Communicating Through Photographs: a Guide for Public Relations Professionals

Total Page:16

File Type:pdf, Size:1020Kb

Communicating Through Photographs: a Guide for Public Relations Professionals Rowan University Rowan Digital Works Theses and Dissertations 6-24-1999 Communicating through photographs: a guide for public relations professionals Carol Ann DeSimine Rowan University Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Public Relations and Advertising Commons Recommended Citation DeSimine, Carol Ann, "Communicating through photographs: a guide for public relations professionals" (1999). Theses and Dissertations. 1790. https://rdw.rowan.edu/etd/1790 This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. COMMUNICATING THROUGH PHOTOGRAPHS: A GUIDE FOR PUBLIC RELATIONS PROFESSIONALS by Carol Ann DeSimine A Thesis Submitted in partial fulfillment of the requirements of the Master of Arts Degree of The Graduate School at Rowan University June 1999 Approved by Prof DateApProfessor Date Approved y O1 (fl IC? ABSTRACT Carol Ann DeSimine Communicating Through Photographs: A Guide for Public Relations Professionals. 1999. Advisor: Dr. Donald Bagin. Seminar in Public Relations, Graduate Division of Rowan University. The purpose of preparing this guide was to create a resource for public relations professionals to refer to when faced with the task of placing photographs in publications. The assumption is that most public relations professionals are not trained to think visually, partly because their education is focused on writing and virtually ignores aesthetics. Since readership surveys find that people prefer photographs over the written word, and that pictures capture attention quicker than headlines, it is essential that public relations people know how to use visuals to enhance a message. The primary research methods of this study were examination of literature appropriate to the photographic and publishing processes, interviews with experts in the field, and an investigation of electronic resources. The conclusions drawn provide the reader with limited basics of photography, such as how to plan a shoot, how to take a picture and how to submit a photo to the printer. Primarily, this guide is intended to teach public relations professionals how to increase the effectiveness of their publications through the use of important photographic elements such as composition, content and placement. MINI-ABSTRACT Carol Ann DeSimine Communicating Through Photographs: A Guide for Public Relations Professionals. 1999. Advisor: Dr. Donald Bagin. Seminar in Public Relations, Graduate Division of Rowan University. This guide is intended to teach public relations professionals how to increase the effectiveness of publications through the use of photographs. It addresses three areas: the basics of photography, the role photographic elements play in enhancing a layout, and the rising concerns presented with the advent of rapidly changing technologies. ACKNOWLEDGMENTS Special thanks to my partner, Richard, for giving me his love, encouragement and support, not only during this project but every day. Thanks, too, to my parents, Sam and Grace DeSimine, for teaching me to be my own person, and for always being there, even when I didn't realize that having someone "there" was so important. ii TABLE OF CONTENTS CH APTER I: IN TR O D U C TIO N .............................................................................. 1 N eed ............................................................................................................................ 2 Purpose...................................................................... ............................................. .3 Im portance ..................................................................................................................... 3 G lossary of Term s .......................................................................................................... 4 Lim itations ........................................ .......................................... ............................... 5 Plan of Study ....................................... ......................................................... ........ ..... 6 CHAPTER II: RELATED LITERATURE...............................................................8 Libraries ............................................................................................. 8 Other Sources ................................................................................................................ 9 Selected M aterial ......................................................................................................... 10 Related Research for Section 1: Photographic Technique ........................................... 10 Evaluating Technical Quality ..................................................................... 11 Com position ......................................................................... .. ............... 12 Taking the Picture ........................................................................... ......... ...12 Lighting ........................................................................................................ .13 Variation Through the Lens ........................................................................ 14 Related Research for Section 2: Using Photographs in Publications .......................... 15 D eterm ining the M essage ........................................ ......... ....... ...... 16 W orking W ith a Photographer ......................................................................... 16 Photo Selection ...................................... ... ........... .... .... 17 The Psychology of Perception ......................................................................... 17 Layout ........................................ .......... ........ .... .............................18 Black & White or Color? .................................................... ...... .19 iii Cropping .......................................................................................................... 21 Portraits ........................................ ................................................. 22 The M ulti-Photo Series ................................................................................. 24 Caption or Cutline? ................................................... ............... ................ 26 Related Research for Section 3: Emerging Technologies............................................28 D esktop Publishing ............................................................. .................. .29 Equipm ent ........................................................................... .......................... 29 Stock Photography ........................................................ ........... ••••........ 30 W orking W ith a Printer.............................................................................. 30 Ethics.............................................................................................................31 Sum m ary ...................................................................................................................... 33 CH A PTER III: PR O CED U RES ............................................................................. 34 Electronic Research......................................................................................................34 Literature ................................................................................................... ... 35 Interview s.....................................................................................................................36 A pplication...................................................................................................................36 C HA PTER IV : TH E G U ID E .................................................................................... 37 Introduction......................................... ................................................................ 37 Section 1: Photographic Technique ............................................................................. 38 Evaluating Technical Quality ........................................................................ 38 Com position ............................................ .................................................... 40 Taking the Picture ............................................................................................ 42 Lighting ........................................................... ..................... ..... .............. 44 V ariation Through the Lens ............................................................................. 46 iv Section 2: Using Photographs in Publications ......................................................... 47 Determ ining the M essage .................................................................. 47 W orking W ith a Photographer ...................................................................... 48 Photo Selection .............................................................. ................... 49 The Psychology of Perception ................................................................ 50 Layout .............................................................................................................. 52 Color vs. B lack & W hite................................................. ... .................. 53 Cropping ......................................................................
