Photojournalism is a particular formof journalism that employs images inorder to tell a news story.

It is now usually understood to referonly to still images, but in some casesthe term also refers to video used inbroadcast journalism.

It collects, edits, and presents fornews material for publication orbroadcast that creates IMAGES inorder to tell a story.

A photo tells a complete story inan image.

Derives from the word“PHOTO” which is arepresentation of a personor scene recorded by acamera on a light sensitivematerial or “censor”

And the word “JOURNALISM”which means a timely writtenarticles or reporting of events inlocal, regional, national,international level.

It is relevant information that isdisseminated through images.

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

.—The situation implied by the images is afair and accurate representation of the events they depict inboth content and tone.

–The images combine with other newselements to make facts relatable to the viewer or reader toa cultural level.

The IMAGES of photojournalism piece may beaccompanied with explanatory text, or shownindependently, with the images themselves NARRATINGthe events they depict.

PHOTOJOURNALIST uses pictures instead of words to tell astory.

They can also accompany their images with some text toelaborate on some details or event.

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

Do shoot nouns, however, nounsstill seeks to tell a story, events,emotions, and every little bit ofinformation.

An image has no age, language orintelligent limits.

It shows the decisive moments.

PHOTOJOURNALISM is the process ofstory telling using the medium ofphotography as your main story tellingdevice.

While a JOURNALIST will use their penand paper to tell stories, aphotojournalist will use their camera tocapture the visual representation of astory

All photojournalists arephotographers.

A PHOTOJOURNALIST is a specialistphotographer that usesPHOTOGRAPHY, (instead of words,as a regular journalist would) to tellthe news or to complement anewsworthy story.

PHOTOJOURNALISM is avocation and streetphotography is a genre.

Photojournalism definitelyincludes elements of streetphotography, but they describetwo different things.

PHOTOJOURNALISM images are designed forshort-term audience involvement.

The images tend to be published in newspapers,which are of course short-term in their intentionand consumption

DOCUMENTARY PHOTOGRAPHY images forlonger term study.

DOCUMENTARY photographs tell stories with images.

The main difference between photojournalism anddocumentary photography is that documentaryphotography is meant to serve as a historical documentof a political or social era while photojournalismdocuments a particular scene or instance.

A DOCUMENTARY photographer may shoot a series ofimages of the inner city homeless or chronicle the events ofinternational combat.

Any topic may be the subject of documentaryphotography.

As with photojournalism, documentary photography seeksto show the truth without manipulating the image.

PHOTOJOURNALISM are generally seen as professional photographers,who work for a company or media publication, to photograph peoplesuch as athletes, celebrities, politicians and even things such as worldevents.

CELEBRITY photography is a subset of photojournalism where thesubjects are celebrities in the arts, sports and sometimes politics.

It is usually taken without the knowledge and permission of the personbeing taken.

There are THREE MAIN TYPES of celebrity photographsused by magazines and newspapers:

1. event photography,

2. celebrity portraiture, and

3. paparazzi.

While professionals who take action shots may specialize in a variety ofdifferent subjects, sports photography is one of the fastest and mostexciting types of photography.

As with any action shot, a good sports photographer has to know hisor her subject well enough to anticipate when to take pictures.

The same rule goes for photographers taking action shots of animalsin nature or of a plane taking off.

MACRO-PHOTOGRAPHY describes the field of photography in whichpictures are taken at close range.

Once restricted to photographers with advanced and expensiveequipment, macro-photography is now easier for amateurs to practicewith digital cameras with macro settings.

Macro-photography subjects may include insects, flowers, the texture ofa woven sweater or any object where close-up photography revealsinteresting details.

Micro-photography uses specialized cameras and microscopes tocapture images of extremely small subjects.

Most applications of micro-photography are best suited for thescientific world.

For example, micro-photography is used in disciplines as diverse asastronomy, biology and medicine.

Underwater photography is usually employed by scuba divers orsnorkelers.

However, the cost of scuba diving, coupled with often expensive andunwieldy underwater photography equipment, makes this one ofthe 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 gogglesare magnified and distort the photographer’s vision.

