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, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (i.e., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work is both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media.
- Timeliness — the images have meaning in the context of a recently published record of events.
- Objectivity — the situation implied by the images is a fair and accurate representation of the events they depict in both content and tone.
- Narrative — the images combine with other news elements to make facts relatable to the viewer or reader on a cultural level.
Like a writer, a photojournalist is a reporter but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (i.e., physical danger, weather, crowds).
(taken from - http://en.wikipedia.org/wiki/Photojournalism)
Brief history of photojournalism.
Carol Szathmari 1812-1887
Carol Szathmari was the first photojournalist. He became famous due to him being the first Romainan photographer and is credited with being one of the first 10 photographers in Europe.
Daily Graphic New York 1880
The daily graphic becomes the first newspaper to publish half tone photographic images.
Wirephoto 1923
In 1923 the wirephoto is invented allowing images to be rapidly transferred around the world.
Leica 35mm 1925
The first 35mm Leica was invented.
Flash bulb 1930
The first flash bulb is invented, allowing a greater depth to photography by allowing night photography possible.
Farm Security Administration 1935-42
The FSA commissioned photographers to photograph agricultural problems associated with the great depression, during Roosevelts new deal.
Henri Cartier-Bresson 1930's - 1950's
Is held by some to be the father of modern photojournalism, although this appellation has been applied to various other photographers, such as Erich Salomon, whose candid pictures of political figures were novel in the 1930s.
Robert Capa 1945
Capa lands on Omaha beach in 1945 and captures the now world famous images of the landing. He lost all but 14 images when the rest were destroyed in a dark room dryer.
Magnum 1947
The world famous photo agency is formed by Bresson and others.
Dom McCullin 1960's
McCullin captures his now famous pictures of the Vietnam war, he also won world press photographer of the year in Cyprus in the 60's.
Life 1972
The last issue of life magazine is published, this marks the end of the photo magazine in many peoples eyes.
Getty 1992
Getty images is formed.
Tim Hetherington 2007
Hetherington wins world press photo of the year for his photo of a tired soldier in Afganhistan. He also filmed Restrepo where there.
Equipment used in photojournalism
Full frame cameras
Full frame cameras with high Frames Per Second are valued by photojournalists as they capture great detail, but also allow them to capture that decisive moment. Cannons 5d mk2 and mk3 as well as 1D are the best suited for this.
Canon 5D mk2
Canon 5D mk3
Canon 1D X
Lenses
Long lenes can be very important they allow you to get close to action you may not have been able to get close to otherwise. Such as sport photography.
Flashguns
Flashguns are highly important to the photojournalist. It allows for rapid reactions is situations where low light would otherwise hinder or impede the photography. It also allows you to take photographs at a higher rate.
File transfer systems.
A simple way of sending images is by using a method that allows you to upload images to specific websites. This is called a FTP (File transfer protocol). It allows those with the correct user name and password to upload images to a specific place on that websites server.
A simple way of sending images is by using a method that allows you to upload images to specific websites. This is called a FTP (File transfer protocol). It allows those with the correct user name and password to upload images to a specific place on that websites server.
This shows how quickly images can be uploaded to an area of a website.
A more advanced method of adding images is Fotostation. This is a more advanced version of a FTP client. It allows detailed captions to be added. As well as date and time.
You can also use photoshop CS5 to add Metadata to photographs.
Legal and moral restrictions including copyright.
What is copyright?
Copyright is a property right vested in works which authors have created.
The law of copyright…
...protects against unauthorised reproduction of works and entitles copyright owners to economic benefit whilst seeking a fair balance between the interests of authors and users of copyright materials.
What are moral rights?
These are:
- *the right not to have one’s work subjected to derogatory treatment
- *the right to be identified as the author of one’s work
- *the right not to have a work falsely attributed to oneself as author
- t*he right of privacy for photographs commissioned for private and domestic purposes
Copyright law originally came into being to ensure that individual craftsmen received proper economic compensation for the products of their craftsmanship. The problem for photographers was always that UK law excluded them from first ownership of copyright when work was commissioned and therefore denied them the protection and benefits afforded to composers, illustrators, writers and painters, etc.
Largely because of the lobbying of 19th century portrait painters who felt threatened by the advent of photography, the work of British photographers and engravers became treated as a copying technique and, unless it was agreed otherwise, copyright was vested in the commissioner rather than the author of the work.
This view of photography, apart from being basically unfair, was contrary to legislation in much of the rest of the world and has led to confusion at one time or another for nearly everyone involved, either as creator or user. The implementation of the Copyright, Designs and Patents Act 1988 has done a lot to improve the situation although many people, including photographers themselves, still have to cope with rights in photography generated under legislation going back to 1862, which were left largely intact by the 1988 Act and now also have to deal with the complications produced by the copyright harmonisation measures brought in throughout the European Union and the European Economic Area. (Like the European Union, the European Economic Area is defined by international agreement and may vary over time. Readers needing to know the membership of the EEA are therefore advised to check on the latest position at the time their need arises).
