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Part 4 TAJE

From the Texas Association of Educators Curriculum Guide

© TAJE September 1994 Updated September 1998 PHOTOJOURNALISM GRADE: 9,10,11,12

EVERY DAY, people are bombarded with portunity to use state of the art computer-aided thousands of visual images. The print of publishing tools and other hands-on production the late 20th century and beyond will continue tools as well as modern facilities. This this visually-oriented and graphic trend. One of course can serve as the prerequisite to Newspa- per Production I or Yearbook Production I and the key components to the success of these vi- Darkroom may provide students insights into college and sual print publications is . Photojour- essentials: career choices. nalism introduces students to the world of pho- • Wet area tography and journalism. The law, ethics and his- SOME OUT-OF-CLASS TIME will be re- • Dry area tory of photography complement the major units quired including the time to shoot photo assign- • of study: operation and care of the , tak- ments. Completion of photo assignments includes • Easel ing pictures, and print processing, teamwork taking the picture, processing the film, making a • Timer and management skills. contact sheet, selecting the prints, making the • Chemical trays IN ADDITION, students will have the op- prints and turning them all in with a completed evaluation form on time. • Chemical storage bottles • Developing tanks TEKS- Texas Essential Knowledge and Skills • Tongs ¶74.§110.65 PHOTOJOURNALISM (1/2-1 CREDIT). • Graduates • Thermometer (a.) Introduction. (b.) Knowledge and Skills. • Paper safe (1.) Students enrolled in Photojournalism • 1. The student interprets/critiques visual communicate in a variety of forms and for a vari- • Polycontrast representatons. The student is expected to: ety of audiences and purposes. High school stu- filters A. recognize the major events in the de- dents are expected to plan, interpret, and critique velopment of modern day photography; visual representation, carefully examining their B. recognize composition principles and product for publication. Students will become their impact on photography; analytical consumers of media and technology to C. recognize and apply ethical and legal enhance their skills. High school standards to all aspects of photojournalism; and students will study the laws and ethical consider- D. recognize the impact of electronic ations that impact photography. Technology, vi- technology and future trends in sual, and electronic media are used as tools for on the traditional field of photojournalism. learning as students create, clarify, critique, and produce effective visual representations. Students 2. The student produces visual representations enrolled in this course will refine and enhance their that communicate with others. The student is ex- journalistic skills, plan, prepare, and produce pho- pected to: tographs for a journalistic publication. For high A. identify the basic parts of a camera and school students whose first language is not En- their functions; glish, the students' native language serves as a B. identify different types of film and de- foundation for English language acquisition and termine their appropriate uses; language learning. C. produce a properly exposed print where the subject is sharply focused and demonstrate TAJE (2.) The essential knowledge and skills as well the use of the elements or principles of design; Photojournalism as the student expectations for Photojournalism, D. use lighting and be aware of its quali- Curriculum an elective course, are described in subsection (b) Guide of this section. 2 ties such as direction, intensity, , and the use ogy to complete the process; and of artificial light; K. improve print quality by using appro- E. stop action by determining appropri- priate equipment or technology. ate speed or use or hand holding with slower shutter speeds; 3. The student incorporates into F. evaluate technical qualities of photos; journalistic publication. The student is expected G. practice safety in handling and dispos- to: ing of chemicals when operating in a darkroom; A. plan photo layouts; H. learn the theory of film developing by B. illustrate events with appropriate pho- understanding the latent image, film structure, and tos and captions; method of development; C. plan photographs in relation to assign- Chemicals I. use appropriate equipment to process ments from an editor; and needed for a film and make prints and make contact sheets; D. set up or follow a system for keeping J. create digitized images using technol- track of negatives, photo images, contact sheets, darkroom: and meeting deadlines. • Film developers available D-76 COURSE OUTLINE T-Max HC-110 I. CAMERA BASICS 1. Theory Microdol-X A. Camera parts 2. Equipment/chemicals • Paper developer 1. Lens 3. Process Dektol 2. Shutter 4. • 3. B. Printing • Rapid Fix B. Film 1. Theory • Hypoclear 1. Types 2. Equipment/chemicals • Photoflo 2. (ASA/ISO) 3. Process C. Filters a. Dodging and burning b. Making contact sheets/prints II. COMPOSITION c. Making test strips A. d. Using polycontrast filters B. Balance e. Mounting C. , S-curves, Repetition of shapes C. Troubleshooting D. Evaluating composition 1. Dust spots on print 2. Over/underexposure III.TECHNICAL QUALITY 3. Over/underdevelopment A. Focus 4. Film developer blotches B. Lighting 5. Other C. Stopping action 1. Fast shutter speeds V. PHOTOJOURNALISM 2. Panning A. Caption writing D. B. photos E. Equivalent exposures C. Role of the F. Evaluating technical quality D. Filing system E. Law and ethics IV. DARKROOM PROCEDURES F. TAJE Photojournalism A. Film developing G. Digital imaging Curriculum Guide 3 SEMESTER SYLLABUS THE GRADING PERIOD Schools across the state of Texas are varied in the adoption of a 6-week or 9-week grading period and the schedule of a 7-period, alternating block, or compressed block day. This calendar is developed by weeks, so each teacher can con- vert it to his/her teaching schedule.

Week Monday Tuesday Wednesday Thursday Friday Good photos are: Course philosophy/objectives; Illustrating with photos; Discussion of classroom rules; Equipment use, responsibility and • Sharp 1 check-out system; Darkroom tour • Clear • Clean and have: Safety in handling and disposing of chemicals; ; • Excellent 2 Camera basics; Film and film speed; Developing film basics contrast • A wide range Developing film basics; Printing and Enlarging basics; of tones 3 Darkroom basics; Making a contact sheet • A center of interest • Spontaneity 4 Printing basics; Using polycontrast filters; Making a print; • Action Making test-strips • Identifiable people doing identifiable 5 Making a print; Evaluation of prints; Review camera basics things

6 Lighting; Develop film; Composition

7 Composition; Develop film; Darkroom work

8 Darkroom work; Advanced printing- Dodging and Burning- in

9 Action photography; Review film and ; Pan- ning

TAJE Photojournalism Curriculum Guide 4 Photogram- plain & simple: SEMESTER SYLLABUS • Materials needed: photo paper stuff- opaque Week Monday Tuesday Wednesday Thursday Friday safelights • Procedure: Film development; Review composition; -Remove one sheet of paper under safe 10 light conditions; -Place emulsion Film development; Darkroom work; Lenses and filters side up; 11 -Arrange some small objects on the Lenses and filters; Darkroom work paper; 12 -Be careful not to move objects; -Expose to room Film Development; Caption writing; Trouble shooting lights for as long as in the darkroom 13 it takes to turn the exposed portion black 14 Film development; Photo layout; Plan photo story; Darkroom work • To make perma- nent: immerse in fixer for normal time and wash 15 Darkroom work; Cropping photos; Mounting Photogram- developed out: • Materials needed: 16 Definition of Digital Imaging; Digital Imaging projects same as above, plus enlarger and developing chemi- 17 cals Digital Imaging; Photo ethics; • Procedure: -Repeat steps 1-4 as above; History of photography; Careers in photography -Expose to enlarger light 3-5 seconds; -Remove objects; -Process as a print

