

More commonly, modern interactive photo stories use a technique known as scrollytelling . Scrollytelling stories allow the reader to trigger animations and other visual effects as they scroll. Many of the examples in this guide use scrollytelling techniques. Read more scrollytelling examples .

Until relatively recently, immersive, interactive photo essays could only be created with the help of a designer or web developer. But with the rise of digital storytelling platforms , anyone can create compelling, dynamic stories without writing a single line of code.

If you're looking to learn more about how to create a photo essay — or are looking for more photo essay ideas  — check out our introduction to photo essays . 

Photo essay topics

If you’re looking for photo essay examples, chances are you’re looking to create a photo essay for yourself. If you’re just getting started, you might want some guidance on exactly what kinds of topics make for great photo essays.

More experienced photographers — feel free to skip this section. But for those who are just starting out, here’s a quick list of classic photo essay subject matter, for all types of photo essays.

• Local events. A great way to start out is photograph local events in your community, such as a high school fundraiser. A bonus is that you’ll have a ready
• Historic sites. Another classic photo essay topic is an exploration of a historic site. This could be a building, a monument, or even just a specific location that has significance.
• Profile of a person. A great way to get to know someone is to profile them in a photo essay. This could be a family member, friend, or even just someone you’ve met.
• Animals in captivity. Another popular subject matter for photo essays is animals in captivity, whether that’s at a zoo or elsewhere.
• A day in the life. Have you ever wondered what it’s like to live someone else’s life for a day? Why not find out and document it in a photo essay?
• Street photography. Another great way to practice your photography skills is to head out into the streets and photograph the everyday lives of people around you. The world has plenty of photo essays of cities like New York and London. But what about street photography in your own backyard?
• Still life photography. Still life photography is all about capturing inanimate objects on film. This could be anything from flowers to furniture to food. It’s a great way to practice your photography skills and learn about composition
• Landscapes . Landscape photography is one of the most popular genres, and for good reason. There are endless possibilities when it comes to finding interesting subjects to shoot. So get out there and start exploring!
• Abandoned buildings. There’s something fascinating about abandoned buildings. They offer a glimpse into the past, and can be eerily beautiful. If you have any in your area, they make for great photo essay subjects.
• Lifestyles. Document someone who lives a lifestyle that’s different from your own. This could be a portrayal of an everyday person, or it could be someone with an unusual job or hobby.
• Social issues. Take photos depicting significant social issues in your community, remembering to respect your subjects.

Ten inspiring photo essay examples

Pink lagoon and peculiar galaxies — July’s best science images

In Pink lagoon and peculiar galaxies , Nature present a mesmerising series of images from the natural world. Highlights include:

• a blink-and-you’ll-miss-it photo of rare albino orcas performing feats of synchronized swimming;
• an arresting aerial view of the aftermath of the flash floods in Germany; and,
• a scarlet gawping Venus flytrap sea anemone. 

The best part? Nature publishes similarly powerful photo essays every month, showcasing some of the best and most creative photography of the natural world anywhere on the web.

Vanishing Lands

Vanishing lands — an ominously interesting photo essay from media company Stuff — opens with a bucolic visual featuring meandering sheep flanked by breathtaking mountains that blur into obscurity.

Soon, more awe-inspiring photos of breathtaking New Zealand farmland appear, accompanied by expressive prose whose tone matches the visuals’ stark beauty.

In this unflinchingly honest photographic essay, Stuff takes the viewer behind the scenes with a day in the life of a high country sheep farmer facing an uncertain future. One stunning photo fades into the next as you scroll through, broken only by the occasional noteworthy quote and accompanying narrative.

Olympic photos: Emotion runs high

This emotionally wrought sports story from NBC begins with a close-up of an anxious Simone Biles, her expression exemplifying the tension and frustration echoed on so many of her fellow athletes’ faces.

The subtitle puts it perfectly: “The agony—and thrill—of competition at the Olympics is written all over their faces.”

Devastation, disappointment, and defeat take centre stage in this piece — but not all the subjects of the photos in this compelling photography essay depict misery. Some of the images, like that taken of the gold medal-winning Russian artistic gymnasts, manage to project the athletes’ joy almost beyond the edges of the screen.

