Saturday 29 November 2014

Assignment 5 Virtual Essay


Andre Kertesz

The photographer I have decided to research and compare my work to is no other than Andre Kertesz. Andre Kertesz was one of the greatest photojournalist known to man. Creative, anxious, and full of ideas, Kertesz was successfully able to capture images that told real stories to his audience. According to Kertesz, capturing a real photograph consists of subjects or people that are unaware that they are being photographed. This is something I strongly believe in because, when you tell someone “come on lets take a picture, ” the first thing that person is prone to do is smile. Having said that, if the picture doesn’t turn out in their favor, they may even ask for a retake. Retakes to me go against Kertesz idea of capturing a real image. Once a retake is given, that person will again try to impress the camera by posing, which is creating not capturing the truth.

The first photo I will discuss is one shot by Andre Kertesz, where we see a couple enjoying a drink in what some would assume to be a bar. As we all know, every picture says a thousand words. Kertesz is famous for having his audience wonder what is going on in his photos, and why he decided to take that photo the way he did. The reason why I like Kertesz as a photographer is because he really captures true images in real moments. Kertesz’s photos immediately inform his audience of how unaware his subjects are that they are being photographed.

In Kertesz’s photo, you can clearly tell this couple is laughing it up, and having a great time as they enjoy their beverages. In my image you can also see a couple laughing it up and having a great day at the beach. In both images we can tell that these couples are really enjoying each other’s company. We can draw the feeling of love, and happiness from both these images. I tried my best to portray Kertesz’s practices by capturing this image without the couple’s attention. In other words they were unaware that they were being photographed.


A Photo Shot By: Andre Kertesz


A Photo Shot By: Atekel Mclarty

In this photo, Kertesz takes a photo of a group of friends having a laugh in what seems to be a lounge, bar, or restaurant. I feel as if Kertesz caught this photo at the perfect moment because he captures the heart of the laugh. Luckily, he snapped this photo right before one of his subjects became noticeably aware of his presence and camera. In my photo you can see a group of friends just hanging out. In this photo, you can’t really tell who’s speaking with whom, but you could clearly see that everyone is comfortable with each other. I did not take this photo to mimic Kertesz’s photo, I took this photo to capture the truth from this event as he did in his. In my photo no one is paying attention to the camera, everyone is either having conversation or listening in on conversation. If I had said, “listen up,” or “round up for a picture,” to everyone, none of this information could have been drawn from this photo. Everyone would have posed with a smile, which would have the audience think, “Everything is OK,” “we are all smiling,” and “life’s great.”

 A Photo Shot By: Andre Kertesz


A Photo Shot By: Atekel Mclarty

In this photo we have two friends (assumed) sitting down by a tree reading or doing school work together (assumed). Once again these people are totally unaware that they are being photographed. In my photo I tried to mimic the same situation. I didn’t do much of a good job though due to weather (winter) and I also had no one to sit with. These photos are similar because they are both taken with Kertesz’s practices of capturing off guard photograph. Differences between the two include: the background, what I am doing compared to what the two men are doing, and you can also tell that these pictures were taken in two different eras. You can tell this by the way the two men are postured and dressed, compared to how I am postured and dressed.

A Photo Shot By: Andre Kertesz 


 A Photo Shot By: Atekel Mclarty

In this picture, we see a group of students in a classroom with their eyes glued to textbook pages. In my photo you see my father and sister-in-law enjoying the sun as my sister-in-law teaches my father-in-law how to fish. I compared the two photos to each other because in both photos there is someone trying to learn. None of which are aware that they are being photographed while they learn. I took my photo this way so you can see my sister-in-law teaching while my father-in-law learns. The two photos are significantly different due to background and activities. I honestly feel as if I could have taken a better picture, because the picture I took doesn’t clearly let the audience know that my father-in-law is learning to fish.

