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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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The Year of Endurance

Hope and uncertainty amid a pandemic that wouldn’t end.

In 2021, the pandemic forced us all to think hard about who we do and don’t trust

Introduction by david rowell.

As a nation, we are supposed to be built around trust. Look at the back of the bills in your wallet. “In God We Trust.”

Trust the system.

Trust yourself.

Trust but verify.

Trust your instincts.

Love may be the emotion we like to think ultimately propels us, but it’s trust that informs how we go about our daily lives. And yet. Our level of trust, our very foundation, has been crumbling for a long time now. Scandals, abuse and corruption in the major pillars of our society — religious institutions, education, business, military, government, health care, law enforcement, even the sports world — have made us a wary people.

When the pandemic came, first as murmurs that were easy to tune out, then as an unbounded crisis we couldn’t tune into enough, our relationship to trust was newly infected with something we didn’t fully understand. And before long, who and what we trusted — or didn’t — in the form of elected leaders, scientists and doctors became one more cause of death here and all over the world. In this way, distrust was a kind of pandemic itself: widely contagious and passed by the mouth.

As the first American casualties of covid-19 were announced, President Trump kept insisting it would disappear “with the heat” or “at the end of the month” or “without a vaccine.” Like a disgraced, fringe science teacher, he entertained this idea at one coronavirus news conference: “I see the disinfectant that knocks it out in a minute, one minute. And is there a way we can do something like that by injection inside, or almost a cleaning?” With leadership like this, the country was receiving an injection — of chaos.

The pandemic ripped through the rest of 2020, and America was not only more splintered than ever, but also a dangerous place to be. Some politicians declared to the public, “I trust the science,” as if that were an unprecedented and heroic stance.

As we navigated our way into 2021, questions about what to believe led — painfully and predictably — to doubts about the most reliable way we had to stay safe: wearing masks. With the return to schools looming, the debate about masks and children — masks as protectors, or masks as educational folly — played out like a plague of rants. No one seemed to trust others to do the right thing anymore, whatever that was. By summer’s end, trust felt like the latest variant to avoid.

Trust takes lots of forms, but can we actually see it in a photograph the way we can identify a cloud or a wave, or an overt moment of joy or sadness? The photo essays that follow capture a full tableau of human responses in year two of the pandemic — trepidation, but also a sense of renewal; celebration, but caution as well. And despite rancor and confusion still being in as steady supply as the vaccine itself, the permutations of trust have their own presence here, too, if we’re open enough to seeing them.

When Jay Wescott went on tour with rock band Candlebox, he was documenting one of the many performing acts that returned to the road this summer, after the long hiatus. On tour there’s a lot variables you can control, and just as many, if not more, that you can’t — and in the time of covid, control and trust form their own essential but perilous interplay. The picture of the band’s drummer, Robin Diaz, who is vaccinated but unmasked, setting up his kit in such proximity to road manager Carlos Novais, vaccinated and masked, not only captures that still-odd dynamic that goes into making any live performance happen right now; it is also a welcome contrast to all the images of masked and unmasked protesters screaming at each other about what and whom to trust. On tour with Candlebox, Westcott observed how trust is carrying the band forward, creating harmonies on and off the stage.

Much farther away, in Michael Robinson Chavez’s pictures from Sicily, we bear witness to religious celebrations as part of saint’s days, which were canceled last year because of the pandemic. The celebrations resumed, though stripped down, this September, with vaccines readily available, but then, as Chavez notes, the people of Sicily were vaccinated at lower numbers than those in other regions of the country. In one image, we see a tuba player, his mask down below his chin as he blows his notes out into the world. Behind him are masked adults and maskless children. And, perhaps all through the festival, a trust in God to watch over them.

Lucía Vázquez trained her lens on the eager crowds of young women who descended upon Miami, a city known for its own style of carnival-type celebrations, though decidedly less holy ones. These women have left masks out of their outfits and are trusting something not quite scientific and not quite political, but more personal: their guts. Such a calculation comes down to a conviction that either you won’t get the coronavirus, or, if you do, you’ll survive. It means placing a lot of trust in yourself.

As a visual meditation, the pictures in this issue offer a portrait of a historical moment in which trust and distrust have defined us. Ultimately, the photographs that follow, reflecting various realities of the pandemic, are tinted with hope that we can reclaim our lives. Not exactly as they were in the past, but in a way that still resembles how we had once imagined them for the future. These images remind us that even in our fractured, confused and suffering world, it remains possible that where we can find trust again, we can be healed.

Ready to Rock

Unmasked fans and mayflies: on tour with the band candlebox, text and photographs by jay westcott.

I n February 2020, after a dear friend passed away (not from covid), all I could think about was getting on the road with a band so I could lose myself in the work and create something that would bring joy to people. The world had other plans, though.

Sixteen months later, I headed out on tour with Candlebox. Almost 30 years has passed since the Seattle hard-rock group released its debut album and saw it sell more than 4 million copies. Frontman Kevin Martin and his current lineup invited me along to document the first part of their tour. I packed up my gear, drove west, and met the band at Soundcheck, a rehearsal and gear storage facility in Nashville, as they prepared for the tour.

Whenever people learn that I photograph musicians, inevitably they ask me what it’s like on a tour bus. I tell people it’s like camping with your co-workers from the office where you all sleep in the same tent. For weeks on end. That sours their midlife fantasies about digging out that guitar from the garage and hitting the road to become a rock star.

The people who do tour and play music, build the sets, mix the sound, sell the merch and lug the gear night after night are some of the hardest-working people I’ve ever met. They are a special breed of artists, deep thinkers, poets, masters of their instruments. Music has the ability to make you move and stop you in your tracks, to change your mood, make you smile, cry, think. The goal is the same: Put on a great show. Every night. Play like it could be your last show.

It’s easy to sit back and armchair quarterback on social media about the risks of holding festivals and rock concerts amid the pandemic, but this is what people do for a living. Few people buy albums or CDs or even download music anymore. It’s all about streaming and grabbing viewers on social media now. Touring and merch sales are about the only way musicians have to make money these days. Music is meant to be performed in front of people, a shared experience. With everybody on the bus vaccinated and ready to go, we headed to Louisville for the first of a 49-show run.

The crowd of mostly older millennials and GenXers were ready for a rock show. They knew all the words to the hits in the set — especially Candlebox’s mega-hit from the ’90s, “Far Behind” — and were into the band’s new songs too. It felt good. Then came the mayflies, in massive swarms.

The next stop on the tour was a festival along the Mississippi River in Iowa. I was up early, and as soon as we pulled in you could see mayflies dancing in the air all around us. As the day wore on, the flies intensified, and by nightfall any kind of light revealed hundreds upon hundreds of them, dancing in their own way like the crowd of unmasked fans below them. Also there were Confederate flags everywhere. Boats tied together on the river flew Trump flags in the warm summer breeze.

I was asleep when we crossed the river and made our way to St. Louis, the third stop on the tour and my last with the band. A great crowd: Close your eyes and you can easily picture yourself at Woodstock ’94. But it’s 2021 and Kevin Martin and company are still here.

Jay Westcott is a photographer in Arlington.

‘He Gave Me Life’

A cuban single mother reflects on isolation with her son, text and photographs by natalia favre.

S ingle mother Ara Santana Romero, 30, and her 11-year-old son, Camilo, have spent the past year and a half practically isolated in their Havana apartment. Just before the pandemic started, Camilo had achieved his biggest dream, getting accepted into music school. Two weeks after classes began, the schools closed and his classes were only televised. A return to the classroom was expected for mid-November, at which point all the children were scheduled to be vaccinated. According to a UNICEF analysis, since the beginning of the pandemic, 139 million children around the world have lived under compulsory home confinement for at least nine months.

Before the pandemic, Ara had undertaken several projects organizing literary events for students. After Havana went into quarantine and Camilo had to stay home, her days consisted mainly of getting food, looking after her son and doing housework. As a single mother with no help, she has put aside her wishes and aspirations. But Ara told me she never regretted having her son: “He gave me life.”

Natalia Favre is a photographer based in Havana.

Life After War in Gaza

A healing period of picnics, weddings and vaccinations, text and photographs by salwan georges.

A s I went from Israel into the Gaza Strip, I realized I was the only person crossing the border checkpoint that day. But I immediately saw that streets were vibrant with people shopping and wending through heavy traffic. There are hardly any working traffic lights in Gaza City, so drivers wave their hands out their windows to alert others to let them pass.

Despite the liveliness, recent trauma lingered in the air: In May, Israeli airstrikes destroyed several buildings and at least 264 Palestinians died. The fighting came after thousands of rockets were fired from Gaza into Israel, where at least 16 people died. Workers were still cleaning up when I visited in late August, some of them recycling rubble — such as metal from foundations — to use for rebuilding.

I visited the city of Beit Hanoun, which was heavily damaged. I met Ibrahim, whose apartment was nearly destroyed, and as I looked out from a hole in his living room, I saw children gathered to play a game. Nearby there is a sports complex next to a school. Young people were playing soccer.

Back in Gaza City, families come every night to Union Soldier Park to eat, shop and play. Children and their parents were awaiting their turn to pay for a ride on an electric bike decorated with LED lights. In another part of town, not too far away, the bazaar and the markets were filled ahead of the weekend.

The beach in Gaza City is the most popular destination for locals, particularly because the Israeli government, which occupies the territory, generally does not allow them to leave Gaza. Families picnicked in the late afternoon and then stayed to watch their kids swim until after sunset. One of the local traditions when someone gets married is to parade down the middle of a beachfront road so the groom can dance with relatives and friends.

Amid the activities, I noticed that many people were not wearing face coverings, and I learned that the coronavirus vaccination rate is low. The health department started placing posters around the city to urge vaccination and set up a weekly lottery to award money to those who get immunized.

I also attended the funeral of a boy named Omar Abu al-Nil, who was wounded by the Israeli army — probably by a bullet — during one of the frequent protests at the border. He later died at the hospital from his wounds. More than 100 people attended, mainly men. They carried Omar to the cemetery and buried him as his father watched.

Salwan Georges is a Washington Post staff photographer.

Beyond the Numbers

At home, i constructed a photo diary to show the pandemic’s human toll, text and photographs by beth galton.

I n March 2020, while the coronavirus began its universal spread, my world in New York City became my apartment. I knew that to keep safe I wouldn’t be able to access my studio, so I brought my camera home and constructed a small studio next to a window.

I began my days looking at the New York Times and The Washington Post online, hoping to find a glimmer of positive news. What I found and became obsessed with were the maps, charts and headlines, all of which were tracking the coronavirus’s spread. I printed them out to see how the disease had multiplied and moved, soon realizing that each of these little visual changes affected millions of people. With time, photographs of people who had died began to appear in the news. Grids of faces filled the screen; many died alone, without family or friends beside them.

This series reflects my emotions and thoughts through the past year and a half. By photographing data and images, combined with botanicals, my intent was to speak to the humanity of those affected by this pandemic. I used motion in the images to help convey the chaos and apprehensions we were all experiencing. I now see that this assemblage is a visual diary of my life during the pandemic.

Beth Galton is a photographer in New York.

Finding Hope in Seclusion

A self-described sickle cell warrior must stay home to keep safe, text and photographs by endia beal.

O nyekachukwu Onochie, who goes by Onyeka, is a 28-year-old African American woman born with sickle cell anemia. She describes herself as a sickle cell warrior who lives each day like it’s her last. “When I was younger,” she told me, “I thought I would live until my mid-20s because I knew other people with sickle cell that died in their 20s.”

The Centers for Disease Control and Prevention describes sickle cell anemia as an inherited red blood cell disorder that causes those cells to become hard and sticky, and appear C-shaped. Healthy red blood cells are round and move through small blood vessels to carry oxygen, whereas sickle cells die earlier and transport less oxygen. The disorder can cause debilitating pain and organ failure.

In June 2020, Onyeka began preparing her body for a stem cell transplant — a new treatment — and underwent the procedure in April. She is now home in Winston-Salem, N.C., recovering from the transplant. Despite the positive results thus far, Onyeka’s immune system is compromised and she is at greater risk of severe illness or death from viruses.

I asked about her life during the pandemic. She told me: “My new normal includes video chat lunch dates. I have more energy now than ever before, but I have to stay indoors to protect myself from airborne viruses, among other things.” Onyeka believes she has been given a new life with endless possibilities — even though she is temporarily homebound.

Endia Beal is an artist based in Winston-Salem, N.C.

Baker’s Choice

A fun-loving, self-taught baker decides to open her shop despite the pandemic, text and photographs by marvin joseph.

T iffany Lightfoot is the owner and founder of My Cake Theory, where she merges her love of fashion with her gifts as a baker. Undaunted by the pandemic, she opened her first brick-and-mortar shop on Capitol Hill last year. Lightfoot, 41, combined the skills she learned as a student at the Fashion Institute of Technology with dozens of hours watching the Food Network and YouTube videos — and spun her self-taught baking into a business. With these photographs I wanted to show how much fun she has baking — while building a career she clearly loves.

Marvin Joseph is a Washington Post staff photographer.

Leap of Faith

Despite low vaccination rates, sicilians resume religious parades, text and photographs by michael robinson chavez.

T he island of Sicily has been overrun and conquered by numerous empires and civilizations. The year 2020 brought a new and deadly conqueror, the coronavirus. The lockdown was absolute — even church doors were shut tight. But in 2021, Sicilians brought life and traditions back to their streets.

Saint’s days, or festas, are important events on the Sicilian calendar. Last year, for the first time in more than a century, some towns canceled their festas. The arrival of vaccines this year seemed to offer hope that the processions would once again march down the ancient streets. However, a surge in summer tourism, while helping the local economy, also boosted the coronavirus infection rate.

Sicily has the lowest vaccination rate in Italy. Nevertheless, scaled-down celebrations have reappeared in the island’s streets. In the capital city of Palermo, residents gathered for the festa honoring the Maria della Mercede (Madonna of Mercy), which dates to the 16th century. Children were hoisted aloft to be blessed by the Virgin as a marching band played in a small piazza fronting the church that bears her name. Local bishops did not permit the normal procession because of the pandemic, so local children had their own, carrying a cardboard re-creation of the Virgin through the labyrinth of the famous Il Capo district’s narrow streets.

As the fireworks blossomed overhead and the marching band played on, it was easy to see that Sicilians were embracing a centuries-old tradition that seems certain to last for many more to come.

Michael Robinson Chavez is a Washington Post staff photographer.

