ADVANCED PHOTOJOURNALISM

BY
OLUFEMI ISAAC SEGUN

2018

Introduction
If you thought that it is difficult to capture a birthday party using a camera, then going
through the urban streets of Lagos, Abuja, Kaduna, Abeokuta in Nigeria trying to
capture the protest by members of NLC over the hike in the price of premium motor
spirit popularly known as PMS on Wednesday, 18th May from N86.50k to N145.00 is
definitely going to be harder. However, with a little knowhow and a bit of skill,
photojournalism can be less challenging.
Every organization has a focus on specific audiences. There is need to take care
of the information value and composition of your snapshots because there are hardly
second opportunities in the photojournalism field.

A Question of Definition

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Advanced photojournalism is one of the most fascinating aspects of journalism
wherein stories are presented in image form with the help of a camera. In order words
it is the art of telling a story using pictures.

A short History of Photography

According to Edward Steichen, before photography was invented, events, people and
images were portrayed by means of painting. Many thought photography to have
heralded the end of painting. A French painter, Paul Delaroche is fondly remembered
for having said on learning of the invention of photography “from today painting is
dead’’. However, painting has not only survived the threat of the evolution of
photography, but has over the several decades grown to become an art form with its
distinct relevance.
1839 is noted as the year the invention of the photographic process was made
public. Four individuals according to history made commendable efforts which led up
to the successful invention of photography; Joseph Nicephore, in France, Louise
Daguerre, in France, Hyppolyte Bayard, also in France and William Talbot, in
England.
Each of these men employed scientific techniques that had been known for
some time but had not been successfully combined. One of the techniques was based
on Optical which artists and scientists had made use of in the 16 th century. This
scientific method was based on the fact that light passing through a small hole in one
wall of a dark room projects an inverted image on the opposite wall. By the 18 th
century, the wall was replaced by a portable box called the camera Obscura (darkened
chamber) while the hole was replaced with lens which made images brighter and
sharper.
The second technique was chemical. The camera obscura had a very big
limitation owing to the fact that the image it projected was very transient. Further
research and effort in 1727 through a German scientist Johann Schulze resulted in the
discovery that silver salt (halide) was sensitive to light. The process used was however
not stable as the image captured could not be preserved. In 1777, another German,
Karl Scheeles discovered that the image captured on silver salt could be preserved

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longer with ammonia. Not much was achieved thereafter, however, Joseph Nicephore
succeeded in producing the first permanent photograph by using materials that
hardened on exposure to light, though pictures then required an exposure time of
about eight hours. In January 1829, Joseph Nicephore and Louise Daguerre went into
a partnership. Nicephore died four years after their agreement but Daguerre continued
experimenting on better ways of producing photography. Soon after he discovered a
way of developing photographic plates in a process that greatly reduced exposure time
from eight hours to an hour. He also discovered that permanence of an image could be
achieved by immersing it in salt.
Though this was considered a major breakthrough in photography, it had some
challenges. First, it was expensive. Also, it could only print one copy of a picture. This
problem was solved by a British scientist, William Talbot. He invented a light
sensitive paper coated with salt and silver nitrate. From a negative, several positive
prints could be made.

The importance of photojournalism

According to Ruth Bernhard “the world of mass communication has greatly benefited
from the various types of photography in existence, but journalists have contributed
more to mass communication”. First and foremost, pictures constitute the backbone of
any print medium, especially newspapers and magazines. The capacity of pictures at
attracting potential readers to a newspaper or magazine as well as drawing them into
the body text has been proved in several studies. Since the Second World War when
pictures taken at the battle front were sent to families at home to see the events at the
war, photojournalism has assumed a place of great importance in the practice of
journalism. Apart from taking good shots therefore, the photojournalist working in
tandem with the photo editor must choose, edit, crop and place pictures to make the
right impact on the reader.
Secondly, pictures tell the truth. Written news is subject to the biases and
prejudices of the writer, thereby leaving room for subjectivity. To be sure, today’s
technology is capable of manipulating photographic images, but the news writer’s
sense of judgment is more available and easily usable than the technological device

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needed to manipulate a picture. To this extent, photojournalism by its relative
unbiased nature helps to uphold public trust and confidence in journalism.
A fundamental factor that sets the journalist apart from other genres of
photographers is purpose. From start to finish, from centre to circumference, the
journalist is guided by purpose. It does not matter whether he works for himself or an
organization; purpose is at the centre of his every day assignment. Without purpose, a
photojournalist will end up exposing most of his films which may turn out to be
useless when developed. Purpose in picture communication prevents what is often
called say- nothing pictures i.e pictures that do not communicate. To do a good job,
the photojournalist must be guided by three imperatives of picture communication
which are taken from the popular journalism 5Ws & H. The relevant imperatives are:
What, Why and How. This is because before you aim or point your camera at a
subject you must ask and answer properly the following questions: what am I taking?
Why am I taking it? And How do I take it well?
The WHAT- bearing in mind that not every photographer at an event is a trained
photojournalist, you must not rush forward and point your camera in every direction
that others point theirs. You must be guided by reason. You only take pictures of those
that are relevant to your organization at an event.
The WHY- every shot must have a why? A picture should have a reason for being
taken. Every photographer must contemplate the story he wants to tell in a particular
shot. You do not have limitless films or memory space on your camera; therefore you
must take your shots with care. Some of the reasons that may motivate a
photojournalist to take pictures include; assignment instructions, organizational style,
organizational need, audience factor, future stories, unusual settings, importance of the
subject and to vary from competition.
The HOW- The how of photography relates to the approach to adopt in order to
achieve the goal of taking the photography. Photographers normally have two
approaches namely subjective and objective approach. Objective approach involves
effort by the photographer to take a shot devoid of bias, personal opinion, thus leaving
his audience or viewers to draw their conclusions as well as form their opinions of the
subjects in the pictures so taken.