A Photo Shot By: Andre Kertesz 


A Photo Shot By: Atekel Mclarty

In this photo Kertesz captures a row of trees that are planted beside a sidewalk that seems to be on a bridge. I presume that this photo was taken in the season of autumn, due to the amount of leaves on the tree. In my photo I have captured a row of trees that have been slightly brushed with snow (indicating the winter season). In Kertesz’s photo you can see a few people in the background, but I believe the main focus of this picture are the trees by the walkway. In this photo I believe Kertesz really shows his artistic value by taking a picture of something so simple like a tree and having it look like a work of art on paper. In my photo I try to do the same by taking a picture of the trees, particularly the snow on he trees. Not many people are pleased when they see snow start to fall in a county like Canada, but it is honestly so beautiful. Apart from snow being cold, when it lands on the right object it can give that object a unique look. With all that said I don’t think Kertesz’s practice of capturing a photo of someone that is unaware that they are being photographed applies to these to photos. I say this because there are a few people in Kertesz’s photo, but I think the main focuses in his photo are the trees. In my photo there aren’t any people, and the main focus is the snow on the trees.



 
A Photo Shot By: Andre Kertesz 

A Photo Shot By: Atekel Mclarty

This photo I saved for last, because you always save best for last. I really love the way Kertesz took this photo; everyone is clearly unaware of the photographer as he captures the T joint street corner. This photo is fabulous, and if your in it, when you view it, you will at least know how you look steering a carriage, riding a motor bike, walking, or rounding up a horse. People are aware of how they look in the mirror or in a picture, where the camera is set right in front of their face. On the other hand we are unaware of what we look like from a bird’s eye and other angles. I personally want to have someone photograph me during a regular day, so I can see my self from every angle while completing my daily tasks. In my picture I try to in corporate the same idea of taking a birds eye viewed shot of my school. I really wanted to be in the picture walking so I could see what I look like as I stroll through my school. These photos are similar because of the views they are shot from, because of the unaware people in them, and also because of the natural truth captured in both images. The differences set when you look at the background, which lets you know what era that photographer was in. It is quit obvious that Kertesz’s photograph was shot far back in the day, because no one steers carriages anymore we now drive cars. In my photo there are no major indicators as to which era the photo was shot in. The school does look modernly built though. Lastly Kertesz’s photo is of a T joint street corner, while I took a picture looking down from the 5th floor of my school.

A Photo Shot By: Andre Kertesz 


 A Photo Shot By: Atekel Mclarty

Saturday 15 November 2014

Andre Kertesz, Henri Cartier-Bresson, Eugene Smith and Sebastio Salgado are four of the greatest photojournalists. The photojournalists were all able to successfully convey real life situations through still image.


Andre Kertesz, and Henri Cartier-Bresson

Kertesz was one of the greatest photojournalists to produce black and white images. He perfected the art even though it wasn’t very popular in his time. Kertesz would rather take an image of someone who is unaware that they are being photographed.

Photo By: Andre Kertesz

Cartier-Bresson was a conventional painter, who was the master of capturing candid images. Cartier-Bresson focused on taking photos that had one or more subjects in motion without the look of a posed or staged appearance.

 Photo Shot By: Henri Cartier-Bresson

Both Kertesz and Cartier-Bresson felt as if real images were only captured when the subject is unaware that they are being photographed.

Smith and Salgado 

Smith was a photojournalist who found it more effective to interact with his subjects. Smith wants his subject to know he is there, and prefers a staged background to help uphold his presence. Just by the way his backgrounds are set, as a viewer you can tell that his subjects are aware of his presence.

Photo Shot By: Eugene Smith

Salgado believes that the more time spent with his subject determines the outcome of his work. In other words the more time he spends with his subject, the more the viewers will understand the nature of his ideas; also so he is able to further understand the nature of his subject. Through Salado’s photos you can collect many emotions that help you have a basic understanding of what is going on in the occurring event.

 Photo Shot By: Sebastio Salgado

Both Smith and Salgado want viewers to know that the subjects in their images are fully aware of their presence. They both rather prepare their backgrounds, lighting, and positioning to bring out the best in their images.

Similarities

- They are all successful photojournalists

- Both Kertesz and Cartier-Bresson believed that the photographer should be absolutely unnoticed in order to take a real photo

- They all use the black and white effect on their photos  

Differences

- Editing, and manipulation of their photographs

- Smith believed that a photographer should be highly visible and in some cases even be a part of the life of the subjects of his photographs.

 - Smith and Salgado manipulated their images by staging the scene. In many of his photos, he worked with light

- Salgado and Smith rather create a realistic looking photo than take one  

Approach?