Age of consent for photography.
If its a person under the age of 18, parental consent must be given. This can be done in the form of a legal document stating a parent. However this is only relevant for studio shoots. If in a public place it is legal to take pictures of people, however this must not constitue harassment or be inappropriate images of adults or children.
Police guidlines.
Members of the media are not only members of the public; they can influence the way the Metropolitan Police Service is portrayed. It is important that we build good relationships with them, even when the circumstances are difficult. They have a duty to report many of those things that we have to deal with – crime, demonstrations, accidents, major events and incidents. This guide is designed to help you take the appropriate action when you have to deal with members of the media.
Members of the media have a duty to report from the scene of many of the incidents we have to deal with. We should actively help them carry out their responsibilities provided they do not interfere with ours.
Where it is necessary to put cordons in place, it is much better to provide the media with a good vantage point from which they can operate rather than to exclude them, otherwise they may try to get around the cordons and interfere with police operations. Providing an area for members of the media does not exclude them from operating from other areas to which the general public have access.
Members of the media have a duty to take photographs and film incidents and we have no legal power or moral responsibility to prevent or restrict what they record. It is a matter for their editors to control what is published or broadcast, not the police. Once images are recorded, we have no power to delete or confiscate them without a court order, even if we think they contain damaging or useful evidence.
If someone who is distressed or bereaved asks for police to intervene to prevent members of the media filming or photographing them, we may pass on their request but we have no power to prevent or restrict media activity. If they are trespassing on private property, the person who owns or controls the premises may eject them and may ask for your help in preventing a breach of the peace while they do so. The media have their own rules of conduct and complaints procedures if members of the public object.
To help you identify genuine members of the media, they carry identification, which they will produce to you on request. An example of the UK Press Card is shown below.
Members of the media do not need a permit to photograph or film in public places.
To enter private property while accompanying police, the media must obtain permission, which must be recorded, from the person who owns or is in control of the premises. We cannot give or deny permission to members of the media to enter private premises whether the premises are directly involved in the police operation or not. This is a matter between the person who owns or is in control of the premises and the members of the media.
Giving members of the media access to incident scenes is a matter for the Senior Investigating Officer. The gathering of evidence and forensic retrieval make access unlikely in the early stages and this should be explained to members of the media. Requests for access should be passed to the Senior Investigating Officer who should allow access in appropriate cases as soon as practicable.
Advice and assistance in dealing with members of the media is available 24 hours a day via the Press Bureau at New Scotland Yard.
- The UK Press Card
All the UK’s professional reporters, photographers, and broadcast crews rely on swift public and official help to bring the news to Britain’s homes and business. And every one of them can get a genuine UK Press Card.
The official UK Press Card is an excellent way to identify newsgatherers in the aftermath of a major news event or at any other time. This is guaranteed by the UKPCA’s gatekeepers, who represent all the organisations which employ or represent Britain’s newsgatherers.
At the core of the scheme is a unique photocard and hotline system managed jointly by the gatekeepers. It has a number of security features and is recognised by the Association of Chief Police Officers for England and Wales (ACPO) and by its sister organisation in Scotland, ACPOS.
Each UK Press Card has a unique serial number. Each cardholder has a separate personal identification number or word. By using the hotline – 0870 8376477 – anybody can verify that the card is genuine and that the holder is a bona fide newsgatherer.
The card also has several secret security features in addition to the verification hotline. There are only revealed to the police or similar authorities. The card is produced using similar technology to the photo driving licence, with the photograph and design integrated into the structure of the card.
Every card carries the logo of the issuing organisation or the holder’s employer together with the holder’s name and the card serial number. And no card can is valid for more than two years, ensuring a periodic review of the holder’s right to have it.
- The UK Press Card Authority
The UK Press Card Scheme has been in operation since the early 1990s. It was set up to provide a single, national identity card for professional newsgatherers, following the abolition of a press card issued by the Metropolitan Police Service. It is managed by the UK Press Card Authority Ltd. A list of designated gatekeepers is available on www.ukpresscardauthority.co.uk or through the Press Bureau at New Scotland Yard.
Guidelines for reporters, photographers and news crews for dealing with police at incidents.
We are the eyes and ears of the public. The role of the police is to act as the law enforcement executive of that same public. It is our role to report on matters of public interest . The police are subject to the same laws as us. This guide has been designed to help you in dealing with the police at the scene of incidents.