TAJE Photojournalism Curriculum Guide 5 • As an alternate assignment, have students shoot CLASSROOM the ‘macro’ world. Using a close-up lens or filters, students should take pictures of a piece of some- thing and have others guess what it is. It’s fun to ACTIVITIES post these and have other students guess what the ¶74§(110.65(1)(A) pictures are of. Any photographer whose picture remains unidentified should win some award. The Illustrate events idea here is to look beyond the obvious and to pay with appropriate photos attention to detail. Be careful, these pictures often require additional light. Activities: • Look through a local , a daily or weekly, Assessment: • Evaluate photo assignments. and find examples of timely, photojournalistic • Test how well (and fast) students can load film in photos. Have students discuss why these photos a camera by having them load it while walking are appropriate or why they aren’t. across the room. Give them room to walk about • Some news events require photo illustrations and 30 steps at a fast pace and evaluate them on whether not field work. Help students set up a studio in Cropping guide- they can securely load the camera before walking the classroom using whatever light sources are the distance. lines: available. You might try illustrating crime with a pair of handcuffs and some other props from your • Crop so there is a local law enforcement agency or drama depart- center of interest ¶74§(110.65)(2)(C) ment. You might try illustrating Spring with some • Remember the flowers. Experiment. The point is to look beyond Use of Composition Techniques the obvious and to realize that some news events Activities: • Students will demostrate use of composition tech- rule of thirds require more thought. niques in a photo assignment. Look for framing • Don't blow up Assessment: • Have students pick the most appropriate elements, S-curve, repetition of shapes, etc. Stu- small areas to photo for a given event and explain their reason- dents should avoid the subject in the center of the ing. frame. grainy propor- Assessment: • Evaluate photo assignments. tions ¶74§(110.65)(1)(B) • Don't amputate Understand available light, depth of ¶74§(110.65)(2)(D) hands, arms, legs field, and composition Operate a • Allow space in Activities: • Allow students to use a flash either for one of the Activities: • Complete photo assignments. front of the photo assignments or for a class exercise in artifi- • Display various photos or give students copies of subject for cial lighting. them. Have them pick which ones follow the Rule • Find examples of photographs used in newspa- movement of Thirds and which ones don't and why. Try to pers or taken with a flash. Why was a pick some that don’t follow the Rule of Thirds, • Crop to eliminate flash used? What problems did this create? but which are still good photos. • Take a trip to a local studio and have photogra- distracting areas • It’s fun to start teaching the Rule of Thirds with a pher (perhaps the school portrait photographer) few games of tic-tac-toe. demonstrate the set-up and use of studio lights. • As an alternate assignment, have students take a • Using a ‘model’ (preferably a student in class) dem- photo, with black and white film, illustrating a color. onstrate the harsh lighting of direct flash and the For example, shoot pictures of yellow. It’s helpful less harsh light of bounced flash by firing a flash if they learn the concept of complementary col- and having students observe students. This works ors and how to use colored filters (if they’re avail- best in a dim, but not dark room. You can also use able) first. To keep things fun, make them shoot it a or transparency projector to dem- all using available light or studio lights. No flash onstrate this effect. allowed. Assessment: • Evaluate photo assignment completed using Assessment: • Evaluate photo assignments. flash. • Given a specific lighting situation, have students predict the results in terms of harshness of light ¶74§(110.65)(2)(A) and direction/intensity of shadows. Operate a 35mm single-lens reflex camera with a variety of lenses ¶74§(110.65)(2)(D) Activities: • Complete photo assignments as requested. • Using cardboard or other material, cut out a frame Read a approximately the size of a 35mm piece of film. Activities: • Make a meter- of the school: Using a Have students hold it 6-8 inches in front of their built-in or hand-held light meter and a map of the face to simulate a camera, looking around the school record settings at various locations at vari- TAJE ous times of the day. Be sure to note the time of school for assignments. Photojournalism • Using a variety of lenses, demonstrate the differ- day and direction. Curriculum ent angles of view by allowing students to look at • Set up a portrait studio in the classroom using stu- a fixed subject from a fixed distance with different dio lights or a slide projector or a transparency Guide lenses. projector, or even a window. Demonstrate the vari- 6 ous directions of light and how they can trick the Assessment: • Evaluate photo assignments. meter. Then discuss compensation for the tricks, Two-Dot Crop: especially backlighting which requires additional A Fast and Easy to allow more light to reach the subject. ¶74§(110.65)(2)(H) Way to Crop Assessment: • Evaluate meter-reading map. • Given appropriate photos, have students identify Understand developing chemistry Photos the direction of light and any compensation that Activities: • Put an x/y grid on the board with chemicals in the • Supplies needed would be necessary to get a properly exposed sub- vertical access and time, temperature, and agita- ject. tion in the horizontal access. Have students fill in Ruler the chart as a group. Grease pencil • Using some litmus paper from the chemistry de- Layout ¶74§(110.65)(2)(D) partment, demonstrate how developer is a basic Picture Apply principles of balance and solution (try to determine actual pH at different dilutions) and acetic stop bath and fixer are acidic • Select photo (again, try to determine actual pH). You may have contrast • Find the center Activities: • Display photos of high and low contrast. Have to use other acid/base indicators to determine ac- students pick the appropriate ones. tual pH. Note that stop bath with indicator con- of interest • Show examples of the different composition tech- tains bromocresol purple, an acid base indicator. • Place a dot on That is why it turns purple when too much devel- niques: s-curves, informal balance, formal balance, the desired final framing, repetition of shapes, leading lines, tex- oper gets in it. ture, etc. Have students explain why these are pow- top left-hand Assessment: Make a chart showing the chemicals used, erful composition techniques. corner • As a photo assignment, have students shoot not a times, temperatures and agitation rates for the film specific subject, but a concept such as repetition developing process. • Place ruler on of shapes or framing. Every shot on the roll should the diagonal that ¶74§(110.65)(2)(I) demonstrate one of the techniques. runs from the Assessment: • Given photos of varying contrast, have stu- Process film upper left-hand dents pick the one with the highest contrast and Activities: • Make a game out of practicing rolling film with the one with the lowest. two exposed rolls of film. Have two students com- corner to the • Have students match proper composition tech- pete against each other. The person who rolls the lower right-hand nique with photo. film the fastest on the reels to be used for devel- oping keeps competing until he looses. The win- corner of the ner should get some reward. This can be done in layout area ¶74§(110.65)(2)(D) the light. • Without moving Creating Depth of Field • Process the film for assignments and other assign- the ruler, slide Activities: • Students will render the background of a photo- ments as required. graph out of focus by using a low aperture such as Assessment: • Using the practice roll, have each student (for the picture a grade) roll the film on an appropriate reel in the f/4, f/2.8, f/2 or f/1.4. By blurring the back- under-neathe the ground, emphasis is placed on the subject. This is dark