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Photojournalism 101228235710-phpapp01

MICT - Media in Cooperation and Transition
MICT - Media in Cooperation and Transition

This document provides an overview of photojournalism concepts and techniques. It covers topics like visual storytelling, composition rules, lighting, file formats, lenses, and legal/ethical issues. The document also provides examples of photo organization and gives tips for coaching student photographers.

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Photojournalism 101228235710-phpapp01
JEA standards 1A.10. Value of photojournalism to tell stories in compelling ways CJE test format: multiple choice, short answer, demonstration exercises
overview photo storytelling basic terms and techniques rules of composition lighting basics 鍖le formats photo organization and storage types of lenses photojournalism law and ethics software resources
visual storytelling Good photos tell stories by providing unique perspectives, capturing important moments and showing things people havent seen before. Photo types: action reaction mug shot environmental portrait cutout background (COB) photo illustration
telling the whole story angles: birds eye view (high), normal eye view, worms eye view (low) distances: close-up, medium range, wide angle photos by Taylor Howse, Jamie Nakagawa, Kara Stone
coaching student photogs arrive early know your subject bring extra batteries, cards get close stay out of the action take notes photo by Lisa Aerts move around get the safe shots 鍖rst
action photo by Justin Pugh
reaction photo used with permission from Jostens
important concepts aperture depth of 鍖eld shutter speed sensitivity to light (ISO) exposure equivalent exposures
aperture (f-stops) the part of the lens that controls the amount of light reaching the 鍖lm, like the pupil of the eye each f-stop lets in twice as much light as each higher f-stop and half as much light as each lower f-stop. For example, f/ 5.6 lets in twice as much light as f/4 and half as much light as f/8. the less the light available, the lower the number f-stop (wider aperture) necessary graphic used with permission from Bradley Wilson
depth of 鍖eld the area in front of and behind the focal point that stays in focus lower numbered f/stops have a shallow depth of 鍖eld (only the main focal point is in focus, blurred out background) higher numbered f/stops have higher depth of 鍖eld
depth of 鍖eld photo by Andrew Dowd a low aperture, such as f/2.8, gives this photo a shallow depth of 鍖eld
shutter speed how long the lens of the camera stays open each shutter speed lets in half as much light as the next slower shutter speed and twice as much light as the next faster shutter speed need to balance with the amount of light available graphic used with permission from Bradley Wilson
shutter speed photos by Liz Grover a fast shutter speed will stop the action
sensitivity to light International Standards Organization the measure of the 鍖lms or images sensors sensitivity to light the higher the number, the more sensitive the 鍖lm or the image sensors are to light the higher the number, the more grainy (鍖lm) or noise (digital) graphic used with permission of Bradley Wilson
sensitivity to light using a higher ISO helps in low-light situations but can cause photos to have too much grain (鍖lm) or noise (digital) photo by Renzo Giusti, from Flickr with Creative Commons licensing
exposure camera exposure modes (most digital cameras) P or Program or Auto: camera sets both aperture and shutter speed AV or Aperture Priority: user sets aperture, camera sets shutter speed TV or Shutter Priority: user sets shutter speed, camera sets aperture M or Manual: user sets both shutter speed and aperture
exposure underexposing subject by using backlighting and dropping the f/stops down two levels creates a silhouette even on automatic settings like program mode, you can achieve this by shooting directly into light without using 鍖ash
photo by Hailey Heikkenen
photo by Hannah Feagans basic rule: In bright sunlight, at f/16 use a shutter speed closest to the ISO. This photo was shot using ISO 400 at f/16 with shutter speed 500 (closest to 400).
