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Photographers guide inclusive photography

The Photographer ? s Guide to Inclusive Photography CTABLE OF CONTENTS INTRO PHOTOGRAPHING RACE PHOTOGRAPHING THE GLOBAL SOUTH PHOTOGRAPHING INDIGENEITY PHOTOGRAPHING GENDER PHOTOGRAPHING THE LGBTQAI COMMUNITY CONCLUSION ABOUT THE AUTHORS The Photographer ? s Guide to Inclusive Photography This guide features ?rst-hand accounts and insights from industry leaders To learn more about their expertise and photographic work please review the bios at the end of this document ? PhotoShelter Inc No part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical photocopying recording scanning or otherwise without the prior written consent of PhotoShelter Inc The logos of the companies described are the trademarks of their respective owners No endorsement is implied PhotoShelter Inc makes no representations or warranties with respect to the accuracy or completeness of the contents of this work and speci ?cally disclaim all warranties including without limitation warranties of ?tness for a particular purpose The advice and strategies contained herein may not be suitable for every situation Cover Image Amarie Baker New York from the series ? Liminal Space ? by Mengwen Cao CA note from PhotoShelter In just a few short months our world has turned upside down The frameworks and narratives with which we once navigated social and professional experiences have been shaken to their core And with so much in ux it's paramount each of us dedicates time and energy to visualizing our eventual return whenever that may be The stories we tell with our photographs have always mattered Right now we have a unique opportunity to step back think critically against the backdrop of our trauma and make choices about the future we want to build together The essays in this guide carry their own emotional trauma alongside a completely unique historical context But are the current frameworks we use as photographers and storytellers still suited to these contexts Of course frameworks are only successful when they're built on context And frequently this context is what separates the photographer and the subject from the community being photographed These essays challenge our preconceived frameworks They ask us ?? the visual storytellers ?? to consider how to contextualize the story in a way that composites an entire history into the same frame as the community being photographed But should a new framework be built explicitly by those in that community Does one framework truly work anymore when we live in a society so rooted in diversity There are any number of questions outsiders should ask before they enter into a community that is not their own Because these pieces are stories we think that's a good place to start As photographers there's a moral obligation to listen to and understand the story ?rst before you try to tell it A shared meal a city council meeting a walk through the red light district photography is as much about empathy as it is about creating a composite image Without the connection between the