GCM 359 Publication Photography

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GCM 359Publication Photography
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Chapter 1, Assignment
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Where to Find News Photos

• Scanner Radio
• Know the codes
• Tips Help
• Special interest groups call in tips to the
  newspaper if they think publicity will do them
  some good.
• Keep in mind they want to direct what you shoot
  to present the image they want.
• News Radio
• Everyone knows then but better than nothing.

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Where to Find News Photos

• Beat Reporter
• They should know what is going in their area.
• Making Contacts
• Get to know people who can keep you informed.
• PR Office is There to Aid You
• Most agencies will have PR people to help you
  out. They can keep you informed of schedules.
• Keep in mind they want to direct what you shoot
  to present the image they want.
• Many of these PR releases suggest good picture
  possibilities.

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Where to Find News Photos

• Paper Prints Schedules
• The daily paper can keep you informed of what is
  coming up.
• You should also keep a eye on what other people
  or shooting.
• Trade Magazines
• Trade Magazines can supply unusual leads.

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Working with Reporters

• Photo Request Starts the process
• Most news publications have many more reporters
  than photographers.
• Reporters request a photographer to be assigned
  to the story.
• Photo Request Starts the process
• A assignment sheet should include Name or person
  or event to be photographed, Time, Date, Place,
  Color or BW, Slug (story name), Contact numbers,
  and brief description of story.

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Photographer and Reporter

• You should meet the reporter ahead of time.
• The best circumstance is when the photographer
  and reporter work as a team.
• The team should meet and try to define the
  storys thrust and news.
• Many times the reporter and photographer dont
  meet until on location. The photographer just
  gets the info from the editor.

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Best Time for an Assignment

• The best time for a photographer and reporter to
  cover a story are often different.
• A reporter often needs time after the action to
  talk with the subject. A photographer must cover
  the action when it happens.
• Recreation of events is sometime a necessary evil.

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Making Arrangements

• Editors and reporters do not always take into
  account the special needs of photographers.
• Often photographer, because they know the kinds
  of pictures they are looking for, they can make
  arrangements better than others.
• For many stories the photographer and reporter
  dont have or should work together.
• Lighting can effect when a photographer should
  take the photograph.
• The activity of the subject also effects the time
  a photo should be taken.

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Working in Tandem

• Some times the photographer and reporter must
  cover the event together.
• The reporter and photographer can help cover each
  others backsides.
• Even when they are working together they should
  most times go their own way when covering the
  story.
• It is important that the story and photographs
  tell the same story.
• If there are any discrepancy between the story
  and photos they should be worked out before the
  story goes to press.

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Picture Politics

• Many publications over rate the value of written
  word and under rate the value of the photographs.
• Assignments are normally proposed by reporters or
  editors, not photographers.
• Photographers rarely originate story ideas.
• Traditional photographer are only brought in when
  the story nears completion.
• The photographer is very often given very little
  time to shoot the assignment.
• Sometimes the photographer just has to make due
  with the time and conditions available.

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The Budget Meeting

• A budget meeting is to decided how much space to
  allow for each item in the newspaper and what
  position in the paper they are placed.
• Each section editor pitches their best story to
  the managing editor to decide what stories get on
  the front page.
• Each editor other than the photo editor normally
  has a certain amount of space that is his or her
  responsible.

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The Budget Meeting

• The photo editor has no reserved space in the
  publication.
• Managing editor who make the final decision about
  who gets what space normally come from the
  written side and not the visual side of
  education.
• It is sometimes amazing that photo editors get
  any pictures published against all the odds
  against him.

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The Budget Meeting

• Today in reality every managing editor knows the
  importance of front photographs. Papers must sell
  to keep everyone employed. Front page photos SELL
  newspapers. The right photo can make people pick
  the paper up at the newsstand.