equivalent exposures two di鍖erent exposures that allow the same amount of light to reach the 鍖lm or image sensors, using a di鍖erent aperture and shutter speed combination depending on what e鍖ect you want, for every f/stop you drop down, go up a shutter speed graphic used with permission of Bradley Wilson
composition rule of thirds 鍖ll the frame leading lines framing creative angles repetition center of visual interest
rule of thirds points of interest should be at the intersection of the tic-tac-toe lines graphic used with permission of Jostens
鍖ll the frame get in close so that the center of interest is obvious photo by Elyssa Seals
leading lines and leading looks use the natural lines in the setting to add visual interest; leading looks are based on the eyes or direction of the subject with photo by Kelsey Kehrees implied rather than actual lines
framing use an object to act as a picture frame for the subject photo used with permission from Jostens
creative angles up, down, behind the subject photos by Jake Leech, Elyssa Seals
repetition capture repeating objects or a pattern photo by Brycen Guerrero
center of visual interest clear focal point; obvious subject photo by Margaret Tinker
lighting basics key: the main light on your subject 鍖ll: the light that balances the key light; usually set on the opposite side of the key light, twice as far from the subject back: lighting that lights the background behind the subject hair: lighting the hair of the subject harsh: a bright direct light that casts distinct shadows soft: a softer, indirect light that casts muted shadows di鍖used: a light that has been dispersed by cloth, material, or frosted glass for example natural: sunlight arti鍖cial: lamp light
ideal lighting conditions outdoor sports: natural light if possible indoor sports: strobe 鍖ash if possible portraits: key, 鍖ll, back and hair light if possible. If no article light kit available, use window as key and re鍖ective surface as 鍖ll. indoor activities: key and 鍖ll light
鍖le formats the four most common 鍖le formats used are: TIF - Tagged Image File Format, uncompressed and compressed formats PNG - Portable Network Graphics, standardized compression JPG - Joint Photographic Experts Group, compressed format GIF - Graphics Interchange Format, compressed format dating back to CompuServe in the 1980s
鍖le formats compression comes in two forms: lossless and lossy lossless compression loses none of the image information during compression and decompression. lossy compression as its name says removes some of the original photographic detail. Lossy compression can reduce the size of image 鍖les to a far greater extent than lossless compression
Photojournalism 101228235710-phpapp01
RAW 鍖le format digital equivalent of negative in 鍖lm contains raw pixel information directly from cameras sensors developed in several steps into a 鍖nal JPEG or TIFF, each of which may contain several irreversible image adjustments RAW o鍖ers more control over how 鍖nal JPEG or TIFF is generated also takes up a lot of space on memory card or computer
organization encourage students to know and sort their own photos keep your photos, just separate the good from the not-so-good if you change a format or alter the photo in Photoshop, be sure to make a copy of the original
example of yearbook photo organization academics PROJECT
example of yearbook photo organization sports
example of newspaper PROJECT
types of lenses 鍖sheye (15mm): extreme wide angle lens wide-angle lenses (20-35mm): good for moving close to subject but still getting a lot in the frame; distortion along the edges normal (50mm): routine shooting short telephoto (85-135mm): good for portraits, candids and some sporting events long telephoto (200-400mm): when subject is distant; good for sporting events and wildlife photos
legal/ethical issues invasion of privacy copyright infringement digital manipulation ethical dilemmas photo vs. photo illustration
invasion of privacy public disclosure of private and embarrassing facts intrusion upon seclusion trespass secret surveillance misrepresentation false light misappropriation
copyright infringement generally, copyright can apply generally, copyright does to the following: NOT protect: photos facts/ideas illustrations most federal government records cartoons works in public domain music (e.g., copyright expired) logos odds & ends (titles, most things on the Internet slogans, short phrases, familiar symbols, etc.)
basic fair use rules If you did not create it and/or you dont own the copyright to it, you must get permission to use it Except for the FAIR USE RULE using a limited amount of a copyrighted work for news, criticism, educational or informational purposes without consent may be permissible as a fair use not every use by a student media organization is a fair use
common fair use examples graphics created by the Student Press law Center, Media Law Presentations
