Photojournalism is a specific form of journalism that uses images to convey news stories, focusing primarily on still photography, with possible inclusion of video. It differs from documentary photography in its emphasis on immediate visual representation of events, while documentary photography aims for longer-term historical documentation. Various sub-genres such as celebrity and forensic photography serve unique purposes, underlining the versatility and importance of visual storytelling in journalism.

2. Photojournalism is a particular form
of journalism that employs images in
order to tell a news story.
It is now usually understood to refer
only to still images, but in some cases
the term also refers to video used in
broadcast journalism.

3. It collects, edits, and presents for
news material for publication or
broadcast that creates IMAGES in
order to tell a story.
A photo tells a complete story in
an image.

4. Derives from the word
“PHOTO” which is a
representation of a person
or scene recorded by a
camera on a light sensitive
material or “censor”

5. And the word “JOURNALISM”
which means a timely written
articles or reporting of events in
local, regional, national,
international level.
It is relevant information that is
disseminated through images.

6. .—The images have meaning in context of
a recently published records of events

7. .—The situation implied by the images is a
fair and accurate representation of the events they depict in
both content and tone.

8. –The images combine with other news
elements to make facts relatable to the viewer or reader to
a cultural level.

9. The IMAGES of photojournalism piece may be
accompanied with explanatory text, or shown
independently, with the images themselves NARRATING
the events they depict.

10. PHOTOJOURNALIST uses pictures instead of words to tell a
story.
They can also accompany their images with some text to
elaborate on some details or event.

11. PHOTOJOURNALISTS—shoot action. It is also called as
“VERB”
Do shoot nouns, however, nouns still seeks to tell a story.
EXAMPLE: cries, kicks, explodes etc.
PHOTOGRAPHER—takes pictures of “NOUN”
EXAMPLE: people, places, things and events

13. Do shoot nouns, however, nouns
still seeks to tell a story, events,
emotions, and every little bit of
information.
An image has no age, language or
intelligent limits.
It shows the decisive moments.

15. PHOTOJOURNALISM is the process of
story telling using the medium of
photography as your main story telling
device.
While a JOURNALIST will use their pen
and paper to tell stories, a
photojournalist will use their camera to
capture the visual representation of a
story

16. All photojournalists are
photographers.
A PHOTOJOURNALIST is a specialist
photographer that uses
PHOTOGRAPHY, (instead of words,
as a regular journalist would) to tell
the news or to complement a
newsworthy story.

17.  PHOTOJOURNALISM is a
vocation and street
photography is a genre.
Photojournalism definitely
includes elements of street
photography, but they describe
two different things.

18.  PHOTOJOURNALISM images are designed for
short-term audience involvement.
 The images tend to be published in newspapers,
which are of course short-term in their intention
and consumption
 DOCUMENTARY PHOTOGRAPHY images for
longer term study.

19. DOCUMENTARY photographs tell stories with images.
The main difference between photojournalism and
documentary photography is that documentary
photography is meant to serve as a historical document
of a political or social era while photojournalism
documents a particular scene or instance.

20. A DOCUMENTARY photographer may shoot a series of
images of the inner city homeless or chronicle the events of
international combat.
Any topic may be the subject of documentary
photography.
As with photojournalism, documentary photography seeks
to show the truth without manipulating the image.

21.  PHOTOJOURNALISM are generally seen as professional photographers,
who work for a company or media publication, to photograph people
such as athletes, celebrities, politicians and even things such as world
events.
 CELEBRITY photography is a subset of photojournalism where the
subjects are celebrities in the arts, sports and sometimes politics.
 It is usually taken without the knowledge and permission of the person
being taken.

22. There are THREE MAIN TYPES of celebrity photographs
used by magazines and newspapers:
1. event photography,
2. celebrity portraiture, and
3. paparazzi.

24.  While professionals who take action shots may specialize in a variety of
different subjects, sports photography is one of the fastest and most
exciting types of photography.
 As with any action shot, a good sports photographer has to know his
or her subject well enough to anticipate when to take pictures.
 The same rule goes for photographers taking action shots of animals
in nature or of a plane taking off.

25.  MACRO-PHOTOGRAPHY describes the field of photography in which
pictures are taken at close range.
 Once restricted to photographers with advanced and expensive
equipment, macro-photography is now easier for amateurs to practice
with digital cameras with macro settings.
 Macro-photography subjects may include insects, flowers, the texture of
a woven sweater or any object where close-up photography reveals
interesting details.