Personally I believe Kertesz and Cartier-Bresson have a better journalistic approach. The job of a photojournalist is to capture the truth and portray it through still image. I would not consider staged events and images as truth capturing. Preparing an image for capture is similar to editing a picture. Photojournalist should not have to edit pictures to covey the truth. As photojounalist, Kertesz and Smith are more so creating their own truth for their audience. I also believe Kertesz and Cartier have a better journalistic approach because if people know you are taking a picture of them their first instinct is to pose and put their best face on. This could result in: people doing things they wouldn’t normally do, and people providing the camera with fake emotions or expressions. Things like these can give your image a noticeably arranged appearance.  

References

(n.d.). Retrieved November 15, 2014, from http://totallyhistory.com/wp-content/uploads/2013/06/Henri-Cartier-Bresson.jpg

(n.d.). Retrieved November 15, 2014, from http://images.fineartamerica.com/images-medium-large/andre-kertesz-steven-huszar.jpg

(n.d.). Retrieved November 15, 2014, from http://images.fineartamerica.com/images-medium-large/andre-kertesz-steven-huszar.jpg

(n.d.). Retrieved November 15, 2014, from http://erickimphotography.com/blog/wp-content/uploads/2011/08/henri_cartier_bresson_bicycle.jpg https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-PkR1d8gMQarpRcuJdiZDzsEZfKDfpM4KuNxvitki6nInaBZLQNTiHQpZBq5KOELy61syc_TvidfzOcWoJBet6RJwDdAjg7q2ExfqpaIzbwOT8YvTaFexpzRgcPQKzd4_TP9WiOVXGaY/s1600/William+Eugene+Smith+0.jpg

(n.d.). Retrieved November 15, 2014, from http://theredlist.com/media/database/photography/history/photojournalisme-reportage/sebastio-salgado/027_sebastio-salgado_theredlist.jpg 

(n.d.). Retrieved November 15, 2014, from http://terakopian.files.wordpress.com/2013/04/salgado-book_signing-012.jpg

Saturday 8 November 2014

Week 10 Assignment Number Two: Option number one

Press Photography Description
Similar to journalistic photos, press photographs are used to capture the truth. Press photos are normally found in newspaper articles and magazines, providing readers with pictures that help them further understand the nature of an occurring event. A Press photographer’s job is to capture the truth for their audience. This is the reason why they must take their time when snapping photos, to ensure they capture a story along with it.

 Photo Shot By: Atekel Mclarty (Me)
 A photo shot after a St. Edmund Campion highschool stabbing.

Art Photography Description
 Art photography on the other hand, has more to do with presence than any other style of photography. Art photography is eye catching. Most art photographers take photos of anything they find fascinating or anything they think their audience would be fascinated by. Subjects that are to be photographed can be altered or moved around to capture perfection.

 Photo Shot By: Atekel Mclarty (Me)

The main differences and similarities between art and press photography
Press and art photography share many differences and similarities. They are different from each other because as a press photographer your job is to deliver the truth from an event to your attentive audience. As an art photographer you can photograph the truth, a lie, a cat, a mouse or even the sky, just as long as it looks good to you or your audience. Artistic photos can contain anything. Both press and art photography can be considered the same because both photographers have a subject to capture. With press photography you can only capture a subject though, with art photography you can capture, create or even edit a subject; this is what also makes the two different. Press and art photographers can also be considered similar to each other because they both carry some sort of emotion that they expect their audience to feel after viewing their photos.

Photo Shot By: Yasutoshi Chiba
Entitled: “Tsunami” 
 

Is it ethical and acceptable to alter art photographs? Why? Why not?
 Looking at the topic of art, and being artistically creative, there are no rules, regulations, or restrictions. Therefore it is acceptable to alter or edit an artistic photograph. The ethics of altering an artistic photo are common. Art is usually some sort of creation that a person(s) felt deep compassion for prior to completion. In some cases, even before they have begun. Art is really whatever looks good, whether it looks good to you or others. Art usually has to be made, constructed, or created, so the term “alter” is pretty much irrelevant. Yes it is possible to alter ones artistic work, but in a sense that just adds more art to that photograph or object. However, some alterations can turn a work of art, into a piece of garbage.