and put it in a canister. Check it. If it’s not also an excellent time to stress filling the frame. done completely right, they should try again the ruler Move in close. next day (or significantly later in the period) until •Position the Assessment: • Evaluate photo assignments. they get it right. • Evaluate processed film. picture • Place a dot for ¶74§(110.65)(2)(E) the desired lower ¶74§(110.65)(2)(I) Demonstrate knowledge of ASA, Print photos right-hand aperture, and shutter Activities: • Demonstrate (or have a student demonstrate) how corner Activities: • Complete photo assignments. to make a print, stressing placement, ea- • Pull out the • Show a series of photos taken of the same subject sel adjustment, enlarger height adjustment, choos- picture with different f/stops. Have students assign pos- ing an f/stop, choosing a polycontrast filter, mak- sible f/stops to the appropriate photos. ing a test strip, and developing the paper in the • Mark each • Show a series of photos taken of the same subject proper sequence including adequate rinsing time. margin with different shutter speeds. Have students as- Also stress and demonstrate darkroom cleanliness sign possible shutter speeds to the appropriate pho- and the dangers of dirt and dust. • Rub off the dots tos. • Make the required number of prints for assign- • Set up various scenarios of action, and selective ments 1-8 and other assignments as required. focus. Given certain lighting and using the F/16 • Have students bring in five small, favorite objects Rule as a basis, have students determine the equiva- (1/2-3’). In the darkroom, put these objects on a lent exposure. piece of paper and expose them to light for a few TAJE • Have students shoot fast action pictures. Students seconds at a random f/stop (f/8 works well, usu- Photojournalism can take pictures of school sports, students jog- ally). Semi-transparent objects (like money and Curriculum ging, riding a bicycle, etc. Students must stop ac- glasses) work best. Then develop this photogram tion with correct shutter speed or use panning to normally. When they’re dry, have students sign Guide make the moving subject clear. them with a felt-tip pen and display them. This is a 7 good printing exercise and is fun to display for useful for yearbook layouts from which four lay- parents. This is an especially good exercise to con- outs can be made from one basic layout by flop- vey the concept of density and contrast. the layout horizontally and vertically. Assessment: • Have students write a ‘how-to’ es- Assessment: • Evaluate photo layout. say on how to make a print. • Evaluate print quality. • Use photogram grade as an easy grade – a good ¶74§(110.65)(3)(B) reward. Write captions Darkroom Activities: • Using a well-respected publication, read some management: ¶74§(110.65)(2)(K) photo captions and determine what makes up a • Keep it clean good caption. Be sure to stress how, particularly in Understand use of darkroom magazines, a good caption goes beyond just stat- • Keep it dry equipment ing the obvious. • Limit the • Given a photo, have students write a complete cap- Activities: • Have students make a print on the first assign- number of tion. This is particularly useful around deadline time ment with a high-contrast filter and a low-contrast when photojournalism students can, as a class ex- students filter as well as the ‘right’ one. Make sure they do a ercise, write complete captions for the publications new test strip with each one to demonstrate the allowed to mix answering the 5W’s and H. difference in exposure. chemicals • Discuss: what’s wrong with a photographer writ- • Demonstrate (or have a photo editor demonstrate) ing their name on the back of a photo for a photo • Make sure the the equipment used in developing film and mak- credit that they did not take? Talk about the value ing a print. bottles are of the photo credit and taking pride in one’s work. Assessment: • Evaluate prints made with different filters. Consider doing periodic displays around the school labeled clearly • Make a list of all the equipment used in develop- of the work have done. Even con- Color code the ing film and explain its use. • sider displaying some pictures at local businesses • Make a list of all the equipment used in printing chemistry carefully mounted with the photographer’s name and explain its use. prominently displayed on the outside. bottles Assessment: • Evaluate captions based on whether or not • Inventory the include the answers to the 5W’s and H, iden- ¶74§(110.65)(2)(K) tify all recognizable people, include additional in- monthly Crop and scale photos formation, a kicker and a photo credit. • Keep MSDS Activities: • Give students a device and have them learn (Material the concept of proportion for photographs. It’s also useful to show this on the computer, keeping ¶74§(110.65)(3)(B) Safety Data the in proportion. Show how one di- Illustrate news events with Sheets) copies mension can’t change without changing the other. available in • Have students mark a photograph that you give appropriate photos and captions them for reproduction in the yearbook. Activities: • Discuss what is ‘appropriate.’ case of • Demonstrate use of a proportion wheel. Using the • Discuss ethics and law: what is legal and what is emergency. photos marked for reproduction in the yearbook, ethical. You can get use a proportion wheel to calculate the percentage • Using examples of photos of questionable ethics of enlargement or reduction. (including examples of photos, disasters, sui- these from • Have students complete some proportion equa- cides, murders, etc.) discuss why these photos were your local tions as a review of math. used. Given the situation, who would use them? Assessment: • Grade proportion questions. Why? photo • Given a photo and a space for it on the page, have • Pick a photograph out of a and explain chemical students calculate percentage of enlargement or what it means to you – in depth. Look at the tech- dealer. reduction. nical quality and composition, of course, but also look beyond that. Look at what the image means to you. ¶74§(110.65)(3)(A) • Go through a series of magazines, and other publications and cut out 10-15 images that Plan photo layout tell the rest of the class something about you. Each Activities: • Using newspaper photo pages or magazine spreads image should give everyone some insight into your as examples, have students sketch the pages using character. This is a good assignment to do at the paper divided into columns or grids. Pay particu- beginning of the semester. Make sure each stu- lar attention to internal margins, size of dominant dent orally presents the clippings, mounted on con- photo, eyeline, etc. struction paper (or whatever) to the rest of the • Using photo copies of 5-10 photos, have students class and explains what they mean. pick photos and plan a layout. This can also be a Assessment: • Given an ethical dilemma, what is students’ TAJE photo exercise. Pay particular attention to solution? Is it adequate? caption and copy placement. • Given a legal dilemma, what is student’s reasoning Photojournalism • Using a layout previously designed by student, have for the legality or illegality of the situation? Curriculum another student use the same elements at the same • Have students write a persuasive paper trying to Guide size to create another layout. This is particularly persuade an editor to use a questionable photo. 