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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. -
Faststone Image Viewer Free Download for Windows 10 Top Best Photo Viewer for Windows 10 in 2021
faststone image viewer free download for windows 10 Top Best Photo Viewer for Windows 10 in 2021. Capturing life’s best moments with a camera is a career for some people and a hobby for others. But to get those moments to appear in the best way they can, a photo editing program is necessary. By editing your photos, you can make simple changes that have a massive impact on a photo’s appearance. This is where the labākais fotoattēlu skatītājs operētājsistēmai Windows 10 nāk collas. Taking a quick search through Windows 10’s built-in utilities will bring you to the generic photo viewer app. It has a few useful features, including the basic photo editor. However, most people will agree that this photo viewer simply isn’t enough. It lacks crucial abilities that all photographers, aspiring or professional, require for their work. We’ve done the research, and in this article, we are going to be listing the top photo viewers users can download on Windows 10. #1 Best Photo Viewer for Windows 10 – ApowerSoft Photo Viewer. Starting off our list is Apowersoft Photo Viewer. This is one of the most popular photo viewers to use and rightfully so. Users can open pretty much any photo in this viewer. It supports a lot of formats from the common JPG and PNG to newer formats like HEIC. Whenever you use Apowersoft Photo Viewer it runs smoothly – your CPU usage will be low whilst your photos continue to be displayed quickly. This software can also open your PDF files without any compatibility issues, doubling it as a PDF viewer. -
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). -
This Digital Document Was Prepared for Cascade Historical Society By
This digital document was prepared for Cascade Historical Society by THE W. E. UPJOHN CENTER IS NOT LIABLE FOR COPYRIGHT INFRINGEMENT W.E. Upjohn Center for the Study of Geographical Change Department of Geography Western Michigan University 1100 Welborn Hall 269-387-3364 https://www.wmich.edu/geographicalchange [email protected] NEWS REPORTER MRS. ROBERT HANES 676-1881 Please phone or send in your news as early as possible. News deadline Noon Monday Serving The Fore.st Hill.. s'.:_:_A~r=e=a---------------------;...._--------Ni~~;:r)~o ---- VOL.~~~~~~--=-=--=-=:-:--=-:::-:-~~~~~~--~--~~~ TWELVE-NO. FORTY-SIX ~~~~~~T~HRUJRR~S0.DAA'Y~,FiFE -BRUARY2, 1967 NEWS ST AND C O PY Sc: Thursday rites Band members to THE CRACKER BARREL Vesta Chapter schedules Suburban Life invites school and are set for prepare for contest rumma9e sale Saturd.ay Band members of the Forest Want to take Vesta Chapter 202, Ada, Or townships to publish minutes Snow storm Joseph Baker Hills High School and Junior der of the Eastern Star, will High School are prei:>ar~g for have a rummage sale ~t the the day off Ada Masonic Temple this Sat Suburban Life this week has ,Jn many schools and ~own Joseph M. Baker of 427 East competition in the D1stnct No. ships the minutes are publlshed Fulton Street, Grand Rapids, urday, February 4. invited th'e Forest Hills School 10 Solo and Ensemble Festival Board and Township Boards of as a board policy .. Keep~g the passed away Monday, January to be held in February. The to rest up? Because of the storm last citizens informed is an impor 30 in Butterworth Hospital, at Ada and Cascade to publish High School Festival being h~ld week this was cancelled. -
Bill Hurter. Wedding Photographer's Handbook. 2007
WEDDING PHOTOGRAPHER’S HANDBOOK BILL HURTER Amherst Media® PUBLISHEROFPHOTOGRAPHYBOOKS Copyright © 2007 by Bill Hurter. All rights reserved. Front cover photograph by Frank Cava. Back cover photograph by Cal Landau. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN-13: 978-1-58428-191-4 Library of Congress Card Catalog Number: 2006925660 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechan- ical, photocopied, recorded or otherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book. TABLE OF CONTENTS 1. INTRODUCTION ................................6 Wedding Photography Evolution . .8 Digital Takeover . .9 2. The Wedding Photographer’s Mindset . .13 Dressing for Success . .14 Idealization . .15 Proactive vs. Reactive . .18 Powers of Observation . .19 Vision . .21 Storytellers . .22 Assistants . .25 Preparation . .26 Uniqueness . .27 Style . .27 People Skills . .30 The Emotion of the Day . .32 3. WHY IS WEDDING PHOTOJOURNALISM SO POPULAR? .....................................33 Traditional Wedding Images Lack Variety . .34 Traditional Wedding Images Are More Time Consuming to Make . .34 Emerging Styles . .35 4. EQUIPMENT ....................................38 Cameras . .38 Removable Storage Media . .39 Image Sensors . .39 Things to Consider When Purchasing a DSLR System . -
