NPASE Course Development Primer

General Course Development Primer
There are several basic steps to developing a course. However, every step pivots on a single
item—the objective. You have to start by defining the course objective, and then begin breaking
the course down from there into smaller, manageable parts.
1) Develop a one-sentence course objective. This is the aim of the entire course and must
be stated in terms of skills that can be physically demonstrated and measured (for
convenience, it is recommend you state the number of training days as part of the course
objective):
a. Course Objective: Upon completing this five-day course, students will be able to
create basic photojournalistic products.
2) Once you have the course objective written, you need to decide your target audience.
WHO are you going to aim this level of training at? Again, you need to state this in one
sentence or as a short list:
a. Target Audience: U.S. Navy Reservists, non-Mass Communication Specialists,
and undesignated strikers to the MC rating.
3) Once you have these two items in place, you can start brain-storming about what are the
most important skills and knowledge that you must convey within the allotted training
time. This is a bullet-point list of topics that will be expanded shortly (the following
bullet points are an abbreviated list for sample purposes only):
a. Focus
b. Composition
c. Captioning
4) These bullet points will be come the Terminal Objectives, the objective for each lesson
plan. Again, the lesson plans will be indexed by a single sentence that describes a skill or
knowledge set that can be demonstrated and measured:
a. Terminal Objective: Upon completion of this lesson, students will be able to
demonstrate proper focus control
b. Terminal Objective: Upon completion of this lesson, students will be able to
demonstrate various types of photographic composition
c. Terminal Objective: Upon completion of this lesson, students will be able to write
basic photo captions according to AP Style
5) Once you have the Terminal Objectives listed out, you can build a course outline to show
exactly what material will be covered on what training day. This outline will be
combined with the Course Objective and Target Audience to create a baseline Training
Plan Index (TPI).

6) Once you have these Terminal Objectives, you will break each lesson plan down into the
Enabling Objectives that will reach that specific Terminal Objective. For example, we are
going to focus on photographic composition. As with the Course Objective and the
Terminal Objectives, each Enabling Objective will be written as a statement of skill or
knowledge that can be demonstrated or measured. Once you have these Enabling
Objectives in place, you have your lesson plan outline and can start building in the course
content you want:
a. Terminal Objective: Upon completion of this lesson, students will be able to
demonstrate various types of photographic composition.
i. Enabling Objective: Demonstrate Rule of Thirds
ii. Enabling Objective: Demonstrate Framing Techniques
iii. Enabling Objective: Demonstrate Leading Lines
iv. Enabling Objective: Discuss the different effect of high and low camera
angles on composition
b. Notice the word “Discuss.” This is a legitimate and measurable condition—just
as much as “Demonstrate” is. There are some cases in which the instructor needs
to ensure the student has theoretical knowledge before sending them out for
practical exercises. If the student can intelligently discuss the subject, then the
student has met the Enabling Objective.
7) As stated earlier, if each Terminal Objective is a single lesson plan; the Enabling
Objectives are the lesson plan’s sections. When writing the lesson plan, you need to give
clear directions to the instructor (the idea being an instructor not familiar with the topic
can still help students achieve stated objectives by having all necessary knowledge, data,
and directions in the lesson plan. Tell the instructor when to STATE information that
must be conveyed. Frequently direct them to ASK questions to gauge student
knowledge. The lesson plan should have clear indicators when supplemental materials
(PowerPoint slides, handouts, etc.) are to be used. However, remember this: THE
LESSON PLAN IS THE FOUNDATION OF THE COURSE DEVELOPMENT
PROCESS, NOT POWERPOINTS OR OTHER MATERIAL. All other material is
supplemental.
8) For every 50 minutes of instruction, a 10-minute break should be taken to ensure students
stay focused and alert. This break should be built into lesson plans that go more than one
hour so each instructor will consistently take the break at the same place.
9) Upon completion of the lesson plan, a “Final Review” of that lesson plan should be
conducted to ensure the students have gained an adequate theoretical knowledge before
sending them out to do any practical exercises, or moving on to the next lesson plan.
10) Each lesson plan should have a cover sheet that states the total amount of “Instructor
Hours” (time the instructor will be lecturing), “Practical Exercises” or “Tests” (time the