1. If asked by officers to identify yourself always be prepared to show your UK Press Card. The police do have a verification line to check this against your press card PIN. It is your responsibility to make sure you know yourPIN. It is not necessary to tell police which publication, station or agency you are working for or if you are freelance. However a polite, cheerful conversation goes a long way to promote good relations.
2. If you feel you are being prevented from doing your job in contravention of the police guidelines then show the guidelines to the officer concerned. If this fails to resolve the matter ask to speak to a senior officer or a police press officer if there is one on scene and try to solve any problems that way.
3. If this facility is refused or is unavailable make sure you get the shoulder number of the officer(s) concerned. In the case of senior or plain clothed officers ask for a name and rank. Always remain polite and un-confrontational
4. With the above information contact your desk or your member organisations liaison officer and seek further help. (taken from http://www.epuk.org/Resources/819/acpo-police-media-guidelines)
Target websites for my media.
www.thehoonigan.com
The hoonigan is a car website who's target audience is mainly car enthusiasts based in the North West. I am currently employed at a photographer on this website.
Golfbuddy.com
Golfbuddy is a golf sports photography website purely dedicated to hosting pictures of golfers playing courses all round the Northwest of England.
Photographers
Clive Lawrence
Clive is a Blackburn based photographer who works for the Lancashire Telegraph on a freelance basis. His work is mainly photojournalism, however he also covers weddings.
Clive is a Blackburn based photographer who works for the Lancashire Telegraph on a freelance basis. His work is mainly photojournalism, however he also covers weddings.
Paul Severn
Paul Severn is devoted to the world of golf, producing dramatic images of world class players, major tournaments and capturing the atomsphere of the finest golf courses. Having travelled to every continent on over 500 photographic assignments on the European Tour his wealth of experience and talent has become renowned throughout the golfing industry.
Using his knowledge of golf, Paul captures unique course images from both the golfers perspective and from the air, enabling him to cover the entire course and specific signature holes.
Tournaments are photographed to effectively capture the branding of the event together with the individual players, crowd scenes, corporate hospitality and presentations through to evenings events.
Paul works with a large number of golfing publications to provide stunning course images, swing instructions and other specialist features. He also works for a number of sponsors globally capturing images that are used in various formats from golfing calendars to books.
As well as commisions a vast library of golfing images is available, suitable for both editorial and advertising purposes.
Paul has a number of prestigious clients including Omega, Merrill Lynch, Bentley, BMW and The City Group, for whom he has photographed various corporate golf days, and is also the official photographer at 'The Grove' & 'Wentworth' in London.
Paul has been the official photographer for HRH The Duke of York Young Champions Trophy for 7 years, capturing shots of juniors from around the world who are the future of golf.
Paul is working towards producing his own luxury book on the world of golf.
Tom Ward
Tom Ward is probably the most experienced photographer in the UK specialising in amateur golf championships. With a digital library of over 200,000 images of leading European, World and British players, men, women,boys and girls. With a limited selection of Professionals.
Tom Ward is available for editorial, instruction and general commission work, including golf courses and portraiture.
Tom Ward has been the official photographer to the English Golf Union for the past twelve years and for the past four years to the English Schools Golf Association.
Recently, a selection of famous courses have been added to the library and sports including canoeing, rugby union, football.
Tom Ward is available for editorial, instruction and general commission work, including golf courses and portraiture.
Tom Ward has been the official photographer to the English Golf Union for the past twelve years and for the past four years to the English Schools Golf Association.
Recently, a selection of famous courses have been added to the library and sports including canoeing, rugby union, football.
Tim Wallace
Photographer Tim Wallace is the driving force and creative thinking behind Ambient Life.
An award winning photographer his work is often described as both conceptual and dramatic.
An award winning photographer his work is often described as both conceptual and dramatic.
Tim works internationally with many high end brands and clients such as Aston Martin, Land Rover Jaguar and Morgan in the UK to Kenwood and Audi in the US.
His work has been published globally and has been showcased in the infamous'Victor' Magazine, a industry Worldwide and highly acclaimed industry leading magazine. He was recently named by as one of the UK's most creative photographers whilst in the US Scott Kelby described Tim recently as one of the Ten most influential photographers in the World today, Tim's view is a little more straight forward, a man who's known for his down to earth attitude, his feet are firmly on the ground and his desire to produce creative work is one that he has been driven to from a very young age when he first picked up a camera, "Photography is for me simply a creative passion, the ability to use light and form to capture in a single image what I see in my own imagination..."
He is the humble recipient of many awards including International Advertising Photographer of the Year 2010, UK Motor Industry Photographer of the Year 2010, Hasselblad Photographer of the month Oct 2010, Professional Photographer of the Year 2009 as well as receiving Distinction Awards for his work from such professional boards as the RPS. Tim's company Ambientlife was recently honored in the Best New Business awards and won the 'Best new Creative Business Award' for 2011, something that we are very proud of and a testament to his dedication and drive towards our clients and his work in the field of commercial photography.