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Take a Reporter to Lunch

• To avoid the trap of being the last one to know
  about stories try to be informed about what is
  coming up.
• Try to know what the reporters are working on.
• If you find out that a story is in progress try
  to take photos that might work for the story when
  it is done.
• It is a whole lot easier to find the right
  subject when you days to find it and not hours!

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Self Generated Assignment

• Self-generated assignments are ones that a
  photographer proposes to an editor.
• Sometimes a photographer just shoots a photo of a
  happening event without an assignment of any
  kind.
• If a photographer sees news happening they should
  take the photo.
• Most often a photographer receives a written or
  oral assignments.
• The photographer then develops the story and near
  the end a reporter is assigned.

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International Assignments

• Many larger publications routinely sent
  photographers around the country and the world.
• Many photographers keep passports in their camera
  bags.
• If you have the possibility of traveling keep
  ready.
• Travel light. (Dont forget a towel.)

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Assuring Visual Variety (what shots)

• Overall shot
• Medium Shot
• Action
• Close-Up

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Overall shot sets the scene

• The overall allows viewers to orient themselves
  to the scene.
• How big was the crowd, what were the surroundings
  and what was the weather like are some of the
  things that a over all should show.
• You should always shoot a overall. It will allows
  the photo editors to better understand the
  situation
• Generally the overall requires a high angle.
• A wide angle lens can also give you an advantage
  in a overall shot.

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Medium Shot Tells the Story

• The medium shot should Tell the story in one
  photograph.
• Shoot the picture close enough to see the
  participants, action, yet far enough to show
  their relationship to one another and the
  environment. (A wrecked car and the victim.)
• Action improves the photo

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Medium Shot Tells the Story

• Shooting news action is like shooting sports.
  (see Chapter 6)
• If the fire chief tell everyone to move back that
  a wall is going to fall, be ready to take the
  photo of the wall falling. If you are not ready
  to take the action you will miss it!!!
• For the medium shot, a wide-angle lens, such as a
  24mm or 28mm works well, a 50mm will do.
• The wide lens will in part a closeness to the
  subject in the photograph. It can also emphasize
  the subject.

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Wide-Angle Distortion

• Buying a wide-angle lens, however, is not a
  photographers panacea.
• The wider the angle of the lens the greater the
  chance for apparent distortion.
• Wide angle lens appear to distort distances.
• They can also make building look if they are
  going to fall over.
• Try to keep the camera parallel to the subject.
• If you are shooting NEWS do you want to distort
  reality?

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Close-Up Adds Drama

• Nothing beats a close-up for drama.
• A close-up should isolate one element and
  emphasize it. Not all close-ups should include a
  persons face.
• Long lenses enable a photographer to be less
  conspicuous when shooting close-ups.
• With a 200mm lens, you can get 10 ft away and
  still get a tight facial close-up.
• Micro lens and extension tubes can also be used
  for close-ups.

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High/Low Angles Bring New Perspective

• Most people see the world from standing or
  sitting.
• You can add interest in your photo from just
  changing your perspective.
• Avoid the 5'7" syndrome.

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Saturation Method Increases Your Chances

• When on assignment, take several frames from each
  vantage point.
• A slight change in perspective can bring
  important elements in the scene together to make
  the picture more visual.
• Keep shooting! Shoot the scene then keep trying
  to take a better photo.
• Photographers stay on location until they get the
  best picture possible within their time limits.
  Amateurs take a few snapshots and hope for the
  best.

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Saturation Method Increases Your Chances

• 35mm film is cheep in comparisons to a good
  photo.
• Pro photographers may take hundreds or thousands
  of exposures to get just the right photo.
• If you see a picture, you should take it.
• Most times if you dont click the shutter you
  have lost the moment and cant go back.

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Save the Last Frame

• Many photographers stop shooting before the end
  of the roll.
• They have been caught with only one frame left
  just as something spectacular take place.

