Telling Stories in Pictures: A Guide to Creating a Photo Story | KC Nwakalor | Skillshare

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Telling Stories in Pictures: A Guide to Creating a Photo Story

teacher avatar KC Nwakalor, Documentary Photographer & Producer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (58m)
    • 1. Introduction

    • 2. Project Overview

    • 3. Storytelling For Change

    • 4. Ideation

    • 5. Research

    • 6. Preparing to Shoot

    • 7. Editing and Analyzing Photos

    • 8. Curating Your Photostory

    • 9. Getting Your Work Seen

    • 10. Conclusion

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About This Class

In this class, Documentary Photographer and Photojournalist, KC Nwakalor breaks down the process of creating a photo story sharing detailed processes from start to finish. Having worked with numerous International publications and NGOs, he shares techniques that will keep you ahead of your pack as a budding photographer looking to produce meaningful personal stories or commissioned work for clients.

You will learn:

  1. Ideation - Come up with interesting story themes and consider accessibility.
  2. Research - Conduct primary research and learn effective interviewing techniques.
  3. Preparing to Shoot - Sketch photo ideas, draft a shot-list, and pack for your shoot. 
  4. Analyze & Edit Your photos - Make crucial decisions about selecting, arranging, and editing your shots.
  5. Get Your Work Seen - Learn different ways to share your work. 

This class is for anyone that wants to tell impactful visual stories using multiple still pictures to form a cohesive photo story.

Let your creative journey begin.

Meet Your Teacher

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KC Nwakalor

Documentary Photographer & Producer



KC Nwakalor is an Independent Photojournalist, Documentary Photographer & Producer based in Abuja, Nigeria but works extensively across West Africa. His work aims to humanize real issues (mostly Socioeconomic, Health and Environmental) within the region.

He has been commissioned by notable International publications and Organizations like The New York Times, Bloomberg, The Financial Times, CNN, USAID, UNICEF, WFP, Adobe, OSIWA, Global Citizen, Rest of World, Open Government Partnership, Sight Savers, Mines Advisory Group, Jeune Afrique, Options UK, Ipas, Empower Africa, Already Alive, DDC, Jpeigo, Cherie Blair Foundation, and Connected Development. KC has been ... See full profile

