AIPD Subcourse DI0252 Edition 9: Photojournalism II

8/16/2019 AIPD Subcourse DI0252 Edition 9: Photojournalism II

1/46


2/46

PHOTOJOURNALISM IISubcourse number DI0252

EDITION 9

Army Public Affairs CenterFort George G. Meae! Marylan

" Creit #ours

Eition Date$ Marc# %9&9

SUBCOURSE OVERVIE

T#is subcourse contains t#ree lessons! gi'ing t#e traine(#oto)ournalist a'ance information in (#oto)ournalism. T#eselessons *ill (ro'ie an unerstaning of (#oto)ournalism! (re(aringa s#ooting scri(t! s#ooting a (icture story an (roucing a +"mm

color slie (resentation.

T#ere are no (rere,uisites for t#is subcourse- #o*e'er! you may*ant to tae DI/0"/ 1asic P#oto)ournalism an DI/0"%P#oto)ournalism I to get bacgroun information before taing t#issubcourse.

T#is subcourse reflects t#e octrine *#ic# *as current at t#e timet#e subcourse *as (re(are. In your o*n *or situation! al*aysrefer to t#e latest (ublications.

T#e *ors 2#e!2 2#im!2 2#is!2 an 2men2! *#en use in t#is(ublication! re(resent bot# t#e masculine an feminine geners

unless ot#er*ise state.

TERMINAL LEARNIN! OBJECTIVE

Tas$ In t#is subcourse you *ill learn #o* to (re(are as#ooting scri(t! s#oot a (icture story an (rouce a+"mm color slie (resentation.

Conitions$ 3ou are gi'en t#e material (resente in t#is lesson.

4tanars$ 3ou *ill emonstrate a basic unerstaning of

(re(aring a s#ooting scri(t! s#ooting a (icture storyan (roucing a +"mm color slie (resentation.

" DI0252


3/46

TABLE O# CONTENTS

4ECTION Page

451CO564E O7E67IE8............................................ i

TA1E OF CONTENT4............................................. ii

esson %$ P6EPA6E A 4:OOTING 4C6IPT.......................... %

INT6OD5CTION.......................................... 0

PICT56E 4TO6IE4....................................... 0

PANNING T:E PICT56E 4TO63............................ ;

O1TAIN 1AC

Practice E?ercise............................... 0%

Ans*ers


4/46

esson +$ P6OD5CE A +"mm COO6 4IDE P6E4ENTATION............ +"

INT6OD5CTION.......................................... +;

6E4EA6C: T:E 451@ECT.................................. +;

54E4 FO6 4IDE P6E4ENTATION4.......................... +;

COO6 4IDE FIM...................................... +&

4:OOT T:E COO6 4IDE P6E4ENTATION.................... +9

AFTE6 T:E 4:OOT....................................... =%

Practice E?ercise............................... =+

Ans*ers


5/46

LESSON ONE

PREPARE A SHOOTIN! SCRIPT=; 4olierBs Manual Tas$ 0%=%>;%+%>

TAS$ DESCRIPTION%In t#is lesson you *ill learn basic conce(ts of (lanning a (icturestory! (re(aring a s#ooting scri(t by obtaining bacgrouninformation an (re(aring a storyboar or *ritten scri(t.

LEARNIN! OBJECTIVE%ACTION4$ Obtain bacgroun information an (re(are a storyboar

or *ritten scri(t.

CONDITION4$ 3ou are gi'en t#e material (resente in t#is lesson.

4TANDA6D4$ 3ou *ill be able to (erform all t#e uties escribein t#is lesson.

6EFE6ENCE4$ T#e material containe in t#is lesson *as eri'e fromt#e follo*ing (ublications$

4TP =;=;%=4MTGDINFO4 @ournalism :anbooA6 +;/&%A6 +;/"FM =;%

& DI0252


6/46

INTRODUCTION4ome (#oto)ournalism assignments re,uire (lanning as to *#at s#otsare neee to tell t#e story. T#is is es(ecially true *#enassigne to create a (icture story. Picture stories tell t#e storyt#roug# (#otogra(#s! *it# some te?t to #el( get t#e iea across.

PICTURE STORIESTo a non(#oto)ournalist! a (icture story tells a story using aseries of (ictures. T#is is not an incorrect efinition but it isnot totally correct because t#e (ictures alone are limite intelling a story. In orer to gi'e t#e reaer a com(lete message!*ors must be ae to fill t#e communication ga(s left by t#e(ictures. 4o! a better efinition for a (icture story *oul be 2ameans of communication resulting from a (lanne an organiecombination of (ictures an *ors.2

T#is means a (icture story is base on relate (ictures t#at aresu((orte by te?t. T#e (ictures ser'e to attract reaer attention!(lace t#e reaer at t#e scene an tell a 'isual story. T#e *ritten*ors! *#et#er title! te?t! outline! etc.! introuce t#e story anfill t#e information ga(s left by t#e (ictures.

#orm o' P"c(ure S(or"es

Picture stories are (rouce for release to military an ci'ilian(ublications. T#e ty(e of (icture story use e(ens on *#et#ert#e em(#asis *ill be on (ictures or te?t. Picture stories fallinto t#ree ty(es$ illustrate te?t! (ure (#oto (age an(icturete?t combination.

DI0252 2


7/46

FIG56E %%. I54T6ATED TET

FIG56E %0. P56E P:OTO PAGE

I))us(r*(e+ (e,(.Illustrate te?t (lacest#e em(#asis on t#e *ors.T#e te?t is usually moreim(ortant! t#e (icturesbeing su((orti'e. T#e(ictures must #a'e t#e

same focus as t#eyestablis# t#e moo!ientify t#e (rimarysub)ect! lea t#e 'ie*erinto t#e story! or (lacet#e 'ie*er at t#e scene.:o*e'er! t#e actual storyis tol *it# *ors.

Pure -.o(o -*/e. T#isform uses (ictures to tellt#e story. T#e te?t ise(t to a minimum$ a#ealine! a cutline! or(er#a(s a brief (aragra(#for orientation.4ometimes! t#ere is note?t at all. T#is ty(e of(icture story usually is(resente as a se,uence of(ictures taen atinter'als. T#e (ure (#oto(age can be ifficult toe'elo(! because it is u(to t#e reaer to etermine*#at t#e story is allabout.

DI0252


8/46

FIG56E %+. PICT56ETETCOM1INATION

P"c(ure1(e,( comb"n*("on.In t#e (icturete?tcombination! t#e te?t isuse to gi'e t#e 'ie*eraitional information to*#at t#e (#otos gi'e.A((ro?imately >" (ercent

of t#e (age is e'ote to(#otogra(#s. T#e te?t isim(ortant an gi'es t#ereaer *ort#*#ileinformation! but issuborinate to t#e(ictures.

T#ere are t#ree ty(es of(icturete?t combination(#oto (ages$ t#e (icturestory! t#e (icture essay

an t#e (icture grou(.

T#e (icture story is a series of (ictures *#ic# #a'e a beginning!mile an closing (#oto. All t#e (#otos in t#e series relate tot#e same sub)ect. Picture stories are usually about a (erson! butt#ey can also be s#ot about (laces! t#ings or situations.

T#e (icture essay sets out to (ro'e a (oint or e?(lore a (roblem.

T#e (icture essay is more liely to argue t#an to narrate. Itanalyes e'en *#en it (resents bot# sies of an issue. It is moreliely to be about somet#ing t#an someone. Essay (ictures o notlean on one anot#er- rat#er! t#ey are unrelate in time anunconnecte in story e'elo(ment. Eac# (icture is selecte to maea (oint- eac# can stan alone.

T#e (icture grou( is a series of (#otos! not necessarily in alogical se,uence! t#at illustrates a sub)ect or a general iea. Itis an arrangement of miscellaneous (ictures about a single sub)ect.T#e (icture grou( tries to s#o* t#e reaer *#at t#ey *oul #a'eseen if t#ey *ere (resent at t#e e'ent.

DI0252


9/46

Con("nu"(3

Picture stories are more t#an )ust a collection of (#otogra(#s. Toe'elo( t#e story eac# (icture must be ifferent! an yet! a tot#e t#eme or message. Continuity is 2t#at somet#ing2 *#ic# maest#e story a communicati'e unit.

T#ere are si? ty(es of continuity *#ic# can be use to #ol t#e'isuals toget#er. T#ey are$ sim(le c#ronology! narrati'e

c#ronology! re(eate ientity! #o* to o it! (arallel or contrastan e'elo(ment of a t#eme.