The NBC editors who created this visual story chose to display the series of photos using the entire screen width and limit the copy to simple captions, letting the visuals speak for themselves. The result is a riveting montage of photographs that manage to capture the overarching sentiment of the 2020 Olympic Games.

James Epp: A Twist of the Hand

In A Twist of the Hand , the Museum of Classical Archaeology at the University of Cambridge have produced a gorgeous photo essay. This online art show showcases artist James Epp’s installation, combining photographs of the exhibit with images of museum prints and authentic artefacts.

As you scroll down, close-up shots of the installation make you feel like you’re physically wandering among the ancient sculptures, able to examine hairline spider cracks and tiny divots marking the surface of every antiquated figure. In between the photos—and often flanked by museum prints—are James Epp's musings about what inspired him to create the pieces. It’s an absorbing virtual gallery that will no doubt inspire real life visits to the exhibition.

The Café Racer Revolution

Though it’s a cleverly built piece of interactive content marketing , Honda’s “ Café Racer Revolution ” is also a great photo essay. Alongside information about the latest and greatest motorcycles Honda has to offer, it details the history of the bikers who sought to employ motorcycles (specifically “café racers”) as a way to forge an identity for themselves and project a “statement of individuality.”

Scroll down, and nostalgic black-and-white photos give way to contemporary action shots featuring fully decked-out motorcyclists on various Honda models.

Dynamic photos of bikes rotate them 360 degrees when you mouse over them, and text superimposed over flashy shots rolls smoothly down the screen as you scroll. This photo essay will stir a longing to hit the open road for anyone who has ever dreamed of owning one of Honda’s zippy bikes.

Built to keep Black from white

In Built to keep Black from white , NBC News and BridgeDetroit have built a stunning narrative photo essay that encapsulates the history of Detroit’s Birwood Wall — a literal dividing line intended to separate neighborhoods inhabited by people of different races. 

The piece begins with a brief history of the concrete barrier. Between paragraphs of text, it weaves in quotes from residents who grew up as the wall was erected and a short video. Animated maps highlighting the affected neighborhoods unspool across the screen as you scroll down, accompanied by brief explanations of what the maps represent.

In the series of photographs that follow, contemporary images transition into decades-old shots of the wall when it was newly constructed. This is followed by images of original real estate documents, resident portraits, and additional animated maps — each considering the issue from different angles.

The piece ends with an interactive display of how Detroit’s racial makeup has changed over the past several decades, from majority white to black, and how the wall has impacted the lives of its residents who lived (and died) within its borders.

The story of Black Lives Matter in sport

The BBC pairs illustrations and bold imagery in this photo essay on how athletes participated in the Black Lives Matter movement . At the start, a narrow column of text leads into an iconic image of American football players kneeling during the pre-game national anthem in a solemn protest against police brutality. 

The first excerpt, a summary of Trayvon Martin’s death in 2012, draws you in with piercing prose capped off with photographs that bleed into one another. Every account in the photo essay follows this layout.

WaterAid Climate Stories

Climate change affects everyone on the planet, but some people are feeling the effects more than others. WaterAid’s scrollytelling photo essay illuminates the plight of individuals living in areas where extreme weather conditions — caused by climate change — have drastically impacted the water supply and environment, endangering their livelihoods and ability to survive.

This climate change story starts with an engrossing video that provides an up-close and personal look at the devastation that climate change-induced droughts have wreaked on people and the environment. As you scroll down, images of massively depleted bodies of water with superimposed text and quotes unfold before your eyes. It’s an efficient way to drive home the critical message WaterAid wants to convey: climate change is real, and it’s harming real people.

Each extreme weather story focuses on an individual to help viewers empathise and understand that climate change has real, drastic consequences for millions of people worldwide. The piece ends with a call to action to learn more about and financially support WaterAid’s fight to assist people living in the desperate situations depicted in the essay.

28 Days in Afghanistan

In this piece, Australian photo-journalist Andrew Quilty tells the story of the four weeks he spent in Afghanistan . He captures daily events ranging from the mundane—like a casual visit to his barber—to jarring. More than one photo documents blood-spattered victims of violence.