Artistic photography can embrace a wide variety of subjects. While anature photographer may use underwater photography to create anart show based on sea life, a portrait photographer’s show mayfeature black and white artistic portraitures.

In all cases, the photographs must have aesthetic value to beconsidered art.

Portraiture is one of the oldest types of photography.

Whether the subject is your family or your pet, the goal ofportraiture is to capture the personality of the subject orgroup of subjects on film.

Wedding photography is a blend of different types ofphotography.

Although the wedding album is a documentary of thewedding day, wedding photos can be retouched and editedto produce a variety of effects.

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

In addition, a wedding photographer must have portraitphotography skills.

He may also have to employ glamour photographytechniques to capture the bride and groom at theirbest.

Because photography plays a vital role in advertising, manyprofessional photographers devote their careers toADVERTISING PHOTOGRAPHY.

The need for unique and eye-catching advertising copymeans the photographer may work with multiple types ofphotography, including macro-photography and glamourphotography.

Travel photography may span several categories ofphotography, including advertising, documentary orvernacular photography that depicts a particularly local orhistorical flavor.

A travel photographer can capture the feel of a location withboth landscapes and portraiture.

Glamour photography, sometimes confused with pornography,may be sexy and erotic but it is not pornographic.

Instead of focusing on nudity or lurid poses, glamourphotography seeks to capture its subject in suggestive posesthat emphasize curves and shadows.

As the name implies, the goal of glamour photography is todepict the model in a glamorous light.

Consequently, many glamour shots carry flirtatious, mysteriousand playful tones.

FORENSIC photography is an integral part of criminal investigationprocedures throughout the world.

Photographers must therefore follow a standard methodology andproduce images to a rigorous technical standard so that they can beused as evidence in hearings, tribunals and court proceedings.

Forensic Photographers are expected to work efficiently in distressingand challenging environments, without disturbing evidence orinterfering with the work of other investigators.

Forensic photography sometimes referred to asPOLICE PHOTOGRAPHY, forensic imaging or crimescene photography. - is the art of producing anaccurate reproduction f a crime scene or anaccident using photography for the benefit of acourt or to aid in an investigation.

Americanphotographer thatexposes child labourpractices, because ofhim, laws werechanged.

He has spent his life taking epic,mind-swarming photographs ofgold mines, oil fields andgenocide. But now SebastiãoSalgado is turning his lens onthe planet’s last undamagedplaces.

An American photojournalistphotographer, musician, writer andfilm director, who became prominentin U.S. documentaryphotojournalism in the 1940sthrough 1970s—particularly in issuesof civil rights, poverty and African-Americans.

Flavio da Silva's smile probably savedhis life. It was his smile that caughtthe eye of Life magazinephotographer Gordon Parks in 1961.Parks was in Rio shooting a photoessay on poverty when he spottedthe sickly boy toting water in a slum.

She has been aphotojournalist for 14 years.

The first Filipino womanphotojournalist on the valueof ethics.

Photo essay are most dynamic when you as aphotographer care about the subject.

Make your topic something in which you findinterest.

If you document a new-born's firstmonth, spend time with the family.

DISCOVER who the parents are, whatCULTURE they are from, whetherthey are upper or lower class.

These factors will help you inplanning out the TYPE OF SHOTSyou set up for your story.

After your research, you candetermine the ANGLE youwant to take your story.

The main factors of the story,creates an incredibly uniquestory.

Every dynamic stories is built on a set of corevalues and emotions that touch the heart of itsaudience.

Joy, fear, hurt, excitement is the best way youcan CONNECT your photo with your audience isdraw out the EMOTIONS within a story andutilized it in your shots.

This does not mean that you manipulate youraudience emotions but you only use thisemotions as a CONNECTING POINT.

Visualize its shots of a story, orsimply WALK THROUGH thevenue, place or event in yourmind, you will want to thinkabout the TYPE OF SHOTS thatwill work best to tell yourstories.

Avoid the act or period of posing, asfor a picture.