students will need to complete these tasks), and, if necessary, the amount of time for
“Peer Review” if you are going to have the class review each other’s work as a group.
11) Once all the lesson plans are completed, a copy of each plan’s cover page will be added
to the TPI. Once this is done a comprehensive list of supplemental training aids
(PowerPoint’s, handouts, etc.) will also be appended to the TPI. This will complete the
TPI and create a master, quick-reference file of that course’s training material.
12) A properly run training program will have a development group of subject matter experts
(SMEs) review the TPI and courses annually. These SMEs should ideally be composed
of members of your command AND members from your customer commands to ensure
you are providing relevant training.
13) A sample lesson plan is appended to this primer as an example of the finished product.

Mass Communication Specialist (“MC”) 101
Training Day 01
Photojournalism Ethics: It’s All Pixels
Instructor Hours: 2
Practical Exercises: 0
Peer Review: 0
Supplemental Material:
1) PowerPoint: “Day 01b – Ethics”
2) Handouts:
a. “Military Mistakes”
3) Videos:
a. Stephen Glass Interview

Training Day 1: Photojournalism Ethics - It’s All Pixels
Trainer Notes
STATE: Welcome back! Everyone back have a good break?
Ok, we’re going to take a look at ethics in photojournalism. This is
perhaps one of the most critical areas to discuss because, in the
world of pixels, ones and zeros, the only think you have backing up
your work is your word. Without credibility in the bank, you will be
useless as a photojournalist
Handout: Army Mistakes
STATE: Let’s look at this handout briefly.
DIRECT: Have a student or two volunteer to read the handout.
STATE: These two ethical failures of our sister service rebounded so
badly that the Associated Press, one of the largest wire services in
the world, refused to accept any imagery from any branch of the U.S.
armed forces for over a year…in the middle of wartime. The AP
didn’t see the just Army as being unethical photojournalists; they
saw all of the DoD.
Slide – Enabling objectives
STATE: Our enabling objectives for this lesson are:
a) Review DODINST 5040.02
b) Review photojournalism terminology
c) Discuss deception through the years
d) Review techniques of manipulation
e) Discuss the consequences of unethical behavior
f) Photo challenge: spot the fake!
Related Instructor Activity: Ask the students if they have any sea
stories regarding seeing unethical behavior and its consequences.
Share any of your own.
Navy Public Affairs Support Element Expeditionary Skills Courses
Ethics: It’s All Pixels
Objectives
• Review DODINST 5040.02
• Review photojournalism terminology
• Discuss deception through the years
• Review techniques of manipulation
• Discuss the consequences of unethical behavior
• Photo challenge: spot the fake!

Trainer Notes Objective: Review DODINST 5040.02
Slide – DODINST 5040.02
STATE: The key paragraph to DODINST 5040.02 is on the board.
Let’s examine it closely. Keep in mind the Army’s mistakes that
we already looked at as we review this instruction.
STATE: In any federal government instruction, military or
civilian, the words “shall not” indicate a legally binding order. If
anyone, even your CO orders you to alter an image, this is the
instruction you need to – RESPECTFULLY! – fall back on.
STATE: Note there is an exception made for corrections, such as
getting dust spots from the lens off the finished images. If you
pry into the instruction, there are other exceptions made for
OPSEC, “art projects” like recruiting posters, etc. It is incumbent
upon every military photojournalist to know this instruction and
abide by it. Two bad decisions by a small number of soldiers in
the Army caused enough blow back that all of DoD was affected.
The Army’s mistake torpedoed all of our credibility, and AP
refused to trust any of us for over a year afterward.
ASK: Now, if you have an officer come in for a roster photo that
will go on their official bio, and they ask you to “Photoshop” out a
scar on their forehead, can you do so? Answer: No; the scar is a
permanently identifying feature and cannot be removed per this
instruction.
ASK: What if that same officer had a pimple on the tip of their
nose. Can you digitally remove that? Answer: Yes; the pimple is
not a permanent feature and will clear up on its own within weeks.
This is a feature that can ethically be removed.
STATE: Everything we do must be done in accordance with this
instruction!
DODINST 5040.02
- Sets out policy governing all DoD activities regarding the
processing of images.
- Section 2, paragraph 4-f-3 states:
Official DoD imagery shall not be altered to misinform or
deceive. Anything that weakens or casts doubt on the
credibility of official DoD imagery in or outside the DoD
shall not be tolerated. Alteration of official DoD imagery is
prohibited with exception for corrections, modifications and
enhancements as specified.