Recommended publications
  • Film Camera That Is Recommended by Photographers
    Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to.
    [Show full text]
  • Photography and Cinema
    Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion.
    [Show full text]
  • FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide
    FILM FORMATS ------------------------------------------------------------------------------------------------------------ 8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: regular or standard 8 mm and Super 8. There are also two other varieties of Super 8 which require different cameras but which produce a final film with the same dimensions. ------------------------------------------------------------------------------------------------------------ Standard 8 The standard 8 mm film format was developed by the Eastman Kodak company during the Great Depression and released on the market in 1932 to create a home movie format less expensive than 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film, which is only exposed along half of its width. When the film reaches its end in the takeup spool, the camera is opened and the spools in the camera are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is exposed along the side of the film left unexposed on the first loading. During processing, the film is split down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge, so fitting four times as many frames in the same amount of 16 mm film. Because the spool was reversed after filming on one side to allow filming on the other side the format was sometime called Double 8. The framesize of 8 mm is 4,8 x 3,5 mm and 1 m film contains 264 pictures.
    [Show full text]
  • These Works Reflect on the Stock Photography Company Getty's Dominance in the Market, Capitalization, and Control of Images On
    PRESS RELEASE Berlin, September 10, 2019. Property Artwork by Paolo Cirio. These works reflect on the stock photography company Getty’s dominance in the market, capitalization, and control of images on the Internet. The series adopts the semantics of appropriation art through transforming images into compositions of colored shapes and texts, which overlay with the prints of the original photos appropriated from Getty’s websites. Property examines images as a form of capital accumulation, bound by intellectual property laws, trade agreements, legal contracts, and litigations. Getty aggregates images from public archives, agencies, and photographers; then it repackages them with legal terms to exclusively license and sell millions of photos. Images become an asset and a revenue stream, with Getty Inc becoming a monopoly and a gatekeeper of photos (see gettyimages.com, photos.com, images.com, etc). To dominate the economy of images at a time in which the Internet allows easy reproduction and sharing, Getty Images Inc aggressively controls and polices the use of photos through extensive legal threats and litigations. While limiting access, Getty Images Inc, acquires archives and collections by any means and strikes agreements with search engines and publishers to lure viewers to their sites. These often deceptive and aggressive business practices are necessary for Getty to gain control over the market of photos. With the series Property, White House, Cirio found historical photographs of U.S. presidents in the public domain that Getty Images Inc. licenses and sells on their platform. This series questions the use, trading, and ownership of photo archives through utilizing direct evidence of Getty’s deceptive marketing of public domain images.
    [Show full text]
  • The Stock Photography As a Part of Cultural and Creative Industries of the Digital Age
    THE STOCK PHOTOGRAPHY AS A PART OF CULTURAL AND CREATIVE INDUSTRIES OF THE DIGITAL AGE Zorislav KALAZIĆ , M.Sc. Ph.D.Student, Faculty of Economics in Osijek, Croatia [email protected] Jasna HORVAT , Ph.D. Faculty of Economics in Osijek, Croatia [email protected] Josipa MIJOČ , Ph.D. Faculty of Economics in Osijek, Croatia [email protected] Abstract Photography of the digital age has lost the properties of a physically tangible product and has become intellectual property. Simultaneously with this process, the process of transition of photography into a mass-produced good has taken place. Market demands towards photography as a product of mass consumption often reduce the aesthetic and artistic standards that have been set by its develop- ment period in the process of photography coming to life as a medium. Despite the negative eff ects that accompany the transition of photography in its process of transformation into a mass-produced good, even such photographic “products” are able to encourage to a particular activity and ultimately generate revenue for numerous industries standing in the background of the “photography-product”. Production and distribution of stock photographs 1 is one of the derivates of the 1 Stock photography derives from the word „stock“ and implies the sale/rent of an already existing pho- tograph, which was not taken according to the customer’s order. On the other hand, the use of stock INTERDISCIPLINARY MANAGEMENT RESEARCH XI 189 digital age in which business in the domain of production of photographs is ex- panded to their distribution to users of websites and/or digital communication channels.