Defiant Glamour

After long months of covid confinement, a fearless return to 2019 in miami beach, text and photographs by lucía vázquez.

O n Miami Beach’s Ocean Drive I’ve seen drunk girls hitting other drunk girls, and I’ve seen men high on whatever they could afford, zombie-walking with their mouths and eyes wide open amid the tourists. I’ve seen partyers sprawled on the pavement just a few feet from the Villa Casa Casuarina, the former Versace mansion.

I’ve seen groups of women wearing fake eyelashes as long and thick as a broom, and flashing miniature bras, and smoking marijuana by a palm tree in the park, next to families going to the beach. I’ve seen five girls standing on the back of a white open-air Jeep twerking in their underwear toward the street.

My photographs, taken in August, capture South Beach immersed in this untamed party mood with the menace of the delta variant as backdrop. They document young women enjoying the summer after more than a year of confinement. Traveling from around the country, they made the most of their return to social life by showing off their style and skin, wearing their boldest party attire. I was drawn to the fearlessness of their outfits and their confidence; I wanted to show how these women identify themselves and wish to be perceived, a year and a half after covid-19 changed the world.

Lucía Vázquez is a journalist and photographer based in New York and Buenos Aires.

A Giving Spirit

‘this pandemic has taught me to be even closer to my family and friends’, text and photographs by octavio jones.

M arlise Tolbert-Jones, who works part time for an air conditioning company in Tampa, spends most of her time caring for her 91-year-old father, Rudolph Tolbert, and her aunt Frances Pascoe, who is 89. Marlise visits them daily to make sure they’re eating a good breakfast and taking their medications. In addition to being a caregiver, Marlise, 57, volunteers for a local nonprofit food pantry, where she helps distribute groceries for families. Also, she volunteers at her church’s food pantry, where food is distributed every Saturday morning.

“I’m doing this because of my [late] mother, who would want me to be there for the family and the community,” she told me. “I’ve had my struggles. I’ve been down before, but God has just kept me stable and given me the strength to keep going. This pandemic has taught me to be even closer to my family and friends.”

Octavio Jones is an independent photojournalist based in Tampa.

First, people paused. Then they took stock. Then they persevered.

Text and photographs by anastassia whitty.

W e all know the pandemic has challenged people and altered daily routines. I created this photo essay to highlight the perspectives and experiences of everyday people, specifically African Americans: What does their “new normal” look like? I also wanted to demonstrate how they were able to persevere. One such person is Maria J. Hackett, 30, a Brooklyn photographer, dancer and mother of a daughter, NiNi. Both are featured on the cover.

I asked Maria her thoughts on what the pandemic has meant for her. “Quarantine opened up an opportunity to live in a way that was more healthy while taking on much-needed deep healing,” she told me. “It was my mental and emotional health that began breaking me down physically. ... I put things to a stop as my health began to deteriorate. I decided I will no longer chase money — but stay true to my art, plan and trust that things will come together in a healthier way for us. I focused more on letting my daughter guide us and on her remaining happy with her activities and social life.”

“Enrolling her in camps and classes like dance and gymnastics led me to develop a schedule and routine,” Maria explained, “opening room for me to complete my first dance residency in my return to exploration of movement. I made time to share what I know with her and what she knows with me.”

Jasmine Hamilton of Long Island, 32, talked in similiar terms. She too became more focused on mental health and fitness. She told me: “The pandemic has demonstrated that life is short and valuable, so I’m more open to creating new experiences.”

Anastassia Whitty is a photographer based in New York.

About this story

Photo editing by Dudley M. Brooks and Chloe Coleman. Design and development by Audrey Valbuena. Design editing by Suzette Moyer and Christian Font. Editing by Rich Leiby. Copy editing by Jennifer Abella and Angie Wu.

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Advice for an Unforgettable Photo Essay

Six steps for turning your images into a memorable photo essay, from curating your best work to crafting a title.

A man sits alone on a chair on the side of the road. We see him from above, surrounded by grey cobblestones neatly placed, a broken plastic chair, and some pylons scattered along the curb. A street cat wanders out of the frame and away from the man. He appears lonely, the only person inhabiting the place in which he seems so comfortably seated. As the eye wanders throughout the frame, however, the viewer discovers more: a vast city cast beyond the street and behind the man’s chair. This image closes Sarah Pannell’s photo essay Sehir , a quiet study of urban life.

Possibilities, discovery, and stories: these are some of the most effective elements of a photo essay. Collections of images can help produce a narrative, evoke emotion, and guide the viewer through one or more perspectives. A well-executed photo essay doesn’t rely on a title or any prior knowledge of its creator; it narrates on its own, moving viewers through sensations, lessons, and reactions.

Famous photo essays like Country Doctor by W. Eugene Smith or Gordon Parks’ The Harlem Family are acclaimed for showing a glimpse into the lives of the sick and impoverished. Other well-made photo essays offer a new way to look at the everyday, such as Peter Funch’s much-reposted photo series 42nd and Vanderbilt , for which Funch photographed the same street corner for nine years. As shown by these photographers’ experiences with the medium, a collection of photos can enliven spaces and attitudes. Strong photo essays can give voice to marginalized individuals and shine a spotlight on previously overlooked experiences.

You don’t necessarily need to be a documentary photographer to create a powerful photo essay. Photo essays can showcase any topic, from nature photography to portraiture to wedding shots. We spoke to a few photographers to get their perspectives on what makes a good photo essay, and their tips for how any photographer can get started in this medium. Here are six steps to follow to create a photo essay that tells a memorable story.

Choose a specific topic or theme for your photo essay.

There are two types of photo essays: the narrative and the thematic. Narrative photo essays focus on a story you’re telling the viewer, while thematic photo essays speak to a specific subject.

The most natural method for choosing a topic or theme for your photo essay is to go with what you know. Photograph what you experience. Whether that includes people, objects, or the things you think about throughout the day, accessibility is key here. Common topics or concepts to start with are emotions (depicting sadness or happiness) or experiences (everyday life, city living).

For photographer Sharon Pannen , planning a photo essay is as simple as “picking out a subject you find interesting or you want to make a statement about.”

From Paper & Stories , a photo series by Sharon Pannen for Schön! Magazine.

Consider your photo subjects.

The subjects of your photographs, whether human or not, will fill the space of your photos and influence the mood or idea you’re trying to depict. The subject can determine whether or not your photos are considered interesting. “I always try to find someone that catches my eye. I especially like to see how the light falls on their face and how a certain aesthetic might add to their persona,” says photographer Victoria Wojtan .

While subjects and their interest factor are, well, subjective, when considering your subjects, you should ask yourself about your audience. Do other people want to see this? Is my subject representative of the larger idea my photo essay is trying to convey? Your projects can involve people you know or people you’ve only just met.

“Most projects I work on involve shooting portraits of strangers, so there’s always a tension in approaching someone for a portrait,” says photographer Taylor Dorrell . For Wojtan, that tension can help build trust with a subject and actually leads to more natural images “If there’s tension it’s usually because the person’s new to being photographed by someone for something that’s outside of a candid moment or selfie, and they need guidance for posing. This gives me the opportunity to make them feel more comfortable and let them be themselves. I tend to have a certain idea in mind, but try to allow for organic moments to happen.”

Aim for a variety of images.

Depending on your theme, there are a few types of photos you’ll want to use to anchor your essay. One or two lead photos should slowly introduce the viewer to your topic. These initial photos will function in a similar way to the introductory paragraph in a written essay or news article.

From there, you should consider further developing your narrative by introducing elements like portraiture, close ups, detail shots, and a carefully selected final photo to leave the viewer with the feeling you set out to produce in your photos. Consider your opening and closing images to be the most important elements of your photo essay, and choose them accordingly. You want your first images to hook the viewer, and you also want your final images to leave a lasting impression and perhaps offer a conclusion to the narrative you’ve developed.

Including different types of photos, shot at different ranges, angles, and perspectives, can help engage your viewer and add more texture to your series.

Says photographer Taylor Dorrell: “After I have a group of images, I tend to think about color, composition, the order the images were taken, the subject material, and relevance to the concept.”

From Taylor Dorrell’s photo essay White Fences : “White Fences is an ongoing photo series that explores the theme of suburban youth in the United States, specifically in the midwest suburb New Albany, Ohio.”

Put your emotions aside.

Self-doubt can easily come into play when working with your own photography. The adage that we are our own worst critics is often true. It can be difficult to objectively select your strongest images when creating a photo essay. This is why putting together photo essays is such a useful practice for developing your curatorial skills.

“The most important part for me is getting outside opinions. I don’t do that enough, and have a bias in selecting images that might not be the most powerful images or the most effective sequence of images,” says Dorrell. Your own perception of a photograph can cloud your ability to judge whether or not it adds to your photo essay. This is especially true when your essay deals with personal subjects. For example, a photo essay about your family may be hard to evaluate, as your own feelings about family members will impact how you take and view the photos. This is where getting feedback from peers can be invaluable to producing a strong series.

Collecting feedback while putting your photo essay together can help you determine the strengths, weaknesses, and gaps within the collection of photos you’ve produced. Ask your friends to tell you their favorites, why they like them, and what they think you’re going for in the work you’ve created. Their opinions can be your guide, not just your own emotions.

Edit your photo selection.

Beyond post-production, the series of photos you select as your essay will determine whether you’ve executed your theme or narrative effectively. Can the photos stand alone, without written words, and tell the story you set out to? Do they make sense together, in a logical sequence? The perfect photo essay will give your audience a full picture of the narrative, theme, or essence you’re looking to capture.

A good method to use to cull your images down is to remove as many as half of your images straight away to see if your narrative is still as strong with fewer photos. Or, perhaps, deciding on a small number you’d like to aim for (maybe just five to ten images) and using this as a method to narrow down to the images that tell your story best.

From Taylor Dorrell’s photo essay Over the Rhine , featured in Vice.

Give your photo essay a title, and add a concise written statement.

Finally, you’ll want to create a title and written statement for your photo essay. This will help position your work and can enable the viewer to fully understand your intention, or at least guide their perspective.

A solid written statement and title will be relevant to your topic, detail your primary objective, and introduce your point of view. It’s an opportunity to clarify your intentions to the viewer and ensure they walk away with a clear interpretation of your work. Depending on your photo essay, you may want to include several paragraphs of text, but even just one or two sentences of background can be enough to expand the viewer’s understanding of your work.

Consider if you’d like to add the written statement at the beginning of your essay to introduce it, or at the end as a conclusion. Either one can be impactful, and it depends how you’d like people to experience your work.

For his photo essay White Fences, excerpted above, Taylor Dorrell wrote only one sentence of introduction. But for his series Over the Rhine, Dorell included a longer written statement to accompany the work, which is “an ongoing photo series that seeks to explore the Cincinnati neighborhood of the same name and its surroundings. The series was started in response to the shooting of Samuel DuBose, an unarmed black man, by officer Ray Tensing of the University of Cincinnati Police, which happened July 19th, 2015.” Dorell’s text goes on to offer more background on the project, setting up the viewer with all the information they need to understand the context of the photo essay.

Depending on the motivations behind your photo essay and what sort of subject it depicts, a longer text may be necessary—or just a few words might be enough.

Looking for a place to share your photo essays with the world? Take a look at our guide to creating a photography website for tips on showcasing your photos online.

Cover image by Taylor Dorrell, from his photo essay Hurricane Over Sugar .

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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.

23 Photo Essay Ideas and Examples (to Get Your Creative Juices Flowing!)

A Post By: Kevin Landwer-Johan

Looking for inspiration? Our 23 photo essay ideas will take your photography skills to new heights!

A single, strong photograph can convey a lot of information about its subject – but sometimes we have topics that require more than one image to do the job. That’s when it’s time to make a photo essay: a collection of pictures that together tell the bigger story around a chosen theme.

In the following sections, we’ll explore various photo essay ideas and examples that cover a wide range of subjects and purposes. From capturing the growth of your children to documenting local festivals, each idea offers an exciting opportunity to tell a story through your lens, whether you’re a hobbyist or a veteran professional.

So grab your camera, unleash your creativity, and let’s delve into the wonderful world of photo essay examples!

What is a photo essay?

Simply put, a photo essay is a series of carefully selected images woven together to tell a story or convey a message. Think of it as a visual narrative that designed to capture attention and spark emotions.

Now, these images can revolve around a broad theme or focus on a specific storyline. For instance, you might create a photo essay celebrating the joy of companionship by capturing 10 heartwarming pictures of people sharing genuine laughter. On the other hand, you could have a photo essay delving into the everyday lives of fishermen in Wales by following a single fisherman’s journey for a day or even a week.

It’s important to note that photo essays don’t necessarily have to stick to absolute truth. While some documentary photographers prefer to keep it authentic, others may employ techniques like manipulation or staging to create a more artistic impact. So there is room for creativity and interpretation.

Why you should create a photo essay

Photo essays have a way of expressing ideas and stories that words sometimes struggle to capture. They offer a visual narrative that can be incredibly powerful and impactful.

Firstly, photo essays are perfect when you have an idea or a point you want to convey, but you find yourself at a loss for words. Sometimes, emotions and concepts are better conveyed through images rather than paragraphs. So if you’re struggling to articulate a message, you can let your photos do the talking for you.

Second, if you’re interested in subjects that are highly visual, like the mesmerizing forms of architecture within a single city, photo essays are the way to go. Trying to describe the intricate details of a building or the play of light and shadows with words alone can be challenging. But through a series of captivating images, you can immerse your audience in the architecture.

And finally, if you’re aiming to evoke emotions or make a powerful statement, photo essays are outstanding. Images have an incredible ability to shock, inspire, and move people in ways that words often struggle to achieve. So if you want to raise awareness about an environmental issue or ignite a sense of empathy, a compelling series of photographs can have a profound impact.

Photo essay examples and ideas

Looking to create a photo essay but don’t know where to start? Here are some handy essay ideas and examples for inspiration!

1. A day in the life

Your first photo essay idea is simple: Track a life over the course of one day. You might make an essay about someone else’s life. Or the life of a location, such as the sidewalk outside your house. 

The subject matter you choose is up to you. But start in the morning and create a series of images showing your subject over the course of a typical day.

(Alternatively, you can document your subject on a special day, like a birthday, a wedding, or some other celebration.)

2. Capture hands

Portraits focus on a subject’s face – but why not mix it up and make a photo essay that focuses on your subject’s hands?

(You can also focus on a collection of different people’s hands.)

Hands can tell you a lot about a person. And showing them in context is a great way to narrate a story.