T#e selection of t#e continuity is t#e MOST im(ortant ste( in(lanning a (icture story. It is #ere t#at t#e ecision is mae on#o* to (resent t#e iea to t#e reaer. De(ening u(on t#e story!it may be sim(le to select t#e ty(esH of continuity.

o 4im(le c#ronology. T#is is *#en a (#otogra(#er #as a grou(of (ictures t#at cannot be arrange in any (articular orer.T#e (ictures #a'e no efinite starting (oint! an no ening.

T#e family (#oto album is a (erfect e?am(le of t#is form ofcontinuity! a grou( of (#otos #el toget#er by common sub)ectmatter.

o Narrati'e c#ronology. 5nlie t#e sim(le c#ronology! t#enarrati'e c#ronology #as a efinite time se,uence. It #as aefinite beginning! mile an en. Eac# (icture is closelyrelate to t#e one t#at follo*s! an cannot be taen out ofse,uence. An e?am(le of t#is *oul be a football game t#e#ule! ,uarterbac calling signals! t#ro*ing t#e ball! t#e*ie recei'er catc#ing t#e football for a touc#o*n. It #asa efinite se,uence of e'ents! *#ic# must be (resente inorer. T#e last (icture! *#ic# s#oul be es(ecially strong!ser'es as t#e clima? to t#e story.

o 6e(eate ientity. T#is is one of t#e sim(lest continuityty(es to e'elo(! an one of t#e most commonly use in(ublications. T#is is t#e 2Dayint#elife2 ty(e of storyuse so often. E'ery (icture su((orts t#e same ob)ect!(erson! scene! moo or situation. 1ecause t#is ty(e is useso often! you s#oul attem(t to use ingenuity an creati'ityto mae t#e (resentation interesting an effecti'e.

o :o* to o it. T#is ty(e of continuity is a time se,uence of(ictures s#o*ing ste(byste( (roceures for oing somet#ing.

It coul be use to s#o* #o* to tie a fis#ing not or #o* tobuil an air(lane. It is commonly use for articles ealing*it# #obbies! cooing! car(entry an s(orts.

5 DI0252


10/46

o Parallel or contrast. T#is is t#e 2o an onBt!2 2rig#t an*rong.2 an 2before an after2 a((roac#. It is use to(resent t*o (oints of 'ie*! to em(#asie one situation o'eranot#er! to em(#asie safety an to s#o* (rogress.

o De'elo(ment of a t#eme. Picture stories must #a'e a t#eme.T#ey s#oul (resent an argument or an iea *it# (ictures t#atare logically relate to eac# ot#er. In aition! (icturestories s#oul feature a t#eme t#at relates to t#e ArmyBs

comman information mission.

PLANNIN! THE PICTURE STOR4Planning is t#e most im(ortant ste( in ac#ie'ing a successful(icture story. It is in t#e (lanning stage t#at t#e iea ise'elo(e t#roug# e?(erimentation an researc#. T#e sub)ect iscontacte an t#e sub)ect! (#otogra(#er! an eitor fin out *#att#ey can an cannot o. T#e (#otogra(#er c#ecs to mae sure t#att#e area in *#ic# #e *ants to s#oot #is (ictures #as enoug# lig#t.Ot#er (roblems t#at may arise are consiere an sol'e (rior to

t#e s#ooting session. T#e ob)ect of t#is (lanning is to ecie on*#at you *ant an *#at you can o! to meet an no* your sub)ect!an to set u( a sc#eule. If someone else is to (#otogra(# t#estory! let #im no* *#at you #a'e learne! e'en to t#e (oint of(ro'iing a tentati'e layout or s#ooting scri(t as a starting (ointof t#e (icture (agesH you are (lanning.

Cr"(er"* 'or P)*nn"n/ P"c(ure S(or"es

T#e starting (oint for any story is an iea. Per#a(s t#e iea issomet#ing you #a'e seen! #ear of! or )ust 2reamt u(!2 butsomet#ing you feel *ill be interesting! informati'e anentertaining to your auience. T#ere is a minimum of fi'e criteriayou s#oul consier for suc# ieas. T#ey are$

o Interest. Interest means a((eal. T#e aily acti'ities ofmanin are interesting because t#ey a((eal to manin.4tuy ne*s stories. T#ey are concerne *it# t#e acti'itiesof #umans or acts of nature t#at affect ini'iuals. Picturestories s#oul be about (eo(le or! if about t#ings! #o* t#esub)ect of t#e story *ill affect (eo(le. A traffic accientautomatically interests (eo(le! but a bicycle re(air s#o( maynot unless itBs (resente in a uni,ue! eyecatc#ing *ay. 1esure t#e (ictures clearly tell t#e story.

DI0252


11/46

o Im(act. T#e (icture story must be 'isually e?citing. Itmust a((eal to t#e eye! catc# t#e reaersB attention! an#ol t#eir attention until t#ey rea t#e entire story. T#e(#otogra(#s must be of a #ig# ,uality.

o Narro* sco(e. Narro* t#e sub)ect o*n to somet#ing t#at iseasy to tell an easy to rea. Instea of a ay in t#e lifeof a brigae! a sim(ler an more manageable to(ic *oul be aay in t#e life of a s,ua! or a single member of a s,ua.

Narro* your to(ic to your target auience. In most cases!t#atBs (robably )unior enliste soliers. T#e larger t#esco(e! t#e more (ictures an *ors neee to tell t#e story.A narro* sco(e *it# fe* (ictures *ill mae it easier for t#ereaer to unerstan t#e story.

o Focus on (eo(le. Peo(le mae t#e (icture story *ort#*#ile torea. 6eaers relate to ot#er (eo(le better t#an toinanimate ob)ects! so let t#e (eo(le tell your (icture story.A (icture story about tan gunnery s#oul be tol *it# (eo(lein t#e turret! setting targets! using raios! #um(ing ammo!conucting afteraction re'ie*s! etc.

o 5ni'ersal a((eal. Consier your auience an uni'ersala((eal. 8oul t#e infantrymen in t#e i'ision be interestein a (icture story about t#e (ublications system 8oult#ose same infantrymen fin a (icture story about t#e e?(ertinfantryman bage com(etition a((ealing 3ou may nee toconuct an auience analysis to fin out *#at sub)ects *oulbe a((ealing. In many military communities! t#ere is asiable ci'ilian em(loyee auience t#at must be consiere(art of your reaers#i(. :o* o t#e (icture stories a((ealto t#em

A++"("on*) Cr"(er"* (o Cons"+er

o 4ounness. Are you re(orting or creating T#e term2creati'e )ournalism2 is misleaing or (er#a(s misuse.Creati'ity oes not mean (resenting fantasy! but (resentingfact in an Imaginati'e manner. A (icture story must be real!an (er#a(s more im(ortantly! it must loo real to t#ereaer.

o 6esearc#. 8#at o you no* about your sub)ect T#e more youno* t#e better t#e story is liely to be. If t#e sub)ect oft#e story is a (erson! communicate *it# t#at (erson. T#emore you no* about your sub)ect! t#e easier it *ill be for

you to communicate t#at no*lege to anot#er ini'iual.

6 DI0252


12/46

o A((roac#. T#ere are fe* original sub)ects. :o*e'er! t#ereare as many original a((roac#es to a sub)ect as t#ere are)ournalists. T#is is *#ere creati'ity comes into (lay. T#eoriginality of your a((roac# e(ens u(on t#e researc# you#a'e one. As an ini'iual! you are uni,ue an t#ereforeyour a((roac# s#oul be uni,ue. If you no* *#at you *ant tosay in your story! you *ill be able to say it 'isually. 8#enyou t#in about satisfying your auience! an not yourself!you *ill remain ob)ecti'e to t#e sub)ect.

o 4#ooting scri(t. To 2s#oot2 a (icture story *it#out aconce(t of *#at you *ant to say! or a focus! is a gamble. Toe?(ect someone else to o t#e (#otogra(#y *it#out any conce(tof t#e story is e'en *orse. A s#ooting scri(t is a recor ofyour ieas t#at you or someone else can use as an ine? fors#ooting *#at is neee to (resent t#e story.

o Tentati'e an final layout. Picture stories are not )ust a#a(#aar gat#ering of (#otogra(#s. T#e (ictures use must#a'e s(ecific functions. T#e use of one (icture! as o((oseto anot#er! is closely allie *it# t#e layout esign. E'en

as t#e (ictures are being taen! layout s#oul be consiere.