Viewers must scroll through the piece to follow Andrew’s daily musings and the striking photos that accompany them. His photo essay is a powerful example of how scrollytelling is transforming the art of long-form journalism .

La carrera lunática de Musk y Bezos (Musk and Bezos' lunatic careers)

Billionaires Elon Musk and Jeff Bezos are angling to conquer the final frontier: space.

El Periódico captures their story via a whimsically illustrated photo essay, filled with neon line drawings and bold photos of the massive spaceships, the hangars that house them, and footprints on the moon. La carrera lunática de Musk y Bezos describes the battle between the two titans’ space companies (Blue Origin and SpaceX) for the honor of partially funding NASA’s next mission to the moon.

As you scroll down, white and fluorescent yellow words on a black background roll smoothly over images. The team at El Periódico slips in stylistic animations to break up the text—such as rocket ships with shimmering “vapour trails”—then ups the ante with a series of moon images that transition into portraits of the 12 U.S. astronauts who visited the celestial body.

The photo essay ends with the question: “Who will be the next to leave their footprints on the dusty lunar soil?” At the time of publishing, NASA had not yet decided between the two companies. (Spoiler alert: SpaceX won .)

Marissa Sapega is a seasoned writer, editor, and digital marketer with a background in web and graphic design.

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Should college essays touch on race? Some feel the affirmative action ruling leaves them no choice

Hillary Amofa listens to others member of the Lincoln Park High School step team after school Friday, March 8, 2024, in Chicago. (AP Photo/Charles Rex Arbogast)

When the Supreme Court ended affirmative action, it left the college essay as one of few places where race can play a role in admissions decisions. (AP Video: Noreen Nasir)

Hillary Amofa listens to others member of the Lincoln Park High School step team after school Friday, March 8, 2024, in Chicago. When she started writing her college essay, Amofa told the story she thought admissions offices wanted to hear. She wrote about being the daughter of immigrants from Ghana, about growing up in a small apartment in Chicago. She described hardship and struggle. Then she deleted it all. “I would just find myself kind of trauma-dumping,” said the 18 year-old senior, “And I’m just like, this doesn’t really say anything about me as a person.” (AP Photo/Charles Rex Arbogast)

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Hillary Amofa, laughs as she participates in a team building game with members of the Lincoln Park High School step team after school Friday, March 8, 2024, in Chicago. When she started writing her college essay, Amofa told the story she thought admissions offices wanted to hear. She wrote about being the daughter of immigrants from Ghana, about growing up in a small apartment in Chicago. She described hardship and struggle. Then she deleted it all. “I would just find myself kind of trauma-dumping,” said the 18 year-old senior, “And I’m just like, this doesn’t really say anything about me as a person.” (AP Photo/Charles Rex Arbogast)

Hillary Amofa stands for a portrait after practice with members of the Lincoln Park High School step team Friday, March 8, 2024, in Chicago. When she started writing her college essay, Amofa told the story she thought admissions offices wanted to hear. She wrote about being the daughter of immigrants from Ghana, about growing up in a small apartment in Chicago. She described hardship and struggle. Then she deleted it all. “I would just find myself kind of trauma-dumping,” said the 18 year-old senior, “And I’m just like, this doesn’t really say anything about me as a person.” (AP Photo/Charles Rex Arbogast)

Max Decker, a senior at Lincoln High School, sits for a portrait in the school library where he often worked on writing his college essays, in Portland, Ore., Wednesday, March 20, 2024. (AP Photo/Amanda Loman)

Hillary Amofa stands for a portrait after practice with members of the Lincoln Park High School step team Friday, March 8, 2024, in Chicago. When she started writing her college essay, Amofa told the story she thought admissions offices wanted to hear. She wrote about being the daughter of immigrants from Ghana, about growing up in a small apartment in Chicago. (AP Photo/Charles Rex Arbogast)

Hillary Amofa, second from left, practices with members of the Lincoln Park High School step team after school Friday, March 8, 2024, in Chicago. When she started writing her college essay, Amofa told the story she thought admissions offices wanted to hear. She wrote about being the daughter of immigrants from Ghana, about growing up in a small apartment in Chicago. She described hardship and struggle. Then she deleted it all. “I would just find myself kind of trauma-dumping,” said the 18 year-old senior, “And I’m just like, this doesn’t really say anything about me as a person.” (AP Photo/Charles Rex Arbogast)