Avoid a position or attitude assumed inposing, or exhibited by a figure in apicture, sculptural work, tableau, or thelike.

avoid a moment in which a dancerremains motionless, usually in anassumed posture.

Our eyes are often attractedto the face first.

Being very social beings, weread emotions and storieson faces all day long.

As simple as it sounds, the first step toeffective photojournalism is getting yourexposure right.

If a photograph is too dark or too bright itwill repel the viewer.

The two most important things toremember are: stabilise your camera in lowlight, and use ISO 100 in bright light. A great example of good exposure by

Steven Riggall. Notice how it is pleasing on the eye.

The key subject of your photograph mustbe in focus, whether that’s just a smalldetail of a much larger image or a fulllandscape.

Ask yourself, what are you showing yourviewer? What’s the most importantelement of this image? Then make surethat’s where your focal point is.

the selective focus on this image by LibbyBest draws the viewer in to the woman’sface.

Look for ways to convey the emotionof the moment.

Capture people’s expressions, theirbody language and their interactions.

Get in close for intimate momentsand experiment with using selectivefocus to highlight facial expressions. Shirley Way captures the elation of the

moment as a new bishop is consecrated.

People gravitate towardspeople. Faces humanise visualstories.

Unless there’s a good reason,show faces and avoid theback of people’s heads.

li Tulloch conveys her subject’s personality in thisfun portrait.

In all forensic investigations,the first step is to secure thecrime scene.

The photographer should evaluate theavailable light and weather conditionsand adjust camera settings

appropriately.

Crime scenes can be indoors, outside orboth; they can be vehicles, includemultiple rooms, or any combination oflocations, therefore no single camerasetting will work for all crime scenes.

The photographer should takephotographs before anything isdisturbed, progressively workingthrough the scene from outside toclose-up pictures.

Many shots should be taken, fromthe entire scene, to medium shots toshow the relationship of evidence tothe overall scene.

the crime scene photographer should capturethe whole scene first using wide-angle shotscovering the entire scene from the approach andthrough every area. Close-up images of evidencecan be taken out of context, so establishing thescene first with wide and medium shots is critical.

photographs should be taken looking up fromthe scene to capture evidence or environmentalfactors that may be above the scene

The next series of shotsshould include victims (ifpresent) to showlocations, injuries andcondition.

each piece of evidence should bephotographed to illustrate where it was found.This establishes the relationships of theevidence to the victim, the victim to the roomand so on. These photographs should be takenfrom straight above or straight on at rightangles, eliminating potential distancedistortions. Each piece of evidence should bephotographed with a scale to indicate size andwithout a scale.

Photographs should be takenbefore evidence markers are placed,then again after.

These initial shots are important toprove that no one has tamperedwith the crime scene.

If investigators mark newevidence, the whole series ofshots should be repeated,including all evidence shots.

These photos should include theentire piece of evidence and ascale to indicate size

such as lasers, blue or greenlights and colored filters thathelp detect processed latentfingerprints or other hiddenevidence and illuminate forphotographing.

Green light used to illuminate a latentfingerprint. (Courtesy of ScottCampbell)

using a flashlight, cameraflash or ALS at a very lowangle to cast shadows thatallow an imprint orimpression to bephotographed

Oblique light used to add contrast to afootprint. (Courtesy of Scott Campbell)

can take very close-upimages (1:1 or 1:2) ofsmall items such as toolmarks or traceevidence.

Cartridge case details captured with macrolens. (Courtesy of Scott Campbell)

Photographs should accurately documentthe lighting conditions at the scene.

After those photos are taken, if necessary,a photographer will add artificial light, likea flash, to compensate for a camera’slimitations in capturing the visible range oflight under certain conditions.

Sometimes environmental factorssuch as rain, snow or traffic can makeconditions difficult for photography.

The photographer must work quicklyto capture as much visualdocumentation as possible from adeteriorating scene.

If a victim must be moved or requirestreatment, the photographer can goback to document the victim’s injuries.

Various techniques using special lightingand colored filters can highlight injuries(bruising, scarring) and healing status.

THANK YOU FOR READING

CHELDHAYE