8 They should take the position of being the pho- • Have students find five photos that they consider tographer. to be good and five that they consider to be bad. • Given a topic, students come up with five photo Have them explain why. Use exchange publications ideas that illustrate it. for this exercise. ¶74§(110.65)(3)(C) • Give students a contact sheet and have them pick the best print for the newspaper or yearbook and Plan photographs in relation explain why. This is fun to do as a class exercise to assignment with the same contact sheet. Assessment: • Check evaluations that students complete to Activities: • Put a topic on the board and have students come make sure they are thorough and accurate. up with (on their own, at first) different ways to cover this subject going beyond the obvious. Then Pinhole Camera discuss these ideas, noting the time frame in which they can be accomplished. • Have students list what types of photos they would Activity: • Supplies needed: light-tight box; 1" square of Causes of like to see in the yearbook. Have them be specific, smooth aluminum foil; straight pin or needle; flat grain black paint; paint brush; masking tape; photo- listing people, angles, time of day, location, etc. in film: • Have students locate a staff box in a relatively small graphic paper newspaper or magazine, preferably one which lists • How to make a pinhole camera: • Fast film ISO 1. paint inside of both box and lid; allow to more than just the editor. Discuss the roles and • Overexposure responsibilities of each person on that staff with dry (this may take up to 24 hours) students speculating at first. Have students write a 2. make lens with aluminum foil... lay it flat • Overdevelop- job description for a staff photographer. Then, on smooth surface and press only the point of the ment needle or pin through the foil... IMPORTANT... have them refer to their manual for the responsi- • Long wet time bilities of each member on their staff, including do not push it all the way through the foil... the photographers. hole should be perfectly round and free from ridges • High tempera- 3. when box has dried, cut hole (dime or • Have students complete a photo assignment form. tures Assessment: • Evaluate ideas for coverage given by students. penny size) in either one side or one end of the Concentrated • Evaluate job descriptions written by photographer. box • • Evaluate completed photo assignment form. 4. next, carefully, tape the aluminum foil over developers the hole in the box... use masking or electrical tape... IMPORTANT... make sure that the pinhole is in • Degree of the center enlargement ¶74§(110.65)(3)(C) 5. use another piece of tape to cover the • Impure water Set up an assignment system pinhole... this acts as the shutter of your camera Activities: • After discussing the role of the photographer on 6. under conditions, load one piece • Rapid a staff, have the photojournalism students develop of photographic paper in the center of the inside development of the box opposite the pinhole... make sure the an assignment system that they believe will work. • Temperature Discuss its weaknesses, how they can be circum- emulsion is facing the hole... you may need to tape vented, and its strengths. it in place shift Assessment: • Evaluate the students’ ability to follow the • Taking the pinhole photo: • Contrast assignment system devised for each assignment. 1. place the box on a firm, level surface and aim it toward your subject 2. place object to weight down box during ¶74§(110.65)(3)(D) exposure to prevent blurring 3. carefully remove tape covering pinhole Set up a system of keeping track of 4. expose to bright sunny light for about 2 negatives and contact sheets minutes, cloudy bright about 8 minutes Activities: • Have photojournalism students file their negatives, 5. replace tape over pinhole contact sheets and prints appropriately. Their name 6. take camera to darkroom and remove pa- should be on the contact sheet and written on each per under safelight conditions print. 7. process as a normal print Assessment: • Have students complete the appropriate Tips: forms and file negatives. Include the appropriate 1. the image you see will be negative filing as part of the grade for an assignment. 2. it is best to shoot landscapes, buildings-- non-moving things 3. the pinhole camera cannot produce as a ¶74§(110.65)(3)(F) sharp, clear picture as a camera and lens 4. the closer the paper to the pinhole the Evaluate photographs for technical more of a wide angle effect is produced 5. the greater distance the paper from the quality and composition TAJE pinhole, the more of a telephoto effect is produced Activities: • Have students complete a photo evaluation form Good luck! Photojournalism for a classmate for each assignment. Before using Curriculum the form for the first time, teach the students how Guide to use it. Go over every line and do some sample evaluations. 9 and see which one has more impact, a story alone or a OTHER IDEAS story with a photo. Why? As the semester or year progresses, you may need other photo assignments to give your photojournalism students. • Do professional photographers have a sense of ethics? How can you tell? Look up the various codes • The best of times... the worst of times: Take of ethics that exist from organizations such as the pictures of compare/contrast places, situations, National Press Photographers Association and the things, people. This can double as an English teaming Society of Professional . How do they limit project. photographers? How do they protect society? Other historical • Plain & Fancy: The object is to depict something • Are photographers subject to the same first amend- plain and fancy in one picture. This is particularly ment freedoms as ? How can you prove or figures in photogra- challenging if the picture can’t be posed. disprove this? phy: • America: Photograph something that is typically • When, where and why was the first camera devel- Richard Avedon American. oped? Margaret Bourke- White • Pick a letter of the alphabet: Photograph abstract • Photography is basically chemistry. Research the basic objects that suggest letters of the alphabet. The center chemical processes used in exposing and developing Mathew Brady of visual interest cannot be any writing, but must be an image. What chemical structures are in use? What Harry Callahan changes do they undergo? abstract. Margaret Cameron • One Day: Pick one day out of the school year and • Many careers involve photography. Pick one. Research Capa have students portray that one day. the impact photography has had on this career. Henri Cartier-Bresson Louis Daguerre • Get ready: Take pictures of other students, getting • is a specific field of photogra- ready to do something (to go to work, to go to school, phy. What equipment is required? Why might docu- George Eastman to go the prom, to go on a date, etc.). menting wildlife be useful for society? Harold Edgerton • In season: Photograph something that portrays the current season, winter, summer, fall, or spring. This PHOTO ETHICS Lewis Hine must involve other students. For example, shoveling Annie Leibowitz As journalists, we believe the guiding principle of our snow, raking leaves, washing cars, swimming, etc. Eadweard Muybridge profession is accuracy. Therefore, we believe it is wrong to • Technology away from home: Photograph students alter the content of a photograph in any way that deceive Nadar using modern technology away from home. the public. Joseph Niepce As photojournalists, we have the responsibility to docu- Irving Penn • My place: Take pictures of students wherever they ment society and to preserve its images as a matter of his- Oscar Rejiender appear the most “at home.” This may be in their torical record. It is clear the emerging electronic technolo- bedroom, watching , or riding a bike. gies provide new challenges to the integrity of photographic Henry Robinson images. This technology enables the manipulation of the Eugene Smith • All in the family: Take pictures of students interact- content of an image in such a way that the change is virtu- ing with their families, washing dishes, on vacation, Edward Steichen ally undetectable. In light of this, we, the National Press etc. Alfred Stieglitz Photographers Association, reaffirm the basis of our eth- ics: accurate representation is the benchmark of our pro- William H.F. Talbot fession. William Wegman We believe photojournalism guide-line for accuracy Edward Weston RESEARCH PAPER currently in use should be the criteria for judging what may be done electronically to a photograph. Altering the edito- TOPICS rial content of a photograph, in any degrees, is a breach of You may need alternative assignments for whatever rea- the ethical standards recognized by the NPPA. son. Short or in-depth research papers can solve these prob- ‡ From the National Press Photographers Association lems. Here are some topics for research papers.

