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  • 1. JEA standards 1A.10. Value of photojournalism to tell stories incompelling ways CJE test format: multiple choice, short answer,demonstration exercises

2. overview photo storytelling basic terms and techniques rules of composition lighting basics le formats photo organization and storage types of lenses photojournalism law and ethics software resources 3. visual storytellingGood photos tell stories by providing unique perspectives,capturing important moments and showing things peoplehavent seen before. Photo types: action reaction mug shot environmental portrait cutout background (COB) photo illustration 4. telling the whole story angles: birdseye view (high),normal eye view,worms eye view(low) distances:close-up,medium range,wide anglephotos by Taylor Howse,Jamie Nakagawa, Kara Stone 5. coaching student photogs arrive early know yoursubject bring extrabatteries, cards get close stay out of theaction take notes photo by Lisa Aerts move around get the safeshots rst 6. action photo by Justin Pugh 7. reaction photo used with permission from Jostens 8. important concepts aperture depth of eld shutter speed sensitivity to light (ISO) exposure equivalent exposures 9. aperture (f-stops) the part of the lens that controls the amount of lightreaching the lm, like the pupil of the eye each f-stop lets in twice as much light as each higher f-stopand half as much light as each lower f-stop. For example, f/5.6 lets in twice as much light as f/4 and half as much lightas f/8. the less the light available, the lower the number f-stop(wider aperture) necessarygraphic used with permission from Bradley Wilson 10. depth of eld the area in front of and behind the focalpoint that stays in focus lower numbered f/stops have a shallowdepth of eld (only the main focal point is infocus, blurred out background) higher numbered f/stops have higher depthof eld 11. depth of eld photo by Andrew Dowda low aperture, such as f/2.8, gives this photoa shallow depth of eld 12. shutter speed how long the lens of the camera staysopen each shutter speed lets in half as muchlight as the next slower shutter speedand twice as much light as the nextfaster shutter speed need to balance with the amount of lightavailable graphic used with permission from Bradley Wilson 13. shutter speedphotos by Liz Grovera fast shutter speed will stop the action 14. sensitivity to light International Standards Organization the measure of the lms or images sensorssensitivity to light the higher the number, the more sensitive the lm orthe image sensors are to light the higher the number, the more grainy (lm) ornoise (digital)graphic used with permission of Bradley Wilson 15. sensitivity to lightusing a higher ISOhelps in low-lightsituations but cancause photos tohave too muchgrain (lm) or noise(digital) photo by Renzo Giusti, from Flickr with Creative Commons licensing 16. exposurecamera exposure modes (most digital cameras) P or Program or Auto: camera sets both aperture and shutterspeed AV or Aperture Priority: user sets aperture, camera setsshutter speed TV or Shutter Priority: user sets shutter speed, camera setsaperture M or Manual: user sets both shutter speed and aperture 17. exposureunderexposing subject by using backlighting anddropping the f/stops down two levels creates asilhouetteeven on automatic settings like program mode,you can achieve this by shooting directly into lightwithout using ash 18. photo by Hailey Heikkenen 19. photo by Hannah Feagansbasic rule: In bright sunlight, at f/16 usea shutter speed closest to the ISO. Thisphoto was shot using ISO 400 at f/16 withshutter speed 500 (closest to 400). 20. equivalent exposures two dierent exposures that allow the same amountof light to reach the lm or image sensors, using adierent aperture and shutter speed combination depending on what eect you want, for every f/stopyou drop down, go up a shutter speedgraphic used with permission of Bradley Wilson 21. composition rule of thirds ll the frame leading lines framing creative angles repetition center of visual interest 22. rule of thirdspoints of interest should be at the intersection of the tic-tac-toe lines graphic used with permission of Jostens 23. ll the frameget in closeso that the center ofinterest is obviousphoto by Elyssa Seals 24. leading lines and leading looksuse the naturallines in the settingto add visualinterest; leadinglooks are based onthe eyes ordirection of thesubject with photo by Kelsey Kehreesimplied ratherthan actual lines 25. framinguse an object toact as a pictureframe for thesubject photo used with permission from Jostens 26. creative angles up, down,behind the subject photos by Jake Leech, Elyssa Seals 27. repetitioncapturerepeatingobjects or apattern photo by Brycen Guerrero 28. center of visual interestclear focal