PHOTOJOURNALISM

BY ALEXANDRA
COPLEY

WHAT IS

PHOTOJOURNALIS
M?

PHOTOJOURNALISM IS A PARTICULAR FORM OF

JOURNALISM (THE COLLECTING,

EDITING, AND PRESENTING OF NEWS MATERIAL
FOR

PUBLICATION OR BROADCAST)

THAT CREATES
TELL A

IMAGES IN ORDER TO

STORY..

http://www.youtube.com/watch?v
=O-3HiLyjUy8

2 WORDS.
PHOTO
a representation of a
person or scene recorded
by a camera on lightsensitive material (digital
censor)

JOURNALIS
M
the timely reporting of
events at the local,
provincial, national and
international levels.
Relevant.

THE PHOTO TELLS A

COMPLETE STORY
IN AN IMAGE

PHOTOJOURNALISM IS
DISTINGUISHED FROM OTHER CLOSE
BRANCHES OF PHOTOGRAPHY (SUCH AS

DOCUMENTARY PHOTOGRAPHY,

STREET

PHOTOGRAPHY OR

CELEBRITY PHOTOGRAPHY) BY THE

QUALITIES OF:

TIMELINESS

the images have meaning

in the context of a recently
published record of events.

SOLDIERS AFGHANISTAN
WAR

OBJECTIVITY
the situation implied by the images is
a fair and accurate representation of
the events they depict in both content
and tone

POST-ELECTION PROTEST, IRAN

NARRATIVE

the images combine with other

news elements to make facts
relatable to the viewer or reader
on a cultural level.

DHARAVI SLUM, MUMBAI

IMAGES

THE
IN A
PHOTOJOURNALISM PIECE MAY BE
ACCOMPANIED WITH EXPLANATORY

TEXT, OR SHOWN INDEPENDENTLY,

WITH THE IMAGES THEMSELVES

NARRATING THE
EVENTS THEY DEPICT

GAZA STRIP, JERUSALEM

WHAT IS A
PHOTOJOURNALIST?
A photojournalist uses pictures instead

story.

of words to tell a
They can
also accompany their images with some text
to

elaborate on the details or events.

WHAT MAKES A

PHOTOJOURNALIST
DIFFERENT FROM A

PHOTOGRAPHER?

PHOTOGRAPHERS
TAKE PICTURES OF

NOUNS (PEOPLE,
PLACES AND THINGS)

PHOTOJOURNALISTS
SHOOT ACTION

VERBS ("KICKS,"
"EXPLODES," "CRIES,"

PHOTOJOURNALIS
TS DO SHOOT SOME

NOUNS.

HOWEVER, THE

NOUNS WE SEEK STILL MUST

TELL A STORY.