• , Ansel Adams and some of the other famous historical figures in photography make good research papers. TAJE Photojournalism • Research the impact that photos have on the news. A Curriculum student survey might prove useful. Question: Do Guide photos impact the news? Pick a leading news event 10 and dark that complement one another. Unposed photographs.

BASEBOARD CAPTION GLOSSARY The portion of an enlarger on which light pass- The portion of a layout which explains what is ing through the negative is projected. happening in a photograph. Captions are place 5 W'S & H touching the photograph. Also called cutlines. The essentials of any story; who, what ,when, BATTERY CHECK Often includes a kicker and photo credit. where, why and how. The part of the camera which allows a photog- rapher to check how much power is remaining CARRIER ABERRATION in a battery. The of an enlarger. Optical defects in a lens that cause distortion. BAYONET MOUNT CASSETTE ACETIC ACID A type of mount used to attach a lens to a cam- A metal or plastic holder usually for a roll of 35 A component of stop bath that neutralizes the era. mm film. developer; CH COOH. 3 Turning in a BELLOWS CENTER OF VISUAL INTEREST ADAMS, ANSEL A part of a lens or enlarger that is light-tight The element in the photograph that the viewer complete and made of collapsible cloth or other material first notices; CVI. A famous Western landscape photographer who assignment developed the for exposure, pro- used to aide in focusing the image. cessing and printing control; founded the C-41 PROCESS means turning Friends of Photograph; and, was instrumental BMP/BIT-MAPPED An abbreviation for color film process- in helping photography achieve the status of fine A graphic made of dots, rather than objects; ing chemistry. It has become an industry stan- in: art. images are low resolution and should not be used dard that is used by many other companies. 1. properly filed in printing. AGITATION CHANGING BAG negatives; A light-tight bag with openings for the hands in The mixing of chemicals by physically moving BOUNCED LIGHT 2. properly filed the container containing the chemical. One of Light that is reflected off another surface be- which film can be loaded and unloaded in day- the three factors (including time and tempera- fore reaching the subject; softer than direct light. light. contact sheet ture) affecting the rate at which a chemical reac- with student’s tion, such as developing or fixing, occurs. BOURKE-WHITE, MARGARET CLEARING AGENT A photojournalist who was one of the first staff A chemical used to neutralize the hypo, or fixer, name on the photographers for Life magazine. She also pho- on film or paper and reduce washing time. AIR BUBBLES back; Tiny bubbles of air that cling to the surface of tographed the beginnings of WWII in Russia, an emulsion. If not dissolved, usually by agita- flew on bombing missions and covered the lib- CLOUDY 3. print with tion, they may appear as black spots on the print. eration of Jews at the end of the war. One of A type of lighting cause when the majority of her most famous series of photos is of Mahatma light from is blocked by clouds. student’s name Gandhi. on the back; The area visible through a lens or by a light meter. COMPOSITION BRACKET The visual arrangement of elements in a photo- 4. a complete graph. ANTI-GLARE COATING A technique used by photographers to insure caption for A substance on a lens designed to prevent glare that a properly exposed picture is taken. One cause by lighting bouncing off the glass elements picture is taken based upon a meter reading, an- CONDENSER ENLARGER some assign- of the lens. other is taken at an lower exposure and another An enlarger with a sharp light that passes is taken at a higher exposure. straight through the negative without being dif- ment; and APERTURE fused. Allows prints of high contrast and defi- 5. two complete The opening of a lens through which light (B) nition to be made. Negative imperfections such passes. A shutter setting that permits a photographer as dust spots and scratches are more apparent evaluations to keep the shutter open indefinitely. on prints made with this type of enlarger. See by other APERTURE DIAL also diffusion enlarger The portion of a lens which allows a photogra- BULK LOADER student CONTACT SHEET OR CONTACT pher to choose the f/stop. A device allowing the transfer of short lengths photographers. (20 and 36 exposure frame amounts) of film PRINT APERTURE PRIORITY from a large roll such as 100 feet to a reusable A type of print made with the negatives in di- A feature of automatic by which the film cassette. rect contact with the paper. photographer selects the aperture and the cam- era automatically selects the shutter speed. BURNING-IN CONTRAST The act in print a photo of making a light area The difference between the blackest black of a ASA of the print darker by exposing it to more light print or negative and the whitest white. The The now outdated speed-rating system for pho- while not permitting it to reach the other areas greater the difference, the higher the contrast. tographic film. The initials did stand for Ameri- of the print. See also dodging can Standard Association. ASA have been re- CONTRAST GRADE placed with ISO rating. A number which indicates the relative contrast Latin: dark room; a device used by early paint- of photographic paper. The higher the number, AVAILABLE LIGHT ers which was the predecessor to the photo- the more the image contrast is increased. Light, usually of a low level, illuminating a sub- graphic camera. ject; also called existing light. CROPPING CAMERON, JULIA MARGARET The act of selecting just a portion of the origi- An English woman who was a member of the nal image for publication or enlarging. BACKLIGHTING Pictorialist movement in England during the TAJE Lighting that comes from behind the subject 1800’s. She is best known for her striking por- CUTLINE Photojournalism See caption causing the meter to be underexposed. traits of her friends, including Alfred Lord Curriculum Tennyson and Sir John Herschel. BALANCE DAGUERRE, LOUIS Guide Arrangement of shapes, or areas of light CANDID An early photographer who influenced devel- 11 opment of photography with . another on film or on paper. the aperture. The larger the number, the smaller This was the first successful photographic pro- the lens opening. The numbers increase by mul- cess. In 1839 Daguerre used heated mercury va- DPI/ tiples of the square root of 2. Typical f/stops pors to form an image on an copper plate coated A unit of measurement for measuring the re- for a lens begin at f/1.4 and increase to f/22 in with polished silver. production capability of an output device; the the following order: f/1.4, f/2, f/2.8, f/4, f/ smallest unit of a printer. 5.6, f/8, f/11, f/16 and f/22. A difference in DAYLIGHT one f/stop indicates that half or twice as much Existing light provided by the sun. DRY MOUNTING lighting is reaching the film. For example: f/8 A method of mounting prints on cardboard by lets in twice as much light as f/11. DEDICATED FLASH using heat, pressure, and tissue impregnated with An electronic flash unit designed to operate on shellac. FAST FILM a specific model of camera. Film with a high ISO that has a high relative EASEL sensitivity to light. Example: 3200 T-Max. DEKTOL A device which rests on the baseboard of the A common paper developer manufactured by enlarger to hold the photographic paper in place Eastman Kodak. and to assist in cropping of the image. A technique using both available light and supplementary artificial light. The light from the DENSE EASTMAN, GEORGE flash is used to ‘fill-in’ the shadows made by the Negatives that are overexposed or overdevel- Credited with providing common man with existing light. oped are said to be ‘dense’ because they don’t equipment to take pictures. transmit as much light as an ideal negative. See ‘FILL THE FRAME’ also thin EMULSION A phrase used to remind photographers there The part of photographic paper or film that con- should be no wasted space in a picture. DEPTH OF FIELD tains the light-sensitive silver halides. The emul- The distance between the element in a photo sion side is the side coated with the emulsion. FILM closest to the camera and the element farthest A sheet or roll of flexible, light-sensitive mate- from the camera that appear in acceptable fo- ENLARGE rial used to record an image in a camera. cus. The greater the distance, the greater the The opposite of reduce; reproducing a picture depth of field. Wider give lower depth at a size larger than the original. FILM CLEANER of field. A solution composed primarily of alcohol used ENLARGEMENT to clean dust off of film. DEPTH OF FIELD PREVIEW A copy of an image is larger than the original A device on a camera which allows the photog- image. Example: ‘A 5x7 enlargement.’ FILM CLIP rapher to preview which elements will appear in Slow devices made of plastic or metal used to focus at a given aperture. ENLARGER hang film for drying. A device used to make an enlargement. See also DEVELOP condenser enlarger and diffusion enlarger FILM REWIND KNOB The act of converting a latent image into a vis- The part of the camera which is turned to re- ible image through a series of chemical reac- EPS/ ENCAPSULATED POSTSCRIPT wind the film back into the light-tight canister. tions. A graphics standard for object-oriented files which includes the Postscript code necessary to FILM SPEED DEVELOPER tell the printer how to print a file. Relative sensitivity of film to light, as measured The chemical used to convert the latent image by standard ratings; currently, film speeds are into a visible image. Usually a basic solution that EQUIVALENT EXPOSURE rated in ISO values. The higher the film speed, can be neutralized by acid. An exposure that, despite a change in aperture the less light required. or shutter speed, allows the same amount of light to reach the film as another exposure. FILM SPROCKETS A lighttight container used for processing film. The rectangular holes on both edges of film such EXISTING LIGHT as 35 mm that are used to accurately advance DIFFUSION ENLARGER The amount of light in a scene without the ad- the film through the camera. An enlarger that distributes scattered light across dition of light from artificial sources such as a the negative, softening the appearance of the flash. Also known as available light. FILTER print. See also condenser enlarger A piece of colored glass or plastic used to af- EXPOSURE fect the color of the light reaching the light- A combination of aperture and shutter speed sensitive emulsion. Filters are used on a camera Allows a camera to bypass film and record im- that determines how much light reaches the and in the printing process. See polycontrast filters ages on a disk built into the camera, or on a light-sensitive emulsion. and Polarizing Filter floppy. FISHEYE DIN A change in exposure based on an atypical light- A type of lens that distorts the image but en- Deutsche Industrie Norm; a film speed used in ing situation. For example: the typical compen- compasses an extremely wide angle of view (near Europe before the development of the ISO sys- sation for backlighting is to increase the expo- 180½), usually greater than 20mm in focal tem. sure four times. length.

