Photojournalism as Eyewitness to...

Muhammad Irawan Saputra, S.I.Kom., M.I.Kom.

Photojournalism

• Photojournalism gives us the ultimate in anthropological and historical documents

• Photojournalism tell us about people and emotions, celebration and suffering, and understanding nature and physical environment.

Photojournalism as Eyewitness to History

Photojournalism as Eyewitness to History

• Photojournalism has had a profound effect on people’s understanding of the world in which they live and on their perceptions of important social and political issues

• Photojournalist need boundless energy, unflagging enthusiasm, a spirit of adventure, the ability to survive under difficult situation, and the courage the confront danger

Photojournalism as Eyewitness to History

• Photography gives testimony in the court of public opinion

• Photojournalism is power to move the world, to change people attitudes, to stir their emotions and stimulate action.

How to be a Photojournalist

• Photojournalist more than image makers, they make dramatically and succinctly sum up the essence of a situation while also being informative and revealing

• Be educated in the arts, science and humanities

• Be capable in technical of photography

How to be a Photojournalist

• Be visually educated

Read “A World History of Photography” by Naomi Rosenbaum, and visual art history

• Be visually literated

Slow down, take a closer look, focuss your attention to see form, structure volume, scale, texture, content, and relationships

• Be a percepture photographer

Engage mind, spirit, heart, and the emotion (perception)

How to be a Photojournalist

• Be well informed

• Say something

Recognize the editorial idea, and translate it to pictures

• Make verbal communication effective

How to be a Photojournalist

• Be “concerned photographer” (Cornell Chapa)

(homelessness/ domestic violence/ racism, etc)

• Believe yourself

Visual Lies

• Menjadi pembicaraan pada 1982

Visual Lies

• Pandangan pemerhati fotografi terbagi menjadi dua pendapat, di satu pihak mengatakan semua hasil fotografi adalah kepalsuan, dan yang lain mengatakan hanya beberapa saja yang palsu

• visual deception occurs when a digital effect violates the implicit contract between photographer and viewer.

• Implicit contract: adding, deleting, or repositioning objects, dan pengetahuan masyarakat tentang digital imaging, dan penggunaannya

• Setiap gambar merupakan hasil perspektif pihak tertentu

Kode Etik PWI

Pasal 2

Wartawan dengan penuh rasa tanggung jawab dan bijaksanamempertimbangkan patut tidaknya menyiarkan karya jurnalistik (tulisan, suara, serta suara dan gambar) yang dapat membahayakan keselamatan dankeamanan negara, persatuan dan kesatuan bangsa, menyinggung perasaanagama, kepercayaan atau keyakinan satu golongan yang dilindungi olehUndang-Undang

Pasal 3

Wartawan Indonesia pantang menyiarkan karya jurnalistik (tulisan, suara, serta suara dan gambar) yang menyesatkan memutar balik fakta, bersifatfitnah, cabul serta sensional.

Pasal 6

Wartawan Indonesia menghormati dan menjunjung tinggi kehidupan pribadidengan tidak menyiarkan karya jurnalistik (tulisan, suara, serta suara dangambar) yang merugikan nama baik seseorang, kecuali menyangkutkepentingan umum.

Pasal 8

wartawan Indonesia dalam memberitakan kejahatan susila (asusila) tidakmerugikan pihak korban.

BAB III

SUMBER BERITA

Wartawan Inonesia menempuh cara yang sopan dan terhormat untukmemperoleh bahan karya jurnalistik (tulisan, suara, serta suara dan

gambar)dan selalu menyatakan identitas kepada sumber berita.

Pasal 12

Wartawan Indonesia tidak melakukan tindakan plagiat, tidak mengutip karyajurnalistik tanpa menyebut sumbernya.

Photographic Essay

Photographs that tied together by a single theme, that could be structured, and sequenced, in a narrative style that could tell a full-blown coherent story

Structure of The Photographic Essai

• The photographer must start with an idea that is cogent, concise, journalistically realhave izable, and visually translatable

• The subject must depth and diversity of situations, and visual redundancies must be avoided. Each potographs sould add the dimensions of understanding to the subject being photographed

Structure of The Photographic Essai

• Photographic essai need time

time to permit exploration of every nuance of the subject, time to allow the elements of the conflict within the story to reveal themselves, time for the photographer to be immersed to the subject and grow in understanding of it.

• Photographic Essai require cooperation

Subjects of such stories should be appraised early on in the project that demands on them will be great, that the photographer might intrude on the individual’s privacy in getting beyond superficial coverage

Structure of The Photographic Essai

• If the story is based on individually personality, it must reveal the essence of that individual, warts and all, and not be press-puffery in lieu on honesty and reality

• Great photographic essay are dependent on words to amplify the photographs, to interpret photograps ambiguities, to form journalistic whole, where words and pictures are perfectly matches

Structure of The Photographic Essai

• On photographic essay, preconceptions and illusions are dashed. Photographic essays can turn out to be voyages of discovery in which the subject’s evolution is antithetical to the original conception.

• The success od photographic essay depends on attention to detail. The photographer should have a structur in mind, written or unwritten as the essay unfolds. (make checklist)

Structure of The Photographic Essai

• Putting together a photographic essay is personal. The photographer has to decide what story is to be told and how. (experience in ethnography)

Reference

• Chapnick, Howard. 1994. Thruts Needs No Ally: Inside Photojournalism. University of Missouri Press: Columbia.