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PHOTO- JOURNALISM BY ALEXANDRA COPLEY

Photojournalism and Documentary Photography

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PHOTO-JOURNALISM

BY ALEXANDRA COPLEY

WHAT IS PHOTOJOURNALISM?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 STORY..http://www.youtube.com/watch?v=O-3HiLyjUy8

2 WORDS.PHOTO

a representation of a person or scene recorded by a camera on light-sensitive material (digital censor)

JOURNALISM

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

THE IMAGES 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

of words to tell a story. 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,"

ETC.)

PHOTOJOURNALIS

TS DO SHOOT SOME

NOUNS.

HOWEVER, THE NOUNS WE SEEK STILL MUST TELL A STORY.

WORLD PRESS PHOTO OF THE YEARSHOUTING 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. TIMING3.

COMPOSITION

PHOTOJOURNALISTS

Eddie Adams

Mathew Brady

Robert Capa

Henri Cartier-Bresson

Walker Evans

Lauren Greenfield

Ed Kashi

André Kertész

Danny Lyon

Susan Meiselas

James Nachtwey

Sebastião Salgado

W. Eugene Smith

Peter Turnley

Gordon Parks

Lewis Hines

Jacob Riis

Steve Mccurry

Diane Arbus

THE DECISIVE MOMENT

Henri Cartier-Bresson

PHOTOJOURNALISTS

CHANGING LIVES

LEWIS HINESAMERICAN PHOTOGRAPHER

EXPOSED CHILD LABOR PRACTICES

BECAUSE OF HIM, LAWS WERE CHANGED

SEBASTIAO SALGADOBAZILIAN PHOTOJOURNALIST

BOOKS

GORDON PARKSAMERICAN PHOTOJOURNALIST

AMERICAN GOTHIC, HARLEM

FLAVIO DE SILVA, BRAZIL

SERIES FOR LIFE MAGAZINE IN RIO DE JANEIRO, 1961

CHANGING LIVESIn 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 about the subject. Make your topic something in which

you find interest.

LOOKING FOR WHAT OTHERS DON’T SEE…

2. DO YOUR RESEARCH

For example, if you document a newborn’s 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 you set up for your story.

LOOKING FOR STORIES THAT HAVEN’T 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

AUDIENCEJoy. Fear. Hurt. Excitement. The best way

you can connect 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 audience’s emotions. You merely use

emotion as a connecting point

DOCUMENTARY/ TERU KUWAYAMA

http://silberstudios.tv/videos/conflict-zone-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

type of shots that will work best to tell your story.

ENVIRONMENTAL

PORTRAITURE

5 SECOND PORTRAIT

5 MINUTE PORTRAIT

FEELING THE LIGHT

SUN

ARTIFICIAL

REFLECTION

GLOW

TIPSTry 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.

Don’t forget the Rule of Thirds.

The Decisive Moment

INANIMATE OBJECTS

VS.

DON’T PHOTOGRAPH BACKS

FACES FOR EMOTION

LET YOUR PICTURE TELL A STORY

EVER WANT TO BE A

NATIONAL GEOGRAPHIC PHOTOGRAPHER

Your Shot—This online contest allows photographers of all skill levels to submit their favorite images for possible publication in National Geographic. Each day a panel of editors selects 12 outstanding photographs to be published as part of the “Daily Dozen.”

OTHER Freelance (blogging)

Agency (getty, redux)

Gallery (caladangallery.com)

Stock Photography (shutterstock.com)

CALL ME FOR INDIVIDUAL INSTRUCTION: 976 9842 976