Citizen Photojournalism: Motivations For
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The Perceived Credibility of Professional Photojournalism Compared to User-Generated Content Among American News Media Audiences
Syracuse University SURFACE Dissertations - ALL SURFACE August 2020 THE PERCEIVED CREDIBILITY OF PROFESSIONAL PHOTOJOURNALISM COMPARED TO USER-GENERATED CONTENT AMONG AMERICAN NEWS MEDIA AUDIENCES Gina Gayle Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Gayle, Gina, "THE PERCEIVED CREDIBILITY OF PROFESSIONAL PHOTOJOURNALISM COMPARED TO USER-GENERATED CONTENT AMONG AMERICAN NEWS MEDIA AUDIENCES" (2020). Dissertations - ALL. 1212. https://surface.syr.edu/etd/1212 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT This study examines the perceived credibility of professional photojournalism in context to the usage of User-Generated Content (UGC) when compared across digital news and social media platforms, by individual news consumers in the United States employing a Q methodology experiment. The literature review studies source credibility as the theoretical framework through which to begin; however, using an inductive design, the data may indicate additional patterns and themes. Credibility as a news concept has been studied in terms of print media, broadcast and cable television, social media, and inline news, both individually and between genres. Very few studies involve audience perceptions of credibility, and even fewer are concerned with visual images. Using online Q methodology software, this experiment was given to 100 random participants who sorted a total of 40 images labeled with photographer and platform information. The data revealed that audiences do discern the source of the image, in both the platform and the photographer, but also take into consideration the category of news image in their perception of the credibility of an image. -
Ethics in Photojournalism: Past, Present, and Future
Ethics in Photojournalism: Past, Present, and Future By Daniel R. Bersak S.B. Comparative Media Studies & Electrical Engineering/Computer Science Massachusetts Institute of Technology, 2003 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER, 2006 Copyright 2006 Daniel R. Bersak, All Rights Reserved The author hereby grants to MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _____________________________________________________ Department of Comparative Media Studies, August 11, 2006 Certified By: ___________________________________________________________ Edward Barrett Senior Lecturer, Department of Writing Thesis Supervisor Accepted By: __________________________________________________________ William Uricchio Professor of Comparative Media Studies Director Ethics In Photojournalism: Past, Present, and Future By Daniel R. Bersak Submitted to the Department of Comparative Media Studies, School of Humanities, Arts, and Social Sciences on August 11, 2006, in partial fulfillment of the requirements for the degree of Master of Science in Comparative Media Studies Abstract Like writers and editors, photojournalists are held to a standard of ethics. Each publication has a set of rules, sometimes written, sometimes unwritten, that governs what that publication considers to be a truthful and faithful representation of images to the public. These rules cover a wide range of topics such as how a photographer should act while taking pictures, what he or she can and can’t photograph, and whether and how an image can be altered in the darkroom or on the computer. -
Photojournalism Photojournalism
Photojournalism For this section, we'll be looking at photojournalism's impact on shaping people's opinions of the news & world events. Photojournalism From Wikipedia, the free encyclopedia Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). -
Photo Journalism
Photojournalism Telling the story pho·to·jour·nal·ism Photojournalism is a branch of journalism focused on using images to tell a story. the art or practice of communicating news by photographs, especially in magazines. What is a photojournalist? A journalist tells stories. A photographer takes pictures of nouns (people, places and things). A photojournalist takes the best of both and locks it into the most powerful medium available - frozen images. What does it take to be a great journalist? A great journalist cares about people and an ideal world. A great journalist can approach a topic as vast as the universe and make it simple and interesting to both Einstein and the new immigrant, who is trying to learn the language. Photography vs photojournalism what's the difference between photography and photojournalism? Photography vs photojournalism what's the difference between photography and photojournalism? VERBS What makes a photojournalist different from a photographer? Photographers take pictures of nouns (people, places and things). Photojournalists shoot action verbs ("kicks," "explodes," "cries," etc.). Photojournalists do shoot some nouns. These nouns can be standard photos of people (portraits), places (proposed zoning areas or construction sites) and things (name it). However, the nouns we seek still must tell a story. To tell a story you need… a sentence which needs a subject, a verb a direct object. News photos need the same construction. Photojournalists tell stories with their images. Also, words are always used in conjunction with photojournalist's images. Here’s an Example :0) Rose is painting the kitchen walls. The subject here is Rose, and what is Rose doing? Rose is painting. -
Libel As Malpractice: News Media Ethics and the Standard of Care