Trainer Notes Objective: Review photojournalism terminology
Slide – Terminology
STATE: Before we go reviewing ethics, let’s makes sure we are all on
the same page in regards to the terminology we use. The three terms
we will be tossing around are enhancement, manipulation, and
credibility.
- Enhancement: Bringing out (“enhancing”) a news photo’s
natural qualities of beauty, clarity, and/or contrast in order to
more clearly tell the story as it happened.
- Manipulation: Altering a news photo’s natural qualities, or
actively adding/removing elements, in order to tell the story
you want told, not the story as it actually happened.
- Credibility: The only “money in the bank” a photojournalist
has in a digital age to give the public a reason to trust him/her.
Objective: Discuss deception through the years
Deception Through the Years
Photo manipulation – faking out
the public – has been going on
since Hippolyte Bayard pretended
to be a suicide victim in 1830.
Bayard was unhappy Louis
Jacques-Mandé Daguerre got a
patent from the French
government, and not himself.
Even before digital technology
existed, ambitious story tellers
could completely alter
photographs by hand…
Slide: Hippolyte Bayard
STATE: Photo manipulation – faking out the public – has been going
on since Hippolyte Bayard pretended to be a suicide victim in 1830.
Bayard was unhappy Louis Jacques-Mandé Daguerre got a patent
from the French government, and not himself. Even before digital
technology existed, ambitious story tellers could completely alter
photographs by hand.
Terminology:
- Enhancement: Bringing out (“enhancing”) a news photo’s natural
qualities of beauty, clarity, and/or contrast in order to more clearly
tell the story as it happened.
- Manipulation: Altering a news photo’s natural qualities, or actively
adding/removing elements, in order to tell the story you want told,
not the story as it actually happened.
- Credibility: The only “money in the bank” a photojournalist has in
a digital age to give the public a reason to trust him/her.

Trainer Notes
Slide – Gettysburg
STATE: A famous photo from the American Civil War was taken by
Alexander Gardner in 1863. It shows a dead rebel sharpshooter
following the Battle of Gettysburg. Problem: the same dead guy can
be seen at another location on the Gettysburg field in another of
Gardner’s photos. Gardner dragged the poor stiff around to set up
the dramatic shot he wanted. Photojournalism ethics as we know
them had not started to develop yet (pardon the pun!)
Slide – English fairies
STATE: One of the most famous hoaxes of the last century are the
fairies photographed by cousins Elsie Wright and Frances Griffiths.
Photographed in 1917 around Cottingly, England, the girls claimed to
have captured real fairies on film. The two maintained the hoax until
1983 when they finally admitted they had staged the images. Using
cardboard cutouts of dancing fairies, they had set up the scenes over
a total of five photographs. No less a person than Sir Arthur Conan
Doyle was taken in by the fraud.
STATE: In the days when most images were reproduced by half-tone
printing (long before the high-definition monitors and TVs we use
today), these images looked real. On a modern screen you can
clearly see the fairies are cardboard cutout. However, if you look
these up in older newspapers and books, the printing quality of that
day caused this image to appear genuine, thus the hoax was able to
last over 65 years.
A famous photo from the
American Civil War was
taken by Alexander Gardner
in 1863. It shows a dead
rebel sharpshooter following
the Battle of Gettysburg.
Problem: the same dead guy
can be seen at another
location on the Gettysburg
field in another of Gardner’s
photos. Gardner dragged the
poor stiff around to set up the
dramatic shot he wanted.
One of the most famous hoaxes
of the last century are the fairies
photographed by cousins Elsie
Wright and Frances Griffiths.
Photographed in 1917 around
Cottingly, England, the girls
claimed to have captured real
fairies on film.
The two maintained the hoax
until 1983 when they finally
admitted they had staged the images. Using cardboard cutouts of dancing
fairies, they had set up the scenes over a total of five photographs. No less
a person than Sir Arthur Conan Doyle was taken in by the fraud.