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 The subjective approach on the other hand involves a photographer taking a
shot to express what he feels about what he sees. Rather than recording facts in
relation to a subject, the photographer deliberately works to express his opinion or
personal reaction to the subject. This may be in a positive or negative sense. The
subjective approach believes that the form in which the subject is presented is more
important than the subject itself. This is a more creative and artistic approach to
photography.
When evaluating the qualities of photographs, you can follow the simple
acronym N.O.T to help you remember the three basic steps taken to obtain a good
photo. What then is N.O.T?
N – Stands for narrative i.e the juxtaposition or combination of the images with the
text for the purpose of achieving harmony to the reader to enhance his/her
understanding the message of the picture clearly.
O – Stands for objectivity i.e the content and tone you wish to show based on your
point of view. Remember that when you are being objective you are presenting the
matter the way it is.
T – Stands for timeline i.e every product of information is linked to an expiration date.
Depending on the event, the photograph could have a short time span. For example, if
the event is a catastrophe, it will have a great length before reaching the expiration
term. Conversely, if it is someone who died, the expiration of the information will
probably be less. Hence the abduction of over 200 school girls in Chibok, Borno State
is matter with a longer timeline than the demise of Tor Tiv the IV in as much as the
abduction was carried out before the death of the paramount ruler of the Tiv people.

Photojournalism Career
As in every other career, the motivating factor for one being a photojournalist is
interest. It is the interest that makes the job interesting. Without the interest, you are
very likely to back out sooner than you may think. Photojournalism gives you the
opportunity to travel to great places of interest where you also meet great people. It
also gives you the opportunity to express your creativity to the fullest. You equally
enjoy the thrill of opening newspapers and seeing photographs bearing your credit.

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The satisfaction you bring to the homes and offices of your audiences, photographs of
events which they would otherwise not have seen is inestimable.
Photojournalism is however a low paying job or at least big money does not
come in the first few years of practice. To make money, you must first make your
mark by paying your dues in the profession.

Career Options in Photojournalism

A large amount of flexibility exists in photojournalism practice. On acquisition of
relevant skills and education, a photojournalist can work as a staff of an organization.
He can be a stringer or freelancer. Interestingly he can even move in and out of these
job options based on his goals per time as well as trends in the industry.

Staff
A staff is employed on full time by a media organization. He enjoys all benefits that
go with a full time job like regular pay, medical benefits, annual leave, retirement
benefits and access to equipment as well as minimum personal expenses on the job
training, refresher courses, insurance loans and so forth. The photos taken by him
belong to his employer. Also, his schedules and assignments are set and determined
by his employer. He equally gets involved in lots of post production work. Getting on
the staff list of a firm is a good entry point for most photojournalists as it affords the
opportunity to work with experienced superiors on the job.
Freelancer
A freelance photographer works for himself. He has his time and schedules under his
control. He decides what to shoot, where and when to work and for how long. A
freelancer is at liberty to sell his photographs to as many publications or media
organizations as possible. Due to his flexible time schedule, he could get involved in
other genres of photography like weddings, advertising, studio work, documentary
programmes and so on and so forth. Freelancers are formidable photo sources for
several publications. It is important to note that some freelance photojournalists are
specialists in some subsets of photojournalism. For instance, some provide pictures of
celebrities, some of war and others of fashion. There are those who spread their

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tentacles in all categories of events in their coverage, thus they can provide pictures
from broad perspectives.
The disadvantage of working as a freelancer is that freelancers have no paid
medical and insurance cover. They equally do not have access to a pool of equipment,
thus, they must procure virtually all equipment required by them. They also do not
enjoy retirement benefits. Freelancing is not a good starting point for new entrants into
the profession. Rather, it is a place for photojournalists who have acquired a large
amount of experience and contacts as staffers in good media organizations. In several
cases; freelancers provide pictures to some of their past employers.
Stringers
A stringer is a freelancer who supplies his photographs to one source. He is more like
a contract photographer. He enjoys some of the benefits of a freelancer. He is a hybrid
between staff and freelance photojournalists. He gets instructions on what to shoot or
uses his initiative assured of sales outlets for his photographs. Often, stringers work
for a brief time for their clients as the job may end as soon as news or events for
which the stringer is contracted thins out. For instance, rather than send Nehemiah, a
staff photographer to the insurgency torn Borno State, News Fidei may contract Bileh
Ruth who resides in Maiduguri to supply pictures of destroyed infrastructure to it. The
job or contract will come to an end as insurgency thins out.
Who is a photojournalist?
A photojournalist, also known as press photographer or news photographer works for
newspapers, magazines, wire services and other media organizations requiring
photographic records of everyday events for publication.
The photojournalist is both a journalist and a photographer. He differs from
other types of photographers on the one hand because he brings his journalistic skills
to bear when taking pictures. On the other hand because he employs his knowledge to
write or report using pictures to tell stories of interest to his audience. The average
daily newspaper according to Ojomo (2008:104) contains well over 200 pictures
without which the newspaper would be a bore, poorer and less intriguing.
The photojournalist is both a journalist and a photographer. Arthur Rothstein
describes a photojournalist as:

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 “Observers of people and events who report what is happening in
photographs; interpreters of facts and occurrences who write
with a camera, skilled communicators whose images are
transmitted visually via the printed page. Their audience consists
of the readers of newspapers and magazines all over the world.
Their subject is this planet and its inhabitants in all aspects for
the photographic images speaks directly to the minds and
transcend the barriers of language and nationality”.

Qualities of a Good Photojournalist

He differs from other types of photographers on the one hand because he brings his
journalistic skills to bear when taking pictures. His qualities include:
 A sense of curiosity
 Artistic aptitude
 Mechanical aptitude
 High ethical standards
 Quick thinking and foresightedness

Duties of a Photojournalist
i. Takes pictures
ii. Work with reporters
iii. Develop and edit pictures
iv. Attend departmental/unit meetings and briefings
v. Keep calendar of events
vi. Write captions
vii. Advise organization
viii. Keep equipment safe and report damages
ix. Call sources and schedule meetings with subjects

The Camera

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All cameras are light-tight boxes in which film or memory space sensitive to the
action of light can be kept. When a shutter release allows light access unto the film or
memory space then the resultant action forms an image on either the film or memory
space.
Types of Camera
The coming of the photographic process in 1839 and its attendant impact on public
and private life and especially communication has led to phenomenal interests in its
growth and development. Soon after the initial breakthroughs, inventors and investors
sought for ways of optimizing the great advantages of photography by improving on
its process and inventing more functional cameras. A look at the technological history
of photography shows that every generation of cameras is built on the same principle
of the first set of cameras. Thus, every camera has features like the lens, viewfinder,
speed setting, aperture settings, film or CCD and so forth. Changes in camera types
have been improvements in these basic features as well as weight, size, ease of use,
enhanced functionality and processing speed.