OBTAIN BAC$!ROUND IN#ORMATION8#en your eitor assigns you to tae a (icture story! try to get asmuc# information about t#e assignment as (ossible. Fin out *#ot#e sub)ect is! if t#e story is about a (erson or a grou(. Finout *#at t#e e'ent is! *#en an *#ere it *ill #a((en! *#y t#e storyis significant! an any (oints of contact for t#e e'ent. T#isinformation *ill e'entually become t#e first (art of your *rittenscri(t.

Discuss t#e re,uire s#ots *it# your eitor before (lanning your

(#otogra(#s. For esign an layout (ur(oses! t#e eitor *illnormally re,uire t#ree to se'en (#otogra(#s. If t#e layout *ill beon a single (age! t#e eitor *ill nee a minimum of t#ree an ama?imum of fi'e. A ouble(age layout! a oubletruc! *ill re,uirea ma?imum of se'en (#otogra(#s. All of t#e (#otogra(#s coul stanalone! but toget#er constitute a (icture story. Plan to taese'eral more (#otogra(#s t#an you nee. 4#ots better t#an *#at you#a t#oug#t of *ill cro( u(! or sub)ect mo'ement an tec#nicalmiscalculation *ill ruin a (lanne s#ot.

DI0252 7


13/46

Le*+8 Bo+3 *n+ Term"n*) P.o(os

8#en you (lan t#e (icture story you s#oul (lan for *#at (#otos touse as t#e lea! boy an terminal (#otogra(#s.

o ea. T#e lea (icture! also calle t#e ominant (#oto! ist#e (icture t#at contains t#e essence of t#e story. It isnot necessarily t#e first (icture in c#ronological se,uence.8it#in t#e layout t#e lea (icture is usually t#e largest an

(lace to attract reaer attention! usually at t#e u((erleft. T#e lea (icture s#oul a((ear to be #alf again aslarge as t#e ne?t largest in t#e layout! taing u( about 0"(ercent of t#e (age.

o 1oy. 1oy (ictures! also calle su((orting (#otos! aret#ose t#at actually communicate t#e story. T#e eitor *illnee t*o or t#ree su((orting (#otos to #el( tell t#e storyan to contrast *it# t#e lea (#oto in sie or s#a(e. 5secom(osition tec#ni,ues to tae interesting an stimulating(ictures. Eac# (#otogra(# s#oul a'ance t#e story line.Eac# s#oul buil on t#e ot#er.

o Terminal. A strong terminal (#otogra(# brings t#e (icturestory toget#er. T#e terminal (#otogra(# s#oul be t#e seconlargest (#otogra(# in t#e layout! an t#e secon mostim(ortant. T#e terminal (#oto occu(ies t#e 2terminal area!2*#ere t#e eye *oul sto( if it *ere scanning a (age. T#eterminal (#otogra(# s#oul 'isually irect t#e reaer bacinto t#e (age. T#e terminal (#oto s#oul bring t#e reaer tot#e en of t#e story.

Lon/ s.o(s8 me+"um s.o(s *n+ c)ose9u- s.o(s

3ou s#oul inclue some (#otogra(#ing tec#ni,ues *#en (lanning t#e(icture (age! to ca(ture t#e essence of t#e (icture (age t#eme.T#ese tec#ni,ues inclue s#ooting in #oriontal an 'erticalformats! at ifferent angles an in long! meium an closeu(s#ots. :oriontal an 'ertical s#ots a 'ariety to a layout.4#ooting #ig# an lo* angles creates interest! lens (o*er orstrengt# lo* angleH or sub)ect inferiority #ig# angleH. eft anrig#t angles are use to mae sure t#at t#e (#otos can flo*toget#er on t#e (age. T#e s#ooting scri(t s#oul contain a 'arietyof long! meium an closeu( s#ots in bot# #oriontal an 'erticalformats an at 'arious angles.

: DI0252


14/46

FIG56E %=. ONG 4:OT

FIG56E %". MEDI5M 4:OT

Lon/ s.o(s. A long s#otis an establis#ing s#ot-it orients t#e reaer tot#e sub)ect or gi'es #ima location. 5se a longs#ot to s#o* t#e sub)ectin its en'ironment. T#elong s#ot is usuallys#ot from %/ to 0/ feet

from t#e sub)ect. Int#e case of soliers *#o*or in a combat su((ort#os(ital! an aerial 'ie*of t#e tents aninflatable #os(ital *it#t#e International 6eCross logo is a goolong s#ot.

Me+"um s.o(s. Meium

s#ots are use toientify t#e sub)ect ant#e action taing (lace.T#ey normally com(riset#e ma)ority of t#e(icture story s#ots.T#ey re(resent *#atoneBs eye normally *oulsee in t#e "/mm lensareaH T#e meium s#ot isusually taen from se'ento nine feet from t#esub)ect.In t#e case of t#atcombat su((ort #os(ital!

a meium s#ot *oul inclue a triage scene *it# a meic! nurse oroctor *oring on a (atient! a solier being (ositione for an ray by a tec#nician! s#ots in a *ar illustrating basic (atientcare! a meical e'acuation s#ot in'ol'ing a 2ustoff2 mee'ac#elico(terH! an (er#a(s a (atient being isc#arge from t#e#os(ital. T#ere are a myria of ot#er (#otogra(#s t#at can su((ortsuc# a feature. Consier t#e entire o(eration! but also rememberto maintain a narro* sco(e on t#e (icture story.

DI0252 &0


15/46

FIG56E %;. CO4E5P 4:OT

C)ose9u- s.o(s. Closeu( s#ots are! lie t#emeium s#ot! use toientify t#e sub)ect ant#e action! but from acloser (osition. T#ecloseu( s#ot is taenfrom t#ree to si? feet

from t#e sub)ect.Again! in t#e case of t#ecombat #os(ital! closeu( s#ots mig#t inclue alab tec#nician obser'inga slie t#roug# amicrosco(e! or a octorc#ecing a solierBsear! cro((ingin t#eoctorBs (rofile an t#e(atientBs face or bacof #is #ea.

E?treme closeu( s#ots fill in t#e etails by s#o*ing t#e reaerim(ortant as(ects of t#e story. 3ou *oul s#oot as close as(ossible to t#e sub)ect! u( to %& inc#es a*ay. An e?treme closeu(s#ot *oul be a nurse inserting a neele in a 'ein! *#ere you cro(in )ust t#e #ans! neele an (atientBs forearm.

Hor";on(*) *n+ Ver("c*) S.o(s

7ertical an #oriontal s#ots are essential because t#ey a'ariety to t#e layout. T#e sub)ect matter of any gi'en (#oto! ant#e action taing (lace! usually ictates *#et#er it s#oul be#oriontal or 'ertical. T#e motion im(lie in eac# (#otogra(# incon)unction *it# t#e lines of force can be accentuate orramatie by t#e s#a(e of t#e (icture. 5ner normal circumstancesit is t#e longest imension of t#e (icture ob)ect! or t#e angle at*#ic# t#e lines of force are #eaing! or t#e moo t#e eitor *antsto im(art t#at *ill ictate t#e s#a(e. In any case! t#e (#otos#oul be cro((e to ma?imie its 'isual im(act.

&& DI0252


16/46

FIG56E %>. 7E6TICA 4:OT AND :O6IJONTA 4:OT.

T#e trace 'e#icle on t#e left #as 'ertical motion an ra*s youreye u(. t#e trace 'e#icle on t#e rig#t #as #oriontal motion anra*s your eye to t#e left. 1y mo'ing aroun a sub)ect you can getbot# #oriontals an 'erticals.

V"s"( (.e S"(e

If (ossible! 'isit t#e site to get an iea of t#e lig#ting! angles!obstacles or anyt#ing else t#at mig#t affect t#e s#ootingassignment. P#ysically (osition yourself for t#e long! meium ancloseu( s#ots you antici(ate. Plan for a 'ariety of #oriontalan 'ertical s#ots from all angles *#ic# can be ramaticallyenlarge or safely reuce to one ne*s(a(er column an still beeffecti'e.

