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Being A PhotoJournalist


How to:
Build your Portfolio
Shoot Museum Quality
Shoot Glamour Shots
Photograph People
photograph Childrens
photo Large Groups
Shoot in Low Light
Fill Flash photography
Portrait Posing Tips
Mastering Macro
Night Scapes
Freelance Photo-Journ
PhotoJournalist -be a
"Photojournalism.” encompasses everything from news events and sports to photo illustrations and feature stories

Photojournalism is a highly competitive field, with a finite number of jobs at any given time. Beginning photographers should establish a track record of professionalism. Generally, photojournalists begin working for small newspapers, then bigger ones, and some progress to
assignments for magazines such as Time, Newsweek, Smithsonian, News & World Report, and European publications like Geo and Paris Match. Rather working with digital image or with film, generally, editors are more interested in the image that you produce. However, some print publications prefer digital because of the almost instant turnaround. Film is still being used in photojournalism, but may play less of a role as time goes on. Some magazines that still utilize transparencies, and Some publications give assignments early in the week to allow the photographer time to process film.” There are a lot of good photographers out there, but they’re not necessarily good photojournalists.  As a pro, you’re responsible for finding the story of the day that can be told in pictures. This is true, for both large and small publications. Sometimes a photojournalist’s job involves working with a writer, but oftentimes, a photographer does his/her own research on the stories they plan to shoot. This is where journalism comes into play. Photojournalism students get a background in photography, as well as researching a story and writing both captions and text to accompany the pictures. Before shooting a story, You must know when it’s going to happen. A scanner radio is a spot news photographer’s number-one piece of equipment.  Many photojournalists continually monitor scanner radios to learn about breaking news. Police, fire, and other emergency services communicate via radio bands of varying frequencies, and photographers must know how to interpret these messages and codes. A lot of photographers note the number of alarms and the number of engines called to determine the magnitude of a fire. Many fire-alarm calls are false and the crews extinguish small fires so quickly that the photographer can’t reach them in time to make a meaningful image. The fires have to be big enough to make it worth your while.

Many pros have multiple scanners programmed to receive different frequencies so they can simultaneously monitor multiple emergency agencies. The next most important thing to have available is a reliable map—a Thomas Guide or, preferably, a GPS device that provides a map The first picture should be an “overall” record shot of the scene: It may be the only image you get, depending on the situation. From there, work on getting better photos. The first rule of photojournalism is that you always get a picture of the scene that showed what happened. Your photo may not be a prizewinner, but the event could be important.

Look for a hill or another high vantage point from which to shoot the overall shot. Then concentrate on a “medium” shot from about 10 or 15 feet away. This photo needs to tell the story of the event quickly by encompassing the important elements into one image. A photo of a firefighter saving a child is one example. A close-up shot is also important for drama. In the case of a fire, a child’s burned doll could provide a dramatic close-up image.

Ideally, your images will tell the whole story of an event. The reader wasn’t there, so your pictures must contain enough information to explain what happened.  Afterwards, it’s important to get the name of everyone you photographed, as accurate photo captioning is imperative.

When taking pictures for use in news publications, you have a legal right to shoot, he says, as long as you are standing in a public place. Amateur or professional photographers have the same rights as any citizen.

Move Quickly
After shooting an event, the next step is to submit your pictures to a publication or photo buyer. If you’re a free-lancer, try approaching a wire service like Associated Press or Reuters.

If you photograph something with national or international significance, then you may want to contact a photo agency like Corbis, Getty, or Black Star.
If it’s news, then time is of the essence. The photos lose value as time goes by. And you shouldn’t be discouraged if other photographers are on the scene, you could be the one with the most intriguing images. You may also want return to the scene the day after an event, to take follow-up pictures if the situation warrants it.

Equipment of the Working Pro
There are a variety of lenses and equipment that a working photojournalists rely on.  A variety of lenses—ranging from wide-angle to telephoto depending on the job. A wide-angle lens in the 24–28mm range with a film camera and a 17–24mm lens with a digital camera is often a popular choice.

Photojournalists who shoot candids use wide-angle lenses, and move in close to their subjects for an intimate view. A 70–200mm zoom lens is also important to bring the action in close. He recommends fast lenses with a maximum aperture of f/2.8. You’ll be using them indoors and out with available light, often with ISO 800 film or the equivalent setting on a digital camera. Sports shooters need even longer telephoto lenses and a motor drive to capture the action.

Except at night, photojournalists try to avoid using direct flash. In some situations, a photographer needs to be unobtrusive; one reason to refrain from using flash. In other situations, the photojournalist may try to preserve the natural light. These are the times when fast lenses and film come into play. On occasions when flash is used, photographers try to mimic natural light by bouncing electronic flash off a wall or ceiling. As bounced light uses a lot of flash power, you may want to shoot at maximum automatic aperture for the flash and check your confirmation indicator to ensure that you’re getting enough output to illuminate the subject. For consistent results with bounced flash, the ceiling must be light-colored and not much higher than 12 feet from the subject. The bounce technique can’t be used effectively in a facility with high ceilings like a gymnasium. When shooting in a gym, auditorium, or at night when you can’t bounce the flash, you may have to use direct flash when you want to ensure getting a sharp image, rather than risking a blurred shot taken with available light at a shutter speed that’s too slow to stop the motion. A photojournalist must be able to get a clear, well-exposed picture in any circumstance.

For photographers shooting with color film, it is recommended to always having lots of it on hand, at least 10 rolls at all times, with the equivalent of media storage cards if you’re shooting digitally. 800-speed film has made shooting indoors possible with beautiful results, utilizing ambient light,” he notes. Outdoors, it is recommended that photographers use ISO 200 film. Digital images can be transmitted anywhere you can find a phone connection from a laptop computer. Photojournalists are even sending messages via cell phones from their laptops. “For international coverage,”  pictures can be sent via satellite telephone anywhere in the world.

Another consideration is that cameras get beat up easily when shooting news stories, it’s a good idea to invest in one that can withstand abuse. With rapidly changing digital technology, keep in mind that you’ll probably buy a new camera every few years anyway. It’s also a good idea to travel light with your equipment.

That Magic Moment

You must consistently be aware of the importance of being aware of the subject and background simultaneously. Watch through your viewfinder and wait for that great moment when the subject and background work best together. He says that the secret of good composition is to watch the corners of the frame and decide quickly what to include in your image, and what to leave out. A good photojournalist does all of this in an instant, on the fly.**

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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