Trainer Notes
Slide – Stalin’s vanishing commissar
STATE: Josef Stalin’s brutal regime in the Soviet Union was replete
with photos manipulated so he could alter history. One famous
example is the “vanishing commissar.” In the photo above, Nikolai
Yezhov, commissar of water transportation, is shown with Stalin and
others strolling along the Moscow-Volga Canal. Stalin had Yezhov
shot in 1940. The photo was then retouched to eliminate Yezhoz,
allowing Stalin to write his own history. Notice has seamless these
deceptions were accomplished, and this was done decades before
“Photoshop” was even dreamed of. If unaltered versions of these had
not existed to be discovered, it is likely these deceptions would not
have been uncovered.
Slide – Kent State
STATE: This image by John Filo shows Mary Ann Vecchio kneeling
over the body of student Jeffrey Miller at Kent State University. The
photo was taken immediately following the National Guard firing
during a violent anti-war protest May 1, 1970. This shot won Filo a
Pulitzer Prize. However, later in 1970 an unknown editor removed
the “distracting” fence post coming out of Vecchio’s head. “Life”
magazine and others published the altered version unknowingly.
ASK: Why is it such a big deal that once lousy fence post was
removed? Compositionally speaking, that post is a distracting
element, so what’s wrong with taking it out of the image? Answer: As
soon as you remove one element, the question is asked: “If you did this,
what else have you changed?” This is a “slippery slope;” one ethical
breach like this undermines trust in everything you have done.
Josef Stalin’s brutal regime in the Soviet
Union was replete with photos
manipulated so he could alter history.
One famous example is the “vanishing
commissar.” In the photo above, Nikolai
Yezhov, commissar of water trans-
portation, is shown with Stalin and others
strolling along the Moscow-Volga Canal.
Stalin had Yezhov shot in 1940. The
photo was then retouched to eliminate
Yezhoz, allowing Stalin to write his own
history.
This image, shot by John Filo, shows
Mary Ann Vecchio screaming as she
kneels over the body of student Jeffrey
Miller at Kent State University. The
photo was taken immediately following
the National Guard opening fire during
an anti-war protest May 1, 1970. This
shot won Filo a Pulitzer Prize.
However, later in 1970 an unknown
editor removed the “distracting” fence
post coming out of Vecchio’s head.
“Life” magazine and others published the
altered version unknowingly.

Trainer Notes
Slide – National Geographic
STATE: “National Geographic” is still paying for this altered cover dating
from February 1982. It’s a small thing, but the pyramids were moved
slightly closer together to fit the vertical format of the cover. Tom
Kennedy, who became the director of photography at National Geographic
after the cover was manipulated, stated that “We regarded that afterwards
as a mistake, and we wouldn’t repeat that mistake today.”
ASK: What is the easiest way to avoid this pitfall? Answer: Simply get a
vertically formatted image of that scene, or choose a different shot
altogether that fits your layout.
“National Geographic” is still paying for
this altered cover dating from February
1982. It’s a small thing, but the pyramids
were moved slightly closer together to fit
the vertical format of the cover.
Tom Kennedy, who became the director
of photography at National Geographic
after the cover was manipulated, stated
that “We regarded that afterwards as a
mistake, and we wouldn’t repeat that
mistake today.”