    [Show full text]
  • Getting Started in Stock Photography
    A Quick Guide To Getting Started In Stock Photography A Special Report By From Matt Brading CEO/Founder OzImages International Pty Ltd Stock Library & Freelance Photographer Search This is a free ebook! You are encouraged to give it away or sell it in any way you see fit but you may not change any of the contents in any way. This ebook is copyright protected. The ebook is Copyright © Matt Brading. This ebook is supplied for information purposes only and the material herein does not constitute professional advice. This ebook is designed to provide accurate and authoritative information with regard to the subject matter covered. It is distributed with the understanding that the publisher and the contributors are not engaged in rendering legal, accounting, or other professional advice. If legal advice or other professional assistance is required, the services of a competent professional should be sought. The reader is advised to consult with an appropriately qualified professional before making any business decision. Matt Brading and any additional contributors do not accept any responsibility for any liabilities resulting from the business decisions made by purchasers of this book. *EARNINGS DISCLAIMER: Results are not typical. Your results may vary. We make no claim whatsoever that you will earn any income using this ebook or any strategies or techniques outlined within. Where specific figures are quoted from individuals, they are simply examples of what is possible and there is no assurance you will do as well. Introduction: Thanks for downloading this report. I'll keep it short-and-sweet because all the best photographers I've encountered over the years are always extremely busy and they just aren't interested in 'fluff' .
    [Show full text]
  • Intro History Precursors Cinematograph Y Camera
    Intro History Precursors Cinematograph Color y Digital Cinematography Image Sensor + Film Stock Camera Movement Introduction: - The science or art of motion-picture photography. By recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensi tive material such as film stock. a lens is used to repeatedly focus the light reflected from objects into real images on the light-sensitive surface inside a camera during a questioned exposure, creating multiple images. - History: In the infancy of motion pictures, the cinematographer was usually also the director and the person physically handling the camera. As the art form and technology evolved, a separation between director and camera operator began to emerge. With the advent of artificial lighting and faster (more light sensitive) film stocks, in addition to technological advancements in optics, the technical aspects of cinematography necessitated a specialist in that area. Precursors: 1830’s: Moving images were produced on revolving drums and disks. - 1840’s: - Francis Ronalds Inventor of the first successful camera able to make continuous recordings of the varying indications of meteorological and geomagnetic instruments over time. The cameras were supplied to numerous observatories around the world and some remained in use until well into the 20th century. 1860’s: - William Lincoln patented a device, that showed animated pictures called the "wheel of life" or "zoopraxiscope". In it, moving drawings or photographs were watched through a slit. “Sallie Gardner at a Gallop" by Eadweard Muybridge: - 1878 Eadweard Muybridge successfully photographed a horse named "Sallie Gardner" in fast motion using a series of 24 stereoscopic cameras.
    [Show full text]
  • April 29–May 1 Dryden Theatre
    DRYDEN THEATRE APRIL 29–MAY 1 2016 DEDICATION The 2nd Nitrate Picture Show Festival of Film Conservation Dryden Theatre April 29–May 1, 2016 2 decades. 226 students. 28 countries. Honorary President Kevin Brownlow Celebrating 20 years and a lasting Museum Director Bruce Barnes impact throughout the world. Festival Director Paolo Cherchi Usai Executive Director Jared Case Technical Director Deborah Stoiber “The only way to learn how to be an archivist is to get your hands dirty working in an archive. The Selznick School afforded me the opportunity Curator of Film Exhibitions Jurij Meden to dive into my work, to absorb the knowledge of my teachers and to Special Events Director Allen Buell learn how to do things for myself. It taught me how to troubleshoot in Registration Coordinator Caroline Yeager a field where problems are a dime a dozen. I’m not sure if I would be Hospitality Coordinator Daniela Currò ready, willing, or able to handle my position today had I not attended Student Coordinator Jeff Stoiber the Selznick School.” Nitrate Projection Manager Ben Tucker — Andrew Lampert, archivist, Anthology Film Archives Nitrate Projection Specialist Spencer Christiano Class of 2003 Designer Amy Schelemanow Catalogue Editor Ryan Conrath “The Selznick School is like a good wine: It’s getting better and better Copy Editor Molly Tarbell with time (and with no vinegar syndrome!). I belong to the first class Assistant Designer Amy Slentz of students who completed this program in a new millennium. Saving Public Relations Manager Kellie Fraver our moving image heritage for the future generations is a deeply Dryden Theatre Manager Malin Kan important task.