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Catching Candids

• The photojournalistic style depends on catching
  candids.
• The photojournalist must catch the subject as
  unaware as possible to record real emotions.
• The photographer observes but does not direct.
• Always a spectator and never a gladiator.
• With good candid pictures, subject never stare at
  the camera. Eye contact with the subject leads
  the viewer to suspect the subject knows about the
  photo.

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Approaches to Candids

• There are 3 approaches to candids
• Big Game Hunter
• Hit and Run
• Out-in-the-Open

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Big Game Hunter

• Use a long lens to stock the subject.
• Shoot from a long way a way to avoid being seen.
• Patience. Patience. Patience.

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Hit and Run

• Shoot quickly before they know you are taking a
  photo.

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Out-in-the-Open

• The out-in-the-open approach works when the
  subject, engaged in an activity that is so
  engrossing, forgets for a moment the
  photographers present.
• A subject can also just be so comfortable with
  you being around they just forget you are there.

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Preset Your Camera

• Set your cameras aperture and shutter speed
  before you point the camera at the subject.
• Use areas with similar lighting to preset the
  cameras aperture and shutter speed, focus on
  something the same distance away from you as the
  subject.
• Automatic cameras with auto focus and exposure
  are great for candids, however you need to learn
  the delay time from pressing the button to when
  the exposure is made.

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Anticipation and Timing

• To catch a candid requires the photographer to
  anticipate the action.
• A photographer must choose the right lens, film,
  shutter speed and f-stop.
• Timing is of the essence! You must click the
  shutter at the peak of the action.
• Most action builds to a peak and then settles
  down again. And almost every event has a crucial
  moment.

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Candids When they Know Youre There

• When the worker goes back to his daily routine,
  he tends to get lost in his work, and the
  photographer can produce story-telling candids.

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Staff Photographer vs Freelances

• If you are a staff photographer once you take a
  spot news photograph your next steps are very
  simple you just call the editor and inform him of
  the photo and the circumstances.
• Your editor will direct you if the story is
  important enough to spend more time on.
• If you freelance you must find where to sell your
  photos.

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Determining Possible Outlets

• Local paper TV stations
• Associated Press (AP)
• Agence France-Presse (AFP)
• Reuters
• National Chain Newspapers (Night Rider)
• National Magazines, (Life, Time, Newsweek)
• National Tabloids
• Agencies (Mercury Pictures or Black Star)

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Time Element is Crucial

• Dont underestimate the value of your pictures,
  and dont wait too long to find a buyer for them.
• For the price of a telephone call, you can find
  out if an editor is interested and would like to
  see your film.
• Because of the time element, the best market for
  spot news is a newspaper or wire service.
• News Wires pay around 100 per photo.
• If you go with a picture agencies they negotiate
  the sales and split the profit with you.
• Exclusive photos can be worth a lot of money.

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Chapter 2, Spot News
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Crimes Make Headlines

• Almost any kind of crime makes a news.

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Bringing the Crisis Home

• Crime pictures rivet readers attention.
• When viewers recognize the location it give the
  photo personal meaning.
• The publics curiosity is why so many crime
  photos are run.
• A photo can be worth a 1,000 words when
  describing a crime.

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Photographing a Crime in Progress

• Photographers unlike reporters cant reconstruct
  the details of a crime.
• A photographer must be able to sense some up
  coming violence.
• Photographing a crime in progress is very rare!!

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Evaluating News Appeal

• Sometimes crime photos take on an importance
  beyond the new value of the story.
• Because it is so rare for to a photograph to
  capture a crime editors usually give it much more
  play than importance of the crime.
• The photos value depends not only on crime but
  the freshness of the photo.
• Besides action, the editor also evaluates the
  photo on the importance of the story, how many
  people involved, how much money, etc.

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Uncooperative Subjects

• The true test of a news photographer is getting
  pictures of criminals entering or leaving police
  headquarters.
• Focus and keep your distance from the subject.
• Night surveillance pictures can be made with
  Kodaks p3200 film pushed to 6400 ISO.
• Results are VERY grainy but recognizable.
• The flatness of the film helps the high contrast
  lighting of night photography.