Photo Shot By: Atekel Mclarty (Me)

Is it ethical and acceptable to alter press photographs? Why? Why not?
Personally I feel as if press photographs should not be edited or altered. It is unethical and unacceptable. By altering a press photograph you are removing the truth from the scenario. Just as a journalistic photographer does, a press photographer must capture the truth from a story with his camera. Without the truth, a press photographer’s job is incomplete. Actually without the truth a press photographer hasn’t even managed to do their job at all. By removing the truth from an event, as a press photographer, you are now lying to your audience. Press photographs deliver the truth to people about occurring events. More than likely, the people that view these press photographs were not in attendance of the occurring event. As a press photographer, if you provide your audience with altered photographs you will intern mislead them. This could result in you even losing your audience and reputation.

Photo Shot By: Atekel Mclarty (Me)
A photo shot after a Brampton family loses their house and car to a roaring fire.

Citation 
N.d. WorldPressPhoto.org. Web. 2 Nov. 2014. <http://www.worldpressphoto.org/photo/2012-yasuyoshi-chiba-pns1-al?gallery=2634>.

All readings from week ten's content, and own ideas.

Saturday 1 November 2014

Week Nine Discussion Board Post

What’s the role of photojournalism?

Photojournalism is the art of taking photo journalistic photos. Journalistic photos are actually quit self-explanatory. Journals are stories, so journalistic photos must tell stories through still image. A photo that tells the audience what is happening from first sight would be considered a photo journalistic photo. Therefore photojournalism is the art of capturing a story through a lens. These photographers must stay within the boundaries of the many rules a photojournalist must follow. Photo-journalistic photos are usually taken for news articles and or magazines. These photos help the audience get an understanding of the news story at hand. All in all the role of photojournalism is to help people understand an event from an image(s).



Are there rules that photojournalists should follow? 

There are plenty of rules that a photojournalist should follow, the three rules that stand out the most to me are from the “NPPA Code of Ethics,” and are listed below.

1. Be accurate and comprehensive in the representation of subjects.

2. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work.

3. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.

A photojournalist must be accurate when representing subjects to ensure that his or hers work is understood by the available audience. If a photojournalist does not focus on a subject that represents the news story or article, the audience may be misled or confused. If a photojournalist brings his or hers own beliefs and feelings to a shoot, biased photos can be produced. This will let the audience know the photographer has picked sides or has an opinion on the occurring event in the photo. When taking a photo as a photojournalist, the main objective is to capture the truth for your audience. Fictional photos are prohibited. Intentionally altering a photo for your liking (or others) is wrong. These techniques lead photographers far from capturing the truth. The photographer ends up making the photo, rather than taking the photo. Therefore there are rules that a photojournalist must follow, and these rules must be followed to ensure that the audience will never be confused or misled.



Is the ethics of taking journalistic photos different than the ethics of writing a news story? 
The ethics of taking journalistic photos are different but also quit the same as the ethics of writing a news story. The job of a photojournalist is to capture the truth out of a story though a camera lens. The objective of a news story writer is write down the truth that comes out of any event they are assigned to. So right off the bat a similarity is portrayed between both a photojournalist and a news story writer. They are both obligated to capture the truth from a story and or event. The only differences they hold is that photojournalist portray stories and events though a camera lens (photos), while news story writers portray stories and event through text. Photojournalists are believed to have a harder job than news story writers. While news story writers record information on events that have happened by writing them down. A photojournalist must collect all the information that the event has to offer through one or a few descriptive photos. In conclusion, the ethics of taking photo-journalistic photos are different but quit similar to the ethics of writing a news story.


What's the impact of altering press photographs? Should they be edited (at all) in postproduction?

The impact of editing press photos is great. Not great in a good way but it can greatly mislead the attentive audience. By editing a photo of any kind, you are automatically considered an artist.  A real photographer knows how to take a picture without any alteration. Altering an occurring event doesn't capture or provide the truth for the people (audience). Photographers who do this are considered liars and fakes. They fail to capture the truth, which goes against becoming a photojournalist. To conclude these photographs should not be edited at all in post production.


Work Cited 

Week nine Readings provided by professor Gordana Icevska.


N.d. Http://cdn.lightgalleries.net. Web. <http://cdn.lightgalleries.net/4bd5ebf215047/images/new_1000_famine02-2.jpg>.

N.d. Http://i.huffpost.com. Web. <http://i.huffpost.com/gen/1718592/thumbs/o-MUMBAI-PHOTOJOURNALIST-facebook.jpg>.

N.d. Http://blogs.nppa.org. Web. <http://blogs.nppa.org/visualstudent/files/2013/04/frontpage.jpg>.

