A photojournalist is more than a passive observer in the moments before a shot. Eyes alert, breath steady, hands ready—but what about the mind? What about the internal lens we rarely develop until later in our storytelling journey?
The best photographers aren’t just seeing—they’re feeling, anticipating, and eventually reflecting. In Brené Brown’s words, they’re practicing metacognition: thinking about their thinking.
The First Awareness: Observation
When we begin photojournalism, our first superpower is visual observation. We study light, read rooms, and frame interactions. This is what Brené Brown would call situational awareness—we notice what’s happening around us. It’s the first lens we learn to use.
The Second Awareness: Anticipation
With experience, we begin to anticipate. We can feel a moment building before it breaks—a hug, a tear, a confrontation, a prayer. That’s anticipatory awareness. We pre-visualize scenes not yet born. We understand the rhythm of emotion before it shows itself.
But all of this is still about them.
The Final Awareness: Ourselves
Here’s what often comes last, if at all: self-awareness.
And this is where metacognition comes in.
At around the 15:55-minute mark of her podcast with Adam Grant, Brené Brown talks about metacognition not just as an intellectual exercise, but as a lived skill—being conscious of your internal reactions, patterns, and how you show up. For photographers, this means asking:
- How am I affecting the space I’m in?
- Am I shrinking the energy in the room, or expanding it?
- What does my face, posture, or silence communicate to others?
This connects beautifully with Vanessa Van Edwards’ idea of Resting Bothered Face (RBF). In her YouTube video “Fix Resting Bothered Face [RBF] with these simple tweaks” (around 1:30–2:00), she explains how our neutral expressions can unintentionally appear closed, judgmental, or even annoyed—especially in emotionally charged or vulnerable settings. Our unspoken presence can speak louder than our camera ever could.
Beyond the Camera
Metacognition matters even more when the camera is off.
Our presence still frames the moment in debriefs, classrooms, and communities. We’re still storytelling—but now through tone, timing, and emotional openness.
So, the question becomes: Am I aware of my awareness? Am I paying attention not just to what’s happening, but to how I think about what’s happening—and how that shapes the people I’m with?
Coaching Connection in an Isolated Craft
Photojournalists often work alone. This solitude is both a gift and a risk.
So, how do we coach ourselves—and our peers—toward greater community through metacognition?
1. Mirror Check
Before you enter a scene, please look at your face. What’s it saying? Is it open? Curious? Judgmental?
2. Reflect, Don’t Just Review
After the shoot, don’t just cull images. Ask: What was I like in that space? Did I bring presence, or just presence of mind?
3. Invite Feedback
Ask trusted subjects, students, or collaborators: How do I come across when working? It’s one of the most vulnerable and powerful things we can do.
4. Practice Emotional Rehearsal
When entering emotionally charged scenes, prepare yourself, not just your gear. How might you respond internally? How will you ground yourself?
Closing Frame
You’re not just capturing the story.
You’re part of the story.
Your metacognitive presence—your ability to be aware of your awareness—transforms your craft from visual witness to relational catalyst. It turns isolation into connection and builds community even when you work alone.
And maybe, in that awareness, we discover that the most powerful lens we ever develop is the one we turn inward.