Photojournalism

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Photojournalism

  1. 1. Ashley Stout December 9, 2008 Jour 3500
  2. 2. Research Questions
  3. 3. What is Photojournalism? <ul><li>Journalism in which a news story is presented primarily through photographs with supplementary written copy. </li></ul><ul><li>-- American Heritage Dictionary </li></ul><ul><li>Photojournalism is a story-telling medium, mostly; one that combines images and writing to more thoroughly explore a given subject. </li></ul><ul><li>-- Dr. Ellen K. Rudolph </li></ul><ul><li>Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that creates images in order to tell a news story. It is now usually understood to refer only to still images, and in some cases to video used in broadcast journalism or for personal use. </li></ul><ul><li>-- Wikipedia </li></ul><ul><li>Photojournalism is journalism, but with a far different method and outcome than the journalism practiced in other parts of the newsroom. The picture may indeed be worth a thousand words , but to try to equate words and images may be a fool’s errand. The picture is fundamentally separate from the word. </li></ul><ul><li>-- James Glen Stovall </li></ul><ul><li>Photojournalism is journalism that uses pictures to tell a story instead of words. </li></ul><ul><li>--Holly Rowsey </li></ul>
  4. 4. The Beginning
  5. 9. Photojournalism and Our Culture: How do pictures effect the way you see the news? <ul><li>“ For me pictures make the story more real. If the Internet or TV story didn’t have a photo with it, I probably wouldn’t pay that much attention to it.” Gina Gadd, student </li></ul><ul><li>“ In the news, pictures mean everything, especially on the Internet. If there is no photo to grab your attention there might not be a great response to the piece.” Holly Rowsey, student </li></ul>
  6. 10. Ethics in Photojournalism <ul><li>National Press Photographers Association Code of Ethics </li></ul><ul><li>Photojournalists and those who manage visual news productions are accountable for upholding the following standards in their daily work: </li></ul><ul><li>1. Be accurate and comprehensive in the representation of subjects. </li></ul><ul><li>2. Resist being manipulated by staged photo opportunities. </li></ul><ul><li>3. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work. </li></ul><ul><li>4. 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. </li></ul><ul><li>5. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events. </li></ul><ul><li>6. 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. </li></ul><ul><li>7. Do not pay sources or subjects or reward them materially for information or participation. </li></ul><ul><li>8. Do not accept gifts, favors, or compensation from those who might seek to influence coverage. </li></ul><ul><li>9. Do not intentionally sabotage the efforts of other journalists. </li></ul>
  7. 11. “ The advent of computers and digital photography has not created the need for a whole new set of ethical standards. We are not dealing with something brand new. We merely have a new way of processing images and the same principles that have guided us in traditional photojournalism should be the principles that guide us in the use of the computers. This fact makes dealing with computer related ethics far less daunting than if we had to begin from square one.” John Long, NPPA member How do ethics effect Photojournalism? Ethics are the controlling factor in photojournalism just like in print/written journalism. Without these guidelines and rules there would be no regulations that keeps people from taking advantage or using photos to harm. --Greg Campbell
  8. 14. Photo Alteration: What do you think? <ul><li>Holly Rowsey: I think that it’s okay that correct lighting and other contrast problems. But I do not think a journalist should ever manipulate a photo that is in a news story. I manipulate ads all the time, but news photos have to tell the truth or they are no longer news. </li></ul><ul><li>Gina Gadd: No. When it comes to hard news a photo should never be altered, even for lighting purposes, because even then you can go too far. It’s better to just not have to deal with it. </li></ul><ul><li>Justin Hensley: I don’t think total manipulation of a picture is right, but I don’t see what’s wrong with getting rid of something that you don’t want in the picture that is not important to the story. </li></ul><ul><li>Greg Campbell: Only for contrast and lighting adjustments to bring the photo more clarity. It should never be changed more than that. </li></ul>
  9. 15. Photojournalism: Do you trust it? <ul><li>Do you trust the photos you see on the Internet or in print? Why or why not? </li></ul><ul><li>“ For the most part, I do trust the photos that I see on reputable sites. Since it’s so easy to manipulate photos now, you have to take everything with a grain of salt. There have been so many stories of people altering photos that it does take your trust away after a while. I think I trust what I see in print more than on the Internet.” </li></ul><ul><li>-- Amy Carey </li></ul><ul><li>“ I trust print photography much more than what is on the Internet. I think everything on the Internet is so easy to fake these days that you just have to go ahead and say that that photo is more than likely altered or ‘fixed’ in some way. It’s just the way news and information works.” </li></ul><ul><li>--Kevin Smith </li></ul>White House , 2004
  10. 16. Most Memorable Amy Carey: “I know this is one everyone remembers, but it is especially significant to me because I was there just a week before. The aftermath just blew me away. I’ll never forget .” Kevin Smith: “This is my most memorable photo, because I was just nine years old and I remember thinking that the baby looked like my little sister.” Justin Hensley: “This is my favorite photo because I really love conspiracy theories and this one is the biggest and oldest of them all.”
  11. 17. The Internet & Photojournalism: Going Back to Basics <ul><li>Capacity </li></ul><ul><li>Flexibility </li></ul><ul><li>Immediacy </li></ul><ul><li>Interactivity </li></ul><ul><li>Permanence </li></ul>
  12. 18. Capacity & Permanence
  13. 19. FLEXIBILITY
  14. 20. INTERACTIVITY & IMMEDIACY
  15. 21. The Internet & You <ul><li>What effect do these five elements have on the way you see news? Which one effects you the most? </li></ul><ul><li>Holly: For me it would have to be the immediacy . I like my news up-to-date and my gossip news especially is always a revolving door. </li></ul><ul><li>Gina: Capacity is the one that effects me the most. I have blogs and communities I am a part of and I am always posting. If the site ran out of room I don’t know what I would do. </li></ul><ul><li>Justin: Interactivity. I usually have five things going at once- emailing, blogging, looking stuff up, etc. So the interactivity element of the Internet is my favorite. </li></ul><ul><li>Do you expect to see photos when you click on a new story? </li></ul><ul><li>Kevin: Almost always. If the story isn’t one I’m dying to read and it doesn’t have pictures or video, I never finish reading it. </li></ul><ul><li>Amy: Yes. I am really into the interactivity part of a story on the internet. Straight news stories are not what I’m looking for when I’m surfing. </li></ul>
  16. 22. The Future of Photojournalism <ul><li>Cameras don't tell stories. They don't. No matter how new the technology may be, you will never see a photo credit in a newspaper or magazine that reads: Photo by Nikon D2 (or whatever camera you may be using). It will always be the people behind the cameras that do all of the work. Good visual storytelling comes from a process of learning how to be a great thinker and observer above all else. Good visual storytelling comes from learning to anticipate those wonderful moments of serendipity where everything in your frame comes together for the good of the story. These types of things cannot be accomplished by the most powerful technology in cameras today or tomorrow. Know why? Because cameras cannot think. They cannot feel. They cannot anticipate. They cannot bring passion or life experience to the assignment. They cannot wake themselves up at the crack of dawn when the competition is still sleeping, just to get that extra edge on the next guy. Cameras with the greatest technology of today or tomorrow cannot learn from previous mistakes or file away ideas on long drives home from work. The future of photojournalism has nothing to do with the camera, but with the people who choose to spend their lives using them. </li></ul><ul><li>Sportsshooter.net blog </li></ul>
  17. 23. “ The future of photojournalism is bright. A lot of untapped potential is just waiting to be used… Already we have come so far- all you have to do is point and shoot and upload and in the space of five minutes a photo is posted on the Internet for the world to see.” -- Greg Campbell

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