Trainer Notes
Slide – Brian Walksi
STATE: Former “Los Angeles Times” photographer Brian Walski lost
his job after combining two photos he shot of British troops directing
civilians during the opening days of the 2003 Iraq War. Walski, who
had won the California Press Photographers Association's
Photographer of the Year award in 2001, said he was just trying to
create a more dramatic shot.
ASK: Walski did not fabricate a story; he merely used digital
technology to create a more pleasing image. Why, then, would this
violate DODINST 5040.02 if this was done by a military
photojournalist: Answer: This sort of behavior “weakens or casts
doubt on the credibility of official DoD imagery” because, again, if you
change one thing, what else are you going to change?
Slide – Adnan Haj
STATE: “Reutersgate” still haunts Reuters after they ran photos from
Lebanese photographer Adnan Haj. Haj had used the Clone Stamp in
“Photoshop” to make a 2006 Israeli strike on Beirut look more
violent. Reuters yanked all of Haj’s images once the forgery was
discovered.
STATE: This particular example of a spectacular ethical breach
bears a number of clues that will send up red flags to an alert reader.
Let’s take a closer look at it.
Former “Los Angeles Times”
photographer Brian Walski lost
his job after combining two
photos he shot of British troops
directing civilians during the
opening days of the 2003 Iraq
War.
Walski, who had won the
California Press Photographers
Association's Photographer of the
Year award in 2001, said he was
just trying to create a more
dramatic shot.
“Reutersgate” still haunts Reuters after they ran photos from Lebanese
photographer Adnan Haj. Haj had used the Clone Stamp in “PhotoShop” to
make a 2006 Israeli strike on Beruit look more violent. Reuters yanked all
of Haj’s images once the forgery was discovered.

Trainer Notes
Slide – Haj’s doctored photo
(Note—the highlighted circles come up sequentially when the
mouse or key board is manually clicked)
STATE: Haj’s work in doctoring the photo was very amateur. The
repeating “cotton ball” pattern and entire buildings replicated are
proof of manipulation through the use of Photoshop’s “Clone Stamp”
tool.
Slide – Fake bin Laden photo
STATE: After Osama bin Laden was killed by US forces May 2, 2011,
a photo reported to be his body was shown on Pakistani TV and
published in the British newspapers “Mail,” “Times,” “Telegraph,”
“Sun,” and “Mirror.” The photo is a fake. The lower portion is Bin
Laden, the top is someone else.
Slide – Iran’s stealthy fake
STATE: Our final example is from 2013. Iranian defense officials
released a photo purporting to show their new stealth fighter. The
aircraft is viewed at the same angle and with the same reflections as
the photos from the hangar. Strong evidence this aircraft never flew!
Haj’s work in doctoring the photo was very amateur. The repeating “cotton
ball” pattern and entire buildings replicated are proof of manipulation.
After Osama bin Laden was killed by US forces May 2, 2011, a photo
reported to be his body was shown on Pakistani TV and published in the
British newspapers “Mail,” “Times,” “Telegraph,” “Sun,” and “Mirror.” The
photo is a fake. The lower portion is Bin Laden, the top is someone else.
Iranian defense officials released a
photo purporting to show their
stealth fighter jet in February of
2013. Earlier, aviation experts had
claimed that the jet in the hangar
was a model not capable of flying.
The aircraft is viewed at the same
angle and with the same
reflections as the photos from the
hangar. Also, the mountain is
identical to one from a stock
image site.

Trainer Notes
*** STATE: Ok, let’s take a ten-minute break and pick back up at
[insert appropriate time here]
Objective: Review techniques of manipulation
Slide – Techniques of manipulation
STATE: Everyone have a good break? Ok, let’s get back at it. The
only tools generally regarded as “ethical” in photojournalism (with
one exception) are those that were used in the old dark rooms. Some
of these include:
a) Contrast
b) Color Balance
c) Cutting-and-pasting
d) Cropping
e) Flopping
However, dark room or digital, these can be taken to an extreme that
alters a photo’s meaning.
ASK: One of these techniques is ALWAYS considered manipulation.
Does anyone happen to know which one and why? Answer: Flopping
because it does nothing BUT alter everything about an image all at
once.
Related Instructor Activity: Remind the students about the master
clock and reiterate that it is the timepiece everything is timed off.
The only tools generally regarded as “ethical” in photojournalism (with
one exception) are those that were used in the old dark rooms. Some of
these include:
-Contrast
-Color Balance
-Cutting-and-pasting
-Cropping
-Flopping
However, dark room or digital, these can be taken to an extreme that
alters a photo’s meaning.