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1. Introduction: Taking good pictures is easy, but telling a compelling story with still images is the difficult part. I am here to simplify it for you. My name is KC Nwakalor. I'm an independent Documentary Photojournalists based in Abuja, Nigeria. I work extensively across West Africa. I aim to humanize real issues within Africa. These issues include health, environmental and social issues. I have been commissioned by a number of publications like the New York Times, Financial Times, Bloomberg, and a lot of NGOs like the UNICEF, WFP, and a host of others. I'll be teaching you a step-by-step guide on how to produce a photo story. A photo story or photo essay is a collection of images carefully sequence to be able to tell a specific story. I'll be teaching you how to review emotions in your picture. From the whole process of ideation to execution, to photographing and knowing what to photograph and how to edit your pictures. The world has a lot of talented photographers, but very, very few storytellers. Storytellers are the ones that are able to drive real change in our society. You're here because you want way more than a technically sound image. You want pictures that are able to drive change. Images that are able to influence people, that is able to make people feel a kind of way. I'm excited to go on this journey which you, so join in the next class as we delve into the deeper aspects of producing a photo story and how to go about it. 2. Project Overview: At the end of this class, you should be able to tell a photo story about something you are passionate about. What is a photo story? A photo story is a selection of images, well arranged and sequenced in a way that it tells a specific story. You could do a photo story around topics and themes that you are interested in. It could be about your aging parents, it could be about your siblings, it could be about a football game, it could be about sports, cultural events, it could be about anything. It could be about your partner. Whatever it is, you have to be passionate about it and it's something that interests you. To get the best experience from this course, you would need a camera, whatever it is, be it a DSLR, be it your smartphone, so far it can take decent images, then that's fine. You also need a photo editing software like Snapseed or Lightroom or whatever it is you can edit your pictures with, that's okay. To get the best out of this course, you would need to be willing to carry out exercises and assignments that are given at the end of each video. Because you can sit down, listen to me for how long, but if you do not practice, your work will not improve, your pictures will not improve. So it's important for you to be willing to go out and practice all the things you've learned. What are you waiting for? Head over to the next video and we can start this journey together. 3. Storytelling For Change: Pictures are very, very powerful and they are able to cause real life change. I'm going to drag you through my own experience doing photography, and how it has been able to impact real physical change in my society. I started off my career a few years ago, working with an organization that was tracking government funding and spending as it affects rural communities in terms of education, environment, sanitation, and also health. With my pictures, I was able to tell stories of people in this community and how the lack of funding for education. For example, there were communities I went to and there were children sitting on the floor to attend class. These realities, going to these communities documenting them, I came back and I showed the stories and the government was held to account and they were pressured to deliver on what they have promised. This is one way that photography can cause real change, accountability. The 2nd way I've also used my photography to cause real change in my society is working with international and local organizations that raise funds to help people in communities. I've seen famine, I've documented severe acute malnutrition, I've documented several health issues. With my pictures, I was able to show the world how devastating the situation was and how urgent they needed the help to get to them. With these pictures, organizations, development and humanitarian organizations were able to raise funds to assist these people in need. Another way that I've used my pictures to cause social change is through publications. Publications serve as a need, as a means to inform the public. Through my pictures I'm able to show the problem, I'm able to show how it affects people and people can relate to that situation. There has been a lot of other bigger global examples where pictures have been used to drive change. You can think of the time during the Civil Rights Movements, Gordon Parks pictures. You can also think about Lynsey Addario's work in Afghanistan. Without the documentation of these realities, people will not really understand the impact of the war or whatever problem it is in these regions. As I said earlier, photography is very, very powerful and is able to cause real change, especially because of its ability to break through barriers of cultural, language, whatever it is. People will look at pictures and they can relate and understand the situation. They don't need to speak the language, they don't need to come from the same environment. That's how powerful pictures are, and it can drive real change, real policy change. But to be able to produce pictures that are able to move people, that is able to cause change, you need to be able to create pictures that make people feel something. This is what I'm going to teach you in this class. I'm going to teach you how to produce a photo story and how it can cause real change in your society. If a picture is capable of causing a