PHOTOJOURNALISM

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PHOTOJOURNALISM
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RECORDING HISTORY
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One of the most important roles of the
photojournalist is to provide images of events
that the reader would otherwise not have access
to . . .
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NEWS
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WORLD EVENTS
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COMMUNITY EVENTS
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Photojournalists write captions
A woman suffering from symptoms of AIDS, in her
home at Rakai in Western Uganda, 1988. Photograph
by David Blumenkrantz
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FEATURES
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PORTRAITURE
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ENVIRONMENTAL PORTRAITS
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COMPOSITION
Photojournalists use angles and different focal
length lenses to their advantage to interpret the
scene.
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SPORTS ACTION
Telephoto lenses such as the 300mm or greater
cause maximum compression of foreground and
background, and result in minimum depth of field.
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CONTROL DEPTH OF FIELD TO BLUR BACKGROUND Photojou
rnalists must master the manual settings of their
cameras in order to achieve certain visual
effects.
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Wide-angle lenses allow the photographer to work
in small spaces. Depending on how wide they are,
they cause distortion such as tilting, and the
objects in the background appear farther away
than they really are.
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NATURAL LIGHT Also known as ambient or
available light. For color photography, the
early morning and late afternoon hours provide
the warmest light, as well as shadows that are
longer and fall behind subjects.
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The light inside sports arenas usually requires
the use of faster films or ISO/ASA settings. This
shot was made with Tri-X ASA 400 film, which was
pushed to ASA 1600 and developed in a special
fine-grain developer.
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FLASH PHOTOGRAPHY The use of a flash allows the
photojournalist to bring light to areas that are
too dark to rely only on the ambient light.
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Photo Essays A Clear Point of View
Some groups of photos, like W. Eugene Smiths
1972 Minamata classic on mercury poisoning in the
Japanese fishing industry, function like a
magazine opinion piece or a newspaper editorial.
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This type of photo essay has a clear narrative
story the reader starts to care about the
subject and wants to know how the dilemma is
going to be solved.
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One could conclude that Smiths real subject was
not pollution, but the indomitability of the
human spirit. Smith became an advocate for the
victims, and ultimately a victim himself when his
cameras were destroyed and he was savagely beaten
by company thugs. Partially blinded, he was
unable to photograph, and died a few years later
. . .