Fordham Law Review Volume 53 Issue 3 Article 3 1984 Libel as Malpractice: News Media Ethics and the Standard of Care Todd F. Simon Follow this and additional works at: https://ir.lawnet.fordham.edu/flr Part of the Law Commons Recommended Citation Todd F. Simon, Libel as Malpractice: News Media Ethics and the Standard of Care, 53 Fordham L. Rev. 449 (1984). Available at: https://ir.lawnet.fordham.edu/flr/vol53/iss3/3 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Law Review by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. LIBEL AS MALPRACTICE: NEWS MEDIA ETHICS AND THE STANDARD OF CARE TODD F. SIMON* INTRODUCTION D OCTORS, lawyers, and journalists share a strong common bond: They live in fear of being haled into court where the trier of fact will pass judgment on how they have performed their duties. When the doc- tor or lawyer is sued by a patient or client, it is a malpractice case.I The standard by which liability is determined is whether the doctor or lawyer acted with the knowledge, skill and care ordinarily possessed and em- ployed by members of the profession in good standing.' Accordingly, if * Assistant Professor and Director, Journalism/Law Institute, Michigan State Uni- versity School of Journalism; Member, Nebraska Bar. 1. W. Keeton, D. Dobbs, R. Keeton & D. Owen, Prosser and Keeton on Torts, § 32, at 185-86 (5th ed. -
Telling Stories to a Different Beat: Photojournalism As a “Way of Life”
Bond University DOCTORAL THESIS Telling stories to a different beat: Photojournalism as a “Way of Life” Busst, Naomi Award date: 2012 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. Telling stories to a different beat: Photojournalism as a “Way of Life” Naomi Verity Busst, BPhoto, MJ A thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy School of Media and Communication Faculty of Humanities and Social Sciences Bond University February 2012 Abstract This thesis presents a grounded theory of how photojournalism is a way of life. Some photojournalists dedicate themselves to telling other people's stories, documenting history and finding alternative ways to disseminate their work to audiences. Many self-fund their projects, not just for the love of the tradition, but also because they feel a sense of responsibility to tell stories that are at times outside the mainstream media’s focus. Some do this through necessity. While most photojournalism research has focused on photographers who are employed by media organisations, little, if any, has been undertaken concerning photojournalists who are freelancers. -
Veteran Journalist Ricardo Baca Joins Marijuana Industry Publication Mg Magazine As National Cannabis Columnist
Veteran Journalist Ricardo Baca Joins Marijuana Industry Publication mg Magazine as National Cannabis Columnist A 20-Year Media Veteran and Subject of Rolling Papers, Baca Asks mg Readers What They Want to See in the Recurring Monthly Print and Online Column DENVER, Colorado—May 30, 2018—Ricardo Baca, veteran journalist and founder of award-winning news site The Cannabist, is joining national cannabis magazine mg as its brand-new National Cannabis Columnist, mg owner CANN Media Group and Grasslands: A Journalism-Minded Agency announced today. "We're extremely pleased to have the opportunity to debut Ricardo's column in mg magazine,” said editor-in-chief Tom Hymes. “As prognostications about the industry come face-to-face with reality over the coming months and years, we'll need thoughtful voices to help guide the journey. Ricardo will surely provide one such voice, and we hope our readers appreciate engaging with him as much as we do." A 20-year veteran of daily newspapers including The Denver Post, Mr. Baca approached his new editors about crowdsourcing the new column’s topical approach and subject matter—so instead of making that decision in an editorial vacuum, Mr. Baca and the mg team are asking the magazine’s readers what kind of content they’d like to read from the publication’s newest columnist. Mr. Baca is prepared to delve into the trickiest cannabis conundrums of the modern world in the new column—from the industry’s looming commercialization to columns that would break down the many different cannabis markets across the country from Nevada to Colorado to D.C. -
The Journalist
October 2004 The Journalist Issue 2 Journalism Department Newsletter for Majors Mike Cowling, the newest inductee in the Journalism Alumni Hall of Fame By Cassie Fifer Devoting his life to journalism is something that Mike Cowling has never thought twice about; therefore, no one was surprised when Cowling was inducted into the Journalism Alumni Hall of Fame. According to John Ryan, chair of the selection committee, “He was very good, very conscientious and was very dedicated….” Ryan got to see first hand how devoted Cowling was to journalism because he went to school with him. Cowling broke into the newspaper business when he was in high school. He worked for his hometown newspaper in Mt. Carmel. “I wrote sports, covering Dr. Les Hyder welcomes Mike Cowling to the Journliasm Alumni Hall of Fame on Wednesday little league games and realized back then Oct. 13. Cowling spoke to a group of alumni, students and faculty about his career in the that I had a knack for it,” he said. journalism field at the induction in Buzzard Auditorium. Photo by Doug Lawhead “I was a journalism minor because they didn’t actually make this a major until I confidence in me and helped me get into Lori Miller Drummond, who was was a junior or senior. I had enough credit this program with financial assistance,” also an announced honoree, will be from both that I decided I would double Cowling said. Since that day many years inducted into the Alumni Hall of Fame major in history and journalism, ” he said. ago, he has believed that it was people like when attending the Student At Eastern, he was editor of The Daily Thornburgh and this university that made Publication Banquet in the spring. -
How Has Photojournalism Framed the War in Afghanistan?