    [Show full text]
  • Digital Photography II (Elective)
    Course Scope & Sequence TCH032: Digital Photography II (Elective) Course Overview | Course Length | Materials | Prerequisites | Course Outline COURSE OVERVIEW In today’s world, photographs are all around us, including in advertisements, on websites, and on the wall as art. Many of the images have been created by professional photographers. In this course, students learn about various aspects of professional photography, including the ethics of the profession, and examine some of the areas that professional photographers may choose to specialize in, such as wedding photography and product photography. Students also learn about some of the most respected professional photographers in history and how to critique photographs to better understand what creates an eye-catching photograph. COURSE LENGTH One semester MATERIALS Digital camera (not supplied) A cell phone camera will not fulfill the requirement for this course. NOTE: List subject to change PREREQUISITES None COURSE OUTLINE Unit 1: Photography as a Career Unit 2: Legal and Ethical Concerns Unit 3: Photographers and Critiques Unit 4: Photography Software Digital Photography II Midterm Exam Unit 5: The Darkroom Unit 6: Art, Product, and Stock Photography Unit 7: Photojournalism Unit 8: Wedding Photography Page 1 of 2 © 2014 K12 Inc. All rights reserved. K¹² is a registered trademark of K12 Inc. The K¹² logo and other marks referenced herein are trademarks of K12 Inc. and its subsidiaries, and other marks are owned by third parties. Course Scope & Sequence Digital Photography II Final Exam COURSE OBJECTIVES Discuss professional photography and what this career is like. Discuss the different types of professional photography. Examine some of the steps to becoming a professional photographer.
    [Show full text]
  • Introduction to Photography
    Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Photography Study Material for Students : Introduction to Photography CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. It functions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news Edited with the trial version of editor, newsreader, programme host, interviewer, cameraman,Foxit Advanced producer, PDF Editor To remove this notice, visit: director, etc. www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Photography INTRODUCTION The book will introduce the student to the techniques of photography. The book deals with the basic steps in photography. Students will also learn the different types of photography. The book also focuses of the various parts of a photographic camera and the various tools of photography. Students will learn the art of taking a good picture. The book also has introduction to photojournalism and the basic steps of film Edited with the trial version of development in photography.
    [Show full text]
  • Creative Commons and Stock Photography
    Finding Quality, Free Imagery Online Creative Commons and Public Domain* Flickr Wikimedia Museums High-quality images. Use Commons Public Domain Creative Commons images and The Commons images for Images, video, audio of Use of collection images Public Domain content from varying quality. Easy from The Met, New York museums and libraries attribution generator Public Library, Rijksmuseum around the world. *To filter for Creative Commons content on Google: Enter Google search term >Click Images >Click Tools >Click on Usage Rights Free Stock Photography *Pexels Pixabay Kaboompics Creative Commons Zero Free but with some Photos, vector graphics, (CC0) license. This means stipulations: "Please do not and art illustrations the pictures are completely publish any photos from free to be used for any Kaboompics on your own website with free images legal purpose. without my permission." * Top Pick *Negative Publicdomain Max pictures.net Space Free but with added stipulations: Pixel "Pictures featuring products should Advanced filters allow you to CC0 license. Also includes be used with care . Be aware search by color, size, easy search and that some photos do require a category. Link referral required navigation. model or property release" on some pictures. "All works published in the United States before 1923 are in the public domain. Works published after 1922, but before 1978 are protected for 95 years from the date of publication. If the work was created, but not published, before 1978, the copyright lasts for the life of the author plus 70 years." --Source: fairuse.stanford.edu/overview/faqs/copyright-basics/ MuseWeb Foundation | museweb.us | #bHereMainSt.
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]