change, you can imagine what series of well-sequenced pictures can do. When you take series of pictures and arrange them in a way that it tells a story, it's even more capable of causing more change in your society. On this course, I'm going to teach you how to produce a photo story. After this course, you are going to be able to create your own photo story and have idea of what story you want to tell. 4. Ideation: Every good thing starts with some thought process and idea formulation. In this class, I'm going to teach you how to think about your work and how to think about producing your photo story. How to put your ideas together and start thinking about what you can work on for this class. The first stage or the first process in formulating your idea is to think about what themes, what topics are you interested in? What fascinates you? What kind of topics are you curious about? It could be something in your backyard. It could be your favorite sport. Whatever it is, interest is the currency. Because if you're not interested about that topic, if you're not passionate, it's going to come through in your images. That's why it's important for you to think about things you are drawn to naturally or things you are just interested in figuring out. Whatever it is, write it down and take a wider look at what you want. When you've thought about a theme and a topic that you want to work on, the next thing is to narrow it down to something achievable. Let's say you are interested in sports, it's easy to say, hey, I'm interested, but what sports? Narrowing it down means going specific or bringing it down to something consumable, something you can work on. Rather than thinking about the big whole, you bring it down to a specific. If it's sports, you can maybe say, let me work on basketball or let me work on football. Then the next part is also thinking about the who, the where, the what, the how, and the why. You've thought about your topic, you have an idea of what you want to work on. Now, is the time to research and find who are the likely people that will be key to my story. Who are the people I need to speak with in terms of this topic? Idea to live or to even take pictures. There is one key aspect that we need to talk about and that is access. Without access, you cannot do anything. What is access? Access is more like permission to be in a specific place to take pictures. If you want to work on a specific story, you would need to have access to be able to document those things. It's important you work on something you have access to and is relatively cheap to produce. How do you know you have access or how do you gain access? You gain access by speaking to the people involved. If it's in a place that needs permission from government or whatever, you write and get that permission. But if you're dealing with people and you're going to be on their private property, whatever it is, speak to who is in charge and be honest about what you're doing. When you are telling stories of people, try and be honest. It's very, very key because people can see through you. They would know when you're lying. To gain access to a story or to work on your photo story, you need to speak with people who will respect, you have to have an open mind and you have to be honest about it. Be honest about your process. Be honest about how you intend to use the pictures, whether it will be on social media, whether you're being commissioned by a publication to work on it. Whatever it is, be honest about it because it saves you from the long-term stress of not being honest. You might also ask, what if I don't have access? It happens. There have been times where I gained access and it was withdrawn. Don't kill yourself over it. It happens. Once you've done everything you can do, explained your whole process and why you're doing what you're doing and still the person does not want you to work on the story, it's fine, move on and find another person to work with. You might also ask, how do I gain access ethically? Very, very important. Do not lie, do not deceive the people you are documenting. Because you're a storyteller, you're trying to tell stories. The key part of storytelling is truth, so you have to be able, to be honest, and gain access ethically. If there are children involved, you have to speak with their guardians or their parents. For this course, I'm going to be showing my first photo story about a local football team in my community. I took these pictures five, six years ago and I highlighted what it was like a day in the life of this local team and the aspirations of people that play football in these local teams. Now you get the idea. I know that your mind is buzzing and you're thinking about what is the next thing, what do you want to work on? For this class, I want you to write down ideas. I want you to write down topics, themes of things that you would want to work on. Then I want you to narrow it down to something specific that is accessible to you and that is relatively cheap to produce. Then you go down to the next part, asking yourself, what is the who, the, where, the what? Who is involved? Who do I need to speak to? Write these things down. See you in the next class. 