For e?am(le! you are assigne to (#otogra(# a retirement ceremony.3ou coul 'isit t#e (arae fiel uring a (ractice ceremony to

etermine t#e best (lace to stan! *#o s#oul be (#otogra(#e an*#en! *#at ty(e of lenses you *ill nee! #o* t#e timing of t#e(arae *ill go in case you nee to (ut fres# film in your camerauring t#e e'entH! an if t#ere are any restrictions you mustfollo* suc# as not blocing t#e 'ie* of guestsH. T#is information*ill e'entually become t#e secon (art of a *ritten scri(t.

DI0252 &2


17/46

P)*n * Dumm3 L*3ou(

7isiting t#e site *illassist you *#en youummy a tentati'e layout4ee Fig. %&H.3ou ummy a layout sot#at you can see *#at(#otos *oul loo best

in t#e layout t#at youreitor #as (lanne. T#eummy layout oes notinicate t#e orer in*#ic# (#otogra(#s aretaen. If your eitoralreay #as a (age setasie in t#e ne*s(a(erfor your story! ecie#o* t#e story s#oul belai out. Decie *#atin of s#ots *oul best

tell t#e story.Consier t#e irectionsof t#e (#otos! t#e linesof force! *#at s#oul bet#e lea an terminal(#otos! an t#e use of#oriontal an 'ertical(#otos. T#e ummylayout coul inicateformats an irectionsor lines of force toattem(t uring cameraco'erage.

For e?am(le! once you#a'e obser'e t#e(ractice (arae! you canselect *#at s#ots *oulloo t#e best on a ummy(age. 3ou may ecie to

FIG56E %&.A D5MM3 A3O5T 4:EET

use a meium s#ot of t#e retiree as #e stans at attention as t#elea (icture. 3ou coul #a'e t#e units (assing in re'ie* as a#oriontal. If t#e unit #as a mascot! you may *ant to use a(#otogra(# of it as a 'ertical. 3ou coul use a (#oto of t#erece(tion after*ars as a terminal (#oto. T#e ummy *ill #el( you

focus on t#e s#ots t#at you no* you *ill really *ant to tae. 1esure to s#o* your ummy to your eitor to get #is a((ro'al.

& DI0252


18/46

THE SHOOTIN! SCRIPT8it# your ummy layout a((ro'e! you may no* *rite t#e s#ootingscri(t. T#e scri(t is esigne to s#o* *#at (#otogra(#s you *antto tae in t#e orer of *#en t#ey #a((en. A scri(t can eit#er taet#e form of a storyboar! *it# setc#es of 'arious scenes! or a*ritten scri(t! etailing t#e 8#at! 8#en! 8#ere! 8#o! 8#y an :o*of t#e s#oot *it# bullets for closeu(! meium an long s#ots.

S(or3bo*r+

To storyboar t#e assignment! sim(ly ra* *#at you #o(e to(#otogra(#. 4tic figures o t#e )ob nicely. Mae sure t#at t#efigures tell t#e story. T#e ob)ecti'e s#oul be to ca(ture t#eaction an #o* t#e sub)ects ac#ie'e t#e action 4ee Fig. %9H.

FIG56E %9. AN EAMPE OF A 4TO631OA6D

For e?am(le! you mig#t *ant to storyboar t#e retirement ceremony.3ou coul use similar ra*ings t#at you use to (lan your ummylayout! but you *oul (lace t#em in orer of *#en t#ey *oul occururing t#e e'ent. If! uring t#e (ractice! you notice t#e mascot(erforme some ceremonial uty! you may *ant to ca(ture a (#oto oft#at. Or! you *oul *ant to ra* t#e retiree getting #is a*ar(inne on. :o*e'er! ne'er limit yourself to t#e storyboar. 3ou*ill fin t#at o((ortunities for ot#er (ictures *ill a((ear.

DI0252 &


19/46

r"((en s.oo("n/ scr"-(

T#e *ritten s#ooting scri(t is more etaile t#an a storyboar anre,uires t#e (#otogra(#er to t#in t#roug# t#e entire s#oot. A*ell(re(are scri(t ans*ers all t#e 'ital ,uestions t#e fi'e 8Bsan :H an lists ini'iual (icture ieas in etail.

T.e #"rs( P*r( o' (.e r"((en S.oo("n/ Scr"-(

T#e *ritten s#ooting scri(t is normally broen into t*o (arts! t#efirst gi'ing etails about t#e general iea! ans*ering t#e fi'e 8Bsan : of t#e s#oot. T#e 2:2 is usually t#e (oint of contact. 5set#e follo*ing guie to (re(are t#e first (art of a *ritten s#ootingscri(t.

8:O$ ist t#e full name First! MI! lastH of t#e sub)ect t#at *illbe (#otogra(#e. Inclue t#e ran! grae! )ob title or (ositionan tele(#one number.

8:AT$ Describe *#at t#e sub)ect *ill be oing! or *#at t#e e'ent*ill be. Describe t#e s(ecific actions your sub)ect *ill (erform

to su((ort t#e story you *ant to tell.

8:EN$ 8rite t#e time an ate t#at t#e sub)ect *ill be(#otogra(#e.

8:E6E$ ist t#e e?act locationsH *#ere t#e (#otogra(#y *ill tae(lace. Inclue gri coorinates! a stri( ma( or irections! abuiling number anor a room number.

8:3$ Describe t#e story line to e?(lain *#y t#e story *oul beinteresting or im(ortant to your reaers.

:O8$ ist (oint of contacts! ot#er t#an t#e sub)ect! t#at can gi'eyou information about t#e s#oot or t#e sub)ect.

&5 DI0252


20/46

T.e Secon+ P*r( o' (.e r"((en S.oo("n/ Scr"-(

5se t#e secon (art of t#e s#ooting scri(t to e?(lain #o* you *illtae t#e (ictures. 3ou *oul (lan for (#oto (lacement *#ere int#e layout t#e (#oto *ill goH! sub)ect matter an actions rig#t anleft! long! meium an closeu( s#ots! #oriontals an 'erticals!angle irection an istance an s(ecial effects an lig#ting. 5set#e follo*ing c#art to #el( (lan (icture ieas.

FIG56E %%/. A 1AN< PICT56E IDEA C:A6T FO6A 86ITTEN 4:OOTING 4C6IPT

DI0252 &


21/46

PREPARE A SHOOTIN! SCRIPT3ou can no* (re(are a s#ooting scri(t. 3our scri(t can be a*ritten scri(t or a storyboar. In t#e *ritten scri(t! (ut t#e8#o! 8#at! 8#en! 8#ere! 8#y an :o* in t#e first (art! *it# aetaile escri(tion of esire s#ots at 'arious angles bot##oriontal an 'ertical. In t#e storyboar! ra* stic figures tos#o* *#at you *ant t#e (#otogra(# to loo lie. 1e sure t#at youreitor a((ro'es your s#ooting scri(t.

An E,*m-)e o' * r"((en S.oo("n/ Scr"-(

To use t#e retirement ceremony as an e?am(le! you coul *rite t#efirst (art of t#e *ritten s#ooting scri(t as follo*s$

8:O$ Comman 4ergeant Ma)or @ames 6. Gol! 4(ecial Troo(s commansergeant ma)or.

8:AT$ 6etires after +" years of ser'ice. In retirement ceremony#e *ill re'ie* t#e troo(s *#ile riing in a )ee(! *ill recei'ean a*ar! *ill gi'e a s(eec# an *ill stan on t#e (oium

uring t#e (ass in re'ie*.

8:EN$ +/ @une %9&9 at %/ a.m.

8:E6E$ Main Post (arae groun.

8:3$ C4M Gol #as t#e longest time in ser'ice of any sergeantma)or on (ost. :e #as been assigne to 4(ecial Troo(s for t#e(ast fi'e years- #e #as im(lemente many of t#e currentsoliersB (rograms- #e #as stoo in for t#e (ost sergeantma)or! *#o *as #os(italie for a mont#- an no*! as #eretires an recei'es t#e egion of MeritH! t#e entire (ost isin'ol'e to inclue 4(ie! t#e bullog mascotH in C4M GolBs

retirement ceremony.

:O8$ Contacts$ Protocol office! Mrs. @ones! tel. =//&. 4(ecialTroo(s e?ecuti'e officer Ma). 4mit#! tel. "99%. Mrs. Gol!tel. ;;%0909.

T#e secon (art of t#e *ritten s#ooting scri(t lists in etail t#es(ecific s#ots you must #a'e to tell t#e story 3ou *oul use longs#ots! meium s#ots an closeu( s#ots *#en taing your(#otogra(#s. On t#e ne?t (age is an e?am(le of #o* you coul(#otogra(# t#e retirement ceremony.