common fair use examples graphics created by the Student Press law Center, Media Law Presentations
photo software Image Capture: great for quickly uploading and organizing photos iPhoto: easy uploading and editing Adobe Photoshop: advanced editing Picasa: free Google product Picnik: backgrounds, e鍖ects and more special plug-ins: iCorrect Professional by Pictographics, Lightroom by Adobe, etc
where to look photo editing: http://ncsu.edu/sma/instructional- material/photography-manual/camera-basics/ (copyright Bradley Wilson) curriculum: http://bradleywilsononline.net/handouts/ photojournalism/ (copyright Bradley Wilson) http://jea.org/curriculum/photography/index.html www.poynter.org (Visual Journalism) photo ethics: http://www.sree.net/teaching/ photoethics.html
text resources Photojournalism: A Professionals Approach by Kenneth Cobre Get the Picture by Jostens JEA Photojournalism Curriculum
getting answers commission chair Mark Newton: marknewt@comcast.net JEA web site > Certi鍖cation study guide online at www.jea.org/ certi鍖cation follow us on Twitter @jeaCerti鍖ed or like our Facebook fan page

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Photojournalism 101228235710-phpapp01

  • 2. JEA standards 1A.10. Value of photojournalism to tell stories in compelling ways CJE test format: multiple choice, short answer, demonstration exercises
  • 3. overview photo storytelling basic terms and techniques rules of composition lighting basics 鍖le formats photo organization and storage types of lenses photojournalism law and ethics software resources
  • 4. visual storytelling Good photos tell stories by providing unique perspectives, capturing important moments and showing things people havent seen before. Photo types: action reaction mug shot environmental portrait cutout background (COB) photo illustration
  • 5. telling the whole story angles: birds eye view (high), normal eye view, worms eye view (low) distances: close-up, medium range, wide angle photos by Taylor Howse, Jamie Nakagawa, Kara Stone
  • 6. coaching student photogs arrive early know your subject bring extra batteries, cards get close stay out of the action take notes photo by Lisa Aerts move around get the safe shots 鍖rst
  • 7. action photo by Justin Pugh
  • 8. reaction photo used with permission from Jostens
  • 9. important concepts aperture depth of 鍖eld shutter speed sensitivity to light (ISO) exposure equivalent exposures
  • 10. aperture (f-stops) the part of the lens that controls the amount of light reaching the 鍖lm, like the pupil of the eye each f-stop lets in twice as much light as each higher f-stop and half as much light as each lower f-stop. For example, f/ 5.6 lets in twice as much light as f/4 and half as much light as f/8. the less the light available, the lower the number f-stop (wider aperture) necessary graphic used with permission from Bradley Wilson
  • 11. depth of 鍖eld the area in front of and behind the focal point that stays in focus lower numbered f/stops have a shallow depth of 鍖eld (only the main focal point is in focus, blurred out background) higher numbered f/stops have higher depth of 鍖eld
  • 12. depth of 鍖eld photo by Andrew Dowd a low aperture, such as f/2.8, gives this photo a shallow depth of 鍖eld
  • 13. shutter speed how long the lens of the camera stays open each shutter speed lets in half as much light as the next slower shutter speed and twice as much light as the next faster shutter speed need to balance with the amount of light available graphic used with permission from Bradley Wilson
  • 14. shutter speed photos by Liz Grover a fast shutter speed will stop the action
  • 15. sensitivity to light International Standards Organization the measure of the 鍖lms or images sensors sensitivity to light the higher the number, the more sensitive the 鍖lm or the image sensors are to light the higher the number, the more grainy (鍖lm) or noise (digital) graphic used with permission of Bradley Wilson
  • 16. sensitivity to light using a higher ISO helps in low-light situations but can cause photos to have too much grain (鍖lm) or noise (digital) photo by Renzo Giusti, from Flickr with Creative Commons licensing
  • 17. exposure camera exposure modes (most digital cameras) P or Program or Auto: camera sets both aperture and shutter speed AV or Aperture Priority: user sets aperture, camera sets shutter speed TV or Shutter Priority: user sets shutter speed, camera sets aperture M or Manual: user sets both shutter speed and aperture
  • 18. exposure underexposing subject by using backlighting and dropping the f/stops down two levels creates a silhouette even on automatic settings like program mode, you can achieve this by shooting directly into light without using 鍖ash
  • 19. photo by Hailey Heikkenen
  • 20. photo by Hannah Feagans basic rule: In bright sunlight, at f/16 use a shutter speed closest to the ISO. This photo was shot using ISO 400 at f/16 with shutter speed 500 (closest to 400).