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Fires Catching the Flames Without Missing the
People

• Why Shoot Fires?
• Over 500,000 homes burn each year, counting all
  fires over 2 million are reported each year.
• A photo can show not only the emotion of the
  participants but also the size of the fire better
  than words.
• Even the remains of a fire can carry impact.

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Covering a Fire

• Scanner radios are standard gear for spot news
  photographers.
• Scanners can tell you where the fire is and how
  big.

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Get There on Time

• The first on-scene report from the fire
  department can tell you how big the fire is.
• Is the fire big enough to still be burning when
  you get there.
• Dont waste your time with false alarm or
  one-alarm fires.
• Working fires are however indicates a substantial
  blaze.
• Two alarm fires require additional companies of
  firefighters to be called out.
• Five alarms mean a major conflagration is
  underway.
• If you cant arrive at a fire within a few
  minutes of the time the first alarm sounds, stay
  at home.
• Cover it any way.

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Plan for Traffic

• Check your map.
• Listen for fire engines and sirens.
• Dont block the way for firefighters and dont
  get blocked by firefighters!

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Overall Shot Sets the Scene
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Watch for the Human Side

• Try to get people in the shot. Look for trapped
  people, people getting first aid, firefighters
  working, people watching, and etc.

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Look for the Economic Angle

• Show the dimension of the incident.
• You can shoot the remains the next day, often
  residents return to salvage property.

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Features Highlight the Sidelights

• Look for related stories.

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Get the Facts

• Even though you are not a reporter you must get
  some facts.
• Get names and companies of the firefighters.
• Interview both the fire and police chiefs for
  cutlines.
• Get the exact location of the fire.
• Name of the injured and where they were taken.
• The extent of damage.

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Judging a Fires New Value.

• The importance of a fire not only depends of the
  size of the fire but also the size of the
  newspaper running the photo.
• The type of structure also effects the importance
  of the photo.
• Sometime is just the nature of the photo that
  make the fire important. (Dog story from book)

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Night Fires Are Difficult.

• Most fires are at night.
• The difference between the brightness of the
  flames and the darkness of the night give
  photographer fits.
• Use a slow shutter speed and a flash.
• Watch out for slow shake at slow shutter speeds.
  Brace yourself to hold the camera sill.
• If the fire is bright enough you can shoot
  available light.

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Accident and Disaster Grim but Necessary

• 100,000 Die in Accidents Each Year
• Almost 1/2 of the accidents in the US involve
  motor vehicles.
• Accidents make news.

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Accident Pictures Shock Readers Into Caution.

• Why to shoot accident pictures
• Record what goes on
• Keep readers informed
• Readers are curious about accidents.
• Readers want to see what they read about.
• Accident pictures grap readers emotions.

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Not All Accident Merit Coverage

• Photographer must judge the value of accidents on
  the fly.
• Some factors that influence the newsworthiness of
  a photo
• Were people rescued, hurt, or killed?
• Was the damage excessive?
• Was the accident large?
• Was a public official or celebrity involved?
• Was the mishap unique in any way?
• The importance of a accident not only depends of
  the size of the accident but also the size of the
  newspaper running the photo.
• Timing is of the essence. TV now can cover story
  live and make you photo look old the next morning.

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Photo Possibilities From Tragic to Bizarre

• All accidents are unique, but all will have
  common points.
• Check Human Tragedy First.
• Make a Record
• Symbolic Pictures Imply Rather than Tell.
• Photograph the Cause
• Show the Impact
• Follow-up
• Feature One Aspect.
• Try to not become hardened.

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The Biggest Problem May Be Getting There

• Be ready to take photos when you get to the
  scene.
• Keep a scanner and map in your car.
• If transportation is down it is very hard to
  cover the story.
• You can try to get rides with police or fire
  departments.
• Check with PR people to see if they can help you
  get there.
• When everyone else heads for cover is the best
  time to get a photo.