5. Research: On this class I'm going to be teaching you how to research your topic, and your project or your idea, and how to make sure that is feasible and achievable. In terms of researching your photo project, there are so many resources that you can access, to be able to identify what has been done on this topic, what needs to be done, and what is that specific viewpoints that you are bringing into the mix. On Internet, almost everything is available. You can start with searching your project, searching the keyword. If you're working on a sports, for instance, football, you can such football in Africa, football in Nigeria, or football in wherever you are. Whatever it is, you have to start with a Google Search, and see articles that have been written in that regard, and see pictures from other photographers that have been produced in that regard. There are so many places to research about your topic. Research is also about understanding the ideas. Sometimes, we have ideas that are not realistic. Or sometimes you have ideas that is very shallow. Research is digging beneath the surface, understanding the details of what you're trying to do. Some of the places I research for my photo projects include on books, photobooks, on New York Times Lens blog, because there are lots of photography projects in that space. I also speak with my peers to say, "Hey, I'm working on this topic. Do you know any photographer that have worked on it?" Because when you look at other photographers' work, then it puts you in a place where you can have a wider view of the topic. The most crucial aspect of your research is finding who to speak with. You can do all the research in the world, read all the articles in the world, you have to speak with the people directly involved. This is you finding their numbers, finding their emails, reaching out, and saying, "Hey, this is what I want to do. I want to work with you on this. Do you have time for us to have a chat about this topic?" Creating a photo story, is less about taking good pictures, but more about having access. You gain access by building trust, by having long and in-depth conversations about those specific things that you want to work on. My basic go to principle in terms of interviews, is to make it go as a conversation. Yeah, you can set up specific questions you want to work on, but be a human being first. Be a person that wants to make a friend. This goes back to what I said about being interested in the topic. Usually when I go out to interview people, or to ask them about specific things, I start with personal questions. I could ask them to tell me a little bit about themselves. That is after I've already introduced myself, and given a little substantial information about who I am, and what I'm doing. Having these conversations away from the topic you're working on, makes the other person relax. It puts you in a place where you're having real conversation with a real person. You've broken them out of the space where they are performing, to conversing with you. You could ask, "Tell me a little bit about yourself. How long have you been been a football coach? Why do you do this?" Let his answers drive your next question. If you practice active listening, you would be in a place where you see the next question that you would ask, from the answers they gave. That's why it's important not to interrupt. Have your pen and paper, preferably a recorder as well, with their permission, of course, to be able to record and document the conversation, so that you are able to listen, when you get back home. It's important that you listen to them. Listen with curiosity. Listen with an open mind. If you have a closed mind, you wouldn't learn new things. That's why it's important for you to go into that conversation with an open mind and understand what they do. It would help you to know what to photograph in your project. This is not a phase you rush, this is a phase you take time, and it will also help you to get to a place where you become invisible in that scene, during the time you start taking pictures. Now that you've understood how to research your topic, and to put your idea to work, I want you to go now research the topic. What are you working on? Whatever it is, start researching about it. Find out who you need to speak with. Find out who is more informed about the topic. Learn something new, become knowledgeable about the topic, because it's going to help you know what to document and what to photograph, when the time comes. 6. Preparing to Shoot : To have a well-rounded photo story, you would need a variety of shots. If not, you would have repetitive images, and this would not make your work interesting. By different varieties of shots, I mean portraits, environmental shots, close-ups, and action shots. Portraits are pictures that show the personality of the characters in your story. Environmental shots create a sense of place and time for your viewers. Close-ups get into the details of things, it could be wrinkles, it could be archival photos, whatever it is, it gets in really deeper into the idea of what's there. Then you have the action shots, which is the heart of the story. It captures people doing real things. As opposed to your typical posed portraits and other posed images, your action shots are showing people doing real things. A photo stories is made of series of pictures. It's also important that you think about the variety in terms of how you frame your pictures, in terms of the angles you choose to shoot your pictures from. Usually, when I'm taking pictures, I try to take pictures from different angles. Rather than taking pictures from one specific location, I try to move around, move my feet. Also, I try to use different techniques to be able to emphasize the main character of my picture. That drags me into telling you a little bit about what makes a good photo, because to have a strong photo story, you would need strong individual images. To have a good solid image, there are three things you have to look out for. A good photo has a clear subject or theme. When you are in a position where you show people your pictures and they were like, what's going on in this picture? They don't understand what's going on, it means you failed as a photograph to be able to capture the picture right. Your picture should be clear enough that people understand who the main subject is or what the theme is about. The second part is, your picture should be able to direct the viewers to the main subject. You should frame your