N.d. Http://static.guim.co.uk. Web. <http://static.guim.co.uk/sys-images/guardian/Pix/pictures/2014/1/23/1390501180837/A-digitally-altered-image-001.jpg>.

 Attached is the NPPA Code of Ethics. 

Code of Ethics 

Visual journalists and those who manage visual news productions are accountable for upholding the following standards in their daily work: 

1. Be accurate and comprehensive in the representation of subjects. 

2. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work. 

3. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.

4. Be accurate and comprehensive in the representation of subjects. 5. Resist being manipulated by staged photo opportunities. 

6. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work. 

7. Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see. 

8. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events. 

9. Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects. 

10. Do not pay sources or subjects or reward them materially for information or participation. 

11. Do not accept gifts, favors, or compensation from those who might seek to influence coverage. 

12. Do not intentionally sabotage the efforts of other journalists. 

Ideally, visual journalists should: 

1. Strive to ensure that the public's business is conducted in public. Defend the rights of access for all journalists. 

2. Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and presentation. Work with a voracious appetite for current events and contemporary visual media. 

3. Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities, seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view. 

4. Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one's own journalistic independence. 

5. Strive to be unobtrusive and humble in dealing with subjects. 

6. Respect the integrity of the photographic moment. 

7. Strive by example and influence to maintain the spirit and high standards expressed in this code. When confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the highest standards of the profession. Visual journalists should continuously study their craft and the ethics that guide it.

Tuesday 28 October 2014

Assignment Three Module Number Nine: Shooting the Truth; Photojournalism

Introductory

For this assignment, my team Rafael Cabrera, Asia Steel and I Atekel Mclarty had come to an agreement that we would like to complete module number nine. Module number nine focuses on Photojournalism, and the roles of a photojournalist. Journalistic photos help communicate words and events through still image. Below you will find the information my team and I have gathered on photojournalism and shooting the truth.

 All photos gathered By: Atekel Mclarty

What’s the role of photojournalism? 
Written and Submitted By: Rafael E. Cabrera 

A photojournalist's job is to tell a story with pictures. But, perhaps more importantly, his goal is to convey the truth through the images he captures with his camera. A skilled photojournalist doesn't just show up to a news event and snap a few pictures. Rather, his objective is to highlight important issues. Remarkably, he can often do so with a single photograph.



Are there rules that photojournalists should follow? 
Written and Submitted By: Asia Steel 

In the world of photojournalism, the artist is striving to find truth rather than art. They are giving us images to bring us a glimpse of what the world is like, not as we see it around us. So having an ethical conscience is important as to not lie or create fiction in photographic journalism. Some companies have tried to create limits or guidelines to how much editing or framing the artist can give their audience. Some believe there should be a set number of regulations to decide what images are appropriate for journalism, others believe that the artist should have final say in what they have printed and they can regulate themselves ethically. Additionally some companies have specific regulations for photographers for security purposes, but how many regulations are too far? With journalism, the issue of having free speech comes into question when an artist is limited in what they can print. The key to photojournalism ethics is above all, avoiding misrepresentation.



 Several organizations strive to create sets of guidelines for artists, in order to create an unbiased system for photojournalism. The NPPA, National Press Photographers Association, is an organization of photojournalists that gives some regulations to their art. This company is dedicated to the advancement of photojournalism without losing their ethics. They also aid photojournalists by discussing photography regulations between journalists and private companies who have security issues with some things being photographed. An example of a ‘rule’ in the NPPA’s code of ethics is “Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work.” (NPPA, 2012) As well as other ‘rules’ to simply avoid misrepresentation and biases. All seem to rely on the common sense and persona ethics of the artist, so these guidelines are rather simple to follow if the artist wants to be a reputable source of photo-journalistic images.

 
While some organizations have limits on photojournalists, their ideas do not encompass all photographers or publications. For example, a genre of publication that is not frequently ‘policed’ is the tabloid. Some of which are notorious for their inaccurate misrepresentations of the truth. “It [tabloid media] allegedly panders to the lowest common denominator of public taste… in short, tabloid journalism lowers the standards of public discourse”, (Biressi, 2007). The ethics are so vague in their representations of politicians and celebrities, as well as some examples of poorly edited journalistic photographs leaves much to be desired if given no outstanding guidelines to photojournalists. “The status of photojournalism has risen, noting the artistic values and authority that have been attached to the photographic news… In contrast, this elevation excludes the work of tabloid press where a different set of values and indeed aesthetics prevails”, (Biressi, 2007).