&6 DI0252


22/46

FIG56E %%%. AN EAMPE OF A PICT56E IDEA C:A6T FO6 A86ITTEN 4:OOTING 4C6IPT

4ome ceremonies may #a'e aitional action t#at you coul ca(ture.T#e abo'e suggestions for (#otogra(#ing a ceremony can be e?(aneby (lanning to tae aitional long! meium an closeu( s#ots!bot# 'ertical an #oriontal! facing left an rig#t. Al*aysconsier t#e eitorial nees of t#e ne*s(a(er *#en (lanning(#otogra(#s.

Memor";e (.e S.oo("n/ Scr"-(

8#et#er you use a storyboar or a *ritten s#ooting scri(t! yous#oul memorie it or familiarie yourself *it# it. 1ring t#escri(t *it# you in case you nee to c#ec it! but onBt rely on it*#en you go to s#oot. Once you memorie it refer to it only if youlose trac. Al*ays remember t#at a scri(t is a (lanning tool anis ne'er bining. C#anges s#oul be mae as better (ictureo((ortunities an better layout conce(ts (resent t#emsel'es. 1eo(en to ot#er (#oto o((ortunities. 6elying on t#e scri(t may causeyou to miss an im(ortant s#ot! or cause you to be infle?ible aboutt#e number of s#ots you tae. 1e sure to bring more film t#an *#atyou #a'e scri(te for! because ot#er s#ots may be taen t#at coul*or better t#an t#ose youB'e (lanne.

DI0252 &7


23/46

In


24/46

PRACTICE E>ERCISEE44ON %

451CO564E NO. DI/0"0

P6EPA6E A 4:OOTING 4C6IPT

IN4T65CTION4$

6e'ie* t#e material in t#is lesson. Ans*er t#e ,uestions belo* bycircling t#e 2T2 or 2F2 ne?t to eac# ,uestion. Com(are yourans*ers *it# t#e ans*er ey on t#e ne?t (age.

T F %. Any (oints of contact t#at you establis# for a s#oot *illbecome t#e secon (art of your *ritten s#ooting scri(t.

T F 0. Eitors normally nee t#ree to fi'e (#otogra(#s for asingle (age (icture story.

T F +. T#ere are t#ree ty(es of s#ooting scri(ts- a storyboar!a *ritten scri(t an a ialogue guie.

T F =. A storyboar is more etaile t#an a *ritten scri(t.

T F ". A *ritten s#ooting scri(t is broen into t*o (arts.

T F ;. 3ou s#oul memorie t#e s#ooting scri(t before going ont#e s#oot.

T F >. T#e 2:o*2 element can best be use to establis# any (ointof contacts.

T F &. To mae a (icture story interesting! focus on inanimateob)ects to tell t#e story.

T F 9. 3ou *oul use a long s#ot to orient t#e reaer to t#esub)ect.

T F %/. ea (#otogra(#s s#oul be t#e first (icture inc#ronological orer.

2& DI0252


25/46

ANSER $E4E44ON %

451CO564E NO. DI/0"0

P6EPA6E A 4:OOTING 4C6IPT

%. False Page %"H

0. True Page &H

+. False Page %=H

=. False Page %"H

". True Page %"H

;. True Page %&H

>. True Page %"H

&. False Page >H

9. True Page %/H

%/. False Page 9H

DI0252 22


26/46

LESSON TOSHOOT A PICTURE STOR4=; 4olierBs Manual Tas$ 0%=%>;%+%&

TAS$ DESCRIPTION%In t#is lesson you *ill learn basic conce(ts of s#ooting a (icture

story by using a s#ooting scri(t to s#oot a (icture story!recoring cutline information! (lanning a (icture story layout anunerstaning #o* (#otogra(#s are #alftone.

LEARNIN! OBJECTIVE%ACTION4$ 5se a s#ooting scri(t to s#oot a (icture story! recor

cutline information an (lan a (icture story layout.





2 DI0252


27/46

INTRODUCTIONOne of t#e most interesting assignments a (#oto)ournalist #as to(rouce is a (icture story. No matter *#at t#e sub)ect! t#e(#otogra(#er is face *it# a creati'e c#allenge. Many often failin meeting t#is c#allenge because t#ey lac t#e no*lege of t#ecom(onents an consierations necessary for a successful (icturestory.

SHOOT THE PICTURE STOR48it# a soun iea t#at #as interest! is narro* in sco(e! #as beenresearc#e an e'elo(e into *#at *ill be a factual story! #as t#emar of your ini'iuality! an arme *it# a s#ooting scri(t! youare reay to tae (ictures. T#e la* of a'erages inicates t#at t#emore you tae! t#e better your c#ances are of getting e?actly *#atyou *ant. :o*e'er! if you are (ro(erly (re(are! your (ictures*ill not be unrelate s#ots but *ill #a'e se'eral se,uences t#atco'er t#e ieas on t#e scri(t. 4ome of t#e (ictures s#oul be s#otbot# 'ertically an #oriontally. T#e s#ooting scri(t cannotantici(ate e'eryt#ing. 1y co'ering your assignment in t#is manneryou *ill #a'e more fle?ibility in your (icture (age layout.

At t#e s#oot! ee( your s#ooting scri(t in min as you com(ose eac#s#ot. Get a 'ariety of 'erticals an #oriontals! *#ile staying*it# your s#ooting scri(t as muc# as (ossible. Consier t#eirection of action in eac# e?(osure an mae sure t#at you onBttra( yourself into taing (#otogra(#s only in one irection. 5sea'ailable an artificial lig#t to ac#ie'e o(timum e?(osures aneffects. If t#ere is a lot of action! consier blurring motion orfreeing action. oo for ifferent angles. A'oi s#ootinge'eryt#ing at eye le'el! but remember t#at e?treme angles oftenistort an etract from t#e sub)ect. Mani(ulate e(t# of fiel toca(ture a *ier fiel of 'ie* or to narro* your focus to t#e (oint

of interest.

Recor+ Cu()"ne In'orm*("on

3ou s#oul recor cutline information listing t#e fi'e 8Bs an :for eac# frame as you tae it. T#is is es(ecially im(ortant *#ense'eral (eo(le are in'ol'e in t#e (icture story an you mustientify t#em by (osition in t#e (#otogra(#. 6eturning to t#e siteto get t#e names of (artici(ants after*ar is un(rofessional antimeconsuming- it is a gamble because you may be unlucy enoug# tone'er fin out t#eir names. 3ou s#oul recor t#e information in aca(tion log! *#ic# coul be a (re(are form or )ust (ages of a

noteboo *#ere youB'e ra*n blocs to fill *it# information. 3ous#oul recor t#e information at t#e site!

DI0252 2


28/46

(referably as you tae eac# (#otogra(#. If you are taing actions#ots! recor cutline information uring breas in t#e action.Note t#e number in t#e frame counter on t#e camera an *rite it int#e log. If you use more t#an one roll of film! number t#e film ont#e canisters as you use eac# one! an annotate t#e numbers in t#eca(tion log. T#e rolls can be mare *it# a (ermanent feltti( (enon masing ta(e attac#e to t#e canister.

Ne?t you e'elo( t#e rolls of film! (rint contact s#eets! an s#o*

t#em! *it# t#e ca(tion log! to your eitor. 4elect t#e (#otogra(#st#at *oul best tell t#e (icture story as you #a (lanne. T#e(ictures you select *oul become (art of t#e (icture story layout.

THE PICTURE STOR4 LA4OUT

A (icture story tells a story *it# a (lanne an organiecombination of (ictures an *ors. T#is combination of (icturesan *ors on t#e (rinte (age is calle a layout.

T#e ey to effecti'e layout is functional esign! in *#ic# t#e

ini'iual oing t#e layout taes into consieration t#e storyse,uence! t#e format of (ictures an t#e accom(anying co(y. If any(ortion of t#ese oes not function to gi'e t#e layout a (leasinga((earance! t#en it oes not belong an s#oul be remo'e.