Max Decker, a senior at Lincoln High School, stands for a portrait outside of the school in Portland, Ore., Wednesday, March 20, 2024. (AP Photo/Amanda Loman)

*Hillary Amofa, reflected right, practices in a mirror with members of the Lincoln Park High School step team after school Friday, March 8, 2024, in Chicago. When she started writing her college essay, Amofa told the story she thought admissions offices wanted to hear. She wrote about being the daughter of immigrants from Ghana, about growing up in a small apartment in Chicago. She described hardship and struggle. Then she deleted it all. “I would just find myself kind of trauma-dumping,” said the 18 year-old senior, “And I’m just like, this doesn’t really say anything about me as a person.” (AP Photo/Charles Rex Arbogast)

Max Decker, a senior at Lincoln High School, sits for a portrait outside of the school in Portland, Ore., Wednesday, March 20, 2024. (AP Photo/Amanda Loman)

Hillary Amofa, left, practices with members of the Lincoln Park High School step team after school Friday, March 8, 2024, in Chicago. When she started writing her college essay, Amofa told the story she thought admissions offices wanted to hear. She wrote about being the daughter of immigrants from Ghana, about growing up in a small apartment in Chicago. She described hardship and struggle. Then she deleted it all. “I would just find myself kind of trauma-dumping,” said the 18 year-old senior, “And I’m just like, this doesn’t really say anything about me as a person.” (AP Photo/Charles Rex Arbogast)

Hillary Amofa sits for a portrait after her step team practice at Lincoln Park High School Friday, March 8, 2024, in Chicago. When she started writing her college essay, Amofa told the story she thought admissions offices wanted to hear. She wrote about being the daughter of immigrants from Ghana, about growing up in a small apartment in Chicago. She described hardship and struggle. Then she deleted it all. “I would just find myself kind of trauma-dumping,” said the 18 year-old senior, “And I’m just like, this doesn’t really say anything about me as a person.” (AP Photo/Charles Rex Arbogast)

FILE - Demonstrators protest outside of the Supreme Court in Washington, in this June 29, 2023 file photo, after the Supreme Court struck down affirmative action in college admissions, saying race cannot be a factor. (AP Photo/Jose Luis Magana)

CHICAGO (AP) — When she started writing her college essay, Hillary Amofa told the story she thought admissions offices wanted to hear. About being the daughter of immigrants from Ghana and growing up in a small apartment in Chicago. About hardship and struggle.

Then she deleted it all.

“I would just find myself kind of trauma-dumping,” said the 18-year-old senior at Lincoln Park High School in Chicago. “And I’m just like, this doesn’t really say anything about me as a person.”

When the Supreme Court ended affirmative action in higher education, it left the college essay as one of few places where race can play a role in admissions decisions. For many students of color, instantly more was riding on the already high-stakes writing assignment. Some say they felt pressure to exploit their hardships as they competed for a spot on campus.

Amofa was just starting to think about her essay when the court issued its decision, and it left her with a wave of questions. Could she still write about her race? Could she be penalized for it? She wanted to tell colleges about her heritage but she didn’t want to be defined by it.

In English class, Amofa and her classmates read sample essays that all seemed to focus on some trauma or hardship. It left her with the impression she had to write about her life’s hardest moments to show how far she’d come. But she and some of her classmates wondered if their lives had been hard enough to catch the attention of admissions offices.

“For a lot of students, there’s a feeling of, like, having to go through something so horrible to feel worthy of going to school, which is kind of sad,” said Amofa, the daughter of a hospital technician and an Uber driver.

This year’s senior class is the first in decades to navigate college admissions without affirmative action . The Supreme Court upheld the practice in decisions going back to the 1970s, but this court’s conservative supermajority found it is unconstitutional for colleges to give students extra weight because of their race alone.

Still, the decision left room for race to play an indirect role: Chief Justice John Roberts wrote universities can still consider how an applicant’s life was shaped by their race, “so long as that discussion is concretely tied to a quality of character or unique ability.”

