Photojournalism Manual
Photojournalism Manual
Photojournalism Manual
PHOTOJOURNALISM
A SHORT GUIDE TO
PHOTOJOURNALISM
TABLE OF CONTENTS
A SHORT GUIDE TO
PHOTOJOURNALISM
ORIENTATION
Class
You must sign up for The Channels for Artists J123, and Photo 190, Photojournalism, or another SBCC photography class.
You are required to attend staff meeting 12:45-2:05 p.m. Tuesday and Thursday.
Assignments
1.
2.
3.
You will be assigned at least one assignment for each issue. The photo editor, a member of The Channels
Editorial Board, determines the genre and assigns photographers.
You are required to enterprise one piece of wild art for each issue.
You are required to report and write cutline information for all images submitted for publication.
Grades
You earn points for content and for production. Your content grade is based on your monthly portfolios, submitted on
the dates listed on The Channels online calendar. Your production grade is based on your success following Channels
procedures and protocols for photo imaging and electronic filing. You also have ample chances for extra credit points.
Types of Shots
You will be assigned a specific genre for each assignment.
1) Provide a minimum of three types of shots for each assignment: a establishing shot, a medium shot and a close-up.
2) Shoot horizontals and verticals.
3) Shoot mugs of each campus leaderstudent and facultythat you interact with.
Camera
You can shoot either with your own camera or with The Channels cameras, for which you must follow checkout protocol.
The Channels has video, audio and still cameras for checkout, please see Zach or the current editor in chief for information
on how to check out a camera.
Cutlines
For each photo submitted for publication, you should provide who, what, where, when, why and how, and one additional
interesting detail. Again, this is considered minimum. Check all names and spellings.
Deadlines
Are either Friday or Monday morning, depending on what section youre shooting for. Deadlines are clearly called out on
The Channels budgets.
Lessons
The Channels does not teach photojournalism per se. You will be given lab guides on genres and lab protocol, and each of
you will complete an online tutorial. The Channels Manual Online also has numerous references for you, comprising needto-know items about access, media law and ethics. You are expected to study these materials and apply them in your daily
work at The Channels.
Numerous Photoshop tutorials can be found online, but an easy and excellent one you can complete in an hour was created
by the UC-Berkeley Graduate School of Journalism.
You will find it at:
http://multimedia.journalism.berkeley.edu/tutorials/photo/photoshop/
Copyright
Understand that you are working as a staff photographer for The Channels, under assignment from the Editorial Board. As
such, the copyright for all your work belongs to The Channels, and all rights to reproduce that work in perpetuity belongs
to The Channels. This is in place to protect your work from anyone using it without you knowing.
A SHORT GUIDE TO
PHOTOJOURNALISM
ELECTRONIC FILING
You have four goals when submitting images for Channels publication:
1. Prepare your images as optimally as possible so editors can easily place them on the newspaper or Web page.
2. Submit accurate and complete information so that editors can write cutlines that help readers better understand
your images and the people in them.
3. Submit all your content, properly slugged and in the proper computer file, so that editors can find it.
4. Do all the above by deadline.
Preparing Images
Adjust orientation and make sure you are saving images properly as verticals or horizontals, depending on the shot.
Adjust contrast and color.
Bring out detail in faces, if needed.
Remove spots and other imperfections, but do not alter the actual image.
Prepare your image for print (the photo editor will adjust it for the web).
Your camera should be preset, but check to make sure you are saving in 4 x 6 format, at least 300 dpi.
Filing Images
The Channels file serverthe location where all content is storedcan only be accessed from the lab.
Working from a lab computer:
1.
2.
3.
4.
5.
6.
7.
Get into the Channels server by pressing Apple key in Apple Key K.
Navigate to:
Work folder
The edition folder of the week (2/14/08 in your screen shot)
Photography/Graphics folder
Create a new folder, and name it the same as your assignment slug. Save in the Photography/Graphics folder.
Move all your images into this folder.
Pick your Top 4, and rename them and number them, again with the assignment slug. Remember that you are
choosing shots with vertical and horizontal orientations, as well as establishing shots, medium range and
a close up.
You can leave the remaining images unnamed.
Save wild art in the Wild Art folder, right above the Graphics folder.
Cutlines
Your goal is to provide page editors with enough information for any shot he or she may choose without you (the
photographer) knowing the choice. With this in mind, you should be shooting in such as way that you can collect cutline
information without killing yourself. Second, you should be submitting accurate information. If in doubt, leave it out, even
if leaving it out earns you an editors wrath.
1.
2.
3.
4.
Cutline requirements are: Who, What, When, Where, Why, How, and one interesting detail. Dont worry about the
writing because it will be rewritten. Do worry about accuracy.
Create a Word file, name it the same as your assignment slug with cutline added, and save it using the same steps as
you did with your images.
In list form, write complete cutline information for each of your top shots. Remember to lead off each cutline with the
slug of the photo.
Write general cutline information for the rest of your shots.