Trainer Notes
Slide – Contrast
STATE: Contrast is the degree of difference between the highlights
and shadows in an image. Contrast can be heightened to cut through
haze and/or make a “flat” photo look more three-dimensional.
However, as “Time” magazine showed in June 1994, it can be used to
alter the meaning of even a mug shot.
ASK: What do you think any reasonable person would conclude
about OJ Simpson from the image “Time” ran? Answer: Despite
“Time’s” protests about just trying to create unique cover, it appears
they are declaring Simpson guilty long before he ever went to trial.
This is clearly not in keeping with photojournalistic ethics.
ASK: If “Time” really was serious about trying to create a unique
cover, then what other options might they have used instead of
manipulating a publicly accessible mug shot? Possible answers: Use a
different photo; create a digital illustration, or run a cover with no
photo but bold text.
Slide – Color balance
STATE: Color Balance should be used only to make sure colors are
presented as close to the original scene as possible. This is especially
important in creating an accurate rendering of skins tones. Misuse of
color balance can make a midday photo appear to have been shot in
the evening.
Contrast is the degree of difference between the highlights and shadows
in an image. Contrast can be heightened to cut through haze and/or make a
“flat” photo look more three dimensional. However, as “Time” magazine
showed in June 1994, it can be used to alter the meaning of even a mug shot.
Color Balance should be used only to make sure colors are presented as
close to the original scene as possible. This is especially important in
creating an accurate rendering of skins tones. Misuse of color balance can
make a midday photo appear to have been shot in the evening. (Apr. 12, 2013.
U.S. Navy photo by Paul Farley)

Trainer Notes
Slide – Clone stamp and cutting-and-pasting
STATE: The Clone Stamp and/or Cutting and Pasting can be ethically
used to remove camera artifacts from an image (such as dust spots
brought about by a dirty lens). These tools can be misused, however.
The extra helo was cut-and-pasted in. The extra pallet was Clone
Stamped in.
STATE: The Clone Stamp tool is perhaps the most commonly abused
tool in your digital toolbox. Think about Adnan Haj’s photo of Beirut;
it was “Photoshopped” beyond all get out. However, whether you are
trying to create a legitimate piece of artwork, or manipulating an
image, you have to use this tool carefully. Otherwise, you work will
appear amateurish. IF you ARE going engage in unethical behavior
and risk your entire career, at least have the professional pride to do
a good job!
Slide – Cropping
STATE: Cropping is the physical cutting-down of the overall frame.
This can enhance a photo by eliminating distractions and getting
your reader closer to the action. However, if not used carefully, it can
completely alter a photo. This is perhaps the least abused tool, but it
can be abused.
ASK: Using the example shown, how could cropping out the enlisted
Sailor be unethical? Possible answer: If this event was specifically a
joint enlisted/officer ceremony, removing the enlisted Sailor from the
image alters the story.
The Clone Stamp and/or Cutting and Pasting can be ethically used to
remove camera artifacts from an image (such as dust spots brought about by a
dirty lens). These tools can be misused, however. The extra helo was cut-
and-pasted in. The extra pallet was Clone Stamped in.
Apr.12,2013.U.S.NavyphotobyMC3
RaulMorenoJr.
Cropping is the physical cutting-down of the overall frame. This can
enhance a photo by eliminating distractions and getting your reader closer to
the action. However, if not used carefully, it can completely alter a photo.
Apr.15,2013.U.S.Navyphotoby
MCSNJeanBaker

Trainer Notes
Slide – Flopping
STATE: Flopping refers to the complete reversal of a photo.
Although this might be useful in creating special effects or digital
illustrations, flopping is always considered unethical in
photojournalism!
STATE: Clues to look for include backwards text and numbers,
ribbons and name tags on the wrong side of a uniform, and shadows
falling the wrong way if you are looking at a series of photos from an
event.
ASK: Let’s review for a moment. What is normally the most abused
tool in Photoshop when it comes to unethical behavior? Answer: The
clone stamp tool.
ASK: How can color balance be used to manipulate an image?
Possible answers: Taking color balance too far can alter the apparent
time of day, or change the apparent lighting used on a scene.
ASK: Based on DODINST 5040.02, what could use the techniques of
cutting-and-pasting for while remaining within ethical bounds?
Possible answers: Repairing dust stops on images or covering up
scratches on the lens that distorted a part of an image.
Flopping refers to the complete
reversal of a photo. Although this
might be useful in creating special
effects or digital illustrations,
flopping is always considered
unethical in photojournalism!
Clues to look for include backwards
text and numbers, ribbons and name
tags on the wrong side of a uniform,
and shadows falling the wrong way if
you are looking at a series of photos
from an event.
Jan.11,2007.U.S.NavyphotobyMC1MartinCuaron