The Pinhole Camera

The pinhole camera also called Camera Obscura (Latin word for Darkened Chamber)
was the earliest of all cameras. As crude as it was, it was in several ways predictive of
modern cameras. In the pinhole camera, one ray of light passing through a small hole
forms an image on the back of the camera. As the size of the hole is increased, the
image gets brighter but sharpness is reduced as the image becomes dreamy.

The 35mm SLR Camera

The 35mm or Single- Lens Reflex is by far the most widely sold camera. It is also
called professional camera because it allows the user to put his knowledge of details
of the camera to use. In the 35mm/ SLR camera, the image seen in the viewfinder is
formed by taking in light from the lens, which is reflected to an eye level viewfinder
by a mirror and a prism so that the user sees exactly what the film will register. The
35mm is also the most versatile and relatively easy to use among the various types of

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camera in use. It takes its name from the width of the film which comes in various
lengths, loaded into the metal cassette and gives good image quality.

The Compact Camera

The compact camera is most suitable for occasional outings such as picnics and
parties. It is also called the point and shoot camera. It also belongs to the easy to use,
factory-set camera that requires almost no experience to operate. It is however limited
in functional versatility, for instance you might not be able to take shots of distant
objects. A great advantage they have is their portability.

Instant Picture Cameras

These are products mostly by Kodak that combine camera and darkroom in one box.
The camera develops and prints its picture in thirty seconds to five minutes after
taking the picture. The main advantage of this camera is its instant output. Aside this,
it is not a popular camera due to its several flip sides. It can produce only one copy of
a picture except the black and white film which gives a negative alongside the picture
so printed. Also due to the high chemical concentration, the picture soon gets messy if
not properly stored. The picture is to some extent bulky in size and its films are
expensive. The picture depreciates rapidly.

Single Use Cameras

Single Use Cameras also referred to as disposable cameras contain a roll of factory-
fitted colour film. They have single shutter speed and fixed focus, built-in flash and
are sometimes water resistant. When fully exposed, a disposable camera is taken to a
laboratory where the film is extracted for developing and printing while the camera is
trashed for recycling. Single use cameras come handy for picnics and vacation but not
for serious photography.

Underwater Camera
These are powerful cameras used by marine photographers for taking pictures of the
marine world. They are waterproof or water resistant with additional features that

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enable them to survive the aquatic environment. Some underwater cameras come with
built-in electronic flash while others require mountable flash which are equally water
resistant and can be detached when not in use.

Digital Camera
These are among the most modern of cameras. They are absolutely electronic in built
and functionality. Unlike the film camera, these digital cameras use a Charge-Coupled
Device which is a light-sensitive sensor on which they capture images instead of
doing so on film. The digital camera has the normal features found on film cameras
like lens, aperture and speed setter and so on and so forth. It has several advantages
over film-based cameras. For example, it saves you the cost of procuring films and
developing pictures. With the digital camera you can see whatever picture you have
just taken and decide whether to keep it or not. You can also store your pictures for
years in their pristine condition.

Film Camera and Digital Camera

Of the everyday consumer cameras, there are two variants namely: film-based
cameras and digital cameras. A film camera generally records images on 35mm film
whereas the digital camera registers images on a Charge- Coupled Device where it
stays for seconds before it is transferred onto the camera memory or a removable
memory card. The film camera is the traditional method of photography whereby the
film is loaded and later unloaded when it is used up. The film method involves
developing into negative and printing in the darkroom.
Both methods have their advantages and disadvantages. For instance, you have
a greater assurance that with your film properly fixed you are certain of the pictures in
your camera; moreover, you could store the processed negatives for several years. But
the digital camera is susceptible to vagaries of faults from weather, drop and so forth.
Another great advantage of the film type camera is that pictures from them are more
readily accepted as evidence in lawsuits than pictures from digital cameras. The judge
can request for the negative, but pictures from digital cameras, even when they can be
stored are believed to be very susceptible to manipulation.

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 In spite of these great advantages of the film camera, the digital camera is
gradually edging out film based cameras from the market as more consumers use
more digital cameras. The digital camera allows for ease of use. It excludes the
laborious process of loading and unloading films. It also takes away the process of
developing and printing. With a digital camera, you could view your take and retake it
if you are not totally satisfied. You could equally print pictures in seconds with a
photo printer. With the digital camera, you could do minor editing such as cropping
and sizing of your picture on your camera or you could transfer your pictures onto a
computer and optimize the almost limitless world of the digital darkroom through the
use of softwares like Photoshop, Macromedia Fireworks and so forth.

How the Camera Works

According to Olusegun (2008) light is perhaps the most important element in
photography. Each time you take a picture by clicking on the shutter, you expose the
film in your camera to light i.e you permit light from outside to draw or register itself
on to the film. This initial impression referred to as intent image remains in this form
until the film is developed and printed.
Generally, all cameras have certain basic features as earlier stated. These
include lens, flash, shutter and film compartment except digital cameras which use a
fixed grid of microscopic light sensitive picture element known as Charge-Coupled
Device CCD. The quality of your photograph depends on how you expose your film
or CCD.
To achieve good exposure, you must understand two important controls on
your camera, i.e the aperture size and the shutter speed setting. Increasing the aperture
size allows more light to reach the film, in contrast, decreasing the size allows less
light onto the film. The shutter speed also controls exposure. When you use a slow
shutter speed, you allow more time for the film to be exposed to light. To understand
this, imagine yourself in a single window, watertight room that is submerged in water.
If you open and close the window for duration of a second, the amount of water that
gets in will be more than what gets in when you open for half a second. Assuming the
water is equivalent to light then one second shutter speed allows more light than half a

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second shutter speed. To achieve good image requires good blend of the aperture size
and the shutter speed in a photography situation.
You can also control the appearance of moving objects depending on the speed
of the object; it could appear blurry when taken with a slow shutter speed. You can
freeze a moving object by using a fast shutter speed.
The lens however is the most important part of the camera. It projects and
forms the object on the film or memory space each time you press the shutter release
button. To a large extent, the quality of the lens and your use of it play important roles
in the quality of the picture. The lens is used for focusing and composing the image.

