5 tips for photo diversity

We’ve all seen this—the group shot consisting of every single minority group, awkwardly huddled together, screaming ‘affirmative action’. How do you avoid such a train wreck when it’s your turn to coordinate a photo shoot for your workplace or institution?

Lately, our art department has been generating far more creative from photo shoot projects vs traditional methods of relying on stock photography assets. I’ve been asked to give my opinion on what type of shots to take. My conversations usually end with a rant professing my disappointment of creating ‘forced diversity’ shots. In light of this, I’d like to share some quick and easy things you can try for your next photo shoot.

Quality of photograph
Ditch watercolour backdrop or burn it. It’s hurting you more than doing any good. Stay away from things that point out how ‘contrived’ the photo shoot is. If your design relies heavily on the photo, take it seriously and hire a professional. This is recommended for any photo/design shoot. “No”, your new 5 .1 megapixel point and shoot won’t cut it, sorry.

Try an all ‘non-caucasian’ photo for a change
All Black, all Asian, all Indian, all anything. Try it. The main argument against this idea is that ‘it doesn’t represent us properly, we don’t want to give the impression that this is an all-XXXX school.’ It’s been done for decades the other way around, why not balance it out a bit? Plus I’m not saying to do ALL your brochures like this, but having one or two in the mix amongst your hundreds of design projects won’t hurt. I challenge an organization or institution to try this for a major cover shot that doesn’t have to do with a message of diversity.

New arrangement: Valley Girl, sorry, you’ve been bumped
You too—captain of the football team. You’ll probably notice that 90% of all group shots’ focal point are the two people in the centre. As long as I can remember, it was the Barbie and Ken of your school (I remember this because I could never relate to Ken and would wait for the day I’d see someone like me as the focal point). As your eye moves outwards you’ll see Asian girl, Indian boy, Aboriginal girl—and then maybe some ambiguous person or wild card at the end. Recently, this sort of arrangement is becoming less popular, but still; ‘take risks people, we can break up the happy couple for the photo and it won’t affect their Facebook status.’

Genuine friendships
Here’s a generalized truth: Wang-Xi Lu, the .NET programmer, probably isn’t best friends with Cindy from the cheerleading squad, nor has he even built up the courage to share eye contact with her. But yet, we’ll combine the two strangers in a room in hopes of getting a genuine shot. This is the definition of a shot that is ‘too contrived’. In a school shot, for instance, you rarely work with paid models, so get real friends together—people who are comfortable with each other. Stroll the hallways and you’ll surprisingly find real friends hanging out with each other. This isn’t the 50s, you’ll find actual examples of racially diverse people intermingling with each other. Start there. If they’re not good looking enough, move on. Repeat as necessary.

Bacon, ham and pork chops—all from one magical animal?
This, I say to clients all the time and they seem to get a kick out it. It might seem obvious but I’ve seen it happen. Don’t assume because you have a non-caucasian girl in a wheelchair you’ve magically covered three minority groups right there. That’s just non-sense (please do include her, but I’m just saying don’t think you’re done there.)

Don’t worry about realigning your corporate mandate to match the United Colors of Benetton—I realize it is a double-edge sword when it comes to photo diversity. When talking to clients I try to give them these tips to think about. It really comes down to being genuine with your intent. If you truly don’t see colour and aren’t trying too hard to prove it, the authenticity will come naturally. If you have found other techniques that work, I’d love to hear about them.

Good luck!