Hit the Books with Dan Milnor: From Folder to Finished Book, or, the Importance of Editing

Photojournalism school was rather tense. There were many rules, ethical considerations, and the burden of proof regarding images used to control a narrative—if that narrative, for whatever reason, came into question. These rules can feel stifling, but also increase discipline, sharpen skills, and promote an all-out approach to picture-making. As they say, “Anything for a photograph.”

Photojournalism isn’t photography because the “journalism” tag implies a news angle, a deadline, and a readership. Unlike any other genre of photography, photojournalism combines imagery and writing. This is not to say photojournalism is better than other photographic pursuits, but there is a reason why many of humanity’s most memorable images were made by photojournalists.

“PJ school,” as we referred to it, involved completing assignments on time and presenting the finished work to the class. The finished works were a combination of wet darkroom prints, polished written essays, and occasionally, some design. Written mistakes were considered especially grave. At the beginning of our education, we were each handed a copy of The AP Stylebook,” a legendary news writing guide created by The Associated Press. The guide covered writing ledes, correctly captioning a photograph, and editing a news piece. If any of us made a mistake that was covered in the AP Stylebook, it meant an instant “F” on the entire project.

Editing was considered equally important to the photographs. Most of us were destined to work in the news business, which meant, back then, newspapers and magazines. Space for photography was limited and in direct competition with advertising. There was no room for sloppy editing. Most assignments had to be distilled to a single image. Because we were utilizing analog technology, like film and wet darkroom prints, editing was easier because processing and printing a single image was costly and required hours, sometimes days. This forced us to spend considerable time determining which images were essential. You couldn’t leave a photograph in your edit because you believed it might be good. You had to know it was good before the image was placed in the enlarger.

When digital photography arrived, it brought with it a great deluge of imagery. Suddenly, a photographer could shoot nearly endless photographs. This was both good and bad. Having unlimited images meant some scenes or situations could be covered more extensively, but with the arrival of additional imagery came additional time required to edit. And this is where PJ school paid off for me in the long run. Our editing skills transferred to the Digital Age. Even though we were now utilizing digital technology, we were still editing with analog eyes. 

High-level editing skills are equally critical when it comes to making photography books. We’ve all heard the expression, “Less is more,” which certainly applies to bookmaking. Shooting a thousand images and editing to 500 or even 200 is not good enough. Each shoot, each scene, must be reduced to only the best. When you have enough of the best, you have enough for a book. Photographers must remember the audience wasn’t with them when they made their images. The audience won’t remember the sound or smell. They won’t remember your conversations or the drama you endured. The audience only has the final edit, the end result. And they expect it to be good.

A healthy approach is to edit each scene down to the 10 best. Then edit to five and ultimately to the single most important image from that scene. In addition, find the best image for the cover. This might not be the single best image from the original edit. The best images, in general, are often complex, rewarding repeated viewings and sustained attention. The best cover images are often simple. They need to sell the book, and to do that, they must immediately capture the viewer’s eye amidst so much other visual clutter.

I teach international photography and bookmaking workshops twice a year. Although I photograph during these trips, my primary responsibility is helping students improve their photography and bookmaking skills. Therefore, I don’t consider my work from Peru to be a “classic” photo series. During the last Peru workshop, I focused on making multiple exposures. This was a technique I first attempted in Albania the year before. Multiple exposures require a new way of seeing the world. Catching moments is still the key ingredient, but form and density are equally important.

I shot about 1,000 multiple exposures over two weeks. I’ve been a photographer since 1988, so I often feel I know the best images even before I begin editing. I quickly narrowed down the overall haul to 267 photographs. My next edit was able to cut this down to 40 photographs. My final edit brought the entire shoot down to 12 images. This reflects the balance of the subject matter, including urban, rural, human, landscape, transport, and other perspectives. My aim is to tell a story, not to show you my photography skills. My endgame is always a book. The edit must be watertight. Modern readers are fickle and often have challenges with their attention span, so the edit must contain only the essential elements.

Editing is an art form, and there is a reason why the position of full-time photography editor has been a critical part of the professional photography field since the beginning. This brings me to the final point. Once your edit is complete, get a second opinion. Going from a folder full of images to a finished edit or finished book takes time and expertise. We often become emotionally attached to our imagery, making it difficult to be as unmerciful as we need to be. Get a second opinion from someone who knows photography or loves it like you do. Resist the urge to push back. You don’t have to agree with every single edit, but trust that this is part of letting go of your vision and seeing how others respond to it. Edit and refine, and try to enjoy the process. 

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Dan Milnor is a professional photographer, author, and Blurb’s creative ambassador. His photography and advice on the importance of editing help photographers of all kinds turn their ideas into published books. Ready to join them? Start making a book today.