#our M*?or E)emen(s o' (.e P"c(ure P*/e

A (icture (age is broen into four elements$ art*or! boy ty(e!is(lay ty(e an *#ite s(ace.

o Art*or. Art*or can be a (#otogra(#! or series of (#otos orline art. Art*or #as une,ualle a((eal. In a (icture (ageart*or s#oul tae u( about >" (ercent of t#e (age. It can

im(ly more t#an can be *ritten in t#e same amount of s(acean can gi'e t#e reaer a feeling of 2being t#ere.2 It #el(sgi'e a (leasing a((earance.

o 1oy ty(e. 1oy ty(e! or co(y bloc! is use in t#e te?t totell t#e story. T#e ty(e an style of lettering use canress u( t#e (icture story. Cutlines are use to e?(lain t#eaction an ientify t#e (eo(le in t#e (#oto. Mae sure t#ecutline oes not restate somet#ing t#e (#oto alreay s#o*s.

25 DI0252


29/46

o Dis(lay ty(e. :ealine ty(e sie an style are im(ortant tot#e loo of t#e (icture (age. :ealine ty(e style s#oulcontribute to t#e loo of t#e layout an be balance so t#att#e lea (#oto is t#e ominant feature.

o 8#ite s(ace. T#e layout esign can be #el toget#er byeffecti'e use of *#ite s(ace.


30/46

A (#oto layout s#oul arrest t#e attention of t#e reaer! an #ol#is attention long enoug# so t#at #e can absorb t#e material. Toaccom(lis# t#is! 'ary t#e sie! s#a(e an 'isual flo* of (ictures*it#in t#e layout.

7ariety (re'ents 'isual boreom. Pictures of t#e same sieis(laye toget#er a((ear to #a'e e,ual 'alue. T#is may beesirable in some cases! but generally it is not. If t#estorytelling ,uality of one (icture is consiere more im(ortant

t#an anot#er! t#is im(ortance can be accentuate by is(laying t#e(icture in a larger sie.

T#e effect of a (icture can be eit#er one of tran,uility or one ofaction. 5sually! more im(lie action can be obtaine by using(ictures taen from ifferent angles. 6estful symbols are#oriontal. 7ertical lines suggest e,uilibrium. Action symbolsare iagonals an con'erging lines! because t#ey suggest unbalance.

T#e elements of a layout #a'e *eig#t. arge elements a((ear#ea'ier t#an small ones. T#ey o'er(o*er by sie. Dar elementsout*eig# lig#t ones. 8#ic#e'er *ay you use t#ese elements! it must

loo as if t#ey belong *#ere t#ey are (lace.

P#otogra(#s use in a story must be e'aluate not only on t#eirtec#nical 'alues! but on #o* eac# one com(lements t#e ot#er(#otogra(#s *it#in t#e story. One (icture may ill anot#er! ift#ey are too similar! or communicate t#e same information. As *it#*ors! t#e reaer nee only be tol once.

26 DI0252


31/46

FIG56E 0%. T:E OPTICA CENTE6 AND P6OG6E44ION OF E3E MOTIONON T:E PAGE.

DI0252 27


32/46

o Motion. T#e natural irection of reaing is from left torig#t! from to( to bottom for t#ose traine in t#e style oft#e *estern ci'iliationH. A esign t#at leas t#e eye fromt#e u((er left of a layout or rig#tH! t#e Primary O(ticalArea POAH! t#roug# all t#e elements to a successful terminusat t#e lo*er rig#t! t#e Terminal Area! accom(lis#es its(ur(ose of t#e esign 4ee Fig. 0%H. T#e terminal area(#oto s#oul be t#e secon largest! about #alf t#e sie oft#e ominant (#oto. T#e fallo* corners! t#e u((er rig#t an

lo*er left corners! s#oul be use for te?t or *#ite s(ace.

A goo layout offers t#e reaer a efinite starting (oint!an an obstaclefree (at# t#roug# an across t#e (ages until#e arri'es at #is estination. :o* a reaer arri'es at #isestination is of great im(ortance. Most layouts fall intoone of t#e follo*ing s#a(es or (atterns$ ! J! C! 4! an t#ere'erse of 4. T#e most common are 4 or re'erse 4 layouts.In t#e 4 layout t#e POA is locate on t#e rig#t sie of t#e(age.

T#e Primary O(tical Area is of e?treme im(ortance! an s#oul

not be taen lig#tly. It s#o*s t#e reaer *#ere to begin #iss*ee( t#roug# t#e s(rea 4ee Fig. 0%H. ItBs im(ortant!t#erefore! t#at t#e element use be a strong element. Mosteitors use a (#oto. T#e lea! or ominant! (#oto s#oul bet#e largest (#oto! taing u( 0" (ercent of t#e (age. Asstate before! (#otos #a'e une,uale a((eal! an so!unerstanably mae goo focal (oints. T#ey can! #o*e'er! beabuse if im(ro(erly use. A strong (#oto can be maestronger by is(laying it bolly.

Motion is t#e meium t#at instills action! 'ariety aninterest! by measuring an balancing t#e mo'ement of 'ision.T#e eye is attracte naturally to t#e is(lay element t#at is

in t#e most ominant (osition! or #as t#e greatest attention'alue. T#e eye t#en (rogresses t#roug# t#e remainingelements! eit#er com(leting t#e cycle of t#e layout (atterneffecti'ely! or becoming confuse! an losing interest. Ift#e sie! s#a(e! tone! an (osition of e'ery element isregulate correctly! t#e esign flo* of t#e layout s#oul befollo*e! an t#e eye carrie t#roug#out t#e layout. If oneelement interferes *it# t#e flo*! it s#oul be remo'e.

2: DI0252


33/46

5nity. A (icture story layout is more t#an )ust a collectionof (#otogra(#s. Eac# (icture #as to relate to t#e ne?t(icture! )ust as eac# sentence or (aragra(# #as to relate toeac# ot#er in a *ritten story. It must #a'e continuity!2somet#ing2 *#ic# maes t#e (icture story #ol toget#er. Itcan be a single iea t#at t#e story is telling! it can be afeeling or moo! or it can be a sim(le statement of fact.T#e best an easiest layout is one t#at confines one (erson!one iea! one ob)ect or one moo to a (icture story.

A layout s#oul be esigne so t#at its elements are#armoniously combine an can be seen at first glance as oneunifie com(osition. T#is conce(t of unity #ols truees(ecially for t#e t*o(age (icture story layout. T#e t*o(ages s#oul be t#oug#t of as one *it# t#e elements use insuc# a *ay as to reinforce t#is conce(t. 6unning (#otosbolly across t#e gutter or centerfol se(arating t#e t*o(ages #el(s to tie t#e layout toget#er into a unifie s(rearat#er t#an s(litting it a(art. Also! e?(ressing only oneiea in t#e layout contributes to a unifie a((roac# to t#et*o(age s(rea. A layout in *#ic# t#ere is a conscious

alignment of elements maintaining consistent s(acing bet*een(#otos! #ealine an te?t *ill ac#ie'e a esirable unity int#e t*o(age layout.

HAL#TONIN! PHOTO!RAPHSTo #el( you realie #o* t#e (#otogra(#s coul loo *#en (rinte int#e ne*s(a(er! you s#oul unerstan t#e #alftoning (rocess.

1lac an *#ite (#otogra(#s are calle continuous tone originals.T#e image is forme by (articles of o?iie sil'er blacHsu((orte in gelatin on a (a(er base *#iteH. It is t#e gray tonesof a (#otogra(# t#at gi'e it e(t# an substance! e'en t#e illusion

of color. T#e grays in a (#otogra(# are t#e result of t#e eyeBsinability to resol'e t#e sil'er (articles se(arately. 8#ere t#ereare fe* (articles! t#e eye sees lig#t gray tones an *#ere t#ereare many (articles t#e eye sees ar gray tones.

A (rinting (ress no*s but t*o 2colors!2 in an (a(er. T#ese areusually blac an *#ite! but gray tones can be create in muc# t#esame *ay as t#ey are in a (#otogra(#. T#e (rocess use is callet#e #alftone an it too e(ens on t#e eyeBs inability to resol'esmall (articles.

DI0252 0


34/46

An original (#otogra(# of real or a((arent tones can be(#otogra(#e t#roug# a screen t#at re(rouces t#e tones as a seriesof ots. T#e ots are e,ually s(ace but 'ary in sie accoring tot#e illusion of arness t#ey are to gi'e. T#e original becomes a(#otogra(# mae u( of ots! t#e negati'e becomes a (rinting (lateof ots! t#e (late becomes a ne*s(a(er or magaine (icture of ots.In t#e final (icture t#e small ot areas are seen as lig#t tonesan t#e large ot areas are seen as ar tones merely because t#eeye is not resol'ing t#e ini'iual ots but t#e area concerne.