DODGING EXPOSURE SETTING FIX The act in print a photo of making a dark area The lens opening and shutter speed selected to The act of removing the unexposed silver ha- of the print lighter by not exposing it to as much expose film. lides from paper or film with fixer rendering the light while permitting light to reach the other material insensitive to light. areas of the print. See also burning-in F/16 RULE TAJE In bright sunlight with the camera set at f/16, FIXER Photojournalism DOMINANT the shutter speed is approximately equivalent to An acidic solution used to fix film or paper by The largest photograph on a layout. 1/ISO of the film being used. converting unexposed silver halides into a for Curriculum that is not sensitive to light and which can be Guide DOUBLE EXPOSURE F/STOP removed by rinsing; the primary component of 12 Recording two or more images on top of one A number used to indicate the relative size of most fixers is sodium thiosulphate (Na2S2O3•5H2O). files independent of machine type and best used The part of the camera which allows the pho- for transmitting images with large areas of solid tographer to set the appropriate ISO. FLASH SYNCH color. The fastest speed at which the flash can be used JPEG/ JOINT PHOTOGRAPHERS to illuminate the entire frame with the shutter GLARE EXPERTS GROUP completely open. An unwanted reflection off a shiny surface; The best format for photographs or graphics sometimes refers to unwanted light bouncing that have many colors and shades and very few, FLAT off the glass elements inside a lens. if any, areas of flat color. A term used to describe a print or negative of low contrast. GLOSSY PAPER LANGE, DOROTHEA A paper with a highly reflective emulsion. See Hired by the Farm Security Administration to F-NUMBER also matte paper document the in the 1930’s. The numerical expression of the amount of light admitted by a lens, derived from dividing the GRADUATE LATENT IMAGE by the optical diameter of a lens A container marker off in ounces or milliliters An invisible image formed when light strikes the opening. Low f-numbers, such a f/1.4, allow and used for measuring photographic solutions. silver halides in the film prior to development. large amounts of light to pass through a lens; high f-numbers, such as f/16, allow little light GRAIN LEADER to pass through. The small silver crystals in a print or negative. A strip at the beginning of a roll of film used to When these crystals become visible, the image thread it into the camera. FOCAL LENGTH is said to be ‘grainy.’ Graininess becomes pro- A measurement of the size of a lens; the dis- nounced with pushed processing and fast . LEADING LINES tance between the film plane of the camera and A technique which uses one part of the photo- the optical center of the lens focused at infinity. graph to lead the viewer into another part of A measurement of the intensity of light pro- the subject. FOCAL PLANE SHUTTER duced by a flash used to figure the appropriate A type of shutter located just in front of the exposure. LED film that opens either horizontally or vertically. Letters that serve as an abbreviation for "light emitting diode." For example, these are used to FOCUS An image composed only of dots used for re- provide exposure data around the edges of the Adjustment of the subject distance on a lens to production on a printed page giving the illusion viewfinder in an SLR camera. render the subject sharp. of a continuous tone. LENS FOCUS RING A device designed to focus light on a given area The part of the lens which enables the photog- The part of a camera which allows an electronic such as a piece of film. rapher to focus the subject. flash to be fired at the same time as the shutter is released based on electrical contact with the FOG camera. An accessory that attaches to the front of a lens The portion of an image which has been con- to prevent lens glare; also called a lens shade. verted into a visible image although it was not HYPO intentionally exposed. There are two types of A synonym for fixer. LENS MOUNT fog: chemical fog and fog caused by accidental The part of the camera to which the lens is se- exposure to light. HYPO CHECK cured. A chemical used to check whether or not the FOREGROUND fixer is still capable of making the silver halide LENS RELEASE The area between the camera and the main sub- crystals insensitive to light. A button which allows the lens to be taken off ject. certain cameras. HYPO-CLEARING AGENT FORMAL BALANCE A chemical used to help remove fixer from the Symmetrical. emulsion. A ‘fast’ lens has wider maximum aperture and transmits more light than a ‘slow’ lens. For ex- FRAMING INCANDESCENT ample, a lens with a widest f/stop of f/2 is A composition technique which the center of Light that results when a substance is heated ‘slower’ than a lens with a maximum aperture visual interest in a photo is framed by objects in with electricity such as in a tungsten light bulb. of f/1.4. Lens speed is a common way of mea- the foreground that are usually out of focus; See also florescent suring lenses. Faster lenses tend to be more ex- lends depth. pensive and can be used in lower light situations. INFINITY FRONTLIGHTING As far as the eye can see; the maximum distance LENS TISSUE Lighting that illuminates the front of the sub- on which a lens can focus. A soft, lintless tissue used to clean glass surfaces ject which has a source behind the photogra- such as lenses. pher. INFORMAL BALANCE Not symmetrical. LIGHT METER F-STOP NUMBERS Another name for an exposure meter. Numbers representing fractions that relate to a INTERCHANGEABLE LENS mathematical ratio of the aperture to the focal A lens which can be removed from a camera LONG LENS length of the lens. body. Term used to describe a ; a lens whose focal length is longer than the diagonal GELATIN ISO of the film with which it is used. The portion of the film in which light-sensitive An abbreviation for International Standards Or- TAJE silver halides are suspended. ganization. A number assigned to film indicat- LPI (LINES PER INCH) Photojournalism ing its relative sensitivity to light. The higher the A traditional printing term that refers to rows GIF/GRAPHIC INTERCHANGE number, the more sensitive the film is to light. of dots in half tones or the frequency of the Curriculum FORMAT screen. Guide Format used by to assist users in utilizing graphic ISO DIAL 13 MANUAL OVERRIDE common problem with rangefinder or twin lens crease the actual effective speed of the film by A feature on some electronic cameras that al- reflex cameras. over developing it. Usually used for pictures shot lows a photographer to select either the shutter in extremely low light situations without artifi- speed, the aperture, or both independently of PC CORD cial lighting. Increases contrast and grain. the exposure