picture, compose your picture in a way that it leads the viewer's eyes to the main character. To do this you use a lot of composition techniques, you use lights, shadows, you can use leading lines to show where the main subject is. There are so many composition techniques and it's something you should read up on. But you have to apply these ideas into creating a clear picture for people looking at your pictures to know who the main subject is. The third is, a good picture simplifies. There is already too many chaos, too many staff, distraction going on in real-world. It's your duty as a good photographer to be able to tell the story in a way that is simple and very few clatter or very few distractions in the picture. Next time before you click the shutter, think about these three things: does this picture have a specific subject or theme? Is it framed in a way that it directs the viewer's eyes to my main subject? Is it simple? When you have all these questions answered, you are on your way to create good images. Now, we also have to talk about how you prepare for a shoot. When you're going out to shoot, especially like a photo story, remember to carry only things you need. Don't come with tripods, lights, and all that stuff because it could be intimidating for your subject or for the person you're photographing. It's important that you come to the scene with minimal gear and you're dressed appropriately. Usually when I go out to shoot, I just go out with my camera and one or two lenses which are like 28mm and the 50mm. Then I also go out with a book and a pen to be able to write down caption information, to write down the name of the person I'm photographing, the community, whatever it is that is going on with my record as well. I try to record our interview sessions so that I can sit back and listen to it again and make sense of it. Then I also carry snack, maybe water and a chocolate bar to be able to stay hydrated and not get too hungry when I'm out shooting. It's important to also dress in very discrete outfit, to blend in. I try not to wear colorful outfits when I'm going out to shoot. When you go out to shoot, it's important that you respect people's spaces. Like I already mentioned, it's important for you to have an open mind. An open mind makes you not become judgmental. Once you are judgmental, you cannot tell a more balanced story. Before I also go out to shoot, I like to have a shortlist. With my shortlist, it gives me an idea of what to capture when I'm on the field, because it's a lot easier to have an idea of what you would experience when you're at home. Once you go out, a lot of things could distract you. But having written down shortlist, it helps to shape what you could capture, and it also helps you not to miss out on some important shots. On the average, on a day shoot, I usually have average of 500-600 images, and in the end, I would turn it down to very little. But in all, you have to think about your pictures before you take them. Before I click the shutter, I ask myself, why am I taking this picture? What am I trying to capture? It's in these questions that decides what I capture and what I don't. It's also very important for you to be aware of your environment. Being very aware puts you in a place where you can predict what will happen. It puts you in a place where you can predict where the light is coming from. It puts you in a place were you can predict what next, what interesting stuff would happen next. You have to be aware and always be ready. It's not a time for you to learn how to use your camera. By now, I believe that you are already familiar with the buttons in your camera and you know where stuff are. Look out for little moments, look out for person moments, look out for motive moments, where you can document things that people can connect. Always try to incorporate emotions in your picture by being very attentive to the situation and knowing what to capture. Now that you've learned what to capture or what to photograph, I want you to write down a shortlist, what kind of ideas do you have in mind? What kind of pictures do you want to capture? What locations? Writes it down because it will come in handy when you go out to shoot. See you in the next video. Thank you. 7. Editing and Analyzing Photos: Emotion is the currency of human connection. People only remember pictures that made them feel a kind of way, so in your pictures, you have to think about pictures that have powers of making people feel something. Quite frankly, it takes a lot of time and practice to be able to develop this type of skill. In terms of capturing emotions in pictures, it's 90 percent about being at the right place at the right time. You have to be able to predict things before they happen, and you have to be in the right place, the right angle to be able to capture these emotions. There are so many ways to be able to use to drive emotion in your stories. This could be incorporating colors. Using colors to drive emotions. It could be use of lights and darkness. Using shadows and lights. It could be textures. It could be anything. It could be that simple gesture or a facial expression that could make that difference. For editing, I use software like Lightroom and Adobe Bridge to be able to select my pictures and be able to choose what works and what doesn't. But for the most parts, I look at the emotional aspect of my pictures. Does it make people feel a kind of way? Does it tell the story? What is it that I'm showing? How crucial is this aspect of the story in the bigger whole? These are the questions I always ask myself and I keep analyzing and before I make a final decision on what pictures should come before which one. A more traditional way to edit your pictures is by printing them. Having little prints of your pictures, lay them down on the floor or on the wall, helps you to move things around