3. Follow a sports team for a full season

Sports are all about emotions – both from the passionate players and the dedicated fans. While capturing the intensity of a single game can be exhilarating, imagine the power of telling the complete story of a team throughout an entire season.

For the best results, you’ll need to invest substantial time in sports photography. Choose a team that resonates with you and ensure their games are within a drivable distance. By photographing their highs and lows, celebrations and challenges, you’ll create a compelling photo essay that traces their journey from the first game to the last.

4. A child and their parent

Photographs that catch the interaction between parents and children are special. A parent-child connection is strong and unique, so making powerful images isn’t challenging. You just need to be ready to capture the special moments as they happen. 

You might concentrate on a parent teaching their child. Or the pair playing sports. Or working on a special project.

Use your imagination, and you’ll have a great time with this theme.

5. Tell a local artist’s story 

I’ve always enjoyed photographing artists as they work; studios have a creative vibe, so the energy is already there. Bring your camera into this environment and try to tell the artist’s story!

An artist’s studio offers plenty of opportunities for wonderful photo essays. Think about the most fascinating aspects of the artist’s process. What do they do that makes their art special? Aim to show this in your photos.

Many people appreciate fine art, but they’re often not aware of what happens behind the scenes. So documenting an artist can produce fascinating visual stories.

6. Show a tradesperson’s process

Do you have a plumber coming over to fix your kitchen sink? Is a builder making you a new deck?

Take photos while they work! Tell them what you want to do before you start, and don’t forget to share your photos with them.

They’ll probably appreciate seeing what they do from another perspective. They may even want to use your photos on their company website.

7. Photograph your kids as they grow

There’s something incredibly special about documenting the growth of our little ones. Kids grow up so quickly – before you know it, they’re moving out. Why not capture the beautiful moments along the way by creating a heartwarming photo essay that showcases their growth?

There are various approaches you can take, but one idea is to capture regular photos of your kids standing in front of a distinct point of reference, such as the refrigerator. Over a year or several years, you can gather these images and place them side by side to witness your childrens’ incredible transformations.

8. Cover a local community event

A school fundraiser, a tree-planting day at a park, or a parade; these are are all community events that make for good photo essay ideas.

Think like a photojournalist . What type of images would your editor want? Make sure to capture some wide-angle compositions , some medium shots, and some close-ups.

(Getting in close to show the details can often tell as much of a story as the wider pictures.)

9. Show fresh market life

Markets are great for photography because there’s always plenty of activity and lots of characters. Think of how you can best illustrate the flow of life at the market. What are the vendors doing that’s most interesting? What are the habits of the shoppers?

Look to capture the essence of the place. Try to portray the people who work and shop there.

10. Shoot the same location over time

What location do you visit regularly? Is there a way you can make an interesting photo essay about it?

Consider what you find most attractive and ugly about the place. Look for aspects that change over time. 

Any outdoor location will look different throughout the day. Also think about the changes that occur from season to season. Create an essay that tells the story of the place.

11. Document a local festival

Festivals infuse cities and towns with vibrant energy and unique cultural experiences. Even if your own town doesn’t have notable festivals, chances are a neighboring town does. Explore the magic of these celebrations by documenting a local festival through your lens.

Immerse yourself in the festivities, arriving early and staying late. Capture the colorful displays and the people who make the festival come alive. If the festival spans multiple days, consider focusing on different areas each time you visit to create a diverse and comprehensive photo essay that truly reflects the essence of the event.

12. Photograph a garden through the seasons

It might be your own garden . It could be the neighbor’s. It could even be the garden at your local park.

Think about how the plants change during the course of a year. Capture photos of the most significant visual differences, then present them as a photo essay.

13. Show your local town or city

After spending several years in a particular area, you likely possess an intimate knowledge of your local town or city. Why not utilize that familiarity to create a captivating photo essay that showcases the essence of your community?

Delve into what makes your town special, whether it’s the charming streets, unique landmarks, or the people who shape its character. Dedicate time to capturing the diverse aspects that define your locale. If you’re up for a more extensive project, consider photographing the town over the course of an entire year, capturing the changing seasons and the dynamic spirit of your community.

14. Pick a local cause to highlight

Photo essays can go beyond passive documentation; they can become a part of your activism, too!

So find a cause that matters to you. Tell the story of some aspect of community life that needs improvement. Is there an ongoing issue with litter in your area? How about traffic; is there a problematic intersection?

Document these issues, then make sure to show the photos to people responsible for taking action.

15. Making a meal

Photo essay ideas can be about simple, everyday things – like making a meal or a coffee.

How can you creatively illustrate something that seems so mundane? My guess is that, when you put your mind to it, you can come up with many unique perspectives, all of which will make great stories.

16. Capture the life of a flower

In our fast-paced lives, it’s easy to overlook the beauty that surrounds us. Flowers, with their mesmerizing colors and rapid life cycles, offer a captivating subject for a photo essay. Try to slow down and appreciate the intricate details of a flower’s existence.

With a macro lens in hand, document a single flower or a patch of flowers from their initial shoots to their inevitable wilting and decomposition. Experiment with different angles and perspectives to bring viewers into the enchanting world of the flower. By freezing these fleeting moments, you’ll create a visual narrative that celebrates the cycle of life and the exquisite beauty found in nature’s delicate creations.

17. Religious traditions

Religion is often rich with visual expression in one form or another. So capture it!

Of course, you may need to narrow down your ideas and choose a specific aspect of worship to photograph. Aim to show what people do when they visit a holy place, or how they pray on their own. Illustrate what makes their faith real and what’s special about it.

18. Historic sites

Historic sites are often iconic, and plenty of photographers take a snapshot or two.

But with a photo essay, you can illustrate the site’s history in greater depth.

Look for details of the location that many visitors miss. And use these to build an interesting story.

19. Show the construction of a building

Ever been away from a familiar place for a while only to return and find that things have changed? It happens all the time, especially in areas undergoing constant development. So why not grab your camera and document this transformation?

Here’s the idea: Find a building that’s currently under construction in your area. It could be a towering skyscraper, a modern office complex, or even a small-scale residential project. Whatever catches your eye! Then let the magic of photography unfold.

Make it a habit to take a photo every day or two. Watch as the building gradually takes shape and evolves. Capture the construction workers in action, the cranes reaching for the sky, and the scaffolding supporting the structure.

Once the building is complete, you’ll have a treasure trove of images that chronicle its construction from start to finish!

20. Document the changing skyline of the city

This photo essay example is like the previous one, except it works on a much larger scale. Instead of photographing a single building as it’s built, find a nice vantage point outside your nearest city, then photograph the changing skyline.

To create a remarkable photo essay showcasing the changing skyline, you’ll need to scout out the perfect vantage point. Seek high ground that offers a commanding view of the city, allowing you to frame the skyline against the horizon. Look for spots that give you an unobstructed perspective, whether a rooftop terrace, a hillside park, or even a nearby bridge.

As you set out on your photography expedition, be patient and observant. Cities don’t transform overnight; they change gradually over time. Embrace the passage of days, weeks, and months as you witness the slow evolution unfold.

Pro tip: To capture the essence of this transformation, experiment with various photographic techniques. Play with different angles, framing, and compositions to convey the grandeur and dynamism of the changing skyline. Plus, try shooting during the golden hours of sunrise and sunset , when the soft light bathes the city in a warm glow and accentuates the architectural details.

21. Photograph your pet

If you’re a pet owner, you already have the perfect subject for a photo essay!

All pets , with the possible exception of pet rocks, will provide you with a collection of interesting moments to photograph.

So collect these moments with your camera – then display them as a photo essay showing the nature and character of your pet.

22. Tell the story of a local nature preserve

Ah, the wonders of a local nature preserve! While it may not boast the grandeur of Yosemite National Park, these hidden gems hold their own beauty, just waiting to be discovered and captured through the lens of your camera.

To embark on this type of photo essay adventure, start by exploring all the nooks and crannies of your chosen nature preserve. Wander along its winding trails, keeping an eye out for unique and captivating subjects that convey the essence of the preserve.

As you go along, try to photograph the intricate details of delicate wildflowers, the interplay of light filtering through a dense forest canopy, and the lively activities of birds and other wildlife.

23. Show the same subject from multiple perspectives

It’s possible to create an entire photo essay in a single afternoon – or even in a handful of minutes. If you don’t love the idea of dedicating yourself to days of photographing for a single essay, this is a great option.

Simply find a subject you like, then endeavor to capture 10 unique images that include it. I’d recommend photographing from different angles: up above, down low, from the right and left. You can also try getting experimental with creative techniques, such as intentional camera movement and freelensing. If all goes well, you’ll have a very cool set of images featuring one of your favorite subjects!

By showcasing the same subject from multiple perspectives, you invite viewers on a visual journey. They get to see different facets, textures, and details that they might have overlooked in a single photograph. It adds depth and richness to your photo essay, making it both immersive and dynamic.

Photo essay ideas: final words

Remember: Photo essays are all about communicating a concept or a story through images rather than words. So embrace the process and use images to express yourself!

Whether you choose to follow a sports team through a thrilling season, document the growth of your little ones, or explore the hidden treasures of your local town, each photo essay has its own magic waiting to be unlocked. It’s a chance to explore your creativity and create images in your own style.

So look at the world around you. Grab your gear and venture out into the wild. Embrace the beauty of nature, the energy of a bustling city, or the quiet moments that make life special. Consider what you see every day. What aspects interest you the most? Photograph those things.

You’re bound to end up with some amazing photo essays!

Now over to you:

Do you have any photo essay examples you’re proud of? Do you have any more photo essay ideas? Share your thoughts and images in the comments below!

Read more from our Tips & Tutorials category

Kevin Landwer-Johan is a photographer, photography teacher, and author with over 30 years of experience that he loves to share with others.

Check out his website and his Buy Me a Coffee page .

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W. Eugene Smith: Master of the Photo Essay

100 years since the birth of W. Eugene Smith, we take a look at the work of a remarkable talent who described his approach to photography as working “like a playwright”

W. Eugene Smith

W. Eugene Smith’s membership with Magnum may have been brief, spanning the years 1955-58, but his work left left a deep impression on many of Magnum’s photographers, as it has upon the practice of photojournalism generally. Smith is regarded by many as a genius of twentieth-century photojournalism, who perfected the art of the photo essay. The following extract from Magnum Stories ( Phaidon ), serves as a pit-stop tour through his most enduring and affecting works.

With “Spanish Village” (1951), “Nurse Midwife” (1951), and his essay on Albert Schweitzer (1954), “Country Doctor” is first of a series of postwar photo essays, produced by Smith as an employee of Life magazine, that are widely regarded as archetypes of the genre. The idea to examine the life of a typical country doctor, at the time of a national shortage of GPs, was the magazine’s, not Smith’s. Though it was preconceived and pre-scripted, with a suitable doctor cast for the role before Smith got involved, he was immediately attracted to the idea of its heroic central character. He left to shoot the story the day he first heard about it – and before it was formally assigned, lest his editors decide to allocate the job to a different photographer.

Country Doctor

He described elements of his approach in an interview for Editor and Publisher later the same year:

“I made very few pictures at first. I mainly tried to learn what made the doctor tick, what his personality was, how he worked and what the surroundings were… On any long story, you have to be compatible with your subject, as I was with him.

I bear in mind that I have to have an opener and closer. Then I make a mental picture of how to fill in between these two. Sometimes, at the end of the day, I’ll lie in bed and do a sketch of the pictures I already have. Then I’ll decide what pictures I need. In this way, I can see how the job is shaping up in the layout form.

When a good picture comes along, I shoot it. Later I may find a better variation of the same shot, so I shoot all over again.”

"When a good picture comes along, I shoot it. Later I may find a better variation of the same shot, so I shoot all over again."

- w. eugene smith.

Central to his method was his seeking to fade “into the wallpaper”. De Ceriani, the subject of the story and the one constant witness to his working approach, recalled in an interview with Jim Hughes, Smith’s biographer, that after a week Smith “became this community figure. He may not have known everybody, but everybody knew who he was. And you fell into this pattern: he was going to be around, and you just didn’t let it bother you. He would always be present. He would always be in the shadows. I would make the introduction and then go about my business as if he were just a doorknob.”

Smith set about what might have been a straightforward assignment with a demanding intensity. “I never made a move where Gene wasn’t sitting there,” Ceriani explained; “I’d go to the john and he’d be waiting outside the door, so it would seem. He insisted that I call when anything happened, regardless of whether it was day or night… I would look around and Gene would be lying on the floor; shooting up, or draped over a chair. You never knew where he was going to be. And you never knew quite how or when he got there. He would produce a ladder in the most unusual places.”

For a four-week shoot, Smith selected 200 photographs for consideration by Life , and while he clearly had some influence over the layout, he did not control it. It did not live up to his expectations; in the interview with Editor and Publisher, Smith stated that he was “depressed” thinking about just how far short it fell. It’s not clear how different it might have been had he done the layout himself. We know that the prints he made were rejected by Life ’s art director, on the grounds that they were too dark and would not reproduce well on the magazine’s pages. Smith’s vision was darker in other regards too. Photographs not featured in Life’ s layout, but reproduced or exhibited later, include a powerful series of 82-year-old Joe Jesmer being treated following a heart attack – an old man whose face terrifyingly reveals the apparent consciousness of his imminent death. Smith also chose, for his own exhibitions, troubling photographs of Thomas Mitchell prior to his leg amputation, as well as other images more baroque than those selected by Life . But the two brilliant images between which the layout hangs – his opener of the stoical doctor on his way to the surgery under a brooding sky and his closer, showing Ceriani slumped in weary reflection with coffee and cigarette – clearly reflect Smith’s won intentions for how the story should appear.

It is in the sophistication of its narrative structure that Smith’s innovation lies. In recorded conversations between Smith and photographer Bob Combs in the late 1960s, he elaborated on the ingredients of his approach (referring here to another story, “Nurse Midwife”):

“In the building of a story, I being with my own prejudices, mark them as prejudices, and start finding new thinking, the contradictions to my prejudices, What I am saying is that you cannot be objective until you try to be fair. You try to be honest and you try to be fair and maybe truth will come out.

Each night, I would mark the pictures that I took, or record my thoughts, on thousands of white cards I had. I would start roughing in a layout of what pictures I had, and note how they build and what was missing in relationships.

"In the building of a story, I being with my own prejudices, mark them as prejudices, and start finding new thinking, the contradictions to my prejudices, What I am saying is that you cannot be objective until you try to be fair."