Trainer Notes
Objective: Discuss the consequences of unethical behavior
Slide - Consequences
STATE: There are a number of consequences for both military and
civilian photojournalists. The first and most obvious is the loss of
credibility. Without your credibility, you are useless as a
photojournalist and will probably never be trusted to work in this
field again.
ASK: Looking at these two lists, what is the most striking difference
in possible consequences between the civilian side and the military
side? Answer: In theory, a military member could be court-martialed
and sent to prison. Failure to adhere to DODINST 5040.02 can be
prosecuted under UCMJ Article 92: Failure to obey and order or
regulation.
Objective: Photo challenge: spot the fake!
Slide – Spot the fake title
STATE: If it was possible in the days of negatives and airbrushes to
fake an image so good it’s all but undetectable, then it’s even easier in
the digital age when images are only ones and zeros. Let’s take a
photo challenge and see if, just by looking at them, which of the
follow photos have been enhanced, and which manipulated…if any!
Consequences
For civilian photographers:
- Lose your job
- Never work as a photog again
- Be held to ridicule
- Be used as an example of
what not to do in photo
classes.
For military photographers:
- Be relieved of duty
- Be prosecuted under the
Uniform Code of Military
Justice
- Be used as an example of
what not to do in photo
classes.
Spot the Fake
All photos shown are by
MC1(AW/SW) Nathanael Miller

Trainer Notes
Slides – Spot the fake series
Manipulated or Enhanced?

Trainer Notes
Slide – Manipulated or enhanced?
STATE: In a world of pixels, images can be faked and no one can tell.
In a digital world, the only thing you have to maintain your
reputation and usefulness as a photojournalist is your CREDIBILITY!
Final Review
ASK: What is the difference between enhancement and
manipulation? Possible answer: Enhancement makes it easier to see
the story that actually happened; manipulation is telling the story your
want to tell.
ASK: What is the most commonly abused tool in Photoshop?
Answer: The clone stamp tool.
ASK: Does DODINST 5040.02 prohibit manipulation at all times?
Answer: No. Artistic projects, such as recruiting posters, are allowed.
Objective: Restate enabling objectives
Slide: Objectives
STATE: Our enabling objectives for this lesson are:
a) Review DODINST 5040.02
b) Review photojournalism terminology
c) Discuss deception through the years
d) Review techniques of manipulation
e) Discuss the consequences of unethical behavior
f) Photo challenge: spot the fake!
In a world of pixels, images can be
faked and no one can tell. In a
digital world, the only thing you
have to maintain your reputation
and usefulness as a photojournalist
is your CREDIBILITY!
Objectives
• Review DODINST 5040.02
• Review photojournalism terminology
• Discuss deception through the years
• Review techniques of manipulation
• Discuss the consequences of unethical behavior
• Photo challenge: spot the fake!

Trainer Notes
STATE: As members of the DoD, we are bound by DODINST 5040.02.
If you are ever directed to do something unethical, you need to fall
back on this instruction.
STATE: Before we take a break, let’s watch a short video interview
with Stephen Glass. Glass was a journalist who lost his career in a
highly publicized forgery case.
Video: Stephen Glass interview
STATE: Ok, take 10 minutes and be back at [insert time here]
Related Instructor Activity: Remind the class which time piece is
the “master clock.”

NPASE Course Development Primer

Recommended

Recommended

More Related Content

Similar to NPASE Course Development Primer

Similar to NPASE Course Development Primer (20)

More from Nathanael Miller

More from Nathanael Miller (9)

NPASE Course Development Primer