In conclusion, photojournalism as a form of art is in a grey area of regulations. We do not want distorted images that show us only fiction, but alternatively too many regulations can lead to limiting the idea of free speech for the artist. As a news source, the artist must be ethical and aware of any biases they might hold towards their subjects. In the long run in may be useful to have an umbrella of regulations on the artist but in our society today, we expect images to have been edited and subjects to be airbrushed. So why dictate how they choose to frame their art.



Is the ethics of taking journalistic photos different than the ethics of writing a news story? 
Written and Submitted By: Atekel Mclarty 

Photojournalism is the art of allowing news or information to be collected from a single photo. Journalistic photos tell a story from first glace. These types of photos are usually taken for news or magazine articles. News stories consist of any kind of news report. News stories are often short and concise (even though there are no limitations to how long a new story can be). News stories update readers on occurring events, along side events that have already occurred. Therefore the ethics of taking journalistic photos are different but somewhat the same as the ethics of writing a news story.


Photo-journalistic images carry journals that tell stories to the attentive audience. These images are taken to give viewers the best description of the occurring event. News stories are similar in a fact because they also tell stories to the available audience. All in all they both deliver a message. It is believed that journalistic photographers take on a bigger role than news story writers. Journalistic photographers have to allow readers/viewers to see, feel, and relate to the images they have taken. Journalistic photographers also have to ensure that the audience is able to make out a story, or take a message from the images presented. On the other hand, news story writers have to inform readers about news reports through written text. Once news stories are formally delivered and clear, readers will understand what is going on throughout the article/story. News stories consist of context only to give information to the existing audience, while journalistic photos consist of photos only to help the viewer gather information from the descriptive images. In conclusion the ethics of taking journalistic photos are different but fairly the same as the ethics of writing a news story.



Attached is the NPPA Code of Ethics, provided by Asia Steel


Code of Ethics
Visual journalists and those who manage visual news productions are accountable for upholding the following standards in their daily work:
  1. Be accurate and comprehensive in the representation of subjects.
  2. Resist being manipulated by staged photo opportunities.
  3. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work.
  4. Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.
  5. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.
  6. Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
  7. Do not pay sources or subjects or reward them materially for information or participation.
  8. Do not accept gifts, favors, or compensation from those who might seek to influence coverage.
  9. Do not intentionally sabotage the efforts of other journalists.
Ideally, visual journalists should:
  1. Strive to ensure that the public's business is conducted in public. Defend the rights of access for all journalists.
  2. Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and presentation. Work with a voracious appetite for current events and contemporary visual media.
  3. Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities, seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view.
  4. Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one's own journalistic independence.
  5. Strive to be unobtrusive and humble in dealing with subjects.
  6. Respect the integrity of the photographic moment.
  7. Strive by example and influence to maintain the spirit and high standards expressed in this code. When confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the highest standards of the profession. Visual journalists should continuously study their craft and the ethics that guide it.
©2012
https://nppa.org/code_of_ethics

Work cited
Biressi, A. (2008). The tabloid culture reader. Maidenhead: McGraw-Hill/Open University Press.
Icevska, G. S. SHOOTING THE TRUTH: HOW PHOTOGRAPHS IN THE MEDIA BETRAY           US. Ma thesis. Retrieved October 26, 2014, from             https://drive.google.com/viewerng/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbW   FpbnxzaG9vdGluZ
NPPA Code of Ethics. (2012). National Press Photographers Association. Retrieved October 26,             
N.d. Unesco.org. Web. 28 Oct. 2014. <http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CI/CI/images/Themes/investigative_journalism_home.jpg>.
N.d. Daveandcharlotte.com. Web. 28 Oct. 2014. <http://www.daveandcharlotte.com/wp-content/uploads/2009/04/dave-trying-to-look-like-a-war-photographer-or-get-a-case-of-tetnis.jpg>.
N.d. Wordpress.com. Web. 28 Oct. 2014. <http://garykingphotography.files.wordpress.com/2012/08/blog-illustration.jpg>.
N.d. Blogspot.com. Web. 28 Oct. 2014. <https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3q3Cmv9obdwNwkMsLaOLy3Aj7aSANPKWwccVMO6LhUnp1iCquOB6iXnFUO1fF8T9vLPnrTOglfINYWguq7fUa1q52CfKckwwxiJpyMC7GZwEcHge1eXBXEECAKgT0RpFdZh2M5kZsqobi/s1600/6a00d8341bf6cb53ef010535c02df5970b-800wi.jpg>.
N.d. Independent.co.uk. Web. 28 Oct. 2014. <http://www.independent.co.uk/migration_catalog/article5316949.ece/alternates/w620/Pg-02-feature.jpeg>.
N.d. Jmg-galleries.com. Web. 28 Oct. 2014. <http://www.jmg-galleries.com/blog_images/bad_photographer_MG_0801-Edit_500c.jpg>.
N.d. Collegerag.net. Web. 28 Oct. 2014. <http://www.collegerag.net/wp-content/uploads/2013/12/Photo-Journalism.jpg>.
N.d. Vladsokhin.com. Web. 28 Oct. 2014. <http://www.vladsokhin.com/assets/images/tearsheets/ts_14.jpg>.
Also all readings from lecture notes.