His work has been published globally and has been showcased in the infamous'Victor' Magazine, a industry Worldwide and highly acclaimed industry leading magazine. He was recently named by as one of the UK's most creative photographers whilst in the US Scott Kelby described Tim recently as one of the Ten most influential photographers in the World today, Tim's view is a little more straight forward, a man who's known for his down to earth attitude, his feet are firmly on the ground and his desire to produce creative work is one that he has been driven to from a very young age when he first picked up a camera, "Photography is for me simply a creative passion, the ability to use light and form to capture in a single image what I see in my own imagination..."
He is the humble recipient of many awards including International Advertising Photographer of the Year 2010, UK Motor Industry Photographer of the Year 2010, Hasselblad Photographer of the month Oct 2010, Professional Photographer of the Year 2009 as well as receiving Distinction Awards for his work from such professional boards as the RPS. Tim's company Ambientlife was recently honored in the Best New Business awards and won the 'Best new Creative Business Award' for 2011, something that we are very proud of and a testament to his dedication and drive towards our clients and his work in the field of commercial photography.
Richard Corbett
Video research.
My images.
For my photo-shoot's i used the areas where i worked, those being sport (golf) photography and motorsport photography. With 10 images being selected for my final 10 as well as 1 video. These images are all my own and have been submitted for use on these websites.
My final images.
A man plays for the green in the shadow of a wind turbine. Above Bury Jan 2012.
I feel this is a well composed shot with the juxtaposition of the wind turbine and the hole with the yellow flag with the golfer hitting the ball in the foreground. This image would fall under a sports photography category. However i edited so that there is also the aspect of the great landscape view to draw you into the image.
Santa Pod 2011, Paul Jordan makes a record 10.37 second quarter mile in the fastest water cooled Sirocco in the UK.
I particularly like the way this image gives the notion of speed. I also particularly like the reflection off the glue on the track. I feel this image would work as a photojournalism piece on the car setting a record time. Perhaps in a specialist magazine.
Santa Pod 2011, Paul Jordan makes a record 10.37 second quarter mile in the fastest water cooled Sirocco in the UK.
Again was with the image above the notion of speed is given with the panning of the camera. I feel this image would work as a photojournalism piece on the car setting a record time. Perhaps in a specialist magazine.
Santa Pod 2011, Paul Jordan makes a record 10.37 second quarter mile in the fastest water cooled Sirocco in the UK.
This is a good shot for the ending of a piece showing the car beating the other with the times listed above the track. I feel this image would work as a photojournalism piece on the car setting a record time. Perhaps in a specialist magazine.
Santa Pod 2011, Paul Jordan makes a record 10.37 second quarter mile in the fastest water cooled Sirocco in the UK.
I quite liked this image as the car always attracted a lot of attention from passers by with interest hight there was never a shortage of this kind of image. Again this would work very well as a ending image for the piece. I feel this image would work as a photojournalism piece on the car setting a record time. Perhaps in a specialist magazine.
Captains day at Pike Fold Golf Club 2012. The new Pike Fold Captain Tee's off to mark the official start of the golfing season.
This image is a very typical teeing off image, this could be used in a newspaper article about the start of the season. Catching the pose like this requires a high shutter speed combined with a wide aperture to give the shallow depth of field that is typical with these images.
A man attempts to putt at Bolton Golf Club, 2012.
I like this shot because of the great depth of field. The ball and the hole being totally in focus. This adds a real feeling of distance to the image. The putt feels like its a really long one and you can feel the curve on the ball.
Bolton goalkeeper Jussi Jaaskelainen tee's off at Kevin Davis's Charity golf day, 2012.
This is a typical teeing off shot. However it was important that you could identify the person who is teeing off as it is the fame that generates the interest in the image. This could be used in a newspaper telling the story of the charity event. As it was quite a high profile charity run by very high profile celebrities there is a lot of interest in images like this.
Large car meet Delemere, 2011.
This is a tightly cropped and shot image of a car meet. These are pretty straight forward shots. I feel that having the people in the background adds to the image. They allow the impression of a large car show to be given without a massive large scale image being shown.
Large car meet Delemere, 2011.
This image was taken at the same meet, however i i desaturated the image to give it a grittier feel. Although this is a very simple image i feel i feel the post processing improves the image greatly.
Video media for submission.
This video was shot late 2011 edited and put together by myself, with the video shooting being split between myself and another videographer. These videos require a great deal of creativity as it is a combination of moving image, ambient sounds from the venue and music that creates the right blend that works. The length was also important with my research showing that videos should be no longer than 3 mins 30 seconds.