26.  Micro-photography uses specialized cameras and microscopes to
capture images of extremely small subjects.
 Most applications of micro-photography are best suited for the
scientific world.
 For example, micro-photography is used in disciplines as diverse as
astronomy, biology and medicine.

27.  Underwater photography is usually employed by scuba divers or
snorkelers.
 However, the cost of scuba diving, coupled with often expensive and
unwieldy underwater photography equipment, makes this one of
the less common types of photography.
 Similarly, if an amateur has the equipment and the scuba know-
how, taking shots underwater can be complicated, as scuba goggles
are magnified and distort the photographer’s vision.

28.  Artistic photography can embrace a wide variety of subjects. While a
nature photographer may use underwater photography to create an
art show based on sea life, a portrait photographer’s show may
feature black and white artistic portraitures.
 In all cases, the photographs must have aesthetic value to be
considered art.

29. Portraiture is one of the oldest types of photography.
Whether the subject is your family or your pet, the goal of
portraiture is to capture the personality of the subject or
group of subjects on film.

30. Wedding photography is a blend of different types of
photography.
Although the wedding album is a documentary of the
wedding day, wedding photos can be retouched and edited
to produce a variety of effects.

31. For example, a photographer may treat some of
the pictures with sepia toning to give them a
more classic, timeless look.

32. In addition, a wedding photographer must have portrait
photography skills.
He may also have to employ glamour photography
techniques to capture the bride and groom at their
best.

33. Because photography plays a vital role in advertising, many
professional photographers devote their careers to
ADVERTISING PHOTOGRAPHY.
The need for unique and eye-catching advertising copy
means the photographer may work with multiple types of
photography, including macro-photography and glamour
photography.

34. Travel photography may span several categories of
photography, including advertising, documentary or
vernacular photography that depicts a particularly local or
historical flavor.
A travel photographer can capture the feel of a location with
both landscapes and portraiture.

35.  Glamour photography, sometimes confused with pornography,
may be sexy and erotic but it is not pornographic.
 Instead of focusing on nudity or lurid poses, glamour
photography seeks to capture its subject in suggestive poses
that emphasize curves and shadows.
 As the name implies, the goal of glamour photography is to
depict the model in a glamorous light.
 Consequently, many glamour shots carry flirtatious, mysterious
and playful tones.

36.  FORENSIC photography is an integral part of criminal investigation
procedures throughout the world.
 Photographers must therefore follow a standard methodology and
produce images to a rigorous technical standard so that they can be
used as evidence in hearings, tribunals and court proceedings.
 Forensic Photographers are expected to work efficiently in distressing
and challenging environments, without disturbing evidence or
interfering with the work of other investigators.

37. Forensic photography sometimes referred to as
POLICE PHOTOGRAPHY, forensic imaging or crime
scene photography. - is the art of producing an
accurate reproduction f a crime scene or an
accident using photography for the benefit of a
court or to aid in an investigation.

39. American
photographer that
exposes child labour
practices, because of
him, laws were
changed.

40. He has spent his life taking epic,
mind-swarming photographs of
gold mines, oil fields and
genocide. But now Sebastião
Salgado is turning his lens on
the planet’s last undamaged
places.

41.  An American photojournalist
photographer, musician, writer and
film director, who became prominent
in U.S. documentary
photojournalism in the 1940s
through 1970s—particularly in issues
of civil rights, poverty and African-
Americans.

42.  Flavio da Silva's smile probably saved
his life. It was his smile that caught
the eye of Life magazine
photographer Gordon Parks in 1961.
Parks was in Rio shooting a photo
essay on poverty when he spotted
the sickly boy toting water in a slum.

43. She has been a
photojournalist for 14 years.
The first Filipino woman
photojournalist on the value
of ethics.

45. Photo essay are most dynamic when you as a
photographer care about the subject.
Make your topic something in which you find
interest.

47.  If you document a new-born's first
month, spend time with the family.
 DISCOVER who the parents are, what
CULTURE they are from, whether
they are upper or lower class.
 These factors will help you in
planning out the TYPE OF SHOTS
you set up for your story.

49. After your research, you can
determine the ANGLE you
want to take your story.
The main factors of the story,
creates an incredibly unique
story.

51.  Every dynamic stories is built on a set of core
values and emotions that touch the heart of its
audience.
 Joy, fear, hurt, excitement is the best way you
can CONNECT your photo with your audience is
draw out the EMOTIONS within a story and
utilized it in your shots.
 This does not mean that you manipulate your
audience emotions but you only use this
emotions as a CONNECTING POINT.

