تويت
التصوير الفوتوغرافي الحديث
الصحافة المصورة ..
العمل على قصة الصورة ..
تسليم الطبعة النهائية ..
WORKING UP THE PICTURE STORY
Generally speaking , a picture story originates in the mind of some editor and it is worked up by the editorial staff if the story is to be used by a magazine . Picture stories used by industry are generally worked up by either the advertising agency , the advertising department or sales promotion department of the industrial organization involved . When the story has jelled to the point where specific plans can be made , the photographer may be consulted because his knowledge of photography can be useful . Quite often , however , the story is worked up without his participation and he is simply given the assignment . The degree to which he has the freedom to change or modify it depends upon his status as much as the self - assurance of the editorial staff .
The free - lance photojournalist may get a good idea on his own , work it up to the point where it can be discussed in detail , and then either proceed to take the pictures on his own or consult an editor or client who might be interested in buying it . He may then get a definite assignment to do the job , or he may be told that the editor or client is interested but is unwilling to make any commitment . The photographer can then drop the whole idea , look for another client or decide to take the pictures " on spec . " This means that he will speculate to the point of taking the pictures at his own expense on the chance that they will be accepted . If they are , he gets paid ; if they are not , he starts looking for another client or absorbs the cost as philosophically as he can .
Most picture stories are the result of team effort . The team usually consists of the photographer , the editor , the writer , the author , and finally the layout artist . All of these contribute in an important way to the picture story in its final form as it appears in print . Each member of the team is highly specialized in his particular field and no one man , no matter how brilliant , can expect to be competent in all these fields . We make this point because it is important for the would - be photojournalist to realize that even if he wishes to operate as a free - lance photographer , it is far wiser to consult the editor or possible purchaser of his picture story as a first step before investing a great deal of time , effort and money in shooting it .
A good lead - off shot for a picture essay on dairy farming .
Courtesy of Portland Cement Association .
When the outline or skeleton of the story has been drawn up , the next order of business is to work up a shooting script to go with it . The shooting script is a list of photographs to be made . It may be quite complete , down to the last detail , if the story is simple , and it is to be used for a very definite purpose , such as a sales brochure . More than likely , however , it will be only tentative and the photographer will be given some latitude so that he can exercise his imagination and initiative when it comes to the actual shooting of the pictures .
If he finds that the situation is not quite as anticipated or that it calls for a slightly different treatment , he can modify the shooting script if he thinks this will result in a better picture story . If the modification is rather extensive , it is almost invariably best to get in touch with the editor or client and discuss the new situation . The changes you have in mind may be fine from your point of view , but they may not work in well with the general purpose of the assignment or the way in which it will be used .
Science exhibits for the young and old afford endless opportunities for the observing photographer .
Courtesy of International Harvester Co.
In any event , whether you have a great deal of authority in modifying the shooting script , or whether you have none at all , you must still shoot plenty of pictures to make sure that the subject is covered properly . A picture story may contain anywhere from three to six pictures in its published form , but the photographer who made it may have had to make several hundred exposures . It is never possible to be sure , in advance , that any particular shot is exactly what is wanted , and the only way to make reasonably sure is to take a number of shots with different camera angles , different viewpoints , different expressions , and even different exposures .
There is also a large element of personal preference involved . What may seem to you to be a perfect picture may not seem so to the editor , and vice versa . Shoot enough so that you can give him a wide selection to choose from . This doesn't mean that you should shoot at random - bring to each shot the same effort and thought as if it were the only exposure . For all you know , it will be the one finally accepted , but more important than that is the effect random , careless shooting will have on you , yourself .
You learn a little bit more of your craft every time you make an exposure . If you give each exposure your full care and attention , you will develop your capabilities and your sensitivity to pictures a little bit more with each exposure . On the other hand , if you start shooting carelessly with only half your mind on your work because you think you have the job finished and are shooting only because the editor expects so many exposures , you develop the habit of being slovenly in your work . This results in working habits which are deadly to imaginative thinking and your work is bound to suffer .
The Story of Geography . The six men working on this huge map of the world convey the idea of its size and scale . Courtesy of International Harvester Co.
SUBMITTING THE FINAL PRINT
The photojournalist's job does not end with a batch of exposed films . There is a great deal of work to be done before the story appears in print , and the photographer has a continuing responsibility in much of this work .
The first step is processing the film . You can do this work yourself , you can have it done for you by a commercial processing laboratory , or you can send the exposed film to your picture editor for processing and finishing . Which of these three procedures you follow on any particular job depends entirely upon the circumstances connected with your work . Many free - lance photojournalists do all their own processing up to the point where they submit the finished prints of their choice . Some editors require contact sheets showing every exposure so that they can do the selecting . If the assignment is at a considerable distance from home , the free - lance photographer may prefer to send his film to a processing laboratory with whom he has an arrangement to do his processing and they can submit the contact sheets to the picture editor if desired . If the photojournalist is employed , the employer usually has a processing laboratory as part of the photographic operation , and in such cases , the final steps are taken without the photographer's direct participation . He may , or may not , be called into consultation when the prints are discussed and the final choice made as to which will be used in the published story .