point; obvious subject photo by Margaret Tinker 29. lighting basics key: the main light on your subject ll: the light that balances the key light; usually set on the oppositeside of the key light, twice as far from the subject back: lighting that lights the background behind the subject hair: lighting the hair of the subject harsh: a bright direct light that casts distinct shadows soft: a softer, indirect light that casts muted shadows diused: a light that has been dispersed by cloth, material, or frostedglass for example natural: sunlight articial: lamp light 30. ideal lighting conditions outdoor sports: natural light if possible indoor sports: strobe ash if possible portraits: key, ll, back and hair light ifpossible. If no article light kit available, usewindow as key and reective surface as ll. indoor activities: key and ll light 31. le formatsthe four most common le formats used are: TIF - Tagged Image File Format, uncompressed and compressed formats PNG - Portable Network Graphics, standardized compression JPG - Joint Photographic Experts Group, compressed format GIF - Graphics Interchange Format, compressed format dating back to CompuServe in the 1980s 32. le formatscompression comes in two forms: lossless and lossy lossless compression loses none of the imageinformation during compression anddecompression. lossy compression as its name says removes someof the original photographic detail. Lossycompression can reduce the size of image les to afar greater extent than lossless compression 33. RAW le format digital equivalent of negative in lm contains raw pixel information directly fromcameras sensors developed in several steps into a nal JPEG orTIFF, each of which may contain severalirreversible image adjustments RAW oers more control over how nal JPEG orTIFF is generated also takes up a lot of space on memory card orcomputer 34. organization encourage students to know and sort theirown photos keep your photos, just separate the goodfrom the not-so-good if you change a format or alter the photo inPhotoshop, be sure to make a copy of theoriginal 35. example of yearbook photo organization academicsPROJECT 36. example of yearbookphoto organizationsports 37. example of newspaperPROJECT 38. types of lenses sheye (15mm): extreme wide angle lens wide-angle lenses (20-35mm): good for movingclose to subject but still getting a lot in the frame;distortion along the edges normal (50mm): routine shooting short telephoto (85-135mm): good for portraits,candids and some sporting events long telephoto (200-400mm): when subject isdistant; good for sporting events and wildlifephotos 39. legal/ethical issues invasion of privacy copyright infringement digital manipulation ethical dilemmas photo vs. photo illustration 40. invasion of privacy public disclosure of private and embarrassing facts intrusion upon seclusion trespass secret surveillance misrepresentation false light misappropriation 41. copyright infringementgenerally, copyright can apply generally, copyright doesto the following:NOT protect: photos facts/ideas illustrations most federal governmentrecords cartoons works in public domain music(e.g., copyright expired) logos odds & ends (titles, most things on the Internet slogans, short phrases,familiar symbols, etc.) 42. basic fair use rules If you did not create it and/or you dontown the copyright to it, you must getpermission to use it Except for the FAIR USE RULE using a limited amount of a copyrighted work for news,criticism, educational or informational purposes withoutconsent may be permissible as a fair use not every use by a student media organization is a fair use 43. common fair use examples graphics created by the Student Press law Center, Media Law Presentations 44. common fair use examples graphics created by the Student Press law Center, Media Law Presentations 45. photo software Image Capture: great for quickly uploadingand organizing photos iPhoto: easy uploading and editing Adobe Photoshop: advanced editing Picasa: free Google product Picnik: backgrounds, eects and more special plug-ins: iCorrect Professional byPictographics, Lightroom by Adobe, etc 46. where to look photo editing: http://ncsu.edu/sma/instructional-material/photography-manual/camera-basics/(copyright Bradley Wilson) curriculum: http://bradleywilsononline.net/handouts/photojournalism/ (copyright Bradley Wilson)http://jea.org/curriculum/photography/index.htmlwww.poynter.org (Visual Journalism) photo ethics: http://www.sree.net/teaching/photoethics.html 47. text resources Photojournalism: A Professionals Approach byKenneth Cobre Get the Picture by Jostens JEA Photojournalism Curriculum 48. getting answers commission chair Mark Newton:[email protected] JEA web site > Certication study guide online at www.jea.org/certication follow us on Twitter @jeaCertied or like ourFacebook fan page