7/29/2019 Before and After 0016
1/2
Before&AfterM A G A Z I N E
ISSUE:16
This article was originally published in Before & After
magazine issue 16.To learn more about B&As great design
solutions, and to order subscriptionsand back issues, go to
www.bamagazine.com.
Copyright 2004, Before & After magazine. All rights
reserved. No part of this document may be reproducedin whole or in
part without written permission of the publisher. Write to:
[email protected]. 1 of
323 Lincoln Street,
Roseville, CA 95678
www.bamagazine.com
14
Make the most o each photo:
WORKING WITH PHOTOS
How to say what the camera cant
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SalisburyScholarAwardGiven
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WilliardSmithKeynote Speaker
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BudgetCrunch SurvivalSymposium
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The seminar on
scholarships and grantshelped me to
be a better
counselor formy students.HopeEstes
PERSPanelArgueBenefitPackages
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This was thefirst Annual
Meeting thatIve been able
to attend. I plan to come
back every year!DougCook
A N N U A L M E E T I N G H I G H L I G H T S
DELETE NONCONTRIBUTING OBJECTSAt a busy meeting, photos are
taken catch-as-catch-can; in this case, the lectern andwall
paneling just happened to be there;they really have nothing to do
with the honorbeing bestowed and so should be deleted.
Every photo has a story inside, but it needs your help to get it
out.
You had to be there
A recorder o the physical scene and nothingmore, a camera cant
see what we see. As withmost meetings, the real action here was
mainly
cerebral. To bring the stories home, designerand editor have
three good tools: cropping,page layout and Englishall will be
needed.
CREATE NEWS KIOSKSThis approach opensthe page with an
intro-ductory overview, thenbreaks the activity intoa hal-dozen or
morekiosks, each contain-ing a complete story.Note that the layout
is
ree o traditional col-umns, which have no
value here; instead,the spread is a muralon which the reader
is
ree to move withoutrestriction. Note thealternating white
and
gray backgrounds, andthat the photos some-times extend beyondthe
borders.
How to lay out the annual meeting:We tend to think o a big
meeting as a singleevent, but it is more accurately many
mini-events, each with activity o its own. Deal witheach one
individually. Because you have stories
to tell, it is critical that you take the text seri-ously; i you
dont you will ail. The reason whyis best illustrated by television
news: While youwatch the picture, note that the actual story is
conveyed in the voice-over. In most cases thevoice-over would
succeed without the flm, butrarely would it work the other way
around! Hereare three approaches to design:
VARY THE PACEReaders fare betterwith variety; here,large, bold
quota-tions pull doubledutythey provideboth a visual andeditorial
change ofpace. Photo-in-a-circleas well asdifferent columnwidthsare
similarpace-changers.
Fridays presentation on
scholarships and grants
helped me to
be a better
counselor formy students.Hope Estes
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Backgroundcolor:C5M5Y5
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7/29/2019 Before and After 0016
2/2
Before&AfterM A G A Z I N E
ISSUE:16
This article was originally published in Before & After
magazine issue 16.To learn more about B&As great design
solutions, and to order subscriptionsand back issues, go to
www.bamagazine.com.
Copyright 2004, Before & After magazine. All rights
reserved. No part of this document may be reproducedin whole or in
part without written permission of the publisher. Write to:
[email protected]. 2 of
323 Lincoln Street,
Roseville, CA 95678
www.bamagazine.com
15
The annual meeting was coming andanticipation was high. There
wereideas to introduce, goals to reach,
backs o headsnot exactly the stu oLife magazine. The photos
didnt do jus-tice to the event!
Now what?A camera is a unny thing. While we
people experience lie on many levels at
once, a camera does not; it is a recordero the physical scene,
and nothing more.
FIND TWO (OR MORE) PHOTOS IN ONEThe speakers were interesting
but the roomwas a snooze. Beore discarding the photo,lit out the
good parts to use elsewhere. Youcan sometimes fnd a hal-dozen
imagesthis way! Look careully.
KEYNOTE SPEAKER
MAGGIE
KURTZ
CROP WITH HEADLINES ALREADY IN MINDWide-ormat cropping sets the
eye reso-lutely on the speaker and makes a useulbackdrop or type.
You can get away withthis when the wall is blank. As a rule,
keepthe type size smaller than the person.
EXAGGERATE THE ACTIONCrop out empty chairs to convert light
atten-dance into a packed house. What youredoing is shiting the
ocus, which is dierentrom just deleting things; photos croppedor
this purpose can take many shapes.
WRITE A BOOKSeason a windy topic with thumbnail-sizecameos. This
technique is useful: if you have a lot to say, if the speakers were
most important, if your on-the-set photos were terrible.Note bold,
descriptive text surrounds eachinset photo; it looks great but
takes timing
to get words and pictures in balance.
To expect beauty rom photos like theseis to miss the story;
theres no way youregoing to make these photos pretty.
As a visual communicator, your job isto convey the substance o
the event, aswell as its texture and tone. To do that,
you (and the editor) must fll in what thecamera couldnt see:
riends to be made. Your photographerwas ready and you were
expecting greatthings, but what came back was a disap-
pointment; on the flm was a jumble ohairdos, draperies,
uncleared tables, the
MAKE A MOVIEHeres what to do if no editors available. Anytime
you can
get photos lined up in a neat, linear sequence youll createa
strong, visual line and the sense of an un-
folding story. This is true with or without thelm strip (try
placing the photos along theextreme top or bottom of a page, or
down a
side). The lm strip is a bonus; it underscores the feeling
ofaction.To heighten its effect, zoom in and out from onephoto to
the next. If you can, shift backgrounds from light
to dark and backremember, the eye likes variety. Notethat each
frame has been keyed by letter to a caption.
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color:C1
5
Y10
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