الصحافة المصورة ..
العمل على قصة الصورة ..
تسليم الطبعة النهائية ..
WORKING UP THE PICTURE STORY
Generally speaking , a picture story originates in the mind of some editor and it is worked up by the editorial staff if the story is to be used by a magazine . Picture stories used by industry are generally worked up by either the advertising agency , the advertising department or sales promotion department of the industrial organization involved . When the story has jelled to the point where specific plans can be made , the photographer may be consulted because his knowledge of photography can be useful . Quite often , however , the story is worked up without his participation and he is simply given the assignment . The degree to which he has the freedom to change or modify it depends upon his status as much as the self - assurance of the editorial staff .
The free - lance photojournalist may get a good idea on his own , work it up to the point where it can be discussed in detail , and then either proceed to take the pictures on his own or consult an editor or client who might be interested in buying it . He may then get a definite assignment to do the job , or he may be told that the editor or client is interested but is unwilling to make any commitment . The photographer can then drop the whole idea , look for another client or decide to take the pictures " on spec . " This means that he will speculate to the point of taking the pictures at his own expense on the chance that they will be accepted . If they are , he gets paid ; if they are not , he starts looking for another client or absorbs the cost as philosophically as he can .
Most picture stories are the result of team effort . The team usually consists of the photographer , the editor , the writer , the author , and finally the layout artist . All of these contribute in an important way to the picture story in its final form as it appears in print . Each member of the team is highly specialized in his particular field and no one man , no matter how brilliant , can expect to be competent in all these fields . We make this point because it is important for the would - be photojournalist to realize that even if he wishes to operate as a free - lance photographer , it is far wiser to consult the editor or possible purchaser of his picture story as a first step before investing a great deal of time , effort and money in shooting it .
A good lead - off shot for a picture essay on dairy farming .
Courtesy of Portland Cement Association .
When the outline or skeleton of the story has been drawn up , the next order of business is to work up a shooting script to go with it . The shooting script is a list of photographs to be made . It may be quite complete , down to the last detail , if the story is simple , and it is to be used for a very definite purpose , such as a sales brochure . More than likely , however , it will be only tentative and the photographer will be given some latitude so that he can exercise his imagination and initiative when it comes to the actual shooting of the pictures .
If he finds that the situation is not quite as anticipated or that it calls for a slightly different treatment , he can modify the shooting script if he thinks this will result in a better picture story . If the modification is rather extensive , it is almost invariably best to get in touch with the editor or client and discuss the new situation . The changes you have in mind may be fine from your point of view , but they may not work in well with the general purpose of the assignment or the way in which it will be used .
Science exhibits for the young and old afford endless opportunities for the observing photographer .
Courtesy of International Harvester Co.
In any event , whether you have a great deal of authority in modifying the shooting script , or whether you have none at all , you must still shoot plenty of pictures to make sure that the subject is covered properly . A picture story may contain anywhere from three to six pictures in its published form , but the photographer who made it may have had to make several hundred exposures . It is never possible to be sure , in advance , that any particular shot is exactly what is wanted , and the only way to make reasonably sure is to take a number of shots with different camera angles , different viewpoints , different expressions , and even different exposures .
There is also a large element of personal preference involved . What may seem to you to be a perfect picture may not seem so to the editor , and vice versa . Shoot enough so that you can give him a wide selection to choose from . This doesn't mean that you should shoot at random - bring to each shot the same effort and thought as if it were the only exposure . For all you know , it will be the one finally accepted , but more important than that is the effect random , careless shooting will have on you , yourself .
You learn a little bit more of your craft every time you make an exposure . If you give each exposure your full care and attention , you will develop your capabilities and your sensitivity to pictures a little bit more with each exposure . On the other hand , if you start shooting carelessly with only half your mind on your work because you think you have the job finished and are shooting only because the editor expects so many exposures , you develop the habit of being slovenly in your work . This results in working habits which are deadly to imaginative thinking and your work is bound to suffer .
The Story of Geography . The six men working on this huge map of the world convey the idea of its size and scale . Courtesy of International Harvester Co.
SUBMITTING THE FINAL PRINT
The photojournalist's job does not end with a batch of exposed films . There is a great deal of work to be done before the story appears in print , and the photographer has a continuing responsibility in much of this work .
The first step is processing the film . You can do this work yourself , you can have it done for you by a commercial processing laboratory , or you can send the exposed film to your picture editor for processing and finishing . Which of these three procedures you follow on any particular job depends entirely upon the circumstances connected with your work . Many free - lance photojournalists do all their own processing up to the point where they submit the finished prints of their choice . Some editors require contact sheets showing every exposure so that they can do the selecting . If the assignment is at a considerable distance from home , the free - lance photographer may prefer to send his film to a processing laboratory with whom he has an arrangement to do his processing and they can submit the contact sheets to the picture editor if desired . If the photojournalist is employed , the employer usually has a processing laboratory as part of the photographic operation , and in such cases , the final steps are taken without the photographer's direct participation . He may , or may not , be called into consultation when the prints are discussed and the final choice made as to which will be used in the published story .
تعليق