a bit. It's also helpful to leave it for a while and come back to it, and it makes more sense. In my practice, I also utilize people's opinions. It could be people that are just interested in photography, that are not necessarily more advanced than I am in terms of practice. It could also be my peers and my colleagues in terms of work. Well, having a second eye helps you see things you didn't see because sometimes we get to a place where we are emotionally attached to a certain picture, and it could make you make terrible decisions. For this class, I want you to analyze your pictures. Look at them critically. Drag in the opinion of another person and say, "Hey, what do you think about this picture?" Ask yourself, "What could I have done better? Could I have moved a little bit to the right? Would the lights have been better on this side? With this angle, would it have been better? Should I have gone a little bit lower?" Sometimes, when you analyze your pictures, you start noticing that you have fewer portraits or you have fewer environmental shots. Whatever it is, you need a mix of all of them. You have to have more options to be able to choose from. If you don't have enough portraits, you don't have enough close-ups, go back, shoot, and get more images that you need to have a more balanced, well-rounded photo story. Analyze your photos, ask yourself, "What should I have done better? What is missing?" and schedule a time to go back to take those pictures. See you on the next class. 8. Curating Your Photostory: The first part of what I do is I download all the pictures onto my hard drive or my computer and I load them into my Adobe Bridge, which is this. Yeah, so all these pictures were shot in 2016. I think so. This was me, my first photo story as a student. I'm intentionally using these pictures for this class for illustration purposes and also to remind you how it's not necessarily about the quality of camera you have because I shot most of these things on a D3300 which is an entry-level DSLR. My skill level is way better than this now. But it's also good for you to see how I was taking pictures a few years ago and use it to illustrate how you can build on your photo stories. What I do, is I look through all the pictures. I tried to arrive early. I suggest some pictures. I just look through the pictures. I usually mark my pictures using key 1 to be able to put a star on pictures. For these pictures, I'm going to look for an interesting establishing shoots, and this one that went low is a little bit more interesting, maybe I'll select this one star. I use the bottom one to select. I think I prefer how the post is a little bit more visible. This is a little low, yeah, maybe I can add this one also. Use number 1. Actually with the precedent side is more interesting, so select this one. Yeah. it's more interesting because of the position and the picture is more balanced as supposed to having everything to one side. Maybe if the person walking below the post was on the left, maybe I would have considered the picture, but I think he wouldn't be visible as well. If I was to take this picture now would go a little bit closer and a little bit lower to shoot the post more and the person more against the sky for contrast, Yeah, this is a process. People are now arriving for training, it's pretty much one person. I'll just look through these pictures here and see. Yeah, I like this picture. It's more interesting than this because his head is not good use of space. But this is also good, but I don't think it is as interesting because nothing is really happening behind this guy anymore so I would prefer this. It shows the post, shows the guy facing the other side and people who are jogging behind him, so I will select this with one for one warm-up. Remember we're going for 10 pictures, so it's always better to have more people involved in the picture done, as opposed to just one person since we're using fewer shots. This is an interesting picture as well. I like this picture. I'll select this one and still just see what happens. Yeah, This would have been nice, but the head; l was using a 50 MM, the head of that guy is cropped. This is a bit better I guess. No, this is more interesting, I think also because of where it's focused, it's focused on the people in the background while the sun is on the foreground. We can't even see his face. This is also a crucial component. People are pumping the ball and then the training starts. This is the footballers praying before they start a match. They pray in the Christian way and they pray in the Muslim way, how there is diversity in football. I would select this one with one. It's all about the gesture because you have to also think which gesture is more interesting. I think this is more interesting because the guy in the middle is praying properly and it flows. I'll pick this one. I think this is an interesting picture that highlights them training. If you look at these pictures, though they're from years ago, you can see that I'm moving around a bit trying to capture from different angles where you can include this, and it gets split around here. It's important to also move around and see what angles, what locations are more interesting. This was me trying to incorporate motion block. It couldn't work because it was daylight. I'm selecting this one. I think this is more interesting. There are lots of pictures of warm-up. There is no other way you can to take this picture because it is white. But, I don't like the white sky. I'm not selecting because I'm looking at 10 pictures. So I think there are way more better pictures for 10 pictures then. This is also a crucial part because they make donations is mandatory to be able to purchase their football, maintain the field, how they organize themselves, and monitor together to be able to do that. I could have taken these