DOCSLIB.ORG

Photojournalism Curriculum Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Photojournalism Curriculum Guide Part 4 TAJE From the Texas Association of Journalism Educators Photojournalism 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 media of publishing tools and other hands-on production the late 20th century and beyond will continue tools as well as modern darkroom 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 photography. 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- • Enlarger of study: operation and care of the camera, tak- ments. Completion of photo assignments includes • Easel ing pictures, film 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 • Safelights 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 communication 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 digital imaging 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, color, 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 shutter speed or use panning or hand holding with slower shutter speeds; 3. The student incorporates photographs 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 black and white 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. Push processing • Stop Bath 3. Aperture B. Printing • Rapid Fix B. Film 1. Theory • Hypoclear 1. Types 2. Equipment/chemicals • Photoflo 2. Film speed (ASA/ISO) 3. Process C. Filters a. Dodging and burning b. Making contact sheets/prints II. COMPOSITION c. Making test strips A. Rule of Thirds d. Using polycontrast filters B. Balance e. Mounting C. Framing, 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. Depth of field B. Cropping photos E. Equivalent exposures C. Role of the photographer F. Evaluating technical quality D. Filing system E. Law and ethics IV. DARKROOM PROCEDURES F. History of photography 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; Photogram; • 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 shutter speed; 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; Pinhole camera • 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 news 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 newspaper, 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
Load more

Recommended