I would list the picture to take, and other things to do. It began with a beginning, but it was a much tighter and more difficult problem at the end. I’d say, ‘Well, she has this relationship to that person. I haven’t shown it. How can I take a photograph that will show that? What is this situation to other situations?’

Here it becomes really like a playwright who must know what went on before the curtain went up, and have some idea of what will happen when the curtain goes down. And along the way, as he blocks in his characters, he must find and examine those missing relationships that five the validity of interpretation to the play.

I have personally always fought very hard against ever packaging a story so that all things seem to come to an end at the end of a story. I always want to leave it so that there is a tomorrow. I suggest what might happen tomorrow – at least to say all things are not resolved, that this is life, and it is continuing.”

Smith refers to working “like a playwright”. Elsewhere he compared his work to composing music, but perhaps it is the literary reference that is most relevant to “Country Doctor”. His doctor is the emblematic hero of a drama that unfolds through several episodes – literally, acts. His opening and closing tableaux have all the content of soliloquies: single moments loaded with psychological detail and environmental description that frame the play. Unlike the experience of a play in the theatre where we watch it once, from beginning to end – we read the magazine essay back and first, at the very least reviewing the images again once we have read through it. The details of the doctor’s actions lend weight to the opening and closing portraits, and vice versa, so that the depth of its characterization reveals itself across the images as a group. It would not work if it were not wholly believable as a record of a real man, and real events. As such, its strength and its place in the history of the genre lies in the manner in which it combines a record of reality within an effective dramatic structure; in short, as a human drama.

Smith’s essay-making technique was not something he developed independently of the media that published his pictures. It began with essays produced in the early 1940s for Parade , where photographers were encouraged to experiment with story structure (without the tight scripting Smith later encountered at Life magazine) and where stories often focused on an attractive central character achieving worthwhile goals against formidable odds. Although Smith is on record as being in constant struggle with Life over its scripts – as well as its layouts, the selection of photographs, and the darkness of his prints – it seems appropriate to view his achievement as the product of a dialogue with the needs and practices of the magazine. The battles were over the details of particular decisions rather than over the mission or purpose. In fact, Smith wholly identified with the Life formula, taking and refining it to a new level of sophistication.

After Smith left life in 1954 – after several prior resignations, his final departure was over the editorial slant given to his essay on Albert Schweitzer – he embarked on his ambitious Pittsburgh essay. Working for the first time outside the framework of a magazine, with only a small advance from a book publisher, and encouraged by Magnum’s reassurance that he would find a worthwhile return from serial sales of independently executed essays, he believed that he was positioned to produce his best work yet. He wrote to his brother that he Pittsburgh essay would “influence journalism from now on”, and described in an application for a Guggenheim Fellowship that he “would recreate as does the playwright, as does the good historian – I would evoke in the beholder an experience that is Pittsburgh.”

It did not really work. Becoming a landmark in the ambition of the photo essay, and including some of his strongest photographs, the Pittsburgh essay nevertheless failed to be the symphony in photographs for which Smith strove, After four years of work, it was finally published in the small-format Popular Photography Annual of 1959 , run as a sequence of “spread tapestries” – as he described his intended layout to the editor of Life . He titled the essay Labyrinthian Walk, indicating the story was less about the city than a portrait of himself locked in a life-or-death struggle with a mythical demon. Although he himself was responsible for the layout, he judged it a failure. The dream – or necessity – of Magnum failed also. He did only two minor assignments in the time he was a member, and he left completely broke, his family in poverty, with Magnum itself smarting from the investment it too had ploughed into the Pittsburgh project.

After the “Country Doctor” story was published, Smith declared that he was “still searching for the truth, for the answer to how to do a picture story”. Later, in 1951, he stated in a letter to Life editor Ed Thompson, “Journalism, idealism and photography are three elements that must be integrated into a whole before my work can be of complete satisfaction to me.” In 1974, 20 years after embarking on the Pittsburgh essay, Smith was vindicated with the triumphant artistic and journalistic success of “Minamata”, his story about the deformed victims of the pollution by the Chisso chemical plant in Japan. The story became a new paradigm for the possibilities of photojournalism, in part because of its unambiguous moral purpose.

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The Pacific War: 1942-1945

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Conditions of the Heart: on Empathy and Connection in Photography

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The Picture Show

From the library of 'life', revisiting 'country doctor,' a 1948 photo essay.

Claire O'Neill

Dr. Ernest Ceriani, the subject of a 1948 Life magazine story titled "Country Doctor," pauses after a long surgery. W. Eugene Smith/Life hide caption

Dr. Ernest Ceriani, the subject of a 1948 Life magazine story titled "Country Doctor," pauses after a long surgery.

"Although 20 percent of Americans live in rural areas only 9 percent of the nation's physicians practice there." That's according to a 2004 study by the U.S. Department of Health and Human Services. In short, the study reads, "despite greater need for health care, rural residents have fewer visits to health care providers and are less likely to receive recommended preventive services."

Of course, that's just one study. Although, personally, I know I'd be a lot less inclined to see the doctor if walk-ins weren't available a few blocks away.

It makes sense that health care would be difficult to access in remote locations. You either have to move to the medicine, or it has to come to you. What kind of person does it take to be a country doctor? Here's one example, now almost 65 years old.

Photographer W. Eugene Smith became a war photographer for Life magazine in 1942. Though seriously wounded while photographing World War II, he returned to photojournalism and made a big splash with this 1948 photo essay about the life of Dr. Ernest Ceriani, a practitioner in the small town of Kremmling, Colo.

The result of 23 days with Ceriani, Country Doctor "was an instant classic," according to Life.com, where the original essay has just been republished in its entirety , "setting Smith firmly on a path as a master of the unique art form of the photo essay, and solidifying his status as one of the most passionate and influential photojournalists of the 20th century."

As it is today and likely always will be, health care was an important issue in 1948, and Life wanted to explore that issue by focusing on, as it were, a life. I'd be interested in seeing the life of a contemporary country doctor. Do you know any?

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How to Create a Photo Essay in 9 Steps (with Examples)

Photo Editing , Tutorials

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What is a photo essay?

• Photo essays vs photo stories
• How photo essays help you
• 9 Steps to create photo essays

How to share your photo essays

Read Time: 11 minutes

Gather up a handful of images that seem to go together, and voila! It’s a photo essay, right? Well… no. Though, this is a common misconception.

In reality, a photo essay is much more thoughtful and structured than that. When you take the time to craft one, you’re using skills from all facets of our craft – from composition to curation.

In this guide, you’ll learn what makes a photo essay an amazing project that stretches your skills. You'll also learn exactly how to make one step by step.

• Photo essay vs photo story

A photo essay is a collection of images based around a theme, a topic, a creative approach, or an exploration of an idea. Photo essays balance visual variety with a cohesive style and concept.

What's the difference between a photo essay and a photo story?

The terms photo essay and photo story are often used interchangeably. Even the dictionary definition of “photo essay” includes using images to convey either a theme or a story.

But in my experience, a photo essay and a photo story are two different things. As you delve into the field of visual storytelling, distinguishing between the two helps you to take a purposeful approach to what you’re making .

The differences ultimately lie in the distinctions between theme, topic and story.

Themes are big-picture concepts. Example: Wildness

Topics are more specific than themes, but still overarching. Example : Wild bears of Yellowstone National Park

Stories are specific instances or experiences that happen within, or provide an example for, a topic or theme. Example: A certain wild bear became habituated to tourists and was relocated to maintain its wildness

Unlike a theme or topic, a story has particular elements that make it a story. They include leading characters, a setting, a narrative arc, conflict, and (usually) resolution.

With that in mind, we can distingush between a photo essay and a photo story.

Themes and Topics vs Stories

A photo essay revolves around a topic, theme, idea, or concept. It visually explores a big-picture something .

This allows a good deal of artistic leeway where a photographer can express their vision, philosophies, opinions, or artistic expression as they create their images.

A photo story  is a portfolio of images that illustrate – you guessed it – a story.

Because of this, there are distinct types of images that a photo story uses that add to the understanding, insight, clarity and meaning to the story for viewers. While they can certainly be artistically crafted and visually stunning, photo stories document something happening, and rely on visual variety for capturing the full experience.

A photo essay doesn’t need to have the same level of structured variety that a photo story requires. It can have images that overlap or are similar, as they each explore various aspects of a theme.

Photo essays can be about any topic. If you live in a city, consider using your nature photography to make an essay about the wildlife that lives in your neighborhood . 

The role of text with photos

A photo story typically runs alongside text that narrates the story. We're a visual species, and the images help us feel like we are there, experiencing what's happening. So, the images add significant power to the text, but they're often a partner to it.

This isn’t always the case, of course. Sometimes photo stories don’t need or use text. It’s like reading a graphic novel that doesn’t use text. Moving through the different images that build on each other ultimately unveils the narrative.

Photo essays don’t need to rely on text to illuminate the images' theme or topic. The photographer may use captions (or even a text essay), or they may let the images speak for themselves.

Definitions are helpful guidelines (not strict rules)

Some people categorize photo essays as either narrative or thematic. That's essentially just calling photo stories “narrative photo essays” and photo essays “thematic photo essays.”

But, a story is a defined thing, and any writer/editor will tell you themes and topics are not the same as stories. And we use the word “story” in our daily lives as it’s defined. So, it makes far more sense to name the difference between a photo essay and a photo story, and bask in the same clarity writers enjoy .

Photo stories illustrate a particular experience, event, narrative, something that happened or is happening.

Photo essays explore an idea, concept, topic, theme, creative approach, big-picture something .

Both photo essays and photo stories are immensely powerful visual tools. And yes, the differences between them can certainly be blurred, as is always the case with art.

Simply use this distinction as a general guideline, providing extra clarity around what you’re making and why you're making it.

To dig into specific types of images used to create powerful photo stories, check out this training: 6 Must-Have Shots for a Photo Story. 

Meanwhile, let’s dig deeper into photo essays.

Photo essays are a chance to try new styles or techniques that stretch your skills and creativity. This image was part of an essay exploring simplicity and shape, and helped me learn new skills in black and white post-processing.

How photo essays improve your photography

Creating photo essays is an amazing antidote if you’ve ever felt a lack of direction or purpose in your photography. Photo essays help build your photographic skills in at least 3 important ways.

1. You become more strategic in creating a body of work

It's easy to get stuck in a rut of photographing whatever pops up in front of you. And when you do, you end up with a collection of stand-alone shots.

These singles may work fine as a print, a quick Instagram post, or an addition to your gallery of shots on your website. But amassing a bunch of one-off shots limits your opportunities as a photographer for everything from exhibits to getting your work published.

Building photo essays pushes you to think strategically about what you photograph, why, and how. You're working toward a particular deliverable – a cohesive visual essay – with the images you create.

This elevates your skills in crafting your photo essay, and in how you curate the rest of your work, from galleries on your website to selecting images to sell as prints .

2. You become more purposeful in your composition skills

Composition is so much more than just following the rule of thirds, golden spirals, or thinking about the angle of light in a shot.

Composition is also about thinking ahead in what you’re trying to accomplish with a photograph – from what you’re saying through it to its emotional impact on a viewer – and where it fits within a larger body of work.

Photo essays push you to think critically about each shot – from coming up with fresh compositions for familiar subjects, to devising surprising compositions to fit within a collection, to creating compositions that expand on what’s already in a photo essay.

You’re pushed beyond creating a single pleasing frame, which leads you to shoot more thoughtfully and proactively than ever.

(Here’s a podcast episode on switching from reactive shooting to proactive shooting.)

3. You develop strong editing and curation skills

Selecting which images stay, and which get left behind is one of the hardest jobs on a photographer’s to-do list. Mostly, it’s because of emotional attachment.

You might think it’s an amazing shot because you know the effort that went into capturing it. Or perhaps when you look at it, you get a twinge of the joy or exhilaration you felt the moment you captured it. There’s also the second-guessing that goes into which of two similar images is the best – which will people like more? So you’re tempted to just show both.

Ultimately, great photographers appear all the more skilled because they only show their best work. That in and of itself is a skill they’ve developed through years of ruthlessly editing their own work.

Because the most powerful photo essays only show a handful of extraordinary images, you’re bound to develop the very same critical skill (and look all the more talented because of it).

Photo essays are also a great stepping stone to creating photo stories. If you’re interested in moving beyond stand-alone shots and building stories, shooting photo essays will get your creative brain limbered up and ready for the adventure of photo stories.

A photo essay exploring the natural history of a favorite species is an exciting opportunity for an in-depth study. For me, that was a photo essay on emotive images of the American dipper (Cinclus mexicanus) as it hunts in streams. 

9 Simple steps to create your photo essays

1. clarify your theme.

Choose a theme, topic, or concept you want to explore. Spend some time getting crystal clear on what you want to focus on. It helps to write out a few sentences, or even a few paragraphs noting:

• What you want the essay to be about
• What kinds of images you want to create as part of it
• How you’ll photograph the images
• The style, techniques, or gear you might use to create your images
• What “success” looks like when you’re done with your photo essay

You don’t have to stick to what you write down, of course. It can change during the image creation process. But fleshing your idea out on paper goes a long way in clarifying your photo essay theme and how you’ll go about creating it.

2. Create your images

Grab your camera and head outside!

As you’re photographing your essay, allow yourself some freedom to experiment. Try unusual compositions or techniques that are new to you.

Stretch your style a little, or “try on” the style of other photographers you admire who have photographed similar subjects.

Photo essays are wonderful opportunities to push yourself outside of your comfort zone and grow as a photographer.

Remember that a photo essay is a visually cohesive collection of images that make sense together. So, while you might stretch yourself into new terrain as you shoot, try to keep that approach, style, or strategy consistent.

Don’t be afraid to create lots of images. It’s great to have lots to choose from in the editing process, which comes up next.

3. Pull together your wide edit

Once you’ve created your images, pull together all the images that might make the cut. This could be as many as 40-60 images. Include anything you want to consider for the final essay in the wide edit.

From here, start weeding out images that:

• are weaker in composition or subject matter
• stand out like a sore thumb from the rest of the collection
• Are similar to other stronger images in the collection

It's helpful to review the images at thumbnail size. You make more instinctive decisions and can more easily see the body of work as a whole. If an image is strong even at thumbnail size to stand out from similar frames while also partnering well with other images in the collection, that's a good sign it's strong enough for the essay.

4. Post-process your images for a cohesive look

Now it’s time to post-process the images. Use whatever editing software you’re comfortable with to polish your images.