It is oubtful t#at t#e a'erage (#oto)ournalist *ill e'er #a'e t#ere,uirement or o((ortunity to mae a #alftone re(rouction. T#e(rocess! #o*e'er! is 'ital to )ournalism. 8it#out it! (#otogra(#scoul not be re(rouce in (rint meia.

No matter #o* a (#otogra(# loos! t#e )ournalist must consier #o*a resultant #alftone *ill loo. 1et*een t#e (#otogra(# an t#e(rinte (age *ill be se'eral ste(s of re(rouction an a loss ofimage ,uality in eac#. A slig#t blur in a (#otogra(# becomes agreat blur in (rint. 4uc# a blur may be functional to a em(#asisto a s#ar(er (ortion of t#e scene or to gi'e t#e illusion of

motion! but *#at may be functional in t#e (#otogra(# may also be aneyesore in (rint. Consier t#e latter an not t#e former.

Pro(er ensity an contrast in (#otogra(#s can be summe u( as2looing natural.2 P#otogra(#s t#at are too ar or too lig#t canbe (artially correcte in t#e #alftone (rocess but only *it# lossof etail in t#e s#ao* or #ig#lig#t areas. T#e loss of etail is(ro(ortional to t#e amount of correction re,uire in ensity. ossof etail in eit#er or bot# of t#ese areas is e'en greater in t#ere(rouction of (#otogra(#s *it# e?tremely com(resse #ig#contrastH or e?(ane lo* contrastH tonal ranges. T#e #ig#contrast (#otogra(#! alreay lacing in grays! loses aitionalmitones an a((ears as only blacs an *#ites in (rint. T#e lo*

contrast (#otogra(# becomes a flat gray mass.

Merely re(roucing an image as a series of ots *ill cause t#e lossof muc# etail. T#e *ier t#e s(acing bet*een ots! t#e greatert#e loss. oss of im(ortant etail can be (re'ente by ensuring itis as large as (ossible to begin *it#. T#e best means is t#ecorrect selection of camera angle an by cro((ing in t#e camera.Ne?t best is rut#less cro((ing in t#e arroom.

& DI0252


35/46

4#ar(ness! ensity. contrast an etail sie are im(ortant factorsin any (#otogra(#. T#ey are e'en more im(ortant if t#e (#otogra(#is to be #alftone. Consiering t#e #alftone (rocess from t#estan(oint of t#e screen! #o* t#e gray tones are recreate as ots!*ill ai t#e )ournalist to mae anor eit better (#otogra(#s for#alftone re(rouction.

DI0252 2


36/46

PRACTICE E>ERCISEE44ON 0

451CO564E NO. DI/0"0

4:OOT A PICT56E 4TO63

IN4T65CTION4$


T F %. 3ou s#oul not run (#otogra(#s across t#e centerfol of at*o(age story layout.

T F 0. 8#en taing action s#ots! recor cutline informationuring breas in t#e action.

T F +. T#e o(tical center of a (age is %/ (ercent abo'e t#emat#ematical center of t#e (age.

T F =. T#e combination of (ictures an *ors on a (age is callea (rint out.

T F ". T#e fallo* corners of a layout s#oul be use for(#otogra(#s.

T F ;. P#otogra(#s or art*or s#oul tae u( about 0" (ercent oft#e (icture (age.

T F >. T#e lea (#oto in t#e (rimary o(tical area s#oul tae u(

about >" (ercent of t#e (age.

T F &. A (#oto cutline s#oul not restate somet#ing t#e (#otoalreay s#o*s.

DI0252


37/46

ANSER $E4E44ON 0

451CO564E NO. DI/0"0

4:OOT A PICT56E 4TO63

%. FA4E Page +/H

0. T65E Page 0"H

+. T65E Page 0;H

=. FA4E Page 0"H

". FA4E Page 09H

;. FA4E Page 0"H

>. FA4E Page 09H

&. T65E Page 0"H

DI0252


38/46

LESSON THREEPRODUCE A 5m@ COLOR SLIDE PRESENTATION

=; 4olierBs Manual Tas$ 0%=%>;%+%9

TAS$ DESCRIPTION%In t#is lesson you *ill learn basic conce(ts of (roucing a +"mm

color slie (resentation by researc#ing t#e s#oot! unerstaningt#e ifferent slie (resentation ty(es! selecting color slie film!s#ooting t#e slie (resentation! recoring cutline information ansubmitting a (#oto lab *or orer.

LEARNIN! OBJECTIVE%ACTION4$ 5se lig#ting! angles an e(t# of fiel to (rouce a

+"mm color slie (resentation.





5 DI0252


39/46

INTRODUCTION3ou may at some time be gi'en an assignment to (rouce a +"mm slie(resentation. Essentially! t#e (#otogra(#s you tae for a slie(resentation are t#e same as t#e blac an *#ite (#otos you *oultae for ne*s(a(er (ublication. T#e ifference is *#at t#e colorslies *ill be use for.

RESEARCH THE SUBJECT8#en you recei'e your assignment! you s#oul conuct researc#similar to t#at for a (icture story. 3ou s#oul clearly efine t#eob)ecti'e of t#e (resentation. Ne*comersB *elcome! commano'er'ie*s! (ro)ect u(ates! ot#er briefings an slies fortele'ision #a'e ifferent re,uirements an consierations. Ins#ooting assignments as com(le? an timeconsuming as ne*comersB orcomman briefing! you s#oul *or from a s#ooting scri(t.

1ecause you may not #a'e an o((ortunity to *itness e'ents beforet#e s#oot! it may be ifficult to e'elo( a s#ooting scri(t. 3ous#oul as for a co(y of t#e briefing t#e slies *ill be use foran (lan to tae (#otogra(#s t#at matc# u(. In aition! yous#oul 2brainstorm2 *it# sub)ect matter e?(erts an use t#eirno*lege to etermine essential s#ot selections. For instance!you #a'e been assigne to tae color slies of a li'efire e?erciseon a tan gunnery range. 3ou #a'e ne'er (#otogra(#e suc# an e'entbefore! but t#e slies you tae *ill be use in a s(ecial briefingyour (ost commaner *ill gi'e in a fe* *ees. 4o t#e (ressure ison to o a goo )ob. In aition to t#e fi'e 8Bs! your s#ootingscri(t must establis#! in t#e :! some (oints of contact! suc# ast#e o(erations officer for t#e e?ercise! *#o can tell you e?actly*#at *ill #a((en an *#en. T#ese same (oints of contact may beable to (osition you in a 'antage (oint uring t#e e?ercise *#ereyou *ill get su(erlati'e co'erage of t#e e'ent.

T#e information you recei'e from sub)ect matter e?(erts s#oul besufficient to allo* you to ra* u( a s#ooting scri(t to s#o* toyour eitor for a((ro'al.

USES #OR SLIDE PRESENTATIONSIn your researc# you s#oul #a'e isco'ere t#e (ur(ose of t#eslie (resentation. T#ree common uses for color slie(resentations are$ t#e ne*comersB briefing! t#e comman o'er'ie*an tele'ision slies.

DI0252


40/46

Necomers Br"e'"n/

A ne*comersB briefing s#oul s#o* t#e ne*ly arri'e solier *#at itis lie to li'e an *or on your installation. If t#e unit s(ensmuc# of its time on fiel training e?ercises! t#e (resentations#oul (lace sufficient em(#asis on FTs. T#e *oring an li'ingen'ironments! bot# in t#e fiel an in garrison! s#oul be geareto t#e 2target auience!2 *#ic# usually consists of )unior enlistesoliers. P#otogra(# a solier using t#e library! in t#e barracs

or (laying (ool at t#e recreation center. 3ou s#oul also incluefacilities t#at family members use! suc# as t#e #ousing area or t#ecommissary an (ost e?c#ange. 4#o* t#e 'arious ty(es of units on(ost an t#eir missions. 3ou s#oul also feature t#e ci'iliancommunity surrouning t#e installation. Aress geogra(#ic (ointsof interest! an! if statione o'erseas! #ostcountry customs. Inot#er *ors! s#oot a (ost guie in slies.