“A benefit to a student who overcame racial discrimination, for example, must be tied to that student’s courage and determination,” he wrote.

Scores of colleges responded with new essay prompts asking about students’ backgrounds. Brown University asked applicants how “an aspect of your growing up has inspired or challenged you.” Rice University asked students how their perspectives were shaped by their “background, experiences, upbringing, and/or racial identity.”

Hillary Amofa, reflected right, practices in a mirror with members of the Lincoln Park High School step team after school, March 8, 2024, in Chicago. (AP Photo/Charles Rex Arbogast)

WONDERING IF SCHOOLS ‘EXPECT A SOB STORY’

When Darrian Merritt started writing his essay, he knew the stakes were higher than ever because of the court’s decision. His first instinct was to write about events that led to him going to live with his grandmother as a child.

Those were painful memories, but he thought they might play well at schools like Yale, Stanford and Vanderbilt.

“I feel like the admissions committee might expect a sob story or a tragic story,” said Merritt, a senior in Cleveland. “And if you don’t provide that, then maybe they’re not going to feel like you went through enough to deserve having a spot at the university. I wrestled with that a lot.”

He wrote drafts focusing on his childhood, but it never amounted to more than a collection of memories. Eventually he abandoned the idea and aimed for an essay that would stand out for its positivity.

Merritt wrote about a summer camp where he started to feel more comfortable in his own skin. He described embracing his personality and defying his tendency to please others. The essay had humor — it centered on a water gun fight where he had victory in sight but, in a comedic twist, slipped and fell. But the essay also reflects on his feelings of not being “Black enough” and getting made fun of for listening to “white people music.”

“I was like, ‘OK, I’m going to write this for me, and we’re just going to see how it goes,’” he said. “It just felt real, and it felt like an honest story.”

The essay describes a breakthrough as he learned “to take ownership of myself and my future by sharing my true personality with the people I encounter. ... I realized that the first chapter of my own story had just been written.”

Max Decker, a senior at Lincoln High School, sits for a portrait in the school library where he often worked on writing his college essays, in Portland, Ore., March 20, 2024. (AP Photo/Amanda Loman)

A RULING PROMPTS PIVOTS ON ESSAY TOPICS

Like many students, Max Decker of Portland, Oregon, had drafted a college essay on one topic, only to change direction after the Supreme Court ruling in June.

Decker initially wrote about his love for video games. In a childhood surrounded by constant change, navigating his parents’ divorce, the games he took from place to place on his Nintendo DS were a source of comfort.

But the essay he submitted to colleges focused on the community he found through Word is Bond, a leadership group for young Black men in Portland.

As the only biracial, Jewish kid with divorced parents in a predominantly white, Christian community, Decker wrote he constantly felt like the odd one out. On a trip with Word is Bond to Capitol Hill, he and friends who looked just like him shook hands with lawmakers. The experience, he wrote, changed how he saw himself.

“It’s because I’m different that I provide something precious to the world, not the other way around,” he wrote.

As a first-generation college student, Decker thought about the subtle ways his peers seemed to know more about navigating the admissions process . They made sure to get into advanced classes at the start of high school, and they knew how to secure glowing letters of recommendation.

Max Decker reads his college essay on his experience with a leadership group for young Black men. (AP Video/Noreen Nasir)

If writing about race would give him a slight edge and show admissions officers a fuller picture of his achievements, he wanted to take that small advantage.

His first memory about race, Decker said, was when he went to get a haircut in elementary school and the barber made rude comments about his curly hair. Until recently, the insecurity that moment created led him to keep his hair buzzed short.

Through Word is Bond, Decker said he found a space to explore his identity as a Black man. It was one of the first times he was surrounded by Black peers and saw Black role models. It filled him with a sense of pride in his identity. No more buzzcut.

The pressure to write about race involved a tradeoff with other important things in his life, Decker said. That included his passion for journalism, like the piece he wrote on efforts to revive a once-thriving Black neighborhood in Portland. In the end, he squeezed in 100 characters about his journalism under the application’s activities section.

“My final essay, it felt true to myself. But the difference between that and my other essay was the fact that it wasn’t the truth that I necessarily wanted to share,” said Decker, whose top college choice is Tulane, in New Orleans, because of the region’s diversity. “It felt like I just had to limit the truth I was sharing to what I feel like the world is expecting of me.”