system. An electrical, wired connection between a flash and camera that allows the flash to be fired at REEL MATTE the appropriate time after the shutter release is A device used in film developing to allow chemi- A paper with an emulsion that does not reflect pressed. cals to reach all areas of the film evenly; made much light. See also glossy paper of stainless steel or plastic. PHOTO CREDIT MEMO HOLDER Part of the photo caption which states the name REFLECTED A bracket on the camera back where the film of the photographer or the organization respon- Refers to light that bounces off a subject. box lid can be held in place. sible for the photograph. RESIN-COATED PAPER (RC) MERGER PHOTOGRAM Photographic paper coated with clear plastic. RC The part of a photo that merges with another A print made without a negative by positioning papers require shorter processing times than fi- part (or the border) unintentionally often gen- objects between a light source and the photo- ber-based papers. erating distracting results. graphic paper. RESOLUTION PHOTOJOURNALISM The term used to describe the amount of data, MOTOR DRIVE A genre of photography which includes photo- or color , in a scan, a stored image An electronic motor that speeds up the film ad- graphing people involved in news events. file, a screen display, or a printed image. vance. Also called a power winder. PICT/PICTURE RETICULATION NEGATIVE A graphics standard for object oriented files Cracks in the emulsion caused by temperature Developed film; an image where dark areas of (from picture). variations during processing. the actual scene appear light and light areas ap- pear dark. /PICTURE + ELEMENT REWIND BUTTON The smallest unit that makes up an image on a A small button in the base of an adjustable cam- NEGATIVE CARRIER computer screen; the smallest unit of a digitized era that releases the take-up spool so that the The part of the enlarger which holds the nega- photo. film can be rewound into the film cassette. tive in place during the enlarging procedure. POLARIZING FILTER RINSE NEGATIVE SHEET A type of filter used when taking pictures to A procedure in the development of paper or Several negatives contained in a carrier, usually block out the reflections off non-metallic sur- film designed to remove one chemical before made of transparent plastic, designed to assist faces. Also useful for blocking reflections off immersion in another or before drying. in making contact sheets and filing. water in the atmosphere, darkening skies. RULE OF THIRDS NIEPCE, NICEPHORE POLYCONTRAST FILTER A technique used to determine the placement Father of photography; took the first picture in A type of filter used in enlarging that, together of the subject. When the viewfinder is divided 1826. with polycontrast paper, allows the user to alter into thirds both horizontally and vertically, the the contrast of the image without having to use subject goes at the intersection of any two lines. NORMAL LENS a different type of emulsion. Also known as A lens that records an image with approximately multigrade filters. S-CURVES the same angle of view as the human eye; a 50 A technique which uses elements in a photo mm lens is considered ‘normal’ for most 35mm POSED SHOT shaped in curves to grab the reader’s attention. camera. A photograph that is set up by the photogra- pher. See also candid SAFELIGHT OVER DEVELOPMENT A device which emits light of a wavelength to Development longer than the recommended POSTSCRIPT which photographic materials are not sensitive, time at a given temperature and agitation rate; A page-description language developed by often amber. causes increased contrast, graininess and chemi- Adobe Systems for use in laser printers and other cal fog; commonly caused by hot developer. See high-quality output devices. SCANNER pushed processing The PPI/ PER INCH OVER EXPOSURE A type of measurement of resolution for dis- SCRATCH-RESISTANT COATING An exposure which allows more than the re- play purposes. The portion of film designed to make it less quired amount of light to reach the emulsion; sensitive to scratches. causes a loss of detail in the highlight areas. PRINT A reproduction of an image made with tones SCREW MOUNT PANCHROMATIC FILM corresponding to those in the actual image. Also A threaded mounting for attaching a lens to a Film that is sensitive to all visible colors of light termed a ‘positive.’ See also negative camera body; most modern cameras and lenses and renders them tones similar to those visible have bayonet mounts. with the human eye. See also orthochromatic film PRINT DRYER An electrical device used to dry prints using SELECTIVE FOCUS PANNING warm, forced air. A technique which renders only certain elements A photographic technique where the camera is in a photograph to appear in focus by using wide moved at the same speed and direction as the PRINT TONGS f/stops which give low depth of field. subject allowing the subject to remain sharp but Devices used in the printing process which per- TAJE blurring the rest of the picture. mit a person to move prints from one tray to SELF TIMER Photojournalism the next without having to get chemicals on the A part of a camera a delays the opening of the PARALLAX skin. shutter after the shutter release has been pressed. Curriculum The difference between what is seen in the Guide viewfinder and what is recorded on the film; a PUSHED PROCESSING SHUTTER 14 A technique used when developing film to in- The part of the camera that opens, allowing light ter speeds so they appear stopped. coming through the lens to reach the film. TWIN-LENS REFLEX STRAND, PAUL A type of camera which has two lenses, one for SHUTTER RELEASE An American photographer who began work- viewing the subject in preparation for taking the The portion of the camera that when pressed ing in the early 1900’s on a style of photography picture and one through light passes before opens the shutter and exposes the film to light. that became known as ‘straight’ photography. reaching the film. His early photographers of candid street scenes SHUTTER SPEED would influence photographers for the next 30 UNDER DEVELOPMENT A measurement of how long the shutter will years. Development shorter than the recommended remain open allowing the light-sensitive emul- time at a given temperature and agitation rate; sion to be exposed to light. Measured in frac- SUBORDINATE ELEMENTS commonly caused by cold developer or ex- tion of a second. Elements which a viewer sees after viewing the hausted chemicals. dominant element. SHUTTER SPEED DIAL UNDER EXPOSURE The portion of the camera which allows the pho- TALBOT, WILLIAM HENRY FOX An exposure which allows less than the required tographer to set the appropriate shutter speed. Credited with creating the negative/positive amount of light to