Comm*n+ O


41/46

Te)e


42/46

Se)ec( '")m s-ee+

To select t#e ty(e of color slie film to use! you must firstconsier *#at s(ee film to use. If youBre s#ooting outoors unersunny sies! a slo*er film ;= A4AH (robably *ill be re,uire. Ift#e lig#ting conitions are (oor an you must use a'ailablelig#ting! use a faster film =// A4AH. A fe* com(anies manufacturecolor slie film at s(ees as fast as %;// A4A. 4elect t#e colorslie film *it# t#e s(ee best suite for t#e assignment.

#")m co)or b*)*nce

Color re'ersal film also comes in ifferent color balances$aylig#t an tungsten.

Daylig#t film. Daylig#t. or outoor film is colorbalance fornatural lig#t! electronic flas# an bluetinte flas#. Daylig#tfilm s#ot inoors uner tungsten lig#ts *ill tae on a reis#tint. If s#ooting inoors! c#oose a color con'ersion filters(ecifically mae for t#e lig#t source of t#e room! suc# as &/A or&/1.

Tungsten film. Tungsten film can be e?(ose *it#out t#e use of afilter *#en tungsten lig#ting is use. Tungsten lig#ting comesfrom normal tungsten lig#t bulbs! t#e most common ty(e of inoor#ouse lig#ting. Tungsten film! #o*e'er! cannot be e?(ose outoors*it#out using a color con'ersion filter. If e?(ose *it#out afilter! t#e slies *ill #a'e a bluis# tint because t#e film is moresensiti'e to blue lig#t. Consult t#e film manufacturerBs guiancefor lig#ting an filter use. 5sually! you *oul use con'ersionfilters &"1 or &"C for tungsten film.

SHOOT THE COLOR SLIDE PRESENTATIONIf you (re(are carefully before t#e e'ent! you s#oul not #a'e toomany (roblems taing t#e (#otogra(#s you *ant. 8or from t#es#ooting scri(t t#at you memorie- refer to it if necessary butonBt rely on it. 3ou s#oul s#oot t#e (ictures in a similarmanner to t#ose in a (icture story.

Pro-er)3 e,-ose co)or s)"+e '")m

An area t#at you must obser'e carefully is e?(osing t#e color sliefilm. Color slie film must be (ro(erly e?(ose. Color slie filmis (articularly unforgi'ing of o'ere?(osure. A'oi 2(us#ing2 colorslie film. Pus#ing film *ors *ell *it# blac an *#ite film but

(oorly *it# color slie film because color film #as a narro*erlatitue of e?(osure. It is better to s*itc# to a faster film or use

: DI0252


43/46

an electronic flas# t#an it is to (us# slo* color slie film.:o*e'er! t#ere are times *#en you must (us# color slie film.

To 2(us#2 film means to use (us#film (#otogra(#y. 8#en you (us#film you can get one or t*o e?tra fsto( settings or a #ig#ers#utter s(ee. In ot#er *ors! it can 2s(eeu(2 slo* film.

To (us# slo* color slie film in lo* lig#t! you s#oul unere?(oset#e film by setting t#e A4AI4O ial one setting #ig#er t#an t#e

film rating. For instance! ;= A4AI4O film coul be set to %0"!*#ic# oubles t#e filmBs rating an t#e s#utter s(ee. Or. if youesire to close t#e fsto( by one setting! suc# as from %.= to 0!you *oul ouble t#e filmBs rating an close t#e a(erture o*n onefsto( setting. In ot#er *ors! eac# time you ouble t#e filmBsrating! you can increase t#e s#utter s(ee a setting or close t#ea(erture one sto(.

If you ecie t#at you must (us# your film! it is im(ortant toremember t#at you must (us# t#e entire roll. 3ou cannot ecie#alf*ay t#roug# a roll of film t#at you nee to (us# it. T#enormally e?(ose A4AI4O film on t#e roll *ill be unere?(ose if

it is e'elo(e at t#e #ig#er setting.

It is im(ortant to note t#at (us#e film must be e'elo(eifferently t#an normally e?(ose film. Put a stri( of masingta(e on t#e outsie of t#e film canister an *rite t#e A4AI4Osetting on it in in or (ermanent marer. 3ou s#oul also note t#e#ig#er setting on t#e (#oto lab *or orer *#en you turn in t#efilm for (rocessing. T#e (rocessing lab (ersonnel must no* t#efilm *as (us#e so t#ey coul o'ere'elo( t#e film.

Most color slie film can be (us#e t*o sto(s an still (ro'iecolor integrity. 1utot#er*ise! o NOT (us# color slie film.8it# t#e introuction of faster color slie film an t#e

afforability of electronic flas# units (us#ing color slie films#oul be rarely neee.

M*"n(*"n * c*-("on )o/

A ca(tion log is use to *rite o*n t#e 8#o! 8#at! 8#en! 8#ere! 8#yan :o* of eac# frame you s#oot. It is more efficient t#an #a'ingto go bac to get t#e information later.

It is im(ortant to *rite o*n t#e information because it *oul beuse to *rite cutlines for (ublis#e (#otogra(#s. Eac# roll s#oul#a'e its o*n (age in t#e ca(tion log. T#is is (articularly

im(ortant *#en s#ooting se'eral rolls at a time! or *#en 'isitingse'eral ifferent units or functions.

DI0252 0


44/46

Matc# u( t#e roll to its (age in t#e ca(tion log by maring t#efilm canisters *it# a felt ti( (en on masing ta(e *it# t#ecorres(oning number in t#e log.

A#TER THE SHOOTOnce you #a'e finis#e t#e (#otogra(#ic assignment! you must gett#e slie film (rocesse. Com(lete a DA Form +9/+ Auio'isual8or OrerH an submit it *it# t#e color slie film to t#e local

(#oto lab for (rocessing.

Once t#e film is returne to you! analye t#e color slies anselect slies t#at meet t#e (resentation consiering t#e rules ofcom(osition! security! accuracy! (ro(riety an (olicy! an e?(osure,uality control. Mae sure you matc# u( t#e slies to t#e ca(tionlog to ientify eac# s#ot. T#en! you may reorganie t#e sliesinto a logical se,uence! numbering t#em an ientifying t#em as you(rocee! or as irecte by your su(er'isor.

For ne*comer briefings an comman o'er'ie*s! loo for strong leaan terminal slies. 3ou *ant to ic off t#e briefing *it# a

(#oto t#at *ill grab t#e attention of t#e auience! an to *ra( itu( *it# a (#oto t#at *ill stic in t#eir #eas. For e?am(le! tryto get s#ots lie #unres of (aratroo(ers streaming out of t#ebacs of C%=%s! or a closeu( of a solier in full camouflageuring an e?ercise.

A goo *ra(u( (#oto coul be a (icture of a *ellno*ninstallation lanmar! suc# as a statue or builing! taen in astriing lig#t. 8#ate'er you ecie! try to a'oi (#otogra(#icclic#Ks.

& DI0252


45/46

PRACTICE E>ERCISEE44ON +

451CO564E NO. DI/0"0

P6OD5CE A +"mm COO6 4IDE P6E4ENTATION

IN4T65CTION4$


T F %. 3ou s#oul 2brainstorm2 a color slie s#ooting scri(t foran e'ent *it# a sub)ect matter e?(ert.

T F 0. To (rocess color slie film! turn it in! *it# a DA Form+9/+! to your (#oto lab.

T F +. Color slies s#ot for tele'ision s#oul be in a#oriontal format.

T F =. Outoor film s#ot inoors uner lig#t bulbs taes on abluis# tint.

T F ". T#ere are t*o ty(es of color film$ color negati'e ancolor re'ersal.

T F ;. Color negati'e film (rouces color slies.

T F >. Color re'ersal film comes in aylig#t an tungsten colorbalances.

T F &. 8#en s#ooting slies for tele'ision! cro( t#e sub)ecttig#tly.

T F 9. 3ou s#oul 2(us#2 color slie film rat#er t#an c#ange toa faster film.

T F %/. Comman o'er'ie* slie (resentations s#o* ne*ly arri'esoliers *#at it is lie on t#e installation.

DI0252


46/46

ANSER $E4E44ON +

451CO564E NO. DI/0"0

P:OTO@O56NAI4M II

%. T65E Page +;H

0. T65E Page =%H

+. T65E Page +&H

=. FA4E Page +9H

". T65E Page +&H

;. FA4E Page +&H

>. T65E Page +9H

&. FA4E Page +&H

9. FA4E Page +9H

%/. FA4E Page +>H

AIPD Subcourse DI0252 Edition 9: Photojournalism II

Documents

Transcript of AIPD Subcourse DI0252 Edition 9: Photojournalism II