pictures a little bit better, but that's all I have. So I just selected one from that, just footballers, then the action starts. This is a good shot. I select the Song 1. This is another one saving our interests in trouble is more like what we just selected, is more like, all the actions like on the other side and that's one of the complex issue, it's photographing sports because things are really fast, and you can't be everywhere at the same time. So next thing someone gets injured, and it will get over there and it's been phase 8, and select this. It's not the best composed in h-bar. So nice, maybe I can select this as well. Yeah, then they get back to the action. This picture would have been nice, but I cropped off people's head and legs. Then there is a lot of space on the foreground. So it shows the pictures wasn't very intentional because if it was photographed it in a way, it would have contained those things. Then I see this interest in one-out boots, but I don't think there is any place it fits in, into the story. This was main trying to get a wide shot at the place. Well, I think it was a boring pictures. Also, you look at the LED and see how it's cropped. I mean, now there's small space on the sky, I just bring down the camera. Let's see what I can do with this picture. Everybody leaves. I selected that just in case. I'll go back Sunday and I have ten. I selected it into one images. I'm selecting based on what is happening in the pictures, and what I would consider the highlights of images. I think I would also want to go back to when they were playing the match and see, nobody's caught in the match, it was difficult to get that. In the end, I need 10 pictures, so I have to cut it down again. I've gotten my first set of edit, then I do the second. So now, we use the button two instead of one for the selection. I don't think much is happening in this picture. So much is not happening here. But I think with the boy, it feels a little bit more interesting, just a little bit. So you use the number 2 to make it to stop. I think this feature is nice, I will use two to make it two-star. I think I like this picture because of the lights, and the shape of everything going on. I'll use two-star. Warming up, maybe I can use two-star. I mean, I don't think there's much going on in this picture, so I can leave it down for the prayer ones. Yeah, maybe I can go with this one. But in the initial selection, I think wanted this. Yeah, the picturesque is clearly nice. Yeah, much is not happening in this picture. I don't think it's that interesting. Much is not happening here also. Mostly, because I can't even see the faces of the people. Probably, I should have photographed from the other side. So that's why it's important to go back and see what you missed. This picture is not interesting, to be honest. I think it would have been interesting if there was an actual activity, the moment they were exchanging the money. I think, also is important to know the exact time you click the shutter because is picture, and it's important for you to capture the highlight of what's happening as opposed to capturing the empty moments in your picture. Put that in mind. I think this picture is interesting. It shows the whole action. This would have been interesting, but I can't see their face so I would just leave it. Then this captures injury as opposed to this. Or we can also use this maybe I will leave it too, for now. I selected it. This is an interesting picture that Coach is talking to the footballers so I'll select it. It's a little bit into the coach, why he's also him pointing and maybe I'll live it because since I've already selected this one way he's pointing. So that is not too repetitive. For some weird reasons. This is just a footballer going home. Nothing much in the picture. This is nice, the fact that the coach is in between. Then there is this hand movement that gives the impression people are leaving. So I'll just select this. We have 11 pictures selected. So one needs to go because we want to find 10. So this is the place, people warming up, this looks like the same shot, also warming up. There's a lot of warming up pictures. Is definitely from here, 1, 2, 3, 4, 5. Let's say four. There's a lot of warming up pictures, so I have to think of which ones are the most interesting, which ones are the most boring. I think I'll get rid of this, partly because much is not happening to be honest. I'll put this back to star one. I would use one to take it back to one star, so we have 10 pictures. This is where it gets interesting. Is how to sequence these pictures so that it works. Occasionally, it's fine, it can be less than 10 to be honest. Photo story can 5, 6, 10, but it shouldn't be too much, and the pictures should be different quite frankly. In this collection I would select this and maybe put people here, this one here. There is a post here showing the field, though it's a bit dark. Maybe I can try to brighten that up a bit on Photoshop. Then the second part would be people arriving to the field, and then getting a bit closer into the post. Also remember, in a photo story, you don't necessarily need to arrange the pictures based on what you shot first or what you shot last and stuff. In the end, you just have to arrange it in such a way that the pictures are interesting to look at. This picture, someone running, and this is very similar. Maybe I can put this here. No, I'll put this here and put the prayer first. I think it's only normal for people to pray, Nigeria is a very religious country, but it's only normal for people to pray before they start warming up. I think these two pictures are very similar, so I'll just put this here for now. After warm up, the action starts, but the question is, how do I introduce the action? Maybe with this, then I have to pick one of these. Maybe I can go back to the picture where