a single color draws our attention here—
her bright red jacket and matching shoes.
She is very much aware of my camera.
Her quizzical reaction to my presence is
important—she seems wary, waiting for
me to leave. We wonder what the words
chalked on the doors might mean and
what the clothes on the rack may signify.
This is the kind of image that asks questions of its viewers and requires them to
also supply the answers.
In my third example, left, taken in a
New England seafood plant, I try to show
less in order to say more. I am much closer
to the man here than I am to the people
in the other examples, allowing me to let
the details tell a more intimate story. He
takes great care to make sure the floors of
this plant are spotless. We can sense the
diligence and care he brings to the task.
The blue plastic gloves add context for
such a job, while my close-up vantage
point stresses character that comes to us
through the detail in his face.
about the author
Phil Douglis, ABC, IABC Fellow, directs
The Douglis Visual Workshops, now in its
42nd year of training communicators in
visual literacy. Douglis is a widely known
workshop leader and columnist on editorial photography for organizations. He
offers one-on-one tutorial workshops in
digital imaging and photographic communication. For registration information,
email email@example.com. You can also take a
look at his galleries of expressive digital
photography at www.pbase.com/pnd1.