Saturday 4 October 2014

Photo Editing With "Picasa" Assignment Number One

The photo editing program I am using is one recommended by my Instructor. This program goes by the name of “Picasa.” The images I will be using are photos taken of myself. I already have a basic idea of what I want the end result to look like. The first photograph I will edit will be the one of me sitting down in a yellow collard shirt. For this photo I want to grasp a summer type look, giving the audience the impression that it is a bright summer day. Editing my picture this way is quit ironic because the photograph was taken mid winter inside of my house. By editing my picture this way I doubt that I would confuse my audience. Because there is no indication as to what season it is (in both the original and edited photograph) my audience would only know I took this picture in the winter if I had informed them prior to viewing my work, or if I had added a descriptive caption to it. at the same time they could be confused by the short sleeve collard shirt, or by the sun glasses. For the second photograph I sit on a chair with a white collared shirt and a dark gloomy background. The background alone makes me feel like this picture should be edited with a dark but vibrant feel. I want the background to remain dark and gloomy but I want my body and face lighter, with a glowing effect. I want my audience to feel as if a massive storm is about to pass by when they look at this picture. I want to give this picture a windy/destructive/”something is about to happen” vibe. I highly doubt this photograph would bring confusion to my audience. They may wonder where i was or what I was doing. Was it a photo shoot? school picture or something? The possibilities are endless with this one, that's the most i can say!

Photo Edit Number One
Photo Number One's Editing Process
First I add a bit of auto contrast and auto coloring from the “Commonly Needed Fixes” tab just to give my photo a bit of clarity and punch. Going over to the “Finely-Tuned Lighting and Color Fixes” tab I add some “Highlights” for better lighting, I used “Shadow” to capture the glow feel, and I adjusted the “Color Temperature” to bring out the summer out of this winter photo. Now I have selected the “Fun and Useful Image Processing” tab where I “Sharpen” my photo to the fullest to give the soft edges a more sharp edge. In the same tab I find an effect by the name of “Cross Process” I add a bit of that along with some “Boost” just to brighten up the image and enhance the glow. Last but not least I add an effect called “Duo Tone” to really top off the summer feel adding that real sunlight look.

Photo Number Two
Photo Number Two's Editing Process
I start off by adding a bit of “I’m Feeling Lucky,” “Auto Contrast,” and “Auto Coloring” from the “Commonly Needed Fixes” tab to clearly auto focus the detailing and coloring in my photo. These are just minor effects that can really help take your photo a long way. Under the “Finely-Tuned Lighting and Color Fixes” tab I adjust the “Fill Lights” to brighten the whole photo, I add some “Highlights” so I am able to see my face, I add “Shadow” to capture the dark glow feel, and I adjusted the “Color Temperature” to give it that stormy look. Shuffling over to the “Fun and Useful Image Processing” tab I “Sharpen” my photo for more enhancement, and I add the “Glow” effect to conquer my stormy vision. I also give my photo a “Vignette” style border around it to bring out the gloomy effect even more. An effect called “Orton-ish” was also added for more brightness and glow. I used the “Sharpen” tool to once again enhance the sharpness of the smooth edges. Lastly I added a “Soft Focus” for a blur kind of effect around the border of the photo.