How to Care for Your Camera

Cameras can be likened to infants; they require great care and handling. This is due to
their fragile components. A one-time drop on a hard surface could mean so much to
the optimum functionality of a camera. When properly handled, cameras can give
longer service and better outputs. Most professional photographers would safeguard
their cameras like they do their eyes. If you adopt this approach, you are likely to
benefit of your camera for a longer period. Useful hints on how best to care for your
camera.
 Avoid leaving films in camera for a long period.
 Remove batteries when the camera is not in use for a long period.
 Keep out of reach of children.
 Prevent cameras from dropping on or hitting hard surfaces.
 Use a clean stuff when cleaning camera lens.
 Keep camera from heat or moisture or extreme cold.
 In the event of faults, take it to competent personnel only for repairs.
 Read the user’s guide thoroughly when you buy or you are to use a new
camera since models vary.
 Use leather strap where available to prevent camera from possible drop.
 Keep from darkroom chemicals and other chemicals as well.
 Never force any of the controls of your camera.

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Light
Light is the key component to visual perception. Without light nothing exists
visually speaking. Light creates shadows which are needed for outline, depth and
limits in photography. It is impossible to take pictures without light. A good
understanding of light, its uses and effects is essential to taking good pictures.
Lighting according to Ojomo (2008:41) is the deliberate manipulation of light for
photographic purposes.

Classification of Light
Light in photography is classified into two broad categories namely natural light
and artificial light
Natural Light - Natural light includes sunlight, outdoor light and moonlight.
These are light sources made possible by the orbital rotation of the sun. They are
useful for taking shots of distant subjects.
Artificial Light - Artificial lights include flashbulbs, electronic flash, tungsten,
halogen etc. flashbulbs can be used once and discarded, but they do not require
batteries as with electronic bulbs. Electronic bulbs also known as speed lights are
used repeatedly thus they need batteries to power them.
There are two main types of electronic flash namely manual and automatic.
When using the manual, you determine the exposure by setting the lens opening
by taking into cognizance the distance between your flash and the subject.
Whereas with the auto-flash, the flash is fired automatically when you squeeze
the shutter release button and it reflects light on the subject. Most auto-flash
devices nowadays recycle themselves after each take. Recycle time is the time it
takes for a flash to get itself ready for the next take.
Fluorescent and tungsten are indoor lights often used in studio or location
settings.
Functions of Light
Light generally make the subject visible and easy to be photographed. It also
performs functions such as:

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 i. Light symbolizes volume and depth:- good lighting creates a feeling of depth in
photography; else the picture would appear flat. Flatness in this context is when
an image looks like it is cut out and pasted on a board without dimensions.
Light provides the rounded, three dimensional appearance characteristic of
most objects.
ii. Light sets the mood of a picture:- light is said to be a strong instrument of
mood. It can be used in its natural form or creatively manipulated. At times the
mood or atmosphere in which a picture is taken is more important than the
subject. It’s like saying the mood is the main message. Light is to a
photographer what paint is to an artist.
iii. Light creates designs in black and white:-Because of the shadow creation effect
of light, it is possible to create designs in black and white. The beauty of light
is enhanced by the presence of shades of black and grey, therefore, to make
white appear as bright as possible it must be supported by black and vice versa.
iv. Light shows colour relationship:- In visual arts of which photography is a
major part, the essence of colour is best revealed by its relationship with other
colours. For instance, we know that red is red because it is not blue, green is
green because it is not brown. We know a colour because it is shown as such
by the effect of light on the picture. So, either by available light or created
light, a photographer can show relationships among various colours.

Exposure
Each time you take a photograph by clicking on the shutter release button, you
expose the light sensitive surface in your camera to see light briefly and at the
same time allow it to record the light and everything around it on itself. Exposure
is the total amount of light allowed to fall on the light-sensitive device in your
camera during the process of picture taking. The quality of your picture depends
on your judgment of what is too less, what is too much and what is just right while
taking shots.
Often, less than needed light will result in underexposure while more than
needed light will result in overexposure. Great care is needed to achieve optimum

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exposure. Factors that will help determine exposure when using a film based
camera are the shutter, the aperture and the film speed.

Film
This is a piece of acetate or plastic coated on one side with a thin layer of light
sensitive emulsion made of silver halides. When this coated side of the film is
struck by light, it makes an invisible latent image that can be made visible when
the film is processed.

Film Speed
A film can be fast, medium or slow depending on how sensitive it is to light. A
film that requires less light to make an image is fast film, one that requires much
light is slow film.

The Shutter
This is a spring activated device that keeps light from entering the camera until
the moment of exposure. Put differently, the shutter is a device that opens and
closes at varying preset speeds to determine the amount of time and light entering
the aperture to reach the film.
The speed with which the shutter opens and closes to allow light reach the film
is called shutter speed. In most cameras the shutter speed is set by photographer
while in others it is preset. Shutter speed is measured in fractions of a second. This
means that all shutter speed settings take their root from 1 second, so that speed
125 in actual sense means 1 second divided by 125. It means when you set your
shutter speed at 125, it will open and close at the speed of 125 of a second.
However, there are two exceptions to the 1 second setting. First is the 2
seconds setting where you turn the dial on 2, meaning that the shutter opens and
closes for 2 seconds duration.
Another exception is the B or T setting. Here, you decide how long you wish
the shutters opened. The last two methods are used in low light situations.

The Aperture

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This is a hole with a size that can be increased or decreased to admit more or less
light into the camera. In most cameras, the size of the aperture is varied by a
controllable iris. Some simple cameras however have apertures with fixed sizes.
The numbers for setting the aperture are called f-stops. A typical aperture has f-
stops like f 1.4; f 2; f 2.8; f 4; f 8; f 16 etc
The aperture works on two principles, first, the larger the f-stop number, the
smaller the opening and the smaller the f-stop number the larger the opening.
Secondly, each number lets in half as much light as the lower number and each
number allows in twice as much light as the upper number. Put differently,
moving from one f-stop to the next doubles or halves the size of the opening in
your lens and the amount of light that gets through.

Combining Shutter Speed and Aperture

These can be used together to achieve same or different results since both doubles
or halves the amount of light that falls on the film with each change in setting,
different settings can result in same exposure.
Aperture f22 f16 f8 f5.6
Shutter 1/30 1/60 1/125 1/500

Depth of Field
Depth of field refers to the area within which objects are acceptably sharp behind
and in front of the point you focus on. When the areas in front and behind an
object you are taking are equally as sharp as the object, you say you have
considerable depth of field. To achieve good depth of field, you should reduce the
size of your aperture.

Composition
The overall quality of your photography is a function of how carefully you
arrange your subjects or elements in the picture. This careful arrangement is
referred to as composition. A good pictorial composition involves a deliberate and

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 intelligent placement of all that is recorded in the shot in the right place. The
following are ways to improve composition:
i. Understand the limits of your camera and its components
ii. Have a centre of interest
iii. Vary your position
iv. Contemplate your story
v. Watch the background
vi. Fill the frame
vii. Apply the rule of thirds
viii. Create movement and looking room
ix. Include some action
x. Where possible, arrange your subjects

Capturing Movement
Capturing movement or action is a skill that comes with practice, once mastered, it
becomes a second nature. When taking movement shots, you freeze the moving object
and or create a sense of movement through blur. By using high shutter speed, you can
capture and freeze action, but to add the spirit of motion, you need to find the right
balance between a fast enough shutter speed to freeze the action and a close enough
speed to indicate that your subject is not a lifeless sphinx.

Create movement and looking room

When your subjects are moving or looking in a particular direction, it helps to create
space for them to move or look into. You must not compose your picture to suggest
that your subjects are moving into or looking at the camera.
Giving your subjects enough room to move into tells your viewers that your subjects
are actually in motion.

Taking Good Journalistic Shots

Journalistic photography transcends the normal pictorial recording of events. It
includes thoughtful and ambitious execution of the proper way of telling the news

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with appropriate photographs. To take photographs that tell the news requires taking
shots for the future as well as taking advantage of good photography opportunities
when they come.

Shots for the Future

A good photojournalist does not take shots only for immediate events. He must take
the future into consideration as well. This could form part of the answer to the WHY
in photojournalism. Pictures taken for the future should comprise shots in various
moods, for instance pictures of public figures as they smile, laugh, jubilate, frown,
look worried, look askance, cynical and so forth. This will help you to get pictures that
will match any kind of story using the right mood when the need arises.
To take pictures that communicate, you must be ready to seize the opportunity
for good shots when they present themselves. You mustn’t miss moments such as
when a host is welcoming a guest to the podium, when a speaker is giving his speech,
when an award is being presented or received, a dignitary that is yawning, dozing at a
public function etc.

Tips for Covering News Events

Covering news events is a vital part of the daily tasks of a photojournalist. How well
he does it is determined by his knowledge of what to do. Here are tips on handling
daily news events.
 Arrive early to put yourself together
 Be sure you have an idea of important and prominent persons expected at the
event
 Be sure to go with an extra of almost everything; camera, batteries, films,
flashes, memory cards etc.
 Go with writing materials to get actual names and their proper spellings,
designations, phone numbers, and any other useful information about persons
in the story you have covered.
 Wherever possible. Wait till the end of the event. Most feature-fit shots are
found before and after the event

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  As much as possible , pick up event programmes, as they could give you more
information about persons and the event afterwards.
Photojournalism and Ethics
The ethics in photojournalism really surrounds the general function and definition of
photojournalism: which is to capture the real world as it is happening. Though the
concept of the real world can be debated, it is up to the photojournalist to capture the
image as clearly and honestly as he/she can. What this means in a specific sense of
ethics in photojournalism is to avoid altering the photograph as much as possible.
Though the presence of the photojournalist alone is likely to change the situation, like
draw the attention of the subjects, they should not be an actor in the given situation
that they are photographing.
Also photo editing in programmes such as Adobe Photoshop are rejected by ethics in
photojournalism.

Types of Pictures
The Aware photograph: Aware photograph is an arranged photograph. The person
being photographed knows that the photographer is taking his or her picture and he or
she probably composes him/herself for the picture to be taken. He or she is therefore
completely aware even to the moment when the cameraman will press the shutter
release button. This is the type of photograph that people call a photographer for at a
graduation, matriculation, wedding and other ceremonies. The person being
photographed may also go to the studio because he/she needs a passport size
photograph, is celebrating his/her birthday or has even bought a new attire which
he/she would want a record of to be included in his her album. It could be taken
anywhere; indoors outdoors, even in the water. The underlying point is that the person
who is to be photographed is fully aware. Hence the name AWARE
PHOTOGRAPHY.

The Semi-Aware Photograph

As the name implies, the person being photographed is not completely aware that the
photographer is taking the picture.

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 Where he or she is aware of the presence of the photographer, he or she does
not know when the photographer will take the picture. This kind of photograph could
also be arranged or planned for, but the underlying pint is that the person being
photographed does not know the actual moment when the camera will chick. This is
the kind of photograph that Dooshima took at the wedding in St. John’s Cathedral.

The Candid Photograph

To the photojournalist, the candid is the real thing. The person being photographed is
completely unaware. Because he or she does not know that the photographer is taking
the picture there is no pretence. The candid photograph is factual and tells the story as
it is, not as it ought to be. It therefore calls for speed, instinct, anticipation, ingenuity
and presence.
For the photojournalist to tell it in pictures, he has to be at the right place, at the
right time and more importantly in the right frame of mind. And in carrying out his
job of presenting the day’s news in pictorial form, he is expected “to perform
smoothly, mechanically on an evenly-oiled apparatus that looks, and records, and then
looks again, that continuous to function, unruffled, when the crowds stampede through
the photographer is expected to perform with unquestioning fidelity. Why? Because
it’s his job. And became his performance is evaluated, hundred percent, on that score.
“The communicator is the message”. This is so because the communicator
(photojournalist) manipulates the medium (camera) to bring out the message (picture)
in the most picturesque form. Principally, he does this by providing the news
photograph, the feature photography the photo sequence, and the photo essay.

Sources of pictures
No matter how large a news organization may be or how many photographers it may
have, it cannot produce the entire pictures it may need for all its publications or stories
all the time. This fact underscores the need for photo editors to have contacts of
extraneous sources of pictures for their stories. He should also know kinds of pictures
each of these sources can produce. Care should be taken when using pictures got from
organizations other than your own to avoid legal implications that might arise from

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using such pictures. One way out of this is to obtain pictures with well prepared legal
papers that take responsibility of illegal usage off your organization.
Also, stick to sources that are trusted over time, sources you are absolutely sure
would not breach professional regulations. Some of the picture sources include:
1. Freelance Photographers
Freelance photographers work on their own and take pictures based on
perceived marketability of those pictures. It helps to have a few of them on
contact for relevant pictures.
2. Chance Photographers
These are photo hobbyists who keep a camera handy everywhere they go.
Usually, they do not take pictures for pecuniary or commercial purposes but
would be glad to make some money or at least get some credit for some of
their pictures.
3. The Police
Pictures of some criminals or suspects are best obtained from the police.
Requests for such pictures may be granted if the credibility of your
organization is established and proper usage guaranteed.
4. The Internet
The Internet is the largest library on planet earth. It is also the best place for
collection of pictures and images. It is a reliable source of all types of pictures.
There are several useful websites or search engines that can provide thousands
of images or pictures on any subject matter.
Again, it must be noted that such materials should be used on permission or
with proper acknowledgement of the source.
5. Morgues
Morgues are places where old newspapers are kept in media houses and
elsewhere. Some well organized morgues have well arranged pictures,
sometimes electronic databases of pictures in past newspapers and magazines
issues.
6. Television

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 It is possible to make still pictures from video or telecasts. All you need is to
contact television stations for pictures that match your organization’s story. In
some cases, some photographers take pictures straight to their television
screens. Though such shots may not be very clear but are often better than
nothing.
7. CD ROMs
There abound compact disks containing hundreds of varied images on virtually
any subject. An example is Image Bank. One thing with such CDs however, is
that you may need permission to use them because they usually bear the
imprint of their producers.
8. Electronic Encyclopedias
A versatile electronic avenue such as Encarta is a micro Internet of its own. It
contains thousands of images and pictures of people and objects.
9. Non- Governmental Organizations
Depending on the degree of specialty of the required photograph or image,
your best bet might be an NGO with a focus on the subject of interest.
10. Books
Most modern books contain large amounts of pictures on their subjects of
interests. Such books are veritable picture sources for good feature stories.
11. Families and Associates of Newsmakers and Celebrities
Celebrities are regular news targets. It is difficult most of the times to get
photographs to accompany stories made on them. With already established
contact friends and relations of some celebrities may volunteer their pictures.
12. Public Relations, Advertising and Publicity Agencies
Very many public relations and advertising agencies use photographs and
other images in their campaigns and promotions. Such agencies form a reliable
source of photographs for certain stories.
13. News Agencies
News agencies at various levels like AFP, Reuters, NAN, AP, PANA and so
forth provide photographs on very current news around the world. Immediacy

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 is a strong factor here. You can get pictures of major events in several parts of
the world minutes after they take place on subscription.
14. Photo Agencies
There has been an upsurge in the number of photo agencies in Nigeria.
Although most of them are news based, photograph may be obtained from
them on enquiry.
15. Stringers
Stringers normally provide pictures to one source. Your organization may use
one or two stringers to complement the pictures provided by its staff.
16. Readers
Readers of newspapers and magazines can supply relevant photos as long as
you give them the by-line.

Functions of Pictures
Pictures are a vital part of both the print as well as the broadcast media today. A
photojournalist’s understanding on the essence of pictures in publications helps him in
approaching his shots with a better sense of responsibility and accountability. In print
media pictures:
 Tell a story
 Authenticate a story
 Provide aesthetics or dress a page
 Break monotony of gray matter
 Serve as fillers
 Attract readers to the newspaper
 Give newspapers motion and emotion

Camera Rehearsals.
This has to do with getting the camera ready for actual production. In order
words, the photographer should try a dry-run of camera operations to ascertain the
workability and smoothness of the camera mechanism. The following are a few things
to note:

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1. Check the battery level for appropriate strength of light rays. Have spare
batteries in case of disappointments.
2. Wind-on the rewind knob and fire shutter through the shutter release button.
3. Mount the flasher on its base and dick knob for flashes. If flashes or light rays
are not strong enough, replace old batteries with new ones or check bulb.
4. Clean and cleanse lens with appropriate wool or linen, using fluid.
5. Change and replace with types of lens if need be.
6. Load camera in the dark and destroy the first three shots during the dry-run
session.
7. Set the film-counter to zero before commencing camera operations.
8. Set the film-speed selector to the speed appropriate to film type to be used.
9. Check smoothness of mechanism. If unnecessarily stiff, go to a technician for
servicing.
10. Set the timer before finally engaging the camera for actual production. That is,
the shooting of real shots. Conclusively, this is not an exhaustive presentation
on all kinds of camera, but enough for the study of photojournalism at this
level. Knowing the different kinds of camera and their nature and
characteristics will immensely guide the choice of camera for professional and
non-professional uses.

Developing the Negative

Before going into the process of film development, it will be necessary to look
at the basic, sensitive materials and the structure of a photographic laboratory. This
will enable us to comprehend the actual method of film development and photo-
printing processes.
Basic Essential Materials
There are different kinds of sensitive materials used in photography. But we are
going to discuss the two major ones. These are the films and the bromides or printing
papers.
1. The Photographic Films: A film can be defined as a roll or strip of cellulose
acetate or cellulose intrate coated with a light sensitive emulsion for taking

25
 photographs. There are three main categories of films and these are:
Monochrome films, colour negative film and colour reversal films.
(a) Monochrome film: this is used in execution or reproduction of black-and-
white negatives from which unlimited prints can be made by contact or
enlargement.
(b) Colour Negative Film: This type of film is used in producing a negative in
complementary colours from which unlimited colour enlargements can be
reproduced.
(c) Colour Reversal Film: This is a film that produces positive transparencies
in colour. This can only be viewed by transmitted light or through a projector,
which could be a disadvantage. But the quality of the colour can be for more
superior to anything that is obtainable in a print which must be viewed by
reflected light.

Film sensitivity
The characteristics of films that concerns us most is sensitivity, popularly
referred to as speed. Some film emulsions are much more sensitive than others. And if
so one may ask why anybody uses the slower film rather than using the fastest for
everything.
The main reason is that slower films give better resolution as a rule. This is
why the resolving power of an emulsion is a measure of its ability to render fine
detail, and this should not be confused with sharpness. A negative can look sharp and
may not show so much detail as another. Sharpness is, therefore, identified by the
suddenness or otherwise of the transition between dark and light tones. The slower the
film, the better the resolution, other things being equal.
Another characteristics nature of sensitivity is graininess. A film properly
exposed and developed do not show grain except when subjected to a degree of
magnification.

Classification of Speed

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 There are many different methods of expressing a film sensitivity, but the three
main ones commonly used today are GOST, DIN AND ASA
The Gost system is used in Russia and other countries made up of the former
USSR. The DIIN system (Dentsche industries Norm) is used in Germany and some
European countries. The ASA system is used in Britain, America and most other
countries of the world. ASA is an acronym of the American standards Association,
which is in Uniform with the British standards association (BS) system. Nigeria uses
ASA graded films instead of DIN and GOST and that is why much importance is
attached to it in this work.
ASA speeds are arithmetical. So a film quoted as ASA 50 is half as sensitive as
one marked ASA 100 and must require twice the exposure. Therefore,
i. Slow-Speed Film: Monochrome films of lower sensitivity than 100 ASA are
classed as slow speed film.
ii. Medium – Speed films: While those between 100 and 300 are classified as
medium speed films, they are general-purpose films. They have good contrast,
good exposure latitude and excellent image quality.
iii. Fast Films – The range above 300 and up to 800 ASA are called fast films.
iv. Ultra fast or Supper-Speed Films – Anything above 800 ASA are classified
as ultra-fast, or supper-speed films.
The most popular films for general use are those between 100 and 200
ASA though they are called medium speeds films, they are more sensitive than
the very fastest ones a few decades ago. No matter the size and enlargement
they show very negligible grain when developed in a suitable developer. The
speed is sufficient and satisfying for ordinary use they give good gradation and
contrast.
2. Bromides
The bromides or printing paper is a paper on which photographs are printed.
For any paper to qualify for this purpose, that is a base for photographic
material it should be able to undergo liquid processing and washing without
dissolving.

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 Printing paper coated in rolls are normally cut into standard size before
packing. The most common formats are as stated below
9x14cm for past cards
20.3x25.4cm for fall plates
21x29.7cm (A4)
25.4 X 30.5CM
30.5 X 38.1CM
40 X 50CM

Handling of Printing Paper

Printing paper is packed in a wider variety of quantities than plates and films.
Apart from rolls for giant enlargements and bulk printing machines, paper in sheet
form is packed in packers of 10 and 25 sheets, and in boxes of 50, 100 and 250. When
packed, care is taken to be sure that the emulsion surfaces face the same way and a top
sheet facing the rest. It is also wrapped in a black moisture proof plastic bag. Light –
sensitive materials will quickly deteriorate if stored under humid hot, fume –laden
contaminated conditions. This is why condition of storage is more important than
length of storage.

Dark room layout.

A darkroom is a special room with no light or with a safelight for handling and
processing light sensitive photographic materials. As the definitions suggests a
darkroom for photographic processing must be planned to accommodate a maximum
number of people intended to work in it at a time. This is not enough without
considering the type of work to be carrying out there and the length of time such
work takes. This helps to determine the size of the darkroom. Ample space is allowed
to enable people move around without bumping into each other. The size of an
industrial darkroom cannot be the same with that of an individual photographic set up.
No matter who or what the darkroom is used for it must be essentially lightweight
without loss of ventilation or easy access with electricity and water supplies. Widows
can be given a light-trapped blackout, which still allows passage of air. No matter the

28
ventilation arrangement, an extraction fan is greatly desirable for regular use, mounted
in apertures high up on the wall or window blackout.
Dust control is necessary and important and this can be achieved by smooth
unobstructed walls and ceiling, sealed or tiled floor. There must be absence of
powdered chemicals or fluffing curtains and toweling.
Light toned decorations help to give even distribution of safe illumination.
The enlarger areas, ventilators and light-traps must remain matt black. The
interior working areas should be divided into “wet” and “dry” benches. The wet beach
is where energy processing is to be carried out, is a long flat bottomed sink in which
tanks or dishes can stand. Depending on the size of the darkroom, a 15cm to 23cm and
above deep sink is recommended for any kind of work in a photographic laboratory.
The dry bench should be made up of all accessories needed to dry up printed pictures
already processed.
The necessary gadgets and apparatus needed for photographic processing in a
darkroom shall be handled when the actual processing techniques are discussed.

How to process the film:

The process of film development is a very delicate one that requires diligence,
expertise and devoted interest with great care. For an effective and efficient work the
following apparatus are necessary:
i. a developing tank,
ii. an interval timer
iii. a developing reel
iv. a pair of scissors
v. a film cassette opener
vi. a thermometer
vii. chemical solution (developer fixer and stop bath).
Viii. Washing basin
All must be handy and complete if an effective job is to be carried out.

The Real Process

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 It is necessary and academic to follow the processing technique sequentially for
better comprehension. The first and foremost is to use the thermometer, and check the
temperature of developer, stop bath and fixer. If they fall below a recommended
standard by the manufacturers, adjust the temperature by running hot water over the
side of the container to increase the temperature. On the other hand, if the temperature
is too high, place the container in a tray of ice to achieve the required temperature.
Secondly, fill the developing tank with the developer solution and set the
interval time. In a completely dark apartment open the roll of film and remove the film
from the film cassette with the aid of the film opener.
In doing this make sure the film is handled by the edges only. This is because
touching the surface with fingers may leave oil or dirt on the surface of the sensitive
material; which can adversely affect development. Then act off the protruding end of
the film and then insert the squared off end of the film into the core of a film reel and
then tread the film into the reel. It is after these three stages that development can now
start.
With one hand, drop the loaded reel into the developer in the development tank
simultaneously, with the other hand, start the timer as soon as the reel touches the
bottom of the tank. Put light-tight cover on the developing tank and then turn on the
room-light.
Holding the tank so that it’s cover and central cap would not come off easily, agitate
the tank long enough to ensure that the developer solution constantly reaches all parts
of the emulsion.
About three seconds before development is completed; get very ready to empty
the developer from the tank. And when the development time is up, pour out the
developer from the tank into the container.

Fixing
After the developer has worked on the film, the film is placed in a stop bath or plain
water to remove traces of developer still adhering to the film. The fixer is in turn
introduced. Its introduction is meant to dissolve the unexpected and undeveloped
crystals from the film and the base of the film.

30
Generally, fixers contain an agent which neutralizes the alkalinity of the developer
and hardening agent which hardens the image and prevents it from damage until the
film dries.
When it is the right time to remove the film from the fixer pour back the fixer
into its contents. At this juncture, the film is no longer sensitive to light, since the
image has been fixed. Remove the film from the tank and examine a few frames. If
you are satisfied with development introduce water gently from the hose into the film
in a washing bay. Too much force of running water can damage the film’s sensitive
emulsion. Empty and refill water several times. A patient washing for thirty minutes is
ideal to prevent later deterioration of images.
Then, unwind the film from the reel and hang it up, preferably in a dust free
place with constant temperature during the drying period. One is two hours will
enough for a film to dry. A mechanical dryer reduces the drying period drastically.
When the film is surely dry, cut it into suitable or compatible lengths and fit into
protective sleeves. Even at this stage, avoids finger prints and scratches on the film by
holding the film by it’s edges.

Making Prints:
The photographic laboratory work or process is incomplete without printing the
pictures. This is another stage that needs care if all that is done should not be
destroyed. Imperfect printing could result in the waste of bromides and unacceptable
pictures.
The basic gadget in print making is the enlarger, which is made up of these
components.
1. The Head: Which holds the light bulbs or lamp
2. The condensers. Which are made up of two convex lenses arranged with the
convex sides facing each other. The main reason is to spread the rays of the
enlarge bulb evenly over the surface of the negative. In some other
arrangement, the enlarger can use translucent sheets to diffuse the light over the
surface of the negative.

31
3. The Negative Carrier: This excludes light from everywhere except through
negative. The negative is placed on it with its emulsion side facing down.
4. Bellows: They permit the distance between the negative and the lens, to be
varied, in order to focus the image sharply on e baseboard, which is a board
that carries the printing paper.
5. The lens: This is the most vital part of the enlarger. It is so importantly needed
in order to retain and maintain the precision with which the camera lens
recorded the image on the print.
6. Base Board: The base board is a flat piece of board on which the image
projected by the lens appears.
7. An Isle: The isle holds the photographic paper in position.
Other accessories needed in printing must include the photographic printing
paper and timer which turns the enlarger’s light on and off for a required length
of time.

The Printing Process

Printing for photojournalism aims at producing photographs which can be
made into metal engraving for the purpose of reproducing the photographs in
newspapers, magazines and other print media such as handbills, books and so on.
So, to make prints, select a negative clean off any dust on it and their place it
on a negative carrier in an enlarger. When properly placed and in correct position, turn
on the enlarger light. Adjust the size of the image as well as the focus using the lens of
the enlarger. While doing this set of timer for a three to five seconds test trial, and if
the test strip is satisfactory, proceed to make an exposure by passing the light from the
negative into the photographic paper on the isle. After exposure the paper is subjected
to almost the same treatment as was the case in the development of the film.

LAWS AND ETHICS OF PHOTOJOURNALISM

In spite of all the pretence to the contrary, the first freedom that is trampled upon once
a dictator of any kind takes over government is the freedom of the press. This is

32
because from time immemorial, the press and authority have always had a cat and
mouse relationship.
While authority tries to cover its misdeeds and bring them to public attention,
an action which authority everywhere. Considers inimical to its well being and
continued existence.

Libel and the photojournalist

Libel is a malicious defamation either by writing or printing or by signs, picture
effigies, or the like, tending to blacken the memory of one who is dead, or impeach
the honesty, virtue or reputation, or to publish the natural defects of one who is alive
and thereby expose him to public hatred, contempt, ridicule or obloquy or to cause
him to be shunned or avoided or to injure him in his office, business or occupation
(Macdougall, 1978:62).
If such picture can cause the person in it to be hated, shunned or avoided he/she
can sue for libel.
a. Communicated to a third party
b. People who read or saw the material would be able to identify the person.
c. It must injure someone’s reputation or income or cause the person mental
anguish.
d. The journalist or printer is at fault.

SEDTION
Once a seditions intention which is defined as an intention to “induce discontent and
insurrection and stir up opposition to the government, and bring the administration of
justice into contempt, thereby incite people to rebellion” has been established the truth
of what is written becomes totally irrelevant.

INVASION OF PRIVACY
This is yet another very serious legal control on the photojournalist. It has the
legal and ethical sides, legally, the media are accused of invasion of privacy if any of
the following happens.

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 - When they intrude on a person’s physical or mental solitude
- When they publish or disclose embarrassing personal facts.
- By giving publicity that places the in false light.
- By using someone’s name or likeness for commercial benefit. (Biagi,
1999:426)

Copy Right:
Oxford English dictionary, defines copyright as “the exclusive right given for a certain
term of years to an author, composer etc. (or his assignee) to print to print and sell
copies of his original work. In the case of photojournalism the law of copyright gives
the original owner of a photograph the right to control the use of his photograph by
another person or group without his consent.

ETHICS
This brings us to an important provision of ethics which says that ethical
decisions should be taken based on the concept of the golden rule ie. “Do unto others
as you will like them to do unto you”. In other words, the question to ask in making
ethical decisions should always be, if I am at the receiving end, would I like this done
to me? if your answer is ”yes”, it is ethically alright to act. If one the other hand your
answer is “No” you should take another hard and long look at your intended action, it
may be unethical.

References
Olusegun Ojomo, (2008) Introductory Photography and Photojournalism
Coronate Books Publishers
Lagos, Nigeria
Ciboh Roney, (2010) Advanced Photography
Unpublished Lecture Notes, Benue State University,
Makurdi

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