The famous photographer Ansel Adams once said, "Photography, as a powerful medium of expression and communication, offers an infinite variety of perception, interpretation and execution." In this statement he really summed up the power of a good photograph and the damage that a bad photograph can do. So often we hear the phrase "the camera never lies". In the fact the absolute opposite is true: the camera does nothing but lie.

Consider for a moment how a photograph is taken. Under normal lighting conditions, a single photograph represents one-sixtieth of a second in time (in bright daylight this may reduce to one-fivehundreths of a second). In that very precise moment, a capsule of time is caught and forever held, never moving, never changing and never evolving. What we have here is a tableaux, which can only be interpreted by the viewer of the scene. Stephen Sondheim wrote a wonderful piece of musical theatre called Sunday in the Park with George, where he took the Seurat painting A Sunday Afternoon on the Island of La Grande Jatte and tried to recreate the circumstances that led to each character arriving at their frozen position represented in the painting. When we look at a photograph we immediately begin to create a story based on very individual and subjective opinions and experiences. We interpret what we see in relation to our own perceptions and, by doing so, decide whether we like, trust or respect what we are seeing.

In addition, not only does the camera lie but also so does the processing of photos. Ever since modern photography was invented, photographers have been striving to create impossible images through the use of double exposure shots, darkroom processing techniques and special printing technology. And in today's digital world this ability to manipulate photos is available to a mass market through cheap digital cameras and simple home computers. Often this type of fictitious image creation is used in a very public arena: in April 2003, during the Iraq War, a photographer from the Los Angeles Times was fired for digitally altering a photograph portraying a British soldier with Iraqi civilians. The photographer did a very skilled job of combining the elements of two images that were taken seconds apart in order to tell a very different story from reality.

However, as a musician it is important and useful to take advantage of these overly creative possibilities in order to tell a convincing story and energise the viewer to make a certain decision. People often make a judgment in about 15 seconds and it is up to you to create the material that leads them in making the correct judgement. And this brings to mind another overused, but true clichŽ that a picture says more than a thousand words. When reading the newspaper, without a doubt, people will always look at the pictures first before either reading the caption or the full article. Some news stories in newspapers do not even link to articles but are simply a photograph with a brief explanatory caption. The readers are thus invited to interpret the photograph and almost create the news article themselves.

In the same way, the photograph placed on the front cover of your brochure will not have a direct "article" or caption associated with it and therefore must lead the viewer to create an image and story about you, your ensemble or musical organisation. This story will create a belief system that the reader will carry with them while reading through the content of your brochure. For example: if you were sending a brochure to a respected concert hall then your photo should tell a story that matches the culture and expectations of that particular audience. However, you would not be wise to use the same image for a brochure dedicated to educational outreach programmes for inner-city London schools. Your brochure for music societies would contain yet a further different picture that would, once again, differ from your brochure targeted towards conductors of international orchestras from whom you wish to procure concerto performance opportunities.

What this all boils down to is that you cannot use one photograph for all occasions. Quite the contrary - you will need numerous photographs that each tell a specific and particular story about who you are and what you do while creating an immediate rapport between you and the viewer of the photograph.

So the first questions that you need to ask yourself when trying to decide on your brochure photograph is what story are you trying to tell who is going to be interpreting this story? Understanding your market and what their attitudes are expectations are (their psychographic segmentation) will allow you to create an image that speaks directly to them and creates an image in their mind that links directly to the judgements you are trying to lead them to. This story can be one of the serious musician or the laid-back artist. Maybe you wish to portray an informal, humorous persona or maybe just pure energy and movement. Integrity, reliability, consistency, understanding, expertise, knowledge, etc., etc. - these are all atmospheres and stories that can be told through the medium of a photograph.