Again, a photo essay has a cohesive visual look. If you use presets, filters, or other tools, use them across all the images.

5. Finalize your selection

It’s time to make the tough decisions. Select only the strongest for your photo essay from your group of images.

Each image should be strong enough to stand on its own and make sense as part of the whole group.

Many photo essays range from 8-12 images. But of course, it varies based on the essay. The number of images you have in your final photo essay is up to you.

Remember, less is more. A photo essay is most powerful when each image deserves to be included.

6. Put your images in a purposeful order

Create a visual flow with your images. Decide which image is first, and build from there. Use compositions, colors, and subject matter to decide which image goes next, then next, then next in the order.

Think of it like music: notes are arranged in a way that builds energy, or slows it down, surprise listeners with a new refrain, or drop into a familiar chorus. How the notes are ordered creates emotional arcs for listeners.

How you order your images is similar.

Think of the experience a viewer will have as they look at one image, then the next, and the next. Order your images so they create the experience you want your audience to have.

7. Get feedback

The best photographers make space for feedback, even when it’s tough to hear. Your work benefits from not just hearing feedback, but listening to it and applying what you learn from it.

Show your photo essay to people who have different sensibilities or tastes. Friends, family members, fellow photographers – anyone you trust to give you honest feedback.

Watch their reactions and hear what they say about what they’re seeing. Use their feedback to guide you in the next step.

8. Refine, revise, and finalize

Let your photo essay marinate for a little while. Take a day or two away from it. Then use your freshened eyes and the feedback you received from the previous step to refine your essay.

Swap out any selects you might want to change and reorder the images if needed.

9. Add captions

Even if you don’t plan on displaying captions with your images, captioning your images is a great practice to get into. It gives context, story, and important information to each image. And, more than likely, you will want to use these captions at some point when you share your photo essay, which we dive into later in this article.

Add captions to the image files using Lightroom, Bridge, or other software programs.

Create a document, such as a Google or Word doc, with captions for each image.

In your captions, share a bit about the story behind the image, or the creation process. Add whatever makes sense to share that provides a greater understanding of the image and its purpose.

Photo essays allow you to explore deliberate style choices, such as a focus on shapes, patterns, textures, and lines. Since each photo is part of a larger essay, it encourages you to be bold with choices you might not otherwise make. 

5 Examples of amazing nature photo essays

1. “how the water shapes us” from the nature conservancy.

This gorgeous essay, crafted with the work of multiple photographers, explores the people and places within the Mississippi River basin. Through the images, we gain a sense of how the water influences life from the headwater all the way to the Gulf of Mexico. Notice how each photographer is tasked with the same theme, yet approaches it with their own distinct style and vision. It is a wonderful example of the sheer level of visual variety you can have while maintaining a consistent style or theme.

View it here

2. “A Cyclist on the English Landscape” from New York Times’ The World Through A Lens series

This photo essay is a series of self-portraits by travel photographer Roff Smith while “stuck” at home during the pandemic. As he peddled the roads making portraits, the project evolved into a “celebration of traveling at home”. It’s a great example of how visually consistent you can be inside a theme while making each image completely unique.

3. “Vermont, Dressed In Snow” from New York Times’ The World Through A Lens series

This essay by aerial photographer Caleb Kenna uses a very common photo essay theme: snow. Because all images are aerial photographs, there’s a consistency to them. Yet, the compositions are utterly unique from one another. It’s a great example of keeping viewers surprised as they move from one image to the next while still maintaining a clear focus on the theme.

4. “Starling-Studded Skies” from bioGraphic Magazine

This beautiful essay is by Kathryn Cooper, a physicist trained in bioinformatics, and a talented photographer. She used a 19th century photographic technique, chronophotography, to create images that give us a look at the art and science of starling murmurations. She states: “I’m interested in the transient moments when chaos briefly changes to order, and thousands of individual bodies appear to move as one.” This essay is a great example of deep exploration of a concept using a specific photographic technique.

View it here   (Note: must be viewed on desktop)

5. “These Scrappy Photos Capture the Action-Packed World Beneath a Bird Feeder” from Audubon Magazine

This photo essay from conservation photographer Carla Rhodes explores the wildlife that takes advantage of the bounty of food waiting under bird feeders . Using remote camera photography , Rhodes gives viewers a unique ground-level perspective and captures moments that make us feel like we’re in conversation with friends in the Hundred Acre Woods. This essay is a great example of how perspective, personality, and chance can all come into play as you explore both an idea and a technique.

25 Ideas for creative photo essays you can make

The possibilities for photo essays are truly endless – from the concepts you explore to the techniques you use and styles you apply.

Choose an idea, hone your unique perspective on it, then start applying the 9 simple steps from above. 

• The life of a plant or animal (your favorite species, a species living in your yard, etc)
• The many shapes of a single species (a tree species, a bird species, etc)
• How a place changes over time
• The various moods of a place
• A conservation issue you care about
• Math in nature
• Urban nature
• Seasonal changes
• Your yard as a space for nature
• Shifting climate and its impacts
• Human impacts on environments
• Elements: Water, wind, fire, earth
• Day in the life (of a person, a place, a stream, a tree…)
• Outdoor recreation (birding, kayaking, hiking, naturalist journaling…)
• Wildlife rehabilitation
• Lunar cycles
• Sunlight and shadows
• Your local watershed
• Coexistence

As you zero in on a photo essay theme, consider two things: what most excites you about an idea, and what about it pushes you out of your comfort zone. The heady mix of joy and challenge will ensure you stick with it. 

Your photo essay is ready for the world! Decide how you’d like to make an impact with your work. You might use one or several of the options below.

1. Share it on your website

Create a gallery or a scrollytelling page on your website. This is a great way to drive traffic to your website where people can peruse your photo essay and the rest of the photography you have.

Putting it on your website and optimizing your images for SEO helps you build organic traffic and potentially be discovered by a broader audience, including photo editors.

2. Create a scrollytelling web page

If you enjoy the experience of immersive visual experiences, consider making one using your essay. And no, you don’t have to be a whiz at code to make it happen.

Shorthand helps you build web pages with scrollytelling techniques that make a big impression on viewers. Their free plan allows you to publish 3 essays or stories.

3. Create a Medium post

If you don’t have a website and want to keep things simple, a post on Medium is a great option.

Though it’s known for being a platform for bloggers, it’s also possible to add images to a post for a simple scroll.

And, because readers can discover and share posts, it’s a good place for your photos to get the attention of people who might not otherwise come across it.

4. Share it on Instagram

Instagram has changed a lot over the last couple of years, but it’s still a place for photographers to share their work thoughtfully.

There are at least 3 great ways to share your photo essay on the platform.

– Create a single post for each image. Add a caption. Publish one post per day until the full essay is on your feed. Share each post via Instagram Stories to bring more attention and interaction to your photo essay.

– Create a carousel post. You can add up 10 photos to a carousel post, so you may need to create two of them for your full photo essay. Or you might create a series of carousel posts using 3-4 images in each.

– Create a Reel featuring your images as a video.  The algorithm heavily favors reels, so turning your photo essay into a video experience can get it out to a larger audience.

I ran a “create a reel” challenge in my membership community. One member created a reel with her still images around a serious conservation issue. It gathered a ton of attention and landed her opportunities to share her message through YouTube and podcast interviews and publishing opportunities. Watch it here.

5. Exhibit it locally

Reach out to local galleries, cafes, pubs, or even the public library to see if they’re interested in hanging your photo essay for display. Many local businesses and organizations happily support the work of local artists.

6. Pitch your photo essay to publications

One of the best ways to reach an audience with your work is to get it published. Find publications that are a great fit for the theme and style of your photo essay, then pitch your essay for consideration. You gain a fantastic opportunity to share your work widely and can earn a paycheck at the same time.

Remember that if you want to get your photo essay published, you may want to hold back from sharing it publicly before you pitch it to publications.

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‘Where We Are’: A Photo Essay Contest for Exploring Community

Using an immersive Times series as inspiration, we invite teenagers to document the local communities that interest them. Contest dates: Feb. 14 to March 20.

By The Learning Network

Update, March 21: This contest is closed.

The Covid-19 pandemic closed schools and canceled dances. It emptied basketball courts, theaters, recreation centers and restaurants. It sent clubs, scout troops and other groups online.

Now, many people have ventured back out into physical spaces to gather with one another once again. What does in-person “community” look like today? And what are the different ways people are creating it?

In this new contest, inspired by “ Where We Are ” — an immersive visual project from The New York Times that explores the various places around the world where young people come together — we’re inviting teenagers to create their own photo essays to document the local, offline communities that interest them.

Take a look at the full guidelines and related resources below to see if this is right for your students. We have also posted a student forum and a step-by-step lesson plan . Please ask any questions you have in the comments and we’ll answer you there, or write to us at [email protected]. And, consider hanging this PDF one-page announcement on your class bulletin board.

Here’s what you need to know:

The challenge, a few rules, resources for teachers and students, frequently asked questions, submission form.

Using The Times’s Where We Are series as a guide, create a photo essay that documents an interesting local, offline community. Whether your grandmother’s Mah Jong club, the preteens who hang out at a nearby basketball court, or the intergenerational volunteers who walk the dogs for your neighborhood animal shelter, this community can feature people of any age, as long as it gathers in person.

We encourage you to choose a community you are not a part of for reasons we explain below, in the F.A.Q.

Whichever community you choose, however, it’ll be your job to interview and photograph them. Then, you’ll pull everything together in a visual essay, which will tell the group’s story via a short introduction and a series of captioned photographs.

Your photo essay MUST include:

Between six and eight images, uploaded in the order in which you’d like us to view them.

A short caption of no more than 50 words for each image that helps explain what it shows and why it is important to the story.

A short introduction of up to 300 words that offers important background or context that complements and adds to the information in the photos and captions. You might consider the introduction the beginning of your essay, which the photos and captions will then continue. Together they will answer questions like who this community is, how it came to be, and why it matters. (Our How-To guide offers more detail about this.)

At least one quote — embedded in either the introduction or one of the captions — from a member of the community about what makes it meaningful.

In addition to the guidelines above, here are a few more details:

You must be a student ages 13 to 19 in middle school or high school to participate , and all students must have parent or guardian permission to enter. Please see the F.A.Q. section for additional eligibility details.

The photographs and writing you submit should be fundamentally your own — they should not be plagiarized, created by someone else or generated by artificial intelligence.

Updated, Feb. 29 : Please keep digital manipulation and postprocessing to a minimum in general. (That is, you may use editing software for minor corrections such as one might make in a darkroom — cropping, adjusting brightness, balancing colors, etc. — but please do not alter the reality of the photo in any way.)

Your photo essay should be original for this contest. That means it should not already have been published at the time of submission, whether in a school newspaper, for another contest or anywhere else.

Keep in mind that the work you send in should be appropriate for a Times audience — that is, something that could be published in a family newspaper (so, please, no curse words).

You may work alone, in pairs, or in groups of up to four for this challenge , but students should submit only one entry each.

Remember to get permission from those you photograph, and to collect their contact information. Learn more about this in the F.A.Q. below.

You must also submit a short, informal “artist’s statement” as part of your submission, that describes your process. These statements, which will not be used to choose finalists, help us to design and refine our contests. See the F.A.Q. to learn more.

All entries must be submitted by March 20, at 11:59 p.m. Pacific time using the electronic form below.

Use these resources to help you create your photo essay:

A related Student Opinion question to help you brainstorm ideas before you begin taking photos.

A step-by-step guide that uses examples from the Where We Are series to walk students through creating their own.

Free links to the “Where We Are” Collection :

1. The Magic of Your First Car 2. At This Mexican Restaurant, Everyone is Family 3. Where the Band Kids Are 4. In This Nigerian Market, Young Women Find a Place of Their Own 5. At Camp Naru, Nobody Is ‘an Outlier’ 6. For Black Debutantes in Detroit, Cotillion Is More Than a Ball 7. At This Wrestling Academy, Indian Girls Are ‘Set Free’ 8. In Seville, Spain, These Young Rappers Come Together to Turn ‘Tears Into Rhymes’ 9. For a Queer Community in Los Angeles, This Public Park Is a Lifeline 10. In Guatemala, A Collective of Young Artists Finds Family Through Film 11. On a Caribbean Island, Young People Find Freedom in ‘Bike Life’ 12. At This Texas Campus Ministry, ‘Inclusive Love’ Is the Mission 13. For Young Arab Americans in Michigan, the Hookah Lounge Feels like Home

An activity sheet for understanding and analyzing the Where We Are series.

Lessons on interviewing and taking photographs . While these two resources were originally created for our 2022 Profile Contest , each contains scores of tips from educators and Times journalists that can help students learn to interview, and to take and select compelling photographs that tell a story.

Our contest rubric . These are the criteria we will use to judge this contest. Keep them handy to make sure your photo essay meets all of the qualifications before entering.

Below are answers to your questions about writing, judging, the rules and teaching with this contest. Please read these thoroughly and, if you still can’t find what you’re looking for, post your query in the comments or write to us at [email protected].

QUESTIONS ABOUT CREATING YOUR PHOTO ESSAY

What is a photo essay? How does it differ from just a series of photos?

A photo essay tells a story through a series of images. These images work together and build on each other to explore a theme of some kind. The photo essays in the Where We Are series, for instance, focus on the themes of community and coming-of-age, but each through a different lens, as the three images published here illustrate. Together they are beautiful examples of how visual collections can investigate ideas by illuminating both the “big picture” and the tiny, telling details.

How do I choose a good subject for this?

Our Student Opinion forum can help via its many questions that encourage you to brainstorm local, offline communities of all kinds.

Can I be a member of the community I photograph?

You can, but we encourage you not to. Part of the point of this contest is to help you investigate the interesting subcultures in your area, and expand your understanding of “community” by finding out about groups you otherwise may never have known existed.

But we also think it will be easier to do the assignment as an outsider. You will be coming to the community with “fresh eyes” and relative objectivity, and will be able to notice things that insiders may be too close to see.

If you do choose to depict a community you are a part of, we ask that you do not include yourself in the photos.

I’d like to work with others to create this. How do I do that?

You can work alone, with a partner, or with up to three other people. So, for example, in a group of four, two people might act as photographers, while the other two interview community members. When you are ready to edit your material and write up what you have discovered, the interviewers could use their notes to handle the short introduction, while the photographers could edit their shots into a meaningful visual sequence, and help collaborate on the captions.

Please remember, however, that you can only have your name on one submission.

Do I need permission to photograph the people in this community?