someone fell. There is a picture where someone fell. I think it can be used to introduce the injury as opposed to just boom. I don't like the picture. Maybe I can use this. Yeah, just to add a little bit of variety so I can give this two star, so it moves up to the place that we've been working. This is very similar to this. When you're editing, you also start seeing that there are some pictures that are missing. We need a picture that can connect those two scenes. Maybe I can use this to introduce. Let me just bring this up. I give it number 2 to bring it up to the two star selection. Maybe we can just tie it with this one, so we'll go back to our two star. I think let's say they're playing, and next thing someone is injured. This is not the best picture to be honest. I think maybe on Photoshop it can be cropped to emphasize what's going on here. I would have loved more action shots. Let me just include this or maybe this can come here. Remember, editing is very, very subjective, so the way I edit might be different. That's why there are photo editors, they do way better editing than photographers. Let's say there is an injury here. Then the next thing would be to show that he's being treated. I think this might be a more interesting picture than this, than this, so we have to get rid of this because we already have people warming up. I put this back to one star. We have 11 pictures, so I'm thinking of getting rid of one of these pictures. Is this very interesting or is this better? The face shows the pain, but the picture is not the best composed image. This is flat. I think I would pick this just to show that compassion, show the emotions going on. There are people helping out, trying to take him up from the floor. He goes out, and is more like the coach starts yelling at people how they should play the ball, and now the match has ended. I have my final 10. When you look at the flow, you get an idea. I have a final edit. Establishing shots in a little bit of the environment, action shots, people are praying, action shot. Most of the pictures are action shots, football is an action sport. Also, this picture also shows a profile of this person. This is a detail shot showing the ball, the leg movements. You mix it up and you have yourself what you can work with. Usually, I would rename it like one, so that the arrangement is stored, two, three. Think of your photo story as a movie. You see the procedures in the entry shots, introductory shot, establishing shot, and then they introduce you to the characters, and it flows from there. These pictures are unedited. I'm going to edit them and crop them so that they become a little bit more interesting, as opposed to them just coming the way it is at the moment. After I've named it 1-10, then I can export the pictures to Lightroom to do my post-production, my editing. I can also use here to write my captions. You can put your metadata information so that wherever the picture is used, your name follows the picture wherever it goes. That can be very helpful. That's how I do my editing, and I have my final 10 images. 9. Getting Your Work Seen: Now that you're done editing your work and sequencing it in a way that it make sense to you, it's important for you to show your work. People need to see your work. You can show it on social media using Instagram, Facebook, whatever platform you're conversant with. You can also create your own personal website. There are lots of options, paid options, and there are free ones, like Behance. You can show your work in these places. Another way to get paid for your work if you want to, is to also pitch it to publications, 80,000 magazines, newspapers, and see if they're interested in your story. Well, whether or not you get a positive response or not, you have to be proud of your work because you've produced something that means something to you and that could mean something to another person. Don't wait till it's on a popular magazine or newspaper. Put it on your platform and let people see it. I want you to go now and create a website for yourself. It could be a free one or it could be a paid one. Well, whatever it is, make sure you are showing your work. If you don't have a website yet, show on social media, but I totally advise that you have a website because it gives you the freedom to be able to show your pictures the way you want to show them. It also gives a personalized experience and people know you are really serious at what you are doing. 10. Conclusion: Well done. You made it to the finish line. You should be extremely proud of yourself. Over this course, we've talked about how to produce a photo story, how pictures are capable of causing real change, how you ideates and think about your work and research to going out to shoot and editing your work and also showing it. You've done really well and I'm super proud of you. Now that you've come this far, please do not forget to upload your project so that I will see it and also give you feedback. Never forget that storytelling requires patience, practice, and respect. So you have to give it time, don't be in a haste; it is a process. Enjoy the process and keep growing day by day. Also remember that the best stories are the ones that means something to you. Nobody can tell a story better than you if you're connected to it. Always think about your own experiences as a child, your own experiences growing up from what country you're in. Whatever it is, draw from your personal experiences, it would help you create better photo stories and become a better storyteller in general. Continue on this great path of learning and improving your skill to become better and better by the day. I mean, that's why you attended this course on Skillshare. Wishing you the best and I hope that you make an amazing career and produce stories that are very, very meaningful to you. Thank you.