  • 21. equivalent exposures two di鍖erent exposures that allow the same amount of light to reach the 鍖lm or image sensors, using a di鍖erent aperture and shutter speed combination depending on what e鍖ect you want, for every f/stop you drop down, go up a shutter speed graphic used with permission of Bradley Wilson
  • 22. composition rule of thirds 鍖ll the frame leading lines framing creative angles repetition center of visual interest
  • 23. rule of thirds points of interest should be at the intersection of the tic-tac-toe lines graphic used with permission of Jostens
  • 24. 鍖ll the frame get in close so that the center of interest is obvious photo by Elyssa Seals
  • 25. leading lines and leading looks use the natural lines in the setting to add visual interest; leading looks are based on the eyes or direction of the subject with photo by Kelsey Kehrees implied rather than actual lines
  • 26. framing use an object to act as a picture frame for the subject photo used with permission from Jostens
  • 27. creative angles up, down, behind the subject photos by Jake Leech, Elyssa Seals
  • 29. center of visual interest clear focal point; obvious subject photo by Margaret Tinker
  • 30. lighting basics key: the main light on your subject 鍖ll: the light that balances the key light; usually set on the opposite side of the key light, twice as far from the subject back: lighting that lights the background behind the subject hair: lighting the hair of the subject harsh: a bright direct light that casts distinct shadows soft: a softer, indirect light that casts muted shadows di鍖used: a light that has been dispersed by cloth, material, or frosted glass for example natural: sunlight arti鍖cial: lamp light
  • 31. ideal lighting conditions outdoor sports: natural light if possible indoor sports: strobe 鍖ash if possible portraits: key, 鍖ll, back and hair light if possible. If no article light kit available, use window as key and re鍖ective surface as 鍖ll. indoor activities: key and 鍖ll light
  • 32. 鍖le formats the four most common 鍖le formats used are: TIF - Tagged Image File Format, uncompressed and compressed formats PNG - Portable Network Graphics, standardized compression JPG - Joint Photographic Experts Group, compressed format GIF - Graphics Interchange Format, compressed format dating back to CompuServe in the 1980s
  • 33. 鍖le formats compression comes in two forms: lossless and lossy lossless compression loses none of the image information during compression and decompression. lossy compression as its name says removes some of the original photographic detail. Lossy compression can reduce the size of image 鍖les to a far greater extent than lossless compression
  • 35. RAW 鍖le format digital equivalent of negative in 鍖lm contains raw pixel information directly from cameras sensors developed in several steps into a 鍖nal JPEG or TIFF, each of which may contain several irreversible image adjustments RAW o鍖ers more control over how 鍖nal JPEG or TIFF is generated also takes up a lot of space on memory card or computer
  • 36. organization encourage students to know and sort their own photos keep your photos, just separate the good from the not-so-good if you change a format or alter the photo in Photoshop, be sure to make a copy of the original
  • 37. example of yearbook photo organization academics PROJECT
  • 38. example of yearbook photo organization sports
  • 40. types of lenses 鍖sheye (15mm): extreme wide angle lens wide-angle lenses (20-35mm): good for moving close to subject but still getting a lot in the frame; distortion along the edges normal (50mm): routine shooting short telephoto (85-135mm): good for portraits, candids and some sporting events long telephoto (200-400mm): when subject is distant; good for sporting events and wildlife photos
  • 41. legal/ethical issues invasion of privacy copyright infringement digital manipulation ethical dilemmas photo vs. photo illustration
  • 42. invasion of privacy public disclosure of private and embarrassing facts intrusion upon seclusion trespass secret surveillance misrepresentation false light misappropriation
  • 43. copyright infringement generally, copyright can apply generally, copyright does to the following: NOT protect: photos facts/ideas illustrations most federal government records cartoons works in public domain music (e.g., copyright expired) logos odds & ends (titles, most things on the Internet slogans, short phrases, familiar symbols, etc.)
  • 44. basic fair use rules If you did not create it and/or you dont own the copyright to it, you must get permission to use it Except for the FAIR USE RULE using a limited amount of a copyrighted work for news, criticism, educational or informational purposes without consent may be permissible as a fair use not every use by a student media organization is a fair use
  • 45. common fair use examples graphics created by the Student Press law Center, Media Law Presentations
  • 46. common fair use examples graphics created by the Student Press law Center, Media Law Presentations
  • 47. photo software Image Capture: great for quickly uploading and organizing photos iPhoto: easy uploading and editing Adobe Photoshop: advanced editing Picasa: free Google product Picnik: backgrounds, e鍖ects and more special plug-ins: iCorrect Professional by Pictographics, Lightroom by Adobe, etc
  • 48. where to look photo editing: http://ncsu.edu/sma/instructional- material/photography-manual/camera-basics/ (copyright Bradley Wilson) curriculum: http://bradleywilsononline.net/handouts/ photojournalism/ (copyright Bradley Wilson) http://jea.org/curriculum/photography/index.html www.poynter.org (Visual Journalism) photo ethics: http://www.sree.net/teaching/ photoethics.html
  • 49. text resources Photojournalism: A Professionals Approach by Kenneth Cobre Get the Picture by Jostens JEA Photojournalism Curriculum
  • 50. getting answers commission chair Mark Newton: marknewt@comcast.net JEA web site > Certi鍖cation study guide online at www.jea.org/ certi鍖cation follow us on Twitter @jeaCerti鍖ed or like our Facebook fan page