You do. It is good journalistic practice to tell the people you are photographing why you are taking pictures of them, and to ask their permission. They should also know that, if you are a winner, their image and name may appear online.

Though you do not have to have a signed permission sheet from every participant, if you are a winner and we publish your work, we will need to be able to reach those depicted, so please get their contact information before you take their pictures. (If you are photographing young children, this is especially important. Secure a parent or guardian’s permission first.)

An important exception to this: If you are taking photos of crowds in public places, such as at a sporting event, a community meeting or a local fair, you don’t need to worry about permissions, as it would be impossible to get them from all attendees.

I don’t know where to begin! What advice do you have?

Once you’ve chosen a community to photograph, begin by introducing yourself to ensure the participants are open to your project. Then, devote a bit of time to just observing, noticing how and where the members of this group spend time, what they do together, and how they relate to each other.

When you’re ready to start documenting what you find, our step-by-step guide will help you take it from there.

QUESTIONS ABOUT JUDGING

How will my photo essay be judged?

Your work will be read by New York Times journalists as well as by Learning Network staff members and educators from around the United States. We will use this rubric to judge entries.

What’s the prize?

Having your work published on The Learning Network and being eligible to be chosen to have your work published in the print editions of The New York Times.

When will the winners be announced?

About two months after the contest has closed.

QUESTIONS ABOUT THE RULES

Who is eligible to participate in this contest?

This contest is open to students ages 13 to 19 who are in middle school or high school around the world. College students cannot submit an entry. However, high school students (including high school postgraduate students) who are taking one or more college classes can participate. Students attending their first year of a two-year CEGEP in Quebec Province can also participate. In addition, students age 19 or under who have completed high school but are taking a gap year or are otherwise not enrolled in college can participate.

The children and stepchildren of New York Times employees are not eligible to enter this contest. Nor are students who live in the same household as those employees.

Why are you asking for an Artist’s Statement about our process? What will you do with it?

All of us who work on The Learning Network are former teachers. One of the many things we miss, now that we work in a newsroom rather than a classroom, is being able to see how students are reacting to our “assignments” in real time — and to offer help, or tweaks, to make those assignments better. We’re asking you to reflect on what you did and why, and what was hard or easy about it, in large part so that we can improve our contests and the curriculum we create to support them. This is especially important for new contests, like this one.

Another reason? We have heard from many teachers that writing these statements is immensely helpful to students. Stepping back from a piece and trying to put into words what you wanted to express, and why and how you made artistic choices to do that, can help you see your piece anew and figure out how to make it stronger. For our staff, they offer important context that help us understand individual students and submissions, and learn more about the conditions under which students around the world create.

Whom can I contact if I have questions about this contest or am having issues submitting my entry?

Leave a comment on this post or write to us at [email protected].

QUESTIONS ABOUT TEACHING WITH THIS CONTEST

Do my students need a New York Times subscription to access these resources?

No. Students can get free access to the entire Where We Are series through The Learning Network . (All 13 photo essays are listed above, in our Resources section.) In addition, our related student forum , activity sheet and “how to” guide are also free, as are everything they link to.

However, if you are interested in learning more about school subscriptions, visit this page .

I’m not an art teacher. Can this work for my students too?

Yes! Though this is a new contest for us, we chose it in part because the theme of “community” is such an important one in subjects across the curriculum. In fact, we hope it might inspire teachers in different curriculum areas to collaborate.

For example, students in social studies could investigate the role of community locally, learning about the history of different influential groups. An English teacher might support students as they interview and craft their introductions and photo captions, while an art teacher could offer tips for photo composition. And, of course, a journalism teacher could guide the full project, or work with other teachers to publish the most successful results in the school paper.

How do my students prove to me that they entered this contest?

After they press “Submit” on the form below, they will see a “Thank you for your submission.” line appear. They can take a screenshot of this message. Please note: Our system does not currently send confirmation emails.

This contest is closed.

‘Country Doctor’: W. Eugene Smith’s Landmark Photo Essay

Dr. Ernest Ceriani made a house call on foot, Kremmling, Colo., 1948. The generalist was the lone physician serving a Rocky Mountain enclave that covered 400 square miles.

W. Eugene Smith/Life Pictures/Shutterstock

Written By: Ben Cosgrove

For his groundbreaking 1948 LIFE magazine photo essay, “Country Doctor” — seen here, in its entirety, followed by several unpublished photographs from the shoot — photographer W. Eugene Smith spent 23 days in Kremmling, Colo., chronicling the day-to-day challenges faced by an indefatigable general practitioner named Dr. Ernest Ceriani.

Born on a sheep ranch in Wyoming, Dr. Ceriani attended Chicago’s Loyola School of Medicine but opted not to pursue a medical career in the big city. In 1946, after a stint in the Navy, he was recruited by the hospital in Kremmling, and he and wife Bernetha, who was born in Colorado, settled into the rural town. Dr. Ceriani was the sole physician for an area of about 400 square miles, inhabited by some 2,000 people.

Eugene Smith’s at-times almost unsettlingly intimate pictures illustrate in poignant detail the challenges faced by a modest, tireless rural physician—and gradually reveal the inner workings and the outer trappings of what is clearly a uniquely rewarding life.

“Country Doctor” was an instant classic when published, establishing Smith as a master of the commanding young art form of the photo essay, and solidifying his stature as one of the most passionate and influential photojournalists of the 20th century. In 1979, the W. Eugene Smith Memorial Fund was founded to support those working in the profoundly humanistic style of photography to which Smith dedicated his life and his art.

Dr. Ernest Ceriani made a house call on foot, Kremmling, Colo., 1948. The generalist was the lone physician serving a Rocky Mountain enclave that covered 400 square miles. W. Eugene Smith/Life Pictures/Shutterstock

Ralph Pickering held his 5-week-old baby while waiting to be Dr. Ceriani’s first patient of the day. Pickering, a horseback guide to tourists coming to see the majestic Rocky Mountains, traveled from an outlying ranch to reach the doctor’s office. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani sat at the bedside of a patient as he assessed flu symptoms during a house call. When Smith began “Country Doctor,” he shot for a period of time with no film in his camera, to help Ceriani get used to his presence without wasting precious film. W. Eugene Smith/Life Pictures/Shutterstock

In the backseat of a car, Dr. Ceriani administered a shot of morphine to a 60-year-old tourist from Chicago, seen here with her grandson, who was suffering from a mild heart disturbance. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani examined a feverish 4-year-old girl suffering from tonsillitis. Although most of his patients were children, Ceriani was initially inexperienced in pediatrics when he started his practice, and studied up on it whenever he had the chance. W. Eugene Smith/Life Pictures/Shutterstock

Though he had no vacations and few days off, Dr. Ceriani did have use of a small hospital, which was equipped with an X-ray machine, an autoclave and an oxygen tent, among other medical necessities. Here, he explained an X-ray — he developed the film himself — to one of his rancher patients. W. Eugene Smith/Life Pictures/Shutterstock

The doctor taped a patient who broke some ribs after a horse rolled over him. “His income for covering a dozen fields is less than a city doctor makes by specializing in just one,” LIFE’s editors noted, “but Ceriani is compensated by the affection of his patients and neighbors, by the high place he has earned in his community and by the fact that he is his own boss. For him, this is enough.” W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani used a syringe to irrigate wax from an elderly man’s ear to improve his hearing. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani examined the stitches in the lacerated hand of a young patient. W. Eugene Smith/Life Pictures/Shutterstock

Two friends transported Dr. Ceriani to Gore Canyon so he could enjoy a few hours of recreational fishing, a rare treat for the hard-working physician. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani fly-fished on the Colorado River. W. Eugene Smith/Life Pictures/Shutterstock

Thirty minutes into his fishing excursion, Dr. Ceriani was called to an emergency: A young girl hasd been kicked in the head by a horse and was badly injured. W. Eugene Smith/Life Pictures/Shutterstock

The child’s worried parents looked on as Dr. Ceriani, surrounded by nurses, examined their two-year-old daughter. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani had stitched the girl’s wound to minimize scarring, but he then had to find a way to tell the parents that her eye could not be saved and they needed to take her a specialist in Denver to have it removed. W. Eugene Smith/Life Pictures/Shutterstock

The doctor helped a rancher carry his son into the hospital. The inebriated young man dislocated his elbow when he was thrown from a bronco at a rodeo. W. Eugene Smith/Life Pictures/Shutterstock

The injured elbow required a painful reset. W. Eugene Smith/Life Pictures/Shutterstock

“Don’t tell my mother,” said the young man. Still under the effects of ether, he didn’t realize she’d been holding his hand during the procedure. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani checked the blood pressure of 85-year-old Thomas Mitchell, who came to the hospital with a gangrenous leg. Knowing that Mitchell might not be strong enough to endure the necessary amputation, Ceriani had been postponing surgery. W. Eugene Smith/Life Pictures/Shutterstock

When Mitchell finally rallied, the doctor gently carried him from the basement ward up to the operating room of the hospital, which had no elevator. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani gave the 85-year-old man spinal anesthesia before amputating his gangrenous left leg. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani responded to a late-night call when an 82-year-old man suffered a heart attack at a boarding house. Town marshal Chancy Van Pelt and one of the man’s fellow tenants stood by. W. Eugene Smith/Life Pictures/Shutterstock

Knowing the man who suffered the heart attack at the boarding house will not make it through the night, Dr. Ceriani called for a priest from the kitchen. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani helped the town marshal carry the heart attack victim to the ambulance. There, the country doctor would see that his patient was as comfortable as possible, knowing there was nothing he can do to save him. W. Eugene Smith/Life Pictures/Shutterstock

The treeless ranching community of Kremmling, Colo., stood on a 7,000-ft. plateau beneath the towering Rocky Mountains. W. Eugene Smith/Life Pictures/Shutterstock

Dr. Ceriani held 11-month-old son Gary as his wife, Bernetha, steadied 3-year-old Phillip on a fence while watching a parade. Though they’d been married for four years at the time Smith was profiling the doctor, Mrs. Ceriani still struggled with the unpredictability of her husband’s schedule. W. Eugene Smith/Life Pictures/Shutterstock

A fund-raising committee in Kremmling was able to raise $35,000 in 1947 to purchase the home of the town’s retiring physician and turn it into a 14-bed hospital. The funds were used to stock the tiny hospital with as much equipment — some of it war surplus — as could be afforded. Middle Park Hospital had only three wards that could accommodate 14 patients. With a new hospital in place, the town then put out a call for a new general practitioner — a call answered by Dr. Ceriani. W. Eugene Smith/Life Pictures/Shutterstock

After finishing a surgery that lasted until 2 AM, Dr. Ceriani stood exhausted in the hospital kitchen with a cup of coffee and a cigarette. “The nurses,” LIFE noted, “constantly admonish him to relax and rest, but because they are well aware that he cannot, they keep a potful of fresh coffee simmering for him at all hours.” W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. Dr. Ernest Ceriani in the small Kremmling, Colo., hospital. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. Doctor Ceriani checked 4-year-old Jimmy Free’s foot, cut when the boy stepped on broken glass. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. Dr. Ceriani examined his handiwork after the partial amputation of a patient’s leg, Kremmling, Colo., August 1948. The patient, Thomas Mitchell, was suffering from a gangrenous infection. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. An operating room in Kremmling, Colo. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. Dr. Ceriani with a patient. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. Dr. Ernest Ceriani delivered a baby. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. Maternity ward, Kremmling, Colo., 1948. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. An incubator in Kremmling, Colo., 1948. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. The contents of a country doctor’s bag, Kremmling, Colo., 1948. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. Doctor Ceriani and town marshal Chancey Van Pelt carried a patient from a cabin in the hills near Kremmling, Colo., 1948. W. Eugene Smith/Life Pictures/Shutterstock

Not published in LIFE. Dr. Ernest Ceriani on his way to a house call in foul weather, Kremmling, Colo., 1948. W. Eugene Smith/Life Pictures/Shutterstock

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Photo Essays at LIFE

2020, LIFE Magazine and the Power of Photography (Yale UP)

On the occasion of the 2020 exhibition "LIFE Magazine and the Power of Photography," this essay reevaluates longstanding myths about "the photo essay at life" while tracing how and by whom the magazine's varied photo features were actually produced over the course of LIFE's 36-year history.

Related Papers

Unpublished Paper held at: Summer School “Raumgeflechte / Spatial Relations”, University of Zurich – June 10, 2014 Sektion II: “Photographs on Pages”

Catharina Graf

With the arrival of photographs on the pages of magazines and newspapers a new format of communication developed: The photo essay. Today, photo essays are ubiquitous. But what led to their invention? The birth of the photo essay can easily be dated with the publication of LIFE magazine in 1936, where the term photo essay has been coined. A comparison of the first issues of LIFE magazine and LOOK, which appeared a few weeks after LIFE has been successfully launched, sheds some light on what photo essays are – and why they have risen very quickly to take over the publishing world.

FK Magazine

Alise Tifentale

Today, we are used to seeing documentary images by photographers such as Margaret Bourke-White, Henri Cartier-Bresson or Robert Doisneau as fine art prints in art museums and galleries. But most of these images were initially made for the magazine page where the photographer’s name often went unnoticed. The US-based illustrated weekly magazine Life was instrumental in the process of photographers gaining more recognition and global exposure. However, this process was neither smooth nor free of obstacles. This article aims to shed light on some of the obstacles that the photographers of the 1950s met in their way to reaching recognition as artists. On the magazine page, the photographer was not yet presented as a great artist. The first spread of Robert Doisneau’s series on Parisian lovers in the June 12, 1950 issue of Life is a typical example. Life was not directly concerned with changing the social status of photojournalists. But Life featured skillfully crafted and visually attractive photo essays, thus promoting the aesthetic appreciation of documentary image as such. By doing so, Life served as a catalyst for raising photographers’ self-awareness as creative individuals, artists even—something that was not yet taken for granted in the 1950s. But this was just the beginning of a long and laborious process.

Medien & Zeit

Kevin G Barnhurst

Caa.reviews

Jason Weems

Jason E. Hill

Syllabus for graduate seminar on photojournalism

Ananna Rafa

Visual Anthropology Review

patrick sutherland

Living Pictures: Photography in Southeast Asia

Charmaine Toh

Introduction to the exhibition Living Pictures: Photography in Southeast Asia, held at National Gallery Singapore from Dec 2022 to Aug 2023. The exhibition explores the changing roles of photography in Southeast Asia from the 19th century till the present.