A SHORT GUIDE TO
PHOTOJOURNALISM
A SHORT GUIDE TO
PHOTOJOURNALISM
CUTLINE SITING
General guidelines
Every photo must be accompanied by a cutline.
A mug shot takes simple identification.
For more complex photos, the cutline must be at least one complete sentence and up to three. Writing is factual and
to the point, and sentences should be short. Avoid fancy prose.
Cutlines must identify all recognizable people by name. Crowds and people in the background can be identified
more generally.
When more than one person in the photo, you will probably have to site.
Sentence structure
The first sentence of cutline must describe the action in the photo. The sentence must contain a present tense,
active verb.
The rest of the sentences can provide background or more information about the story or photo.
Avoid clichs such as shown here or pictured above. Better to just identify the subject and provide
a piece of information about the story.
Identification
The following can be identified without siting:
single subject photos
photos in which the action clearly identifies who is who.
photos of opposite-sex people when they dont have ambiguous names.
two-subject photos when one of the people is famous.
Directional siting
Never use directional siting if you can help it. But use it if you need it.
The main actor in the photo is generally sited first, by describing the action. Then site from left to right, if you have to.
Famous people are sited first, the rest left to right, if you have to.
When no main actor, site from left to right.
For row or tiered shots, site front to back, left to right.
For circular shots, pick a focal point (usually 12 oclock) then site clockwise.
Siting directions can either be in parenthesis (from left) such as The Channels uses, or in commas, front to back, depending on the style
of the publication.
Cutlines for soundslides
Unlike in print, cutlines in this media form should be minimal so they dont compete with the audio.
Only describe action if the audio doesnt.
Use last name only on second reference.
Put a cutline on every image, but the text be as simple as the subjects name.
A SHORT GUIDE TO
PHOTOJOURNALISM
PHOTOJOURNALISTIC GENRES
Visual Variety
Strive to capture three types of shots for each major assignment: the establishing shot (also called the overall shot), the
medium shot, and the close-up.
Establishing Shot
If readers themselves were at a news event, they would stand in the crowd and move their eyes side to side to survey the
entire panorama. A good establishing shot allows viewers to orient themselves to the scene, whether it be a street, a city
block, a hillside on campus, or a room.
Note: Generally requires a high or a wider angle. Climb a ladder or stairs, get on your car roof, or say yes to a
helicopter ride.
Medium Shot
Adds drama and tells the story. Shoot close enough to see the participants actions, yet far enough way to show their
relationship to one another and the environment.
Note: A wide-angle lens such as a 24mm or 28mm works well, although a normal 50mm will do.
Close-Up
Slams the reader eyeball-to-eyeball with the subject. A close-up should isolate and emphasize one element, which is most
often a face but can also be the hands of an aging pianist or the childs doll, mired in the mud of a flash flood.
Note: Longer lenses enable photographers to be less conspicuous. With a 200mm lens, you can stand 10 feet away and still
get a tight facial close-up.
The following are the most common photojournalistic genres:
Mugshot
Note: Generally with a medium range telephoto lens; around 80 to 100mm. Depth of field F8. Watch the background to
see that a tree branch or pole doesnt appear to stick through the head. Watch for bright sun or too much flash causing a
reflection on glasses and for bright sun causing a squint or dark shadows beneath the eyes. The latter can be filled in with
flash, or turn the subjects back to the sun or stand in the shade & shoot with balanced flash, then add a touch of warmth in
Photoshop.
Also be aware of the color of the background in relation to the subject. White hair against a white wall will be lost. Likewise,
dark hair against a dark wall requires some separation. In such situations, also be careful to meter off the face so the large,
single color background does not throw the light meter out.
Environmental Portrait
Capturing the subject in his or her natural environment.
Required when one wants to both show a persons face and say something about what they do or are involved in.
The background is thus as important as the subject & should say something about the person, or correlate to
the article in a direct manner.
Note: Props directly related to the subject or news article may immediately contribute to a good photo. Ask questions
get a good feel for the subject and their activity or profession. Are they linked to a product or activity? If you get a first
impression check or ask that it is accurate, then try to depict that to readers. Secondly, think how you can make good use
of light. Use window light, fill in with flash. If an industrial or lab type setting, use a gel on a background light or flash for
effect red & blue always works well here. These shots are generally in the 17 35 mm wide angle range. Subjects for the
most part look at the camera but not as a rule. Depth of field may vary from F8 to F16.
Story Telling
Real people doing real things.
The subject, action or happening is shown as a moment in time in a particular environment. No propping
or posing.
Note: Most generally created with a combination of keen photojournalistic senses, good use of light and a 17 35 mm lens.
Tele lenses are also used, but less so. The effect is not quite the same which is to capture a dramatic sense of place and
occurrence. The subject may be large and fill three quarters of the frame. Or the subject may be small & fill a tiny fraction
of the frame. The emphasis is on story and content. Aperture varies from small to large depending on desired effect.
Paparazzo
Basic celebrity photography in more demanding situations, perhaps from within a pressing crowd.
