Photography main
Wildlife photography
Do not be content to simply show what an animal looks like — to just create its portrait. A good wildlife photograph should also show significant behavior. You must learn to anticipate the animal’s behavior in specific situations and know the importance of different types of behavior. For instance, body language can indicate an animal’s position of dominance or submissiveness within a group. Try to show the animal’s environment as well. What obstacles must it overcome? How do weather extremes affect how and where the animal lives? How does it use natural surroundings to hide from enemies and stalk prey?

Photographs of people
In photojournalism you should leave viewers feeling that they know the subjects — not only what they look like, but also how they live, what their attitudes are. Photograph people being active, rather than merely posing, and take enough time to put the subject at ease. When a skilled photojournalist is working, a subject will often forget that a camera is present and go about his life with little self-consciousness.

Capturing the scene
Aim to capture the soul of the place as well as its physical appearance. The viewer should feel what it’s like to walk down a particular street or view a landscape that you’ve shot. Time is again a crucial element. You must first experience a location’s moods– light, weather, smells–before you can convey them through photographs. The mood of a city street, for example, changes from night to day, from a sunny day to a rainy day. Many photographers favor the warm tones and directional qualities of late afternoon and early morning light. But do not discount noon light; its harshness can be used to convey its own, very different mood.

How to improve your photography
Begin to look critically at the work of many photographers, and watch for opportunities to meet those whose work you admire. Many of the photographers who shoot for NATIONAL GEOGRAPHIC participate in workshops; such informal settings are good opportunities to get to know photographers’ work better, to discuss with them their philosophy of photography, and also to show your work. There are a number of such workshops annually, including the Missouri Photojournalism Workshop (run by the School of Journalism at the University of Missouri - Columbia), the Santa Fe (New Mexico) Photographic Workshops, the Maine (at Rockport) Workshops, the Jackson Hole (Wyoming) Workshops.

Buying a camera
A camera is just a tool that allows light to strike film; the photograph is made by the eye and mind of the photographer. As with any tool, you should not buy something too complicated for your level of expertise. On the other hand, don’t buy a camera so simple that it won’t let you grow as a photographer. If you can afford it, and if you are serious about your photography, consider a high-quality, single-lens reflex. You can buy one lens, perhaps a 28-mm or 35-mm, and add lenses later. Fine photographers use their cameras reflexively, much as they use their hands and feet; they don’t think much about the mechanics. These reflexes come with time and familiarity with the equipment; you are hampered if you frequently change camera systems.

Building a portfolio
First, target your portfolio to the audience or the publisher of your pictures. Your portfolio should show your range and ability, but also your understanding of what is needed. At a newspaper, a well-rounded portfolio shows best; most newspapers can’t afford specialists. Secondly, the portfolio should not simply be a collection of past favorites, but should reflect personal growth; last year’s shots many not make this year’s portfolio, which should be in a constant state of change if you are growing as a photographer.

Carrying film on planes, airport X rays
It’s always advisable to place your film, especially exposed film, in your carry-on luggage to avoid the possibility of loss. The best strategy is to carry the film in a see-through plastic bag or a clear refrigerator container and offer it for visual inspection, rather than allowing it to go through airport X rays. Newer X-ray machines are safe for film of moderate speed, but X rays have a cumulative effect; even these films can be damaged if taken through many times. Older machines, especially those made in Eastern Europe or in the former Soviet Union, should be avoided.

The rules
It’s easy to find rules about photography: “Keep the sun over your shoulder ” or “ Shoot only at sunrise and sunset” or “ Shoot only around noon” or “ Never let the horizon run through the exact center of the frame.” It’s fine to know the rules, but it’s also essential to break them. Strictly adhering to the rules may ensure mediocre photographs. Top photographers break the rules as often as they keep them. Photography should be spontaneous, alive, and exuberant. If it works visually, do it.

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