WORLD PRESS PHOTO OF THE YEAR

SHOUTING PROTESTS FROM ROOFTOPS, IRAN

DOCUMENTING THE ANTARTIC

EVENTS,

EMOTIONS,
EVERY LITTLE BIT OF
INFORMATION

AN

IMAGE HAS NO
AGE,

LANGUAGE OR
INTELLIGENCE
LIMITS

1.
ANTICIPATION
2. TIMING
3.
COMPOSITION

PHOTOJOURNALIS
TS
Eddie Adams Danny Lyon

Jacob Riis

Mathew
Brady

Steve Mccurry

Susan Meiselas

Robert Capa James Nachtwey

Henri Cartier- Sebastio Salgado
Bresson

W. Eugene Smith
Walker Evans
Lauren
Greenfield
Ed Kashi

Peter Turnley
Gordon Parks

Andr KertszLewis Hines

Diane Arbus

THE DECISIVE
MOMENT

Henri CartierBresson

PHOTOJOURNALISTS

CHANGING
LIVES

LEWIS HINES

AMERICAN PHOTOGRAPHER

EXPOSED CHILD LABOR PRACTICES

BECAUSE OF HIM, LAWS WERE CHANGED

SEBASTIAO SALGADO
BAZILIAN PHOTOJOURNALIST

BOOKS

GORDON PARKS
AMERICAN PHOTOJOURNALIST

AMERICAN GOTHIC, HARLEM

FLAVIO DE SILVA,
BRAZIL

SERIES FOR
LIFE
MAGAZINE IN
RIO DE
JANEIRO, 1961

CHANGING LIVES
In 1961, Parks did a series for LIFE on the slums of Brazil and found himself in
what he describes as "dead center in the worst poverty I have ever encountered
in the favela of Catacumba, a desolate mountainside outside of Rio de
Janeiro." In true Parks fashion, instead of giving a broad view without much
depth, he focused on an individual affected by the larger story, just as he had
done with Red Jackson, from the Harlem gang series.At just 12, Flavio da Silva
was already dying, from tuberculosis. Flavio lived with his parents, brothers and
sisters in a one-room shack. The images Parks created while living with the da
Silva family illustrated the family's reliance on their dying son. "What Flavio
cared most about," says Parks, "was that his younger brothers and sisters were
taken care of. It was very noble of him. . . . I definitely learned more from Flavio
about character than Flavio learned from me."After the story ran, LIFE readers
contributed money to help with Flavio's medical care. Parks says that people
sent in roughly $30,000 to bring Flavio to America. "I went back to Brazil and
the doctors told me that Flavio would die on my hands if I took him to America.I
took him anyway and after living there for two years, he was cured." When
Flavio went back home to Brazil, Parks bought Flavio's father a new truck with
the money everyone had sent in, and then LIFE donated $25,000 so that Parks
could help the family buy a new home.

BORN INTO
BROTHELS

CALCUTTA, INDIA

5 PHOTOGRAPHY
ESSAY TIPS

1. FIND A
TOPIC

Photo essays are most dynamic

when you as the photographer

care

subject

about the
.
Make your topic something in which

you find interest.

LOOKING FOR WHAT

OTHERS DONT SEE

2. DO YOUR
RESEARCH

you document

For example, if
a
newborns first month, spend time with the
family.

Discover who the parents are,

what culture

they are from,

whether they are upper or lower class. These
factors will help you in planning out the

type of shots
story.

you set up for your

LOOKING FOR STORIES

THAT HAVENT BEEN TOLD

3. FIND THE REAL

STORY
After your research, you can
determine the

angle you want to take

your story. The main factors of

each story create an incredibly

unique story.

NOT AFRAID TO BE WHAT

YOU ARE
PHOTOGRAPHING

4. EVERY DYNAMIC STORY IS

BUILT ON A SET OF CORE VALUES
AND EMOTIONS THAT TOUCH
THE HEART OF ITS AUDIENCE
Joy. Fear. Hurt. Excitement. The best way

connect

you can
your photo essay
with its audience is to draw out the

emotions

within the story and

utilize them in your shots. This does not
mean that you manipulate your
audiences emotions. You merely use

DOCUMENTARY/ TERU
KUWAYAMA
http://silberstudios.tv/videos/conflict-zon
e-photos-teru-kuwayama
Uses semi functional Polaroids and toy
camera (its the photographer not the
camera that makes the photo)
Looks for the counter narrative
Has compassion for his subjects/ topics

5. PLAN YOUR SHOTS

Visualize each shot of the story,
or simply walk through the
venue/place/event in your mind, you
will want to think about the

of shots

type

that will work best

to tell your story.

ENVIRONMENTAL

PORTRAITURE

5 SECOND PORTRAIT

5 MINUTE PORTRAIT

FEELING THE LIGHT

SUN
ARTIFICIAL
REFLECTION
GLOW

TIPS
Try to avoid posed photos. No Snapshots!
Try to capture emotion.
Photograph faces not backs.
Let your picture tell the story.
Use different angles and perspectives.
Avoid inanimate objects. Focus on people.
Dont forget the Rule of Thirds.
The Decisive Moment

INANIMATE OBJECTS

VS
.

DONT PHOTOGRAPH
BACKS

FACES FOR
EMOTION

LET YOUR PICTURE

TELL A STORY

MORE MAGS
In The Fray

Media Storm (audio & visual)

Blue Eyes Magazine

File Magazine

Social Documentary.net
Travel Photography Network
Lunatic

Colours Magazine

F-Stop Magazine

Deep Sleep

Vewd

See Saw

Lens Culture & Interviews

Photo Eye Magazine

The Digital Journalist

Aperture.org

Reuters

EVER

WANT TO BE A

NATIONAL
GEOGRAPHIC
PHOTOGRAPHER

Your ShotThis online contest allows pho

tographers of all skill levels to submit
their favorite images for possible publ
ication in
National Geographic. Each day a panel o
f editors selects 12 outstanding photog
raphs to be published as part of the D
aily Dozen.

OTHER
Freelance (blogging)
Agency (getty, redux)
Gallery (caladangallery.com)
Stock Photography (shutterstock.com)

CALL ME FOR INDIVIDUAL INSTRUCTION: 976

9842 976