How has photojournalism framed the war in Afghanistan? David Campbell PUBLICATION In Burke and Norfolk: Photographs from the War in Afghanistan, John Burke and Simon Norfolk (Stockport: Dewi Lewis, 2011). Images are central to contemporary geopolitics. We encounter other people and places though a “field of perceptible reality” enabled by visual representations.1 Photographs, paintings, video, film, computer games – each and every pictorial artefact - helps establish what can be represented and how it can be shown. In turn, those images are made possible by a series of historical, cultural and political frames.2 The field of perceptible reality that is the decade-long war in Afghanistan has been enacted in large part through news imagery and photojournalism. We have seen a steady stream of familiar pictures made up of allied forces, Afghan civilians, Taliban casualties and American military families. Photojournalism on the front line has focused on the military struggles of international forces as they combat an ‘elusive’ opponent, with soldiers and their weaponry front and centre. There is also an inevitable regularity to the style of these images. As Associated Press photographer David Guttenfelder notes, the work of photojournalists in Afghanistan “sometimes looks very uniform.”3 “Embedded journalism” has been a frame commonly focused upon to explain the nature and limits of what we do and don’t see. That analysis sometimes proceeds on the assumption that there was once a time when photography’s contribution to the field of perceptible reality was free from government controls. As Judith Butler claims in her assessment of the ethics of photography: Recent war photography departs significantly from the conventions of war photojournalism that were at work thirty or forty years ago, where the photographer or camera person would attempt to enter the action through angles and modes of access that sought to expose the war in ways that no government had planned. -
The Iconic News Image As Visual Event in Photojournalism and Digital Media
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. i The Iconic News Image as Visual Event in Photojournalism and Digital Media A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts In Media Studies At Massey University, Manawatu New Zealand Samantha Diane Kelly 2013 ii Abstract This thesis shows how the uses and meanings of the iconic news image have changed with the emergence of digital media. Most of the iconic photographs of the twentieth century were produced by photojournalists and published in mass circulation newspapers and magazines. In the twenty–first century, amateurs have greater access to image producing technologies and greater capacity to disseminate their images through the Internet. This situation has made possible the use of iconic news images to support political agendas other than those promoted in the media institutions and beyond the range of censorship imposed by those media. In order to demonstrate the functions and understand this unprecedented situation, this thesis explores how iconic news images produce meaning. I consider formal definitions of iconic news images but adopt Nicholas Mirzoeff's theory of the visual event to explain how the meanings of iconic news images are impacted by historical context, media institutions and viewer responses. This dynamic model of visual communication allows us to see that iconic news images indeed function as events and that there is a political struggle over the creation, staging, publication and interpretation of those events. -
The Effects of False Information on Journalism
BRIEF 2 The Effects of False Information on Journalism KEY FINDINGS This brief explores how false information* has influenced the profession of journalism, journalists themselves, and the production of news. Evidence The focus on “fake news” and • draws from an original survey of 1,018 journalists, 22 semi-structured disinformation in the media has interviews, and secondary sources. See the Executive Summary for decreased trust in journalism for more information about the methodology. The effects outlined in this a subset of Americans; however, brief primarily stem from two sources: (1) journalists’ knowledge of in contrast, part of the public increasing misinformation and disinformation shaping their behavior, and has simultaneously increased (2) the public’s varied interpretations of “fake news” in the current news their demand for and respect of environment. “Fake news” had a range of meanings to respondents, but was journalism, resulting in increased broadly considered to reflect a general attack on the media—specifically hiring at large outlets. allegations that the field of journalism is rife with fabricated information due to misinformation, disinformation, and the journalists themselves. Balancing Several survey respondents link • the public’s understanding of “fake news” and maintaining trust in a time the current news environment to when accusations of “fake news” are commonplace, has impacted the increased harassment: 27% of ways in which journalists conduct themselves. surveyed respondents said they have been harassed and 43% said they have colleagues who have been harassed. Minorities and women are disproportionately the targets of harassment. • Heightened publicity about false information has led some journalists to increase the time and resources they spend on sourcing. -
Guide to Writing for High School Journalists
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1988 Guide to writing for high school journalists Janet Blank-Libra The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Blank-Libra, Janet, "Guide to writing for high school journalists" (1988). Graduate Student Theses, Dissertations, & Professional Papers. 7653. https://scholarworks.umt.edu/etd/7653 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 Th i s is a n unpublished m a n u s c r i p t in w h i c h c o p y r i g h t SUBSISTS. An y f u r t h e r r e p r i n t i n g o f i t s c o n t e n t s m u s t b e APPROVED BY THE AUTHOR. Ma n s f i e l d L i b r a r y Un i v e r s i t y o f Mo n t a n a Date :____ 1988_ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner.