تويت
التصوير الفوتوغرافي الحديث
التصوير الصحفي
نصائح لصور أفضل
TIPS FOR BETTER PICTURES
KNOW YOUR SUBJECT . Other things being equal , the photographer who knows his subject best will be the one to produce the best pictures . As a news photographer , therefore , it is important that you keep up with current events . Read the daily papers and the big news weeklies from beginning to end . Don't just concentrate on the things that interest you personally - be well informed on everything in the news . You never know when that knowledge will help you .
More specifically , when you go out on an assignment , get as many facts about the assignment as you possibly can in the time you have . If the event you are asked to cover won't break immediately and you have a little time for research , use it to maximum advantage . When you get on the spot for the actual . shooting , you will have a much better idea of what to shoot and how to shoot it .
GET TO YOUR ASSIGNMENT EARLY . This will give you time to look around for the best spot to place yourself to study the layout where the action will take place , to look for best camera angles and best composition . An important event is usually covered by quite a number of news photographers and sometimes a particularly advantageous location isn't big enough to hold more than one photographer . If you get there first , the position is yours .
The " what is it " type of picture attracts attention because of its novelty . However , to be a success the novelty must be backed by real substance - the technical qual ity of the picture must be interesting . Otherwise it isn't a good picture , it's just another gimmick .
Courtesy of Goodyear Aerospace Corp.
GET ACQUAINTED WITH THE PEOPLE . On the scene of your assignment , make friends with as many people as you can . You never know when one of them will come up with some interesting information that will give you the edge on your competition . People will often ask you for prints , particularly if they appear in your pictures . If your situation is such that you can get them prints , there is no reason why you cannot accede to their request . However , do not promise prints if you cannot deliver on your promises . A broken promise made by a representative of a newspaper will react against the paper itself and it may , if people complain to your editor , hurt your own reputation .
SHOOT THE PICTURES REQUESTED FIRST . On any assignment with a lot of picture possibilities , first shoot the pictures your editor wants or has asked for . Then if you have time , take pictures which you yourself think are worth taking . If the editor prefers your pictures to his , all the better . This advice may seem elementary , but it is not always heeded . One of the best know photojournalists living today was sent out on a picture taking assignment as a young man when he was breaking into press photography . The assignment was a very simple one - to photograph an important wedding . When he got there , he was so intrigued by the number of celebrities and by the many picture opportunities that he exposed roll after roll . He came back with a large number of very good pictures , but when the editor asked for a picture of the couple who were being married , he didn't have it . He was so interested in shooting the personalities at the wedding that he never did get around to taking the picture he was assigned to get . He was promptly fired .
When you send in exposed films for processing , be sure they are properly identified . Title , number or otherwise , should identify each roll of film . An indelible marking pen of the type which uses a felt tip can be used to write on the roll of film or the metal cartridge in the case of 35mm film . If the exposures were such that special processing is required , be sure to include a note explaining what you want . For example , if the film was exposed under very poor available light and you up - rated the film one or two stops , be sure your instructions cover this point in whatever detail may be required for the processor to get the best possible negatives under the circumstances .
If the processing laboratory is to do the printing as well and you have some mood shots , be sure to identify them and give specific instructions on what you want . For example , you may have a scene in which a young couple is sitting on a bench outlined against the sky dusk , and you want a very low key picture so that they merely serve as atmosphere for the unusual sunset . Unless the printer knows what you had in mind , he will make a light print to get as much detail as . possible in the underexposed figures of the young couple . As a result , the dramatic sky will be almost pure white and the foreground may be full of trash and other unwanted odds and ends which you didn't bother to get out of the way because you knew they would disappear in a low key print . With the right printing , you would have a very effective mood shot - with the wrong printing , you would have nothing at all .
Let us assume that you do your own processing . When the exposed film is processed and cut up into strips for printing , the next step is the making of contact sheets so that you can examine every exposure carefully . We have covered in some detail the subject of contact sheets - how to make them and how to use them effectively - in earlier Assignments , and we presume that you have been using them right along so that no further explanation is needed at this time .
If your editor or client wants to see every exposure and make up his own mind as to what prints should be made and how they should be cropped , this about ends your part of the job , unless he calls you in for consultation or you want to hand them in personally and discuss them at the same time . If , as is often the case for a free - lance photographer , you want to submit only the best of your exposures in a manner which will show them up to best advantage , your next job is to examine these copy sheets carefully . If you use a 35mm camera , it is generally best to use a magnifier to study detail , facial expressions and delicate tone gradations where such matters are important . With a 2 % x 2 % negative , the use of a magnifier is optional . Some photographers have unusually keen vision and they can get along with it , it is still . idea to have one where critical examination is required .
The Sky Diver . A fish - eye lens was used here because the extremely cramped quarters in the small plane made such a wide angle lens necessary . Its peculiar type of distortion , however , resulted in a very unusual series of pictures from the top view of the ground below to the bottom view of the sky diver falling free . The front picture of this Assignment showing the parachute open is really the final picture of this story and was taken with a normal lens .
Use grease pencil to check off the exposures you intend to print . After the preliminary selection , determine the cropping , using a pair of small L's for the purpose . Try to get an assortment of verticals and horizontals so that the editor will have enough variety to make a good layout . Be on the lookout for an unusually good picture to serve as the lead picture of the story . Also check off any pictures which seem to be unusually good . These pictures should be given special care in printing .
Some photographers make it a practice to make 11 x 14 prints of the pick of the crop so they stand out from the others , which are made on the standard 8 x 10 size . These larger prints should be given the deluxe treatment so that print exposure is exactly right to give just the desired effect , and printing control is exercised to show the full capabilities of the picture to best advantage . Even if the editor doesn't agree with your choice , the larger and more expertly printed pictures will have much stronger impact and will , whether he realizes it or not , influence his opinion , not only with regard to the particular prints you have selected , but to your ability as a photographer .
Another trick you may follow where portraits are involved is to submit an enlarged proof sheet rather than a contact one and make it on 11 x 14 paper . Portraits generally look better on a warm toned portrait paper , and the larger size of the individual prints adds impact . One smart photographer tried this idea once and it proved so successful that he adopted it as standard procedure for his better paying jobs .
When the editor or client makes his final choice and the exact cropping is decided on , a full set of quality prints is then made . Generally , this ends the job as far as the photographer is concerned . He may be called in for consultation in the discussion of the layout , the working up of the copy , and any of the details that must be taken care of , but such consultations are not at all common ..
POSE YOUR SUBJECTS REALISTICALLY . When you pose someone for your picture , be sure the pose is a reasonable and realistic one . A little fudging may sometimes be necessary , but don't overdo it . For example , when two people are facing each other and are obstensibly engaged in a conversation , you can ask them to turn their heads a little towards the camera so they are not actually looking at each other . This is hardly noticeable and yet it does show more of the faces and results in a better picture . However , if the faces are turned so far toward the camera that they are no longer looking at each other , the effect is spoiled . Any bit . of action that is obviously faked and untrue will be noticed by some reader and there is always a good chance that somebody will write to the editor to show his vigilance if nothing else . This type of letter certainly won't do you any good .
BE PREPARED FOR EQUIPMENT FAILURE . A press photographer's equipment is given hard usage and failures are not too uncommon . Be sure that no failure will ever prevent you from getting a picture . Carry a spare camera when you can , or repair tools and replacement parts if it isn't practical to carry a spare camera . One of the advantages of a 35mm camera is that an extra camera body or a complete camera takes up relatively little room and can be carried as a spare .
FINAL TIPS . When shooting with a 35mm camera , fill the frame with the picture . The small negative is at a distinct disadvantage because it requires a high degree of enlargement and you add insult injury using only a part of that small negative . The need for filling the entire picture area is particularly important when lighting is poor , and getting a good print is difficult enough even when the full negative is used .
Finally , don't quit picture taking too soon . Try for just one more shot or ask for just one more pose . You never know when that last shot turns out to be the best of them all . This has happened so many times that it is a conversation piece when press photographers and photojournalists get together and reminisce about old times .
التصوير الصحفي
نصائح لصور أفضل
TIPS FOR BETTER PICTURES
KNOW YOUR SUBJECT . Other things being equal , the photographer who knows his subject best will be the one to produce the best pictures . As a news photographer , therefore , it is important that you keep up with current events . Read the daily papers and the big news weeklies from beginning to end . Don't just concentrate on the things that interest you personally - be well informed on everything in the news . You never know when that knowledge will help you .
More specifically , when you go out on an assignment , get as many facts about the assignment as you possibly can in the time you have . If the event you are asked to cover won't break immediately and you have a little time for research , use it to maximum advantage . When you get on the spot for the actual . shooting , you will have a much better idea of what to shoot and how to shoot it .
GET TO YOUR ASSIGNMENT EARLY . This will give you time to look around for the best spot to place yourself to study the layout where the action will take place , to look for best camera angles and best composition . An important event is usually covered by quite a number of news photographers and sometimes a particularly advantageous location isn't big enough to hold more than one photographer . If you get there first , the position is yours .
The " what is it " type of picture attracts attention because of its novelty . However , to be a success the novelty must be backed by real substance - the technical qual ity of the picture must be interesting . Otherwise it isn't a good picture , it's just another gimmick .
Courtesy of Goodyear Aerospace Corp.
GET ACQUAINTED WITH THE PEOPLE . On the scene of your assignment , make friends with as many people as you can . You never know when one of them will come up with some interesting information that will give you the edge on your competition . People will often ask you for prints , particularly if they appear in your pictures . If your situation is such that you can get them prints , there is no reason why you cannot accede to their request . However , do not promise prints if you cannot deliver on your promises . A broken promise made by a representative of a newspaper will react against the paper itself and it may , if people complain to your editor , hurt your own reputation .
SHOOT THE PICTURES REQUESTED FIRST . On any assignment with a lot of picture possibilities , first shoot the pictures your editor wants or has asked for . Then if you have time , take pictures which you yourself think are worth taking . If the editor prefers your pictures to his , all the better . This advice may seem elementary , but it is not always heeded . One of the best know photojournalists living today was sent out on a picture taking assignment as a young man when he was breaking into press photography . The assignment was a very simple one - to photograph an important wedding . When he got there , he was so intrigued by the number of celebrities and by the many picture opportunities that he exposed roll after roll . He came back with a large number of very good pictures , but when the editor asked for a picture of the couple who were being married , he didn't have it . He was so interested in shooting the personalities at the wedding that he never did get around to taking the picture he was assigned to get . He was promptly fired .
When you send in exposed films for processing , be sure they are properly identified . Title , number or otherwise , should identify each roll of film . An indelible marking pen of the type which uses a felt tip can be used to write on the roll of film or the metal cartridge in the case of 35mm film . If the exposures were such that special processing is required , be sure to include a note explaining what you want . For example , if the film was exposed under very poor available light and you up - rated the film one or two stops , be sure your instructions cover this point in whatever detail may be required for the processor to get the best possible negatives under the circumstances .
If the processing laboratory is to do the printing as well and you have some mood shots , be sure to identify them and give specific instructions on what you want . For example , you may have a scene in which a young couple is sitting on a bench outlined against the sky dusk , and you want a very low key picture so that they merely serve as atmosphere for the unusual sunset . Unless the printer knows what you had in mind , he will make a light print to get as much detail as . possible in the underexposed figures of the young couple . As a result , the dramatic sky will be almost pure white and the foreground may be full of trash and other unwanted odds and ends which you didn't bother to get out of the way because you knew they would disappear in a low key print . With the right printing , you would have a very effective mood shot - with the wrong printing , you would have nothing at all .
Let us assume that you do your own processing . When the exposed film is processed and cut up into strips for printing , the next step is the making of contact sheets so that you can examine every exposure carefully . We have covered in some detail the subject of contact sheets - how to make them and how to use them effectively - in earlier Assignments , and we presume that you have been using them right along so that no further explanation is needed at this time .