Resizing for ACCC Competition Rev 1.0 9/12/2011
Resizing for ACCC Competition Rev 1.0 9/12/2011 This document contains instructions for resizing your images to comply with the new Digital Image Competition Guidelines. In this document we have attempted to provide instructions that cover most of the image editing programs in common use by our members. However, it is entirely possible that some have been omitted. If you let us know, we will try to incorporate those applications in future versions of these Instructions. In the meantime, studying the options available in other programs will most likely be helpful in figuring out what you need to do in your particular software. Currently, instructions for the following programs are included: • Photoshop • Lightroom • Aperture • Image Processor (from Bridge or Photoshop) • Photoshop Elements • Irfanview • Picasa • Canon Digital Photo Professional 3 • Nikon View NX • Capture NX / NX2 • Paint Shop Pro (links to tutorials) Adobe Photoshop CS5 With your image open in Photoshop, go to Image > Image Size and the following dialog box will open. Make sure that the three boxes on the bottom left are checked and the Resolution is set to 300 pixels/inch. Then, change the image dimensions so that the longest edge of your image (height in the example below) does not exceed 1920 pixels and the shortest edge does not exceed 1080 pixels. In the example above the longest dimension was reduced to 1620 when 1080 was used for the shortest dimension. Under “Resample Image” choose Bicubic Sharper from the drop down box. If you want to use the full allowable dimensions of 1920 X 1080 you must crop the image to achieve the 16:9 aspect ratio. -
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. -
Developments November 2016 Volume 05 Issue 11
November 2016 developments Volume 05 Issue 11 PHOTO OF THE YEAR COMPETITION The deadline for submitting entries to the Photo of the Year Contest is midnight Tuesday, November 1. The entry criteria can be found on our Website: http://daphotoclub.org/contests.html. As usual there will be no monthly theme for November so we can feature the Photo of the Year Competition at the November 15th meeting, so be sure to join us to see how you and your friends did in the competition and learn something new from other work. DAPC SWEPT SNM STATE FAIR COMPETITION By Will Keener Dona Ana Photography Club members swept the table at this year’s Southern New Mexico State Fair Competition. Five club members combined to earn five Best of Show awards and an Award of Merit for Best of Show. These were considered the top six awards made by judges at this year’s contest. Some of the winning entries include cash prizes. At least eight photo club members submitted to the annual contest held at the fairgrounds west of Las Cruces and open to photographers in surrounding counties in New Mexico and Texas. An informal count shows 27 ribbon-winning entries among club members. “All told, 37 photographers entered 130 photos in this year’s competition,” says Greg Groves, owner of Picture Frame Factory Outlet and superintendent of the fair. “The total was down from past years, but the quality of the winning entries was still very high,” he said. Mike Martinez, of MJM Photography in Las Cruces, Richard First best of Show (landscape) Will Keener. -
An Uphill Struggle: Where There Is a Will There Is a Way Maz Mashru July
An uphill struggle: Where there is a will there is a way Maz Mashru M.Photog, Cr.Photog(USA), FMPA,FRPS,FBIPP,FSWPP,FBPPA,FMIPP,QEP,ASP July 2016 An uphill struggle: Where there is a will there is a way The Beginning My roots are from India, but I was born in a small town in Uganda, Africa where my father had moved to in search of work in the early 1940’s. My father settled in Uganda, having gone back to marry my mother, in the hope of a better life for his family compared to one he could have provided had he remained in India. My parents had six children with me being the eldest. In our village, education was very basic therefore my parents sent me to a boarding school in the nearby city of Mbale. At the boarding house, I became fascinated with cameras and my passion to own a camera grew. In the boarding house, spending money had to be deposited with the “superintendent”. We were only able to withdraw the equivalent to £1.00 (in the money at that time) per week and as I was becoming more and more eager to own a camera, I made an excuse that I needed a new pair of shoes, so I could withdraw more money. The money allowed to me the purchase my first camera, an Agfa Clack (roll film camera), which cost the equivalent of £3.50 (in the money at the time). At the time, £3.50 was deemed to be a lot of money therefore a camera was perceived as a luxury item. -
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.