Michel Hardy-Vallée

Slavic Review

Olga Shevchenko

A contribution to the critical forum "The Afterlife of Photographs"

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Photo Essay: The Healing Power of Matriarchs

Someone once told me that being Native is not easy. I did not fully understand the weight of this statement until I researched my own family history and discovered what happened to my Dakota and Nakota ancestors. They, like so many others, were forced to abandon traditional ways of life and assimilate into the white man’s world . Generations later, I am a result of that assimilation, a descendant with centuries of ancestral trauma running through my veins. 

Chronic mental and physical health issues have long plagued my family. It is now known that epigenetics impact health over generations. Cycles of abuse, especially with men in my family, have been passed down, and impact how I view the world. It is my responsibility to break those cycles and heal not only myself, but my ancestors.

I did not grow up Native. Neither did my father, nor his father. On the Fort Peck Reservation in northeast Montana, my family was colonized early when my great-great grandmother was given to a wealthy, white cattle rancher in 1891 at the age of 15. I do not have all the answers about why this happened, but from what Native Elders have told me, this was not uncommon. She would later be called a “Native American cattle queen” in a newspaper out of Butte, Montana. 

After she died from strychnine ingestion, her husband sent their three daughters (one of them my great-grandmother) away from their home in Montana to attend a private Christian school. Their father (my great-great grandfather) and the U.S. government wanted to erase their Native identity. They were successful for 125 years, until I met the women who would inspire my photography project titled “Matriarch: Portraits of Indigenous Women in the Pacific Northwest Fighting for our Collective Future.”

In 2023, I received an art grant to do a project that had been brewing in my mind for five years. I had spent a few years on the frontlines, fighting proposed fracked gas and methanol facilities in the Port of Tacoma, both as a water protector/land defender and a photographer. I met many strong Indigenous matriarchs who inspired me to protect the land and water. At the time, I did not realize these encounters would turn into lasting friendships. I did not realize these women would help me come to terms with my own Native ancestry and colonial trauma. 

Elizabeth Satiacum was the first woman I met while photographing a public hearing in my hometown of Tacoma, Washington, in 2016. I was drawn to her cedar-woven hat and the red cape that covered her shoulders. Her warm smile made me feel comfortable enough to ask if I could sit next to her. 

The hearing we attended focused on a proposed methanol refinery planned to be built on Puyallup Tribal land. The refinery was being planned by Northwest Innovation Works, a private shell company owned by the Chinese government. This could explain why, five months earlier, Xi Jinping was in Tacoma visiting with Lincoln High School students and then-Tacoma Mayor Marilyn Strickland , who is now a Democratic member of Congress representing Washington’s 10th Congressional District.

It was the first time I saw so clearly the tie between corporations and our local government. Witnessing the way these companies were responsible for destroying the environment and still had access to our elected officials further motivated our protest actions. We filled city council meetings, petitioned, door-knocked, and protested around the city through artful activism. The community made such an outcry about the methanol project that the plan was scrapped.

I met Nancy Shippentower when we spoke on a panel about environmental activism in Indigenous communities at Evergreen State College in Olympia, Washington. Her parents fought for fishing rights, and their actions helped impact the Boldt decision of 1974, which continues to guide issues of Native sovereignty 50 years later. 

Today, she instills that same strength and determination in her grandchildren. She teaches young people that everyone has a responsibility to help restore the balance in the ecosystems that sustain us.

In 2017, Carolyn Christmas and I attended the same actions opposing a liquefied natural gas (LNG) facility at the Port of Tacoma. Puget Sound Energy was successful at greenwashing the project by saying LNG burns cleaner fuel than oil or coal. The majority of people do not understand that the LNG to be stored in the facility comes from areas in Canada and the Rocky Mountain states where Native people are dying from poisoned air, water, and soil due to fracking. Nor do Tacoma residents make the connection between man camps at the extraction sites and the epidemic of missing and murdered Indigenous women and girls . 

The women in my photography project did make these connections, and taught me to think holistically.

Still, it was not until years later that Carolyn would impact how I view myself as a Native person. We reconnected when my father donated firewood for her inipi (sweat lodge) in 2023 and she invited me to attend. Her joy and humor were infectious and we hit it off right away. 

Our experiences are similar in some ways; we were not raised in Native households, and we felt disconnected from ourselves. We felt invisible and lost until we learned about our People. While photographing Carolyn, I asked her what she wants the next generation to know. She replied: “Know where you come from. Know who you are. Know who your people are. Once you know those things, no one can change you.”

Spending time with these eight matriarchs and listening to their experiences helped put me on the path to finding myself and my ancestors. If I had never met these inspiring women, I might still be lost with my identity. I might not have learned about how colonization directly affected my family. I might not have learned about ancestral trauma and how it affects our DNA, even generations later. 

Now I hope to pay forward the transformative wisdom and friendship these matriarchs shared with me. I share their photos and stories of building a better collective future for all of us, including generations of our grandchildren to come, so they may enlighten and inspire others. 

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Tortured Poets Take the Lower East Side

Swifties stomped and swayed to taylor swift classics at arlene’s grocery..

I wish I liked anything as much as these people like Taylor Swift is a recurring thought I found myself having while pressed against the wall of Arlene’s Grocery last Friday night.

As someone whose knowledge of Swift’s discography and personal life has always been information acquired by happenstance, my attendance at this album-release party and costume contest for The Tortured Poets Department felt like sociological field research. I was an impartial observer sent to study the Swiftie in their natural habitat.

An overwhelmingly white, late-20s crowd turned out to celebrate the debut of Swift’s latest album at the Lower East Side bar around midnight. They danced in small clusters around the room. The women were largely clad in light-wash denim and various bodysuits, while the men seemed fresh off a long week at their marketing jobs, ripping shots before dancing it out with their boys and then quickly moving on to the next bar. But the more die-hard fans stayed for hours, belting out the words to every track while doing a lot of what I can only describe as hand choreography — pointing, clapping, and spirit fingers, punctuated by the occasional dramatic flourish of an invisible tambourine — which is a style of dance not all that dissimilar to the professional choreography I’ve seen clips of Swift doing onstage. During a couple of particularly rowdy numbers (“Love Story” and “22”), the crowd stomped their feet to the beat until it shook the floorboards. There was actually quite a bit of stomping that night.

As I circulated among the Swifties, attempting to glean what it is they love so much about this woman and her music, I heard the same answer time and time again: It’s the lyricism . Her ability to put into words the subtle nuance of the human experience, particularly as that experience pertains to love. These fans told me they’d grown up with Swift, their romances and heartbreaks, triumphs and losses unfolding in lockstep with her own. Their entire lives had been accompanied by the soundtracks she’d created. Their own youthful memories intertwined with these songs. It was a fact I could see plainly on the face of a man who gravitated to the center of the dance floor when “Style” came on, eyes closed and arms outstretched overhead as though lost in religious ecstasy.

In preparation for these conversations, I’d brushed up on my Swift lore , listening to snippets of the new album and binging the many TikTok conspiracies explaining what they all meant, connecting the ever-present clues in her work to a grand unified theory of the Swiftie-verse. But it turns out all that prep was unnecessary as they didn’t play a single track from the new album all night. The costume-contest aspect also turned out to be a bust with only one man showing up in a sundress and folklore cardigan . The closest runner-up was wearing a sweater vest. Not exactly the eager, enthusiastic stans I had expected to see flooding the venue that night.

I was also, selfishly, disappointed not to witness the crowd’s live reaction to these new songs. I wanted to glance slyly around the room during lyrics such as “Touch me while your bros play Grand Theft Auto ” and “I’d say the 1830s but without all the racists,” curious if their fandom was sincere enough to withstand these cornier moments, or if I would catch them admitting to the fallibility of their idol with a knowing eye roll and a shrug. Instead, the DJ stuck to Swift’s standard repertoire of radio hits. Pop classics, to be sure, but at this point going on a decade old. While not a ringing endorsement for the popularity of this new record, many attendees informed me that TTPD was not exactly bop heavy. It’s an album for the real fans, not the masses, they explained. About two hours into the event, the DJ stopped playing Swift’s music entirely, replacing it with the staples of my own middle-school dances, like Shaggy, the Black Eyed Peas, even Sir Mix-a-Lot. And when Justin Bieber’s “Baby” came on, it received, by far, the biggest reaction of the night.

With the release party being a bit of a letdown, at least for the Tortured Poets among us, I stopped by the restroom before heading home. There, I came upon two drunk women pressed tightly into one of the stalls, whose conversation I couldn’t help but overhear as it was delivered in heightened stage whispers. They were unpacking some drama that had just transpired on the dance floor — a heartbreak in progress. One repeatedly proclaimed that she was “so done” with this unnamed man as the other attempted to comfort her, confirming not only his profound idiocy but her friend’s utter perfection. As I sat there, I couldn’t help but feel like somehow this was the true Swiftie experience.

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In Photos: AADT Eastbound

The Asian American Dance Troupe (AADT) hosted their spring showcase, Eastbound, last weekend. Their 30th annual show, which was completely sold out, was held in the Loeb Drama Center. With over 300 members and featuring over 15 dances, Eastbound is a celebration of AADT’s broader mission: to unite students under a common passion for Asian tradition, culture, and identity.

The show opened with Flagship, AADT’s legacy group dedicated to traditional Asian dances.

The group performed a classical Tibetan dance titled “Heavenly Shower,” portraying a traditional bathing festival meant to remove disease and misfortune.

“Lotus Soul,” a dance led by Daniel T. Pham ’26 and C. Thao Nguyen ’27 marked the first ever Vietnamese traditional fan dance in AADT history.

Dancers Amanda K.M. Ip ’27 and Aaron J. Arlanza ’26 perform as part of Company, AADT’s beginner-friendly group. Boasting over twenty members, Company prides itself on providing a safe space for dancers to hone their skills. Their repertoire for the evening included upbeat pieces by Niki and Bruno Mars.

Guest performers from the Harvard Wushu Club performed at the Saturday evening show. With acrobatics and sword dances, the Wushu Club put on an impressive display for the audience.

“Moment,” choreographed by Cordelia Yu ’24, combined elements of Chinese jazz, classical, contemporary, and traditional music in an emotional performance.

Dancers in the piece “Am I Dreaming” showcased their sophisticated footwork and techniques to pieces from Stray Kids and SVT The8.

“Childhood Summers” tells the story of children playing in the fields, eliciting nostalgia and longing. The dance highlights the importance of life’s small moments, as well as the happiness found in friendships.

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Chile’s Amazing National Parks

• Alan Taylor

Across the length of Chile, stretching 2,650 miles (4,265 kilometers) from north to south, more than 40 national parks have been established in the past century, protecting many endangered species, wild landscapes, and natural wonders. Collected below are images of several of these parks, from Lauca National Park, in the altiplano of Chile’s far north, to the dramatic mountains of Torres del Paine National Park, in the southern Patagonia region.

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A view of the Cuernos del Paine, a cluster of steep granite peaks in Chile's Torres del Paine National Park. #

Flowers bloom in the desert in Llanos de Challe National Park, near the Atacama desert, 600 kilometers north of Santiago, photographed after a wetter-than-normal year, on November 5, 2011. #

Alpacas graze along the shore of Chungara Lake, with Parinacota volcano visible in the background, in Lauca National Park, near Putre, in northern Chile. #

A pair of Andean flamingos fly above Chungara Lake. #

A young mountain viscacha snuggles up to a sleeping adult on a rock in Lauca National Park. #

A waterfall known as Cascada de Ventisquero Colgante, or Hanging Glacier Falls, drops down a cliff below the face of Ventisquero Colgante Glacier, in Ventisquero Colgante Queulat National Park. #

A path meanders through moss-covered trees in a temperate rainforest in Chile's Queulat National Park. #

Moais stand in Rapa Nui National Park on the slopes of Rano Raraku volcano, on Chile's Easter Island. #

A cloud of ash billows from Puyehue volcano, in Puyehue National Park, near Osorno, in southern Chile, on June 5, 2011. Puyehue volcano erupted for the first time in half a century on June 4, 2011, prompting thousands of evacuations. #

The Leones Glacier flows into a lake in Laguna San Rafael National Park, in southern Chile. #

People pilot a small boat through floating ice at the terminus of San Rafael Glacier, in Laguna San Rafael National Park, on March 30, 2015. #

A view of some of the Siete Tazas (Seven Cups)—a chain of seven natural pools and waterfalls along the Claro River, in Radal Siete Tazas National Park. #

A view of Llaima volcano and the branches of a monkey puzzle tree (Araucaria araucana) in Conguillío National Park, Chile #

Monkey puzzle trees stand among other trees showing autumn colors along the Sierra Nevada trail in Conguillío National Park. #

A guanaco is silhouetted against the sky on a hillside in Torres del Paine National Park. #

A puma prowls through brush in Torres del Paine National Park. #

Water plunges down the Salto Grande Waterfall along Pehoe Lake, in Torres del Paine National Park. #

Antonio Lara, a researcher from the laboratory of the Faculty of Science and Climate of Austral University, looks at larch trees in Alerce Costero National Park, in Valdivia, Chile, on April 10, 2023. #

A close view of the "Alerce Milenario," in Alerce Costero National Park, seen on April 10, 2023. This giant alerce tree has survived for thousands years. Scientists see in its trunk a valuable record of how life adapts to changes on the planet. The "Great Grandfather" tree, 28 meters tall and four meters in diameter, is in the process of being certified as the oldest tree on the planet at more than 5,000 years, older than the Methuselah pine of the United States, which was identified as the oldest in the world at 4,850 years. #

A view looking north along Santa Barbara beach, in Chile's Pumalín Douglas Tompkins National Park #

Sunset colors appear in the sky over the active Chaitén volcano, with steam erupting from fumaroles, photographed from the main campground in Pumalín Douglas Tompkins National Park. #

A view of Serrano Glacier seen in Bernardo O'Higgins National Park, in the Chilean Patagonia, on February 21, 2016. #

A wider view of Serrano Glacier, seen in Bernardo O'Higgins National Park on February 24, 2016 #

The active Villarrica volcano, seen beneath a starry sky in Villarrica National Park #

A view of Tinquilco Lake, seen from a trail in Chile's Huerquehue National Park, after a recent snowfall at higher altitudes #

A herd of guanacos grazes on a hillside in Torres del Paine National Park, in the Magallanes region of southern Chile. #

A view of the Torres del Paine mountains, seen from the Mirador Las Torres #

Several rheas walk along a hillside in Torres del Paine National Park. #

A southern crested caracara rests on an outcrop in Torres del Paine National Park. #

The low sun illuminates cloud formations above the Cordillera del Paine, in Torres del Paine National Park. #

We want to hear what you think about this article. Submit a letter to the editor or write to [email protected].