Often the best you can to get the face or pose.
Note: Get there earlier to stake out a position & anticipate movement. (Generally within a 28 200 mm range depending
on position. Also at F5.6 to F8) Look for expression or unusual antics. Try for inside information on arrival times etc. Can
include long hours of waiting with short bursts of action. So take trial light meter readings in various clearly thought out
parts of the location. (Open up by a stop from the meter reading if you anticipate a dark skinned person arriving, or two
stops if someone might be arriving in light but will step into shade etc.)
Spot News
Emphasis is on content first.
This might be described as a cross between paparazzi, sports and storytelling work.
Note: In most cases you get the best you can from the best angle possible. Then when you have the bread & butter shot in
the bank, look to improving it with more creative angle or lighting, or give attention to a good story telling shot. Emphasis
is on capturing a key moment. (The fired Professors fist pumping the air in indifferent light with a cluttered background is
more important than a beautifully lit image of the President announcing the dismissal in a garden setting.)
Sports Action
Close-up action photography using a medium- to long-range telephoto lens.
Note: Short to medium range teles are generally used for court sports & medium to long range teles for field or other
outdoor sports. Aperture is generally from F2.8 to F8. A good tip for flash use is to dial in a negative 1 to 2 stop exposure
on the flash if possible and the action is fairly close. This throws just enough light to freeze the action and add light to the
subject, but leaves enough power for a double burst before the flash has to recharge. (You thus get two shots with flash on
motor drive.) On full charge or equal to the meter reading, the flash fires only once then has to recharge.
Sports action can also be caught with a wide-angle lens, especially when play moves in to the touchline the photographer is
standing on. But this requires a second camera with such a lens fitted for quick use, and although action photography, will
show a greater element of story telling.
Sports Reaction
Watch the bench, the team, the coach and the stands when a match point is about to be played, or a penalty kicked or
thrown etc, or the final whistle is about to blow. Reaction tells the story of a game as much as the winning move.
Wild Art
Cliches to Avoid
Grip and Grin
Standard posed shot for an event. Might include
check hand over, award receipt, sod turning, etc.
Note: You can show some creativity, but not
much. Try for fresh angles, perhaps low down,
off to one side or higher up, and special lighting,
sidelight for contrast or a soft flash blending in
with ambient light. Try to avoid harsh shadows
beneath the eyes. (Generally within a 28-105 mm
range at F5.6 to F8)
Execution at Dawn
Line em up, shoot them down.
Note: Theres no way to make this shot
interesting. Instead, find out exactly what these
people are being honored for, then pick the most
interesting one, go to the scene of the action and
do an environmental or storytelling shot.
Bored Meeting
Not a typo.
Again, go beyond the lazy shot and find out why
these people are in the news. Then head out to
where the news or human interest is, and capture
that image.
10
A SHORT GUIDE TO
PHOTOJOURNALISM
* PHOTO 109
Basic Photography
* PHOTO 190
Photojournalism
MULTIMEDIA 113
Digital Imaging 1: Photoshop
PHOTO 133
Digital Photography Basics
PHOTO 180
Digital Imaging
11
A SHORT GUIDE TO
PHOTOJOURNALISM
12
A SHORT GUIDE TO
PHOTOJOURNALISM
13
A SHORT GUIDE TO
PHOTOJOURNALISM
14
A SHORT GUIDE TO
PHOTOJOURNALISM
15
A SHORT GUIDE TO
PHOTOJOURNALISM
16
A SHORT GUIDE TO
PHOTOJOURNALISM
17
A SHORT GUIDE TO
PHOTOJOURNALISM
18
A SHORT GUIDE TO
PHOTOJOURNALISM
19
A SHORT GUIDE TO
PHOTOJOURNALISM
20
A SHORT GUIDE TO
PHOTOJOURNALISM
21
A SHORT GUIDE TO
PHOTOJOURNALISM
22
A SHORT GUIDE TO
PHOTOJOURNALISM
23
A SHORT GUIDE TO
PHOTOJOURNALISM
24
A SHORT GUIDE TO
PHOTOJOURNALISM
25
A SHORT GUIDE TO
PHOTOJOURNALISM
26
A SHORT GUIDE TO
PHOTOJOURNALISM
Code of Ethics
Photojournalists and those who manage visual news productions are accountable for upholding the following standards in
their daily work:
1)
2)
3)
4)
5)
6)
7)
8)
9)
Strive to ensure that the publics business is conducted in public. Defend the rights of access for all journalists.
Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and
presentation. Work with a voracious appetite for current events and contemporary visual media.
Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities,
seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view.
Avoid political, civic and business involvements or other employment that compromise or give the appearance of
compromising ones own journalistic independence.
Strive to be unobtrusive and humble in dealing with subjects.
Respect the integrity of the photographic moment.
Strive by example and influence to maintain the spirit and high standards expressed in this code. When
confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the
highest standards of the profession. Photojournalists should continuously study their craft and the ethics that
guide it.
27