If your editor or client wants to see every exposure and make up his own mind as to what prints should be made and how they should be cropped , this about ends your part of the job , unless he calls you in for consultation or you want to hand them in personally and discuss them at the same time . If , as is often the case for a free - lance photographer , you want to submit only the best of your exposures in a manner which will show them up to best advantage , your next job is to examine these copy sheets carefully . If you use a 35mm camera , it is generally best to use a magnifier to study detail , facial expressions and delicate tone gradations where such matters are important . With a 2 % x 2 % negative , the use of a magnifier is optional . Some photographers have unusually keen vision and they can get along with it , it is still . idea to have one where critical examination is required .
The Sky Diver . A fish - eye lens was used here because the extremely cramped quarters in the small plane made such a wide angle lens necessary . Its peculiar type of distortion , however , resulted in a very unusual series of pictures from the top view of the ground below to the bottom view of the sky diver falling free . The front picture of this Assignment showing the parachute open is really the final picture of this story and was taken with a normal lens .
Use grease pencil to check off the exposures you intend to print . After the preliminary selection , determine the cropping , using a pair of small L's for the purpose . Try to get an assortment of verticals and horizontals so that the editor will have enough variety to make a good layout . Be on the lookout for an unusually good picture to serve as the lead picture of the story . Also check off any pictures which seem to be unusually good . These pictures should be given special care in printing .
Some photographers make it a practice to make 11 x 14 prints of the pick of the crop so they stand out from the others , which are made on the standard 8 x 10 size . These larger prints should be given the deluxe treatment so that print exposure is exactly right to give just the desired effect , and printing control is exercised to show the full capabilities of the picture to best advantage . Even if the editor doesn't agree with your choice , the larger and more expertly printed pictures will have much stronger impact and will , whether he realizes it or not , influence his opinion , not only with regard to the particular prints you have selected , but to your ability as a photographer .
Another trick you may follow where portraits are involved is to submit an enlarged proof sheet rather than a contact one and make it on 11 x 14 paper . Portraits generally look better on a warm toned portrait paper , and the larger size of the individual prints adds impact . One smart photographer tried this idea once and it proved so successful that he adopted it as standard procedure for his better paying jobs .
When the editor or client makes his final choice and the exact cropping is decided on , a full set of quality prints is then made . Generally , this ends the job as far as the photographer is concerned . He may be called in for consultation in the discussion of the layout , the working up of the copy , and any of the details that must be taken care of , but such consultations are not at all common ..
POSE YOUR SUBJECTS REALISTICALLY . When you pose someone for your picture , be sure the pose is a reasonable and realistic one . A little fudging may sometimes be necessary , but don't overdo it . For example , when two people are facing each other and are obstensibly engaged in a conversation , you can ask them to turn their heads a little towards the camera so they are not actually looking at each other . This is hardly noticeable and yet it does show more of the faces and results in a better picture . However , if the faces are turned so far toward the camera that they are no longer looking at each other , the effect is spoiled . Any bit . of action that is obviously faked and untrue will be noticed by some reader and there is always a good chance that somebody will write to the editor to show his vigilance if nothing else . This type of letter certainly won't do you any good .
BE PREPARED FOR EQUIPMENT FAILURE . A press photographer's equipment is given hard usage and failures are not too uncommon . Be sure that no failure will ever prevent you from getting a picture . Carry a spare camera when you can , or repair tools and replacement parts if it isn't practical to carry a spare camera . One of the advantages of a 35mm camera is that an extra camera body or a complete camera takes up relatively little room and can be carried as a spare .
FINAL TIPS . When shooting with a 35mm camera , fill the frame with the picture . The small negative is at a distinct disadvantage because it requires a high degree of enlargement and you add insult injury using only a part of that small negative . The need for filling the entire picture area is particularly important when lighting is poor , and getting a good print is difficult enough even when the full negative is used .
Finally , don't quit picture taking too soon . Try for just one more shot or ask for just one more pose . You never know when that last shot turns out to be the best of them all . This has happened so many times that it is a conversation piece when press photographers and photojournalists get together and reminisce about old times .
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