Demonstrators protest outside of the Supreme Court in Washington, in this June 29, 2023 file photo, after the Supreme Court struck down affirmative action in college admissions, saying race cannot be a factor. (AP Photo/Jose Luis Magana)

SPELLING OUT THE IMPACT OF RACE

Before the Supreme Court ruling, it seemed a given to Imani Laird that colleges would consider the ways that race had touched her life. But now, she felt like she had to spell it out.

As she started her essay, she reflected on how she had faced bias or felt overlooked as a Black student in predominantly white spaces.

There was the year in math class when the teacher kept calling her by the name of another Black student. There were the comments that she’d have an easier time getting into college because she was Black .

“I didn’t have it easier because of my race,” said Laird, a senior at Newton South High School in the Boston suburbs who was accepted at Wellesley and Howard University, and is waiting to hear from several Ivy League colleges. “I had stuff I had to overcome.”

In her final essays, she wrote about her grandfather, who served in the military but was denied access to GI Bill benefits because of his race.

She described how discrimination fueled her ambition to excel and pursue a career in public policy.

“So, I never settled for mediocrity,” she wrote. “Regardless of the subject, my goal in class was not just to participate but to excel. Beyond academics, I wanted to excel while remembering what started this motivation in the first place.”

Hillary Amofa stands for a portrait after practice with members of the Lincoln Park High School step team, March 8, 2024, in Chicago. (AP Photo/Charles Rex Arbogast)

WILL SCHOOLS LOSE RACIAL DIVERSITY?

Amofa used to think affirmative action was only a factor at schools like Harvard and Yale. After the court’s ruling, she was surprised to find that race was taken into account even at some public universities she was applying to.

Now, without affirmative action, she wondered if mostly white schools will become even whiter.

It’s been on her mind as she chooses between Indiana University and the University of Dayton, both of which have relatively few Black students. When she was one of the only Black students in her grade school, she could fall back on her family and Ghanaian friends at church. At college, she worries about loneliness.

“That’s what I’m nervous about,” she said. “Going and just feeling so isolated, even though I’m constantly around people.”

Hillary Amofa reads her college essay on embracing her natural hair. (AP Video/Noreen Nasir)

The first drafts of her essay focused on growing up in a low-income family, sharing a bedroom with her brother and grandmother. But it didn’t tell colleges about who she is now, she said.

Her final essay tells how she came to embrace her natural hair . She wrote about going to a mostly white grade school where classmates made jokes about her afro. When her grandmother sent her back with braids or cornrows, they made fun of those too.

Over time, she ignored their insults and found beauty in the styles worn by women in her life. She now runs a business doing braids and other hairstyles in her neighborhood.

“I stopped seeing myself through the lens of the European traditional beauty standards and started seeing myself through the lens that I created,” Amofa wrote.

“Criticism will persist, but it loses its power when you know there’s a crown on your head!”

Ma reported from Portland, Oregon.

The Associated Press’ education coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP’s standards for working with philanthropies, a list of supporters and funded coverage areas at AP.org .

Should college essays touch on race? Some say affirmative action ruling leaves them no choice

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When she started writing her college essay, Hillary Amofa told the story she thought admissions offices wanted to hear. About being the daughter of immigrants from Ghana and growing up in a small apartment in Chicago. About hardship and struggle.

Then she deleted it all.

“I would just find myself kind of trauma-dumping,” said the 18-year-old senior at Lincoln Park High School in Chicago. “And I’m just like, this doesn’t really say anything about me as a person.”

When the Supreme Court ended affirmative action in higher education , it left the college essay as one of few places where race can play a role in admissions decisions. For many students of color, instantly more was riding on the already high-stakes writing assignment. Some say they felt pressure to exploit their hardships as they competed for a spot on campus.

Supreme Court strikes down race-based affirmative action in college admissions

In another major reversal, the Supreme Court forbids the use of race as an admissions factor at colleges and universities.

June 29, 2023

Amofa was just starting to think about her essay when the court issued its decision, and it left her with a wave of questions. Could she still write about her race? Could she be penalized for it? She wanted to tell colleges about her heritage but she didn’t want to be defined by it.