Once you have decided on the story you want your photograph to tell then you need to research the best practical way to turn your idea into a reality. You will need to decide whether you want to have a studio or location photograph taken. Both present certain advantages and disadvantages. Studio sessions are highly customisable and can be manipulated to provide a perfectly choreographed picture. You will be able to use any props desired, changeable backgrounds, specialised lighting techniques, wind machines, hoists & joists Ð anything really required in order to create a specific thematic concept. Studio sessions are much easier to control since lighting effects will not be subject to the time of day, your hair can be managed to perfection, clothes can be changed as an when is necessary and time can be spent getting the perfect effect without worry of losing any particular atmospheric element. However, studio photographs can sometimes lack a certain natural energy and spontaneity.

Photographs on location (i.e. outside or in a specific space) can offer a wonderfully natural ambiance and, by using well-recognised landmarks or iconography such as background buildings or leafy forests, you can often tell a much deeper and vibrant story than can be recreated in a studio. However, the drawbacks are that one is very often at the mercy of the elements and lighting conditions and some situations may not lend themselves to the sensitivities of various musical instruments (if you are using them in your photos).

The best way to decide on what type of image you are trying to create and whether you should opt for a studio or location setting is simply to look at as many other peoples photographs as you can get your hands on. Look at CD covers, press pictures, photographs in music magazines and promotional pictures used in musical leaflets and flyers. Keep a portfolio of the portraits you like best and use this to show your photographer when composing the structure of your photos.

Which brings me onto the subject of choosing a photographer. There are lots of photographers out there and it is, once again, a matter of research and personal preference. Write down the names of photographers that have taken pictures that you like and spend time speaking to photographers to learn about what they do. My father put himself through university by taking photographs at weddings and was at university with an author who later became a very famous popular fiction writer. One day this author turned to my father and said "David, I saw your last photograph. It was amazing. Tell me, what camera do you use?" To which my father replied, "You know, I read your last book. It was amazing. Tell me, what typewriter do you use?" And this really sums up the issue: it's not the equipment that takes a good photograph; it's the person behind the lens that creates the artistry. So, in this respect, the most amazing photograph can be taken with a disposal instant camera if the person behind the lens knows what they are doing. Speak to photographers and look at their portfolios. Find out what their visions are for various styles of photos and get them to understand what you want. Not only will a professional photograph require a large investment of your money but the result will also act as your representative to hundreds of people who have never met you. Therefore, not only do you trust a photographer with your money but also your image. So talk, discuss and explore options with them so as to create a finished product that you will be proud and happy to send out to anyone who requires your photo.

Once a photographic session has been completed you will, not only be very tired, but also very confused. A long session may result in 50 or 100 different choices from which you will maybe only require five or six. In addition, it is difficult for you as the subject of the photo to be totally unprejudiced as to which looks nice or not. In a photograph we see ourselves completely differently: we don't always see what we are expecting due to the fact that we are so used to seeing ourselves as a mirror image (when we look in a mirror or see any other reflection of ourselves). For the first time, through the medium of a photograph, we see ourselves as others see us i.e. the correct way round. So it is vital, therefore, to get as many objective opinions as to which photos are more suitable than others. The best way to achieve this is not to tell the viewer any details about what story you are trying to portray, but rather get them to tell you what story they see. You will soon gain a consensus on which photograph portrays the image you were striving to project.

One final point: it is important to negotiate the copyright agreement of the photograph with the photographer before you enter into any contract. Often the copyright will belong to the photographer, which means that every time you want a copy of the photograph you will need to get the photographer to make a print for you. Added to this, if you wish to use your photograph for other purposes (for example as a press photo or to place on a website) then there may be further costs involved. In addition, the costs of photographic sessions should be itemised before the session begins. Make sure that what you are paying for does not contain any hidden costs such as special equipment, extra film, fees for assistants, darkroom time or initial print reproductions.

With all of this, the most important aspect to keep in mind is the creative aspect of the story you are trying to tell. Your personality must flow through the photograph and as the famous photographer Henri Cartier-Bresson said, "In photography, the smallest thing can be a great subject. The little detail can become a Leitmotiv." Look for and use these details that will provide the viewer with a rounded image of who you are and what you stand for.

Liam Abramson 2003

this article is copyright protected. Morgensterns is licensed to reproduce it. No further copying is permitted without Morgensterns or the author's permission