52. Visualize its shots of a story, or
simply WALK THROUGH the
venue, place or event in your
mind, you will want to think
about the TYPE OF SHOTS that
will work best to tell your
stories.

53.  Avoid the act or period of posing, as
for a picture.
 Avoid a position or attitude assumed in
posing, or exhibited by a figure in a
picture, sculptural work, tableau, or the
like.
 avoid a moment in which a dancer
remains motionless, usually in an
assumed posture.

54. Our eyes are often attracted
to the face first.
Being very social beings, we
read emotions and stories
on faces all day long.

56.  As simple as it sounds, the first step to
effective photojournalism is getting your
exposure right.
 If a photograph is too dark or too bright it
will repel the viewer.
 The two most important things to
remember are: stabilise your camera in low
light, and use ISO 100 in bright light. A great example of good exposure by
Steven Riggall. Notice how it is pleasing on
the eye.

57.  The key subject of your photograph must
be in focus, whether that’s just a small
detail of a much larger image or a full
landscape.
 Ask yourself, what are you showing your
viewer? What’s the most important
element of this image? Then make sure
that’s where your focal point is. the selective focus on this image by Libby
Best draws the viewer in to the woman’s
face.

58. Look for ways to convey the emotion
of the moment.
Capture people’s expressions, their
body language and their interactions.
Get in close for intimate moments
and experiment with using selective
focus to highlight facial expressions. Shirley Way captures the elation of the
moment as a new bishop is consecrated.

59. People gravitate towards
people. Faces humanise visual
stories.
Unless there’s a good reason,
show faces and avoid the
back of people’s heads.
li Tulloch conveys her subject’s personality in this
fun portrait.

61.  In all forensic investigations,
the first step is to secure the
crime scene.

62.  The photographer should evaluate the
available light and weather conditions
and adjust camera settings
appropriately.
 Crime scenes can be indoors, outside or
both; they can be vehicles, include
multiple rooms, or any combination of
locations, therefore no single camera
setting will work for all crime scenes.

63.  The photographer should take
photographs before anything is
disturbed, progressively working
through the scene from outside to
close-up pictures.
 Many shots should be taken, from
the entire scene, to medium shots to
show the relationship of evidence to
the overall scene.

64.  the crime scene photographer should capture
the whole scene first using wide-angle shots
covering the entire scene from the approach and
through every area. Close-up images of evidence
can be taken out of context, so establishing the
scene first with wide and medium shots is critical.
 photographs should be taken looking up from
the scene to capture evidence or environmental
factors that may be above the scene

65. The next series of shots
should include victims (if
present) to show
locations, injuries and
condition.

66.  each piece of evidence should be
photographed to illustrate where it was found.
This establishes the relationships of the
evidence to the victim, the victim to the room
and so on. These photographs should be taken
from straight above or straight on at right
angles, eliminating potential distance
distortions. Each piece of evidence should be
photographed with a scale to indicate size and
without a scale.

67. Photographs should be taken
before evidence markers are placed,
then again after.
These initial shots are important to
prove that no one has tampered
with the crime scene.

68. If investigators mark new
evidence, the whole series of
shots should be repeated,
including all evidence shots.
These photos should include the
entire piece of evidence and a
scale to indicate size

69. such as lasers, blue or green
lights and colored filters that
help detect processed latent
fingerprints or other hidden
evidence and illuminate for
photographing.
Green light used to illuminate a latent
fingerprint. (Courtesy of Scott
Campbell)

70. using a flashlight, camera
flash or ALS at a very low
angle to cast shadows that
allow an imprint or
impression to be
photographed
Oblique light used to add contrast to a
footprint. (Courtesy of Scott Campbell)

71. can take very close-up
images (1:1 or 1:2) of
small items such as tool
marks or trace
evidence.
Cartridge case details captured with macro
lens. (Courtesy of Scott Campbell)

72.  Photographs should accurately document
the lighting conditions at the scene.
 After those photos are taken, if necessary,
a photographer will add artificial light, like
a flash, to compensate for a camera’s
limitations in capturing the visible range of
light under certain conditions.

73. Sometimes environmental factors
such as rain, snow or traffic can make
conditions difficult for photography.
The photographer must work quickly
to capture as much visual
documentation as possible from a
deteriorating scene.

74.  If a victim must be moved or requires
treatment, the photographer can go
back to document the victim’s injuries.
 Various techniques using special lighting
and colored filters can highlight injuries
(bruising, scarring) and healing status.

75. THANK YOU FOR READING
CHELDHAYE