In English class, Amofa and her classmates read sample essays that all seemed to focus on some trauma or hardship. It left her with the impression she had to write about her life’s hardest moments to show how far she’d come. But she and some classmates wondered if their lives had been hard enough to catch the attention of admissions offices.

This year’s senior class is the first in decades to navigate college admissions without affirmative action. The Supreme Court upheld the practice in decisions going back to the 1970s, but this court’s conservative supermajority found it is unconstitutional for colleges to give students extra weight because of their race alone.

Still, the decision left room for race to play an indirect role: Chief Justice John G. Roberts Jr. wrote that universities can still consider how an applicant’s life was shaped by their race, “so long as that discussion is concretely tied to a quality of character or unique ability.”

Scores of colleges responded with new essay prompts asking about students’ backgrounds.

Post-affirmative action, Asian American families are more stressed than ever about college admissions

Parents who didn’t grow up in the American system, and who may have moved to the U.S. in large part for their children’s education, feel desperate and in-the-dark. Some shell out tens of thousands of dollars for consultants as early as junior high.

Nov. 26, 2023

When Darrian Merritt started writing his essay, his first instinct was to write about events that led to him going to live with his grandmother as a child. Those were painful memories, but he thought they might play well at schools like Yale, Stanford and Vanderbilt.

“I feel like the admissions committee might expect a sob story or a tragic story,” said Merritt, a senior in Cleveland. “I wrestled with that a lot.”

Eventually he abandoned the idea and aimed for an essay that would stand out for its positivity.

Merritt wrote about a summer camp where he started to feel more comfortable in his own skin. He described embracing his personality and defying his tendency to please others. But the essay also reflects on his feelings of not being “Black enough” and being made fun of for listening to “white people music.”

Like many students, Max Decker of Portland, Ore., had drafted a college essay on one topic, only to change direction after the Supreme Court ruling in June.

Decker initially wrote about his love for video games. In a childhood surrounded by constant change, navigating his parents’ divorce, the games he took from place to place on his Nintendo DS were a source of comfort.

‘We’re really worried’: What do colleges do now after affirmative action ruling?

The Supreme Court’s ban on affirmative action has triggered angst on campuses about how to promote diversity without considering race in admissions decisions.

But the essay he submitted to colleges focused on the community he found through Word Is Bond, a leadership group for young Black men in Portland.

As the only biracial, Jewish kid with divorced parents in a predominantly white, Christian community, Decker wrote he felt like the odd one out. On a trip with Word Is Bond to Capitol Hill, he and friends who looked just like him shook hands with lawmakers. The experience, he wrote, changed how he saw himself.

“It’s because I’m different that I provide something precious to the world, not the other way around,” wrote Decker, whose top college choice is Tulane in New Orleans because of the region’s diversity.

Amofa used to think affirmative action was only a factor at schools like Harvard and Yale. After the court’s ruling, she was surprised to find that race was taken into account even at public universities she was applying to.

Now, without affirmative action, she wondered if mostly white schools will become even whiter.

A lot of what you’ve heard about affirmative action is wrong

Debate leading up to the Supreme Court’s decision has stirred up plenty of misconceptions. We break down the myths and explain the reality.

It’s been on her mind as she chooses between Indiana University and the University of Dayton, both of which have relatively few Black students. When she was one of the only Black students in her grade school, she could fall back on her family and Ghanaian friends at church. At college, she worries about loneliness.

“That’s what I’m nervous about,” she said. “Going and just feeling so isolated, even though I’m constantly around people.”

The first drafts of her essay didn’t tell colleges about who she is now, she said. Her final essay describes how she came to embrace her natural hair. She wrote about going to a mostly white grade school where classmates made jokes about her afro.

Over time, she ignored their insults and found beauty in the styles worn by women in her life. She now runs a business doing braids and other hairstyles in her neighborhood.

“Criticism will persist,” she wrote “but it loses its power when you know there’s a crown on your head!”

Collin Binkley, Annie Ma and Noreen Nasir write for the Associated Press. Binkley and Nasir reported from Chicago and Ma from Portland, Ore.

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Sept. 16, 2023

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