Intro News photos can be described as photos which encode a sample news story in its frame. Usually news photos/ pictures find their place in print media, and also in TV. While in the west, they are sometimes displayed as slide shows. Most of the award winning photographs have a news- sideline significance. Because the “Visual Language” is applicable throughout the whole world, news photos are generally considered more significant than the news story itself.
History The first photojournalist was Carol Szathmari (Rumanian painter, lithographer and photographer) who did pictures in the Crimean War from1853 to 1856. Similarly, the American Civil War photographs of Mathew Brady were engraved before publication in Harpers Weekly . On March 4, 1880, The Daily Graphic (New York) published the first halftone (rather than engraved) reproduction of a news photograph. By 1897, it became possible to reproduce halftone photographs on printing presses running at full speed. In 1921, the wirephoto made it possible to transmit pictures almost as quickly as news itself could travel.
….The Golden age of photojournalism However, it was not until development of the commercial 35mm Leica camera in 1925, and the first flash bulbs between 1927 and 1930 that all the elements were in place for a "golden age" of photojournalism. (1930s–1950s), Robert Capa, Alfred Eisenstaedt, W. Eugene Smith, Margaret Bourke-White. Tony Vaccaro is also recognized as one of the pre-eminent photographers of World War II. Life, one of America’s most popular weekly magazines from 1936 through the early 1970s, was filled with photographs reproduced beautifully on oversize 11×14- inch pages, using fine engraving screens, high-quality inks, and glossy paper.
Halftone/(ing)Halftone is the reprographic technique that simulatescontinuous tone imagery through the use of dots,varying either in size, in shape or in spacingThe idea of halftone printing is due to William FoxTalbot. In the early 1850s, he suggested using"photographic screens or veils" in connection with aphotographic intaglio process.
Features of a news photo Frame Depth Dominant Proximity S ubs idiaries Participation
Aspects Telephoto lens Capture the emotions Relevance of the depth Auto mode Symbolical Artistic reference Truthfulness, however harsh the photo may be. Portray the right news Following the ethics Attracting the viewers
Types of shots Birds eye view. E LS E r L Shot(per in suroundings) = xteme ong son r LS L Shot(w e body) = ong hol MS medium shot(w istup) = a MC U M = edium cl up (mid chestup) ose- C U Cl up (hea a shoul s) = ose- d nd der E C U E r Cl up (fa -oreyes!) = xteme ose- ce OTS = Ov t Shoul er he der
Code of EthicsVisual journalists and those who manage visual news productions are accountable for upholding the following standards in their daily work: Be accurate and comprehensive in the representation of subjects. Resist being manipulated by staged photo opportunities. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting ones own biases in the work. Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.
While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events. Editing should maintain the integrity of the photographic images content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects. Do not pay sources or subjects or reward them materially for information or participation. Do not accept gifts, favors, or compensation from those who might seek to influence coverage. Do not intentionally sabotage the efforts of other journalists. - NATIONAL PRESS PHOTOGRAPHERS’ ASSOCIATION
Pr sha Pa ia a nt nj rB orn on March 30,1957, Pras hant Panjiar is a s elf-taughtphotographer. A pos t-graduate in Political S c ienc e from Pune Univers ity, India, he worked on photographic projects focus ing on peas ant movements and other s oc ial is s ues through his c ollege and univers ity days . In 1986 he moved on to join India Today magazine. A s s eniorphotographer with India Today, many important international s torieswere entrus ted to him.A part from s pending nearly 3 months in Iraq, Kuwait, Is rael and S audiA rabia c overing the G ulf War in 1991, he als o c overed the s ituation inA fghanis tan after the Rus s ians pulled-out. In 1995 he joined the Outlook G roup of Publications as A s s oc iateE ditor, in c harge of photography, and was part of the core team thatlaunc hed Outlook magazine. In October 2001, Panjiar left the Outlook G roup to devote hims elf to full-time independent photography. B as ed in New Delhi he s pecializes ineditorial and doc umentary photography.
S ince 2003 he has als o been working on is s ues s uch of health,educ ation and livelihood for international foundations s uc h as The B ill& Melinda G ates Foundation and the A meric an India Foundation. Panjiar s erved on the jury of the World Pres s Photo A wards inA ms terdam in 2002, the C hina International Pres s Photo C ompetition in2005 and the Indian E xpres s Pres s Photo A wards .
Conclusion News images can reveal great truths , expos e wrongdoing and neglect, ins pire hope and unders tanding and connect people around the globe through the language of vis ual unders tanding.Photographs can als o c aus e great harm if they are callous ly intrus ive or are manipulated.
References Daniel R. Bersak/articles S.B. Comparative Media Studies & Electrical Engineering/Computer Science http://www.panjiarphoto.com/ http://www.newsfotos_photogallery.com/ http:www.bbcnews_worldpressphotoawards.com / http://www.pulitzerawards_newsphotos.com/ http://www.nppa.org/professional_development/ business_practices/ethics.html