reach the emulsion; causes a process loss of detail in the shadow areas. SIDELIGHTING Lighting that illuminates one side of a subject TANK WESTON, EDWARD more than another. A light-tight device made of metal or plastic into Began as a successful portrait photographer in which film or paper is placed for development. Hollywood, he destroyed all of his negatives and SILVER HALIDE moved to Mexico for four years to rethink his The light-sensitive part of film or paper. Chemi- TECHNICAL QUALITY photographic style. Together with Ansel Adams, cally, a silver halide is a compound of silver and Refers to the qualities in a photo which result Imogene Cunningham and others, he helped either fluorine, chlorine, bromine or iodine. from things other than composition, including found Group f/64. The first photographer to exposure and proper development. receive a Guggenheim Fellowship, he is best SINGLE-LENS REFLEX (SLR) known for his landscapes, nudes and still lifes A type of camera which allows a photographer TELEPHOTO of peppers. He photographed for complete to see the subject through the same lens as light A lens with a narrow angle of view allowing dis- sharpness and detail in his images, insisting on will pass when the film is exposed. See also twin tant objects to fill the frame. extreme depth of field, contact printing his 8x10 lens reflex camera and rangefinder negatives, mounting on white board and not re- TEST STRIP touching or manipulating the image at all. SLOW A small piece of photographic paper exposed A term that refers to a long shutter speed. Also to light for various intervals to determine the WETTING AGENT a relatively insensitive film. proper exposure time. A chemical used to reduce surface tension of a film and promote even drying. STEICHEN, EDWARD TEXTURE Together with Alfred Stieglitz, founded the The quality of a photograph’s composition WIDE-ANGLE Photo-Secessionists in America in 1902. Dur- which makes it appear as though it will feel like A lens with a wide angle of view allowing more ing his lifetime, he helped America discover, another material. nearby objects to fill the frame. through Stieglitz’s galleries, such artists and pho- tographers as Picasso, Monet, and Rodin. He THIN WORKING SOLUTION later became staff photographer for Conde Negatives that are underexposed or underde- A mixture of a chemical in water that is ready Nast, creating new and unique fashion photog- veloped are said to be ‘thin’ because they trans- to be used. raphers. During WWI and WWII, he was a pho- mit more light than an ideal negative. See also tographer for the U.S. Armed Forces. During dense ZOOM WWII, he was director of photography in the A type of lens with multiple focal lengths as Pacific theatre. He later became the director of TIFF/TAG IMAGE FILE FORMAT opposed to a fixed lens. photography at the Museum of Modern Art in The most common format for saving scanned where he organized one of its images; a graphics standard for high-resolution. most famous exhibitions: ‘The Family of Man.’ TIMED EXPOSURE STEIGLITZ, ALFRED An exposure of unusually long duration often One of the most influential photographers who timed by the photographer rather than the cam- ever lived. He brought the impressionistic style era. of photography from Europe to America through the organization of the Photo-Seces- TIMER sionists. He would later lead the way to straight A device used to aid a photograph in getting photography by recognizing and promoting the accurate exposures or development times. work of such photographers as Paul Strand, Edward Weston and Ansel Adams. He opened TONE the first photography gallery in New York City An quality of composition produced by the and helped to establish the first department of combination of light, shade and color. photography at an American museum. During his entire lifetime, he fought for photography’s TRAYS acceptance as an art form. He was married to Containers used in the darkroom used to con- the artist, Georgia O’Keeffe. tain chemicals and into which prints (or film) are placed so they can be in full contact with the STOP BATH chemical. TAJE An acidic solution used to stop the action of Photojournalism the developer. Curriculum A three-legged stand on which a camera can be STOPPED ACTION mounted. Guide Moving subjects photographed with fast shut- 15 RESOURCES CONTRIBUTORS n • Lynda Farabee, Levelland HS Burchfield, Jerry. Photography in Focus. 5th ed., (Levelland, TX) • Susan Komandosky, Round Rock TAJE 1998. Available from: NTC/Contemporary HS (Round Rock, TX) Publishing Co. 4255 W. Touhy Ave. • Mark Murray, Arlington I. S. D. Lincolnwood, Ill. 60646. (Arlington, TX) n Dennis, Ervin A. Applied Photography. 2nd ed., OFFICERS 1993. Available from: Delmar Publishers. (State NOTES SUSAN ROB- Photojournalism is one of the most fun ERTS adopted text for Graphics). and challenging courses a teacher PRESIDENT n can ever teach. There is no greater La Porte HS (La Porte, TX) DuBoff, Leonard D. The Law for Photogra- reward than teaching students to see phers. 1995. Available from: JEA Bookstore. the world around them. JANET ELBOM n Bradley Wilson PRESIDENT- Hargrave, Sean. Sports and Adventure Photogra- April 1994 ELECT phy. 1995. Available from: JEA Bookstore. Johnston HS (Austin, TX) n Hilton, Jonathan. Action Photography. 1997. Updated, revised and converted NYLA WATSON, TREASURER Available from: JEA Bookstore. to TEKS by Pearland HS n Nyla Watson (Pearland, TX) Hoy, Frank P. Photojournalism: The Visual Pearland H.S. Approach. 2nd ed. Englewood Cliffs, NJ: Prentice- Susan NORMA Hall, 1986. Available from: Prentice-Hall, 800/922- La Porte H.S. FITZGERALD, September SECRETARY 0597. 1998 Los Fresnos HS n (Los Fresnos, TX) Hughes, Jerry. The World’s Simplest Photography BOBBY Book. 5th Ed. Dallas: Phillips Lane Publishing, 1993 HAWTHORNE, Available from: JEA Bookstore. STATE DIREC- n TOR Kruger, Wendy. Photo Editing: Making Good UIL State Academic Director Photographs Great. 1997. Available from: JEA (Austin, TX) Bookstore. n PAT GATHRIGHT, CONVENTION Lewis, Greg. Photojournalism: Content and Tech- DIRECTOR nique. Dubuque, IA: William C. Brown Publishers, MacArthur H S 1991. Available from: JEA Bookstore. (San Antonio, TX) n RANDY Nelson, Terry. Yearbook Photography. Montgom- VONDERHEID ery, AL: Herff Jones, 1993. Available from: Herff Jones, PAST PRESI- 800/453-2813. DENT n RHONDA Peterson, Bryan. Understanding Exposure. 1990. MOORE, Available from: JEA Bookstore. EXECUTIVE n DIRECTOR Bowie HS Stark, Rosalind. Is Seeing Believing?. 1996. (Austin, TX) Available from: JEA Bookstore. n Wilson, Bradley. Camera Ready. Austin: Hooray for High School Journalism, 1989.

n For further info: TAJE Kodak Photojournalism 1-800-242-2424 Curriculum Ilford Guide 1-800-535-9205 16

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