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Prince Louis' sixth birthday photo has got royal fans all saying the same thing

The princess of wales got behind the camera to take the sweet snap of her son.

The Prince and Princess of Wales delighted royal fans as they shared a new photograph of their son, Prince Louis , to mark his sixth birthday on Tuesday.

The unedited close-up shot, taken by mum Kate in Windsor, showed the young royal grinning at the camera as he laid barefoot on a blanket on the grass.

Many of Prince William and Kate's Instagram followers shared their wishes for Louis and remarked what a "lovely photograph" it was.

"Love the Princess of Wales's typically calm and serene style of photography. Happy 6th Birthday Prince Louis!" one follower said.

Another commented: "How precious! What a cute lovely smile! Happy 6th birthday Prince Louis! Thanks for sharing a new photo with us Princess," while a third added: "Thank you for sharing this adorable photo! Wishing little Prince Louis a very happy birthday!"

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Several followers also commented on Louis' resemblance to his mother, Kate.

"Looking just like Catherine!! Precious photo," one shared. "He looks just like his mama," another agreed, while a third said: "Looks so much like his mommy."

MORE ON PRINCE LOUIS

The release of the portrait marked a change in the way the Prince and Princess usually issue images for their children's birthdays.

It was posted straight to social media on Louis' actual birthday on Tuesday, rather than under embargo to the press the day before, as was the established pattern William and Kate have followed each year for all three of their children since they were born.

It is understood to be due to the unprecedented time the family is experiencing as Kate undergoes preventative chemotherapy following her cancer diagnosis.

HELLO! understands that the royal couple wanted to share the image to thank those who have sent birthday wishes while Kate continues with her recovery.

The same process is expected to be followed for Princess Charlotte's birthday on 2 May.

It's the first time Louis has been photographed since the release of the Mother's Day portrait, which showed Kate with her three children at their home in Windsor, just two months after undergoing abdominal surgery. The Princess issued a public apology after the image was found to have been digitally altered.

Louis, who was born on 23 April 2018 at the Lindo Wing at St Mary's Hospital in London, was last seen publicly on Christmas Day when the royal family made their traditional festive appearance on the King's Sandringham Estate to walk to church.

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The Parents Who Regret Having Children

N o one regrets having a child, or so it’s said. I’ve heard this logic often, usually after I’m asked if I have children, then, when I say I don’t, if I plan to. I tend to evade the question, as I find that the truth—I have no plans to be a parent—is likely to invite swift dissent. I’ll be told I’ll change my mind, that I’m wrong, and that while I’ll regret not having a child, people don’t regret the obverse. Close family, acquaintances, and total strangers have said this for years; I let it slide, knowing that, at the very least, the last part is a fiction.

It is, unsurprisingly, a challenge to get solid data on the number of parents who regret having children. In 1975, the popular advice columnist Ann Landers asked her readers if, given the chance to do it all over again, they’d have children. Seventy percent said they wouldn’t; this result, though, came from a group of self-selecting respondents. “The hurt, angry and disenchanted” are more inclined to write back than contented people, as Landers observed in a follow-up 1976 column . But in 2013, a Gallup poll asked Americans 45 and older how many kids they’d have if they could go back in time. Seven percent of the respondents with children said zero. And in 2023, a study estimated that up to 5% to 14% of parents in so-called developed countries, including the United States, regret their decision to have children.

These studies align with what I've found in my personal life: While most parents don’t regret having kids, some do. Perhaps in part because I’ve written publicly about choosing not to have children , I’ve had people, especially mothers, confide in me about parental regret, and frequently enough I’ve lost count.

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Most of the time—whether I hear it in passing, quickly, from a stranger at a literary event, or late at night from a beloved friend—this kind of revelation arises from a place of anguish. Some of these parents talk about feeling utterly alone, like villains past all imagining. Several have noted that, afraid of being judged, they decline to be candid with their own therapists. If asked what I think, I reply that, from what I’m hearing, they’re not alone. Not at all. I hope it helps; I’m told, at times, it does. It’s a physic to which I’ve devoted my life: asked why I write, I often respond that books, words have provided vital fellowship during spells of harsh isolation, when I thought that solitude and its attendant, life-torquing evils—shame, guilt, the pain of exile—might kill me.

Meanwhile, I’m so often advised that I’ll be a parent that, though I’m sure I won’t, I still prod at this ghost self, trying on its shape, asking what I’d do if I felt obliged to adopt this spectral, alternate life as mine. For here’s the next question people tend to broach if I indicate I don’t plan on having kids: what does my husband think? I find this odd, a little prying—do people think I didn’t discuss this topic with him, at length, long before we pledged to share a life?—but the question also rings the alarm bell of one of my own great fears. If I respond with the truth, that he feels exactly as I do, here’s the usual follow-up: but what if he changes his mind?

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I have friends who long for kids, and I know the need to be potent, inarguable, as primal as my desire to go without. I’ve seen parent friends’ faces open with love as they watch their small children sing to living-room karaoke, the adults radiating joy as laughing tots carol and bop. Should my husband’s mind change, I can picture the rift that would open wide, dividing us. Either I’d deprive him of what he needs, or I’d give in, birthing a child I don’t want. Or, and this prospect is painful enough that it hurts to type the words, our lives would have to diverge. No bridge of compromise can quite traverse the rift: as King Solomon knew, there are no half-children.

This fear is so salient that I turned it into a pivotal tension in my upcoming novel, Exhibit : a celebrated photographer and her husband agreed they both don’t want children, but he wakes up one day realizing he does, and powerfully so. She’s certain she ought not be a parent; he’s pining for a child; they love each other very much. Short on joint paths forward, they have no idea what to do next.

Parental regret springs from a range of origins, not all having to do with privation of choice or means. In and before a post- Dobbs U.S., people have given birth against their will. The cost of raising a child runs high; for parents lacking funds and support, dire hardship can result. It’s a lack far too typical in the U.S., where there’s no federally mandated paid parental leave, and families are often priced out of childcare . But this regret isn’t a phenomenon limited to people in grave financial straits, nor to those forced into parenting. Other parents, all through the world, also wish they’d elected otherwise.

In recent months, as I waited for the publication of the novel I worked on for nine years, I kept returning to the plight I’d explored: I hadn’t yet finished wondering what I might do, how I’d live, if. And though I’d heard a range of chronicles of parental regret, as have other friends without kids, the stories were related one-on-one, in private. It’s a taboo subject, one made all the more difficult, punitive, by the ubiquitous belief that people who feel as they do either can’t or ought not exist.

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I’ve also thought about the isolating effect of silence, and what it can cost to live in hiding. I wanted to talk with parents who, if they could go back in time, might make different choices—and who’d also agree to be quoted. It was, again unsurprisingly, hard to find people willing to speak with me on the record about parental regret. I promised to alter the names of each parent I interviewed for this piece. Even so, people were skittish.

“I don't think that everyone is made for children,” says Helen, a high school teacher in her 40s. And telling people that their purpose is to reproduce is destructive, she adds. It’s what she heard growing up: though Helen wanted to take Latin in high school, her mother forced her to enroll in home economics instead. “I don't think I ever decided to have kids. I was pretty much just told that that's what you do. That's what girls are for,” Helen says.

As a result, Helen makes sure to tell her students that having children is an option, one that might not be right for them. She says the same thing to her kids, both girls. “I think that people need to know that just being themselves is enough,” she says.

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At this point, half an hour into a phone call, Helen has cried, briefly, a couple of times. Now, I’m the one tearing up. I tell Helen I grew up in a predominantly Christian Korean American community. The primacy of having kids is built into the Korean language: I knew most Korean adults only as “the mother of x” or “the father of y.” I might have felt less strange if I’d had a Helen at my high school. While I didn’t quite, at any point, decide against being a parent—I didn’t have to, since I had no inkling of the urge in the first place—I also never heard it said that there might be an alternative.

“And if you thought there was any other way to live, there's something wrong with you,” Helen says.

I ask what she’d do if she had more time to herself. “I would write. I would take walks,” she replies. “I enjoyed writing academic papers. I enjoyed writing them for my master's.” It used to upset her when classes were too easy. Given the chance, she would think for hours without interruption. She’d take up further studies.

And if she could inhabit the person she was before she became a parent? “I would have stopped that pregnancy before it happened.” But that’s the part Helen’s never said to her daughters, who, after all, didn’t ask to be born. She’s hell-bent on raising them well, not taking out any regrets on the girls. “I love them. I just don't love the choice I made.”

Each parent I talk to points out this dividing line: it’s possible to have strong, lasting regrets about a life choice while ferociously loving—and caring for—the fruit of that decision. Paul, a Canadian father of young boys, notes that though he could write a book on everything he resents having lost as a result of becoming a parent, he also would do anything for his kids. Paul’s boys are the loves of his life. Still, overall, fathering has been detrimental to his well-being.

“My body is constantly on standby, waiting for the next disaster,” Paul says. “As an introvert, I also deeply resent having no private time.” He’s fatigued and never at ease, finding all aspects of child-rearing to be stressful. It’s not a problem that would be resolved if he had more caretaking support. “I do have help with the kids from family, and I know if I asked for more help, I'd get it,” he tells me, but he often refuses help because he believes that, as a father, it's his job to take on the brunt of tasks that attend parenting.

Instead, what Paul lacks, in terms of support, is people with whom he can be honest. “I don't have anyone to talk to about parental regret,” he says. He wishes he had more spaces where parents aren't publicly shamed for feeling trapped or stifled. And though he’d felt ambivalent about becoming a father, and it was his husband who first decided he wanted a child, he hasn’t let this initial split in longing drive them apart. With his husband, as with the other people in his life, he's quiet about his regret: “As much as I might feel his desire to be a parent has led me to my decision, that decision was also my own.”

People have asked how I learned that not having kids might be an option. I live in San Francisco, where I’m hardly the only person with no kids—out of the major U.S. cities, San Francisco has the smallest percentage of children —but even so, for some people, having kids can feel so fated that they talk about not having imagined otherwise.

One friend who’s asked this question has told me she felt regret during the first years of her child’s life, but that, as her child got older, the rue left. For other parents, though, the regret proves lasting. Robin, who has adult offspring in their 40s, says that, to this day, if she could reverse time, she would “certainly not have a baby ever, not under any circumstances.” She notes that she’d had no notion of what being a parent can entail. Having grown up in an affluent, cheerful family, she was glad to have children with her husband, figuring that “it all just looked like a romantic, happy road.”

Instead, after electing to be a stay-at-home mother, Robin found herself in what she calls “the domestic gulag,” a life that consisted of being “a chauffeur and an arranger and an appointment setter and a social secretary and a party planner and a chef and a meal planner and a budgeter” and “an emergency nurse and a night nurse and a psychologist and a confidant.”

Robin also, like the other parents I spoke to, felt responsible for raising her children well, teaching them how to lead “good, honorable, happy” lives, striving to instill and model integrity and kindness. It was a daily, 20-year effort all the more crushing since, each morning, waking up, she’d recall the day’s to-do list and know that she didn’t want to do any of it.

Replying to my questions, Robin keeps having to pause to take phone calls from a nurse caring for her ill, elderly aunt. There’s no one else in Robin’s family who’ll fill the role, she says, so it’s up to her to look after her aunt’s well-being. I’m conscious that I’m telling you this because I’m alive to what at least some readers will think about Helen, Paul, and Robin: that the act of admitting to regret ipso facto convicts them as bad, unfit parents. As, that is, evil people. They know it, too, and are as afraid of being recognized as they are intent on telling people what they’re living through—hoping, with a fervor I recognize from my bygone life as an evangelical Christian, to prevent others’ misery.

Hoping to ease others’ solitude, too. Online forums aside, there are almost no spaces where a parent can discuss regret. Some of this is for good reason—no child should have to hear that they’re regretted—but what other human experience is there about which one will probably be judged a monster for having any regret at all?

One problem is that our culture wants just one kind of story about parenting, and it’s a story of “pure joy,” says Yael Goldstein-Love, a writer and psychotherapist in California whose clinical practice focuses on people who are adapting to parenthood. But, Goldstein-Love says, people often experience grief in the transition to being a parent, grief for the life they might have inhabited otherwise. “Part of what makes the grief unspeakable is that there's always a strand of this regret,” she adds.

While Goldstein-Love hasn’t had patients bring it up, she also has friends who confide in her about parental regret. I mention the alacrity with which people can lunge to say that no parent feels regret, that it’s impossible. I ask if, perhaps, this type of remorse poses an existential threat, belying an ideal picture of what we might be to our own parents. Is this an aspect of why people can be so quick to refute the notion that regret can, and does, happen?

Absolutely, she replies: Most people want to believe that our parents felt nothing but delight about raising us. “They never regretted a moment. They never hated us. And that's bullsh-t.” I ask Goldstein-Love what she’d tell parents who wish they had made another choice.

“To the extent that you can, and this is much easier said than done, try not to feel ashamed of this.” It’s tempting, she explains, to judge how we feel about life experiences, asking ourselves, “Does this make me a good person? Does this make me a bad person? Am I doing this right? Am I doing this wrong?”

But feelings aren’t inherently “truly ugly,” Goldstein-Love says. “They just are.” It’s what people make of their feelings that might be “ugly or not.” Some people don’t find joy in parenting, let alone pure joy, “and that’s also fine.” Regret is not itself a threat to a parent’s love for a child, and it can help to admit, even to oneself, that which might feel unspeakable. “I really would encourage people to realize that you are not alone in this feeling,” she says.

I think of the halting conversations I’ve been having with parents, and the difficulty with which people talk about regret. Few choices are less irreversible than deciding to be a parent: once the child is born, a person is here who didn’t previously exist. But I also wonder who’s being served well by a monolithic idea that no one regrets being a parent. Not these parents; not, as some of the people I’ve spoken with have pointed out, any kids who pick up on parental regret and think it can’t happen, except to them. If more people had the support to make reproductive choices based on their own desires and life situations, and if the monolith were spalled in favor of plural narratives that better reflect the complexities of human experience, what then?

I think of the people who have spoken to me about regret and isolation, including those I haven’t yet mentioned—a mother finishing nursing school in Mississippi, a mother of five in Nebraska, and all the privately confiding parents. One parent asks at the end of our conversation, “What have other parents said? Was it the same thing? Was it the same thing as me?”

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