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When the Police Say No To Pictures.

• Police put media back for many supposed reasons.
• Privacy of citizens
• Interference with rescue
• Pre-trial problems
• Safety of photographer
• Some police departments are using two-perimeter
  systems.
• Ask where you can be.
• Dont use flash.
• Talk to the police before starting to shoot.

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Chapter 3, General News
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Meetings Tension Resolution

• The governmental news is about 80 of what is in
  Time and Newsweek.
• You do not have to hunt down politicians to take
  their photo, they are like shoot fish in a barrel.

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Meetings Generate News

• Because the result of meeting are important to
  readers they are news.
• Editors routinely assign photographers to cover
  meetings, awards, and press conferences.
• Meetings challenge the photographer in different
  ways than spot news.
• The challenge with meetings is to the creativity.
• How to make a photo of a meeting tell the story
  and not look like every other meeting.

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Face and Hands Reveal Emotions

• Readers understand a wrinkled brow, or a clenched
  fist.

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Revealing versus Accidental Photos

• You can capture a photo that show false emotions.
• Be sure what you shoot tells the real story.

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Personalities Make News

• A simple snapshot of a politicians can front page
  of every paper in the country.
• A photographer must know the players without
  using a score card.
• Shoot the most news worthy of the group.

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Props Add Meaning

• If there are any objects special to the meeting
  shoot them.
• Signs, guns, drugs etc.

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Lighting is Important

• Let the Sunshine in
• Lighting and choice of lens can add impact to a
  simple meeting photo.
• Try to shoot with natural sunlight if possible,
  open drapes.
• Watch out for TV lights.
• Shoot flash only as a last resort.
• Fluorescent Light is Bland.
• Fluorescent light is very flat.
• TV lights can be very flat if you shoot from the
  same angle as the same position as the TV camera.
• Try to get an angle on the lighting.
• Separate the Subject from the Background.
• Newsprint grays out blacks and muddies whites.
• Small differences in tones are lost in newspaper
  reproduction.
• A subject may be lost in the background if there
  is not enough tonal difference between the two.
• Try to get a angle where there is a good tonal
  separation between the subject and the backgroune.

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Blow-Up or Compression?

• A row of people setting at a table has big blank
  spaces in it. When printed the people are quite
  small.
• Shoot from the side with a long lens to compress
  the group.
• Watch out for depth of field when shooting from
  the side.
• Focus one third of the way into the group.

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Politicians and Elections

• Politicians seek photographers.
• Media events planed for photographer are called
  photo opportunities.
• Editors cant resist politicians in funny hats.

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The Campaign Trail.

• Two major areas to cover.
• Public life
• Private life
• Too often we only get to see the public life in
  photos.
• Go behind the ScenesShow the private life.
• Photograph the Issues
• Almost all of a campaign issues can be shown in
  photographs.
• Try to be objective with your photos!
• It is easy to distort what is seen in photos.
• Steer Clear of the Pack
• If your shot looks like everyone elses why
  should they run it.

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Awards Avoiding the Grip and Grin

• An Grip and Grin is a photo of people giving a
  check or award and shaking hands.
• Grip Grins do not tell a story.
• You should not shoot grip grins photos.
• Most times GGs are not news, but sometimes they
  are.
• You will take GGs!

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The Story behind the Award

• Try to find the story behind the award.

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Nursing Homes A case Study

• Translating Numbers into People
• Photographing Statistics
• Gaining Access
• Results

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Ingredients for in-depth Coverage

• Important Issues
• Start with a issue that is important.
• Time
• Most editors think nothing of assigning a
  reporter to work weeks on a story. The same
  editor may only give a photographer minutes.
• It take time to develop an in depth story.
• Display
• If the images dont get proper space the story
  does not get results.

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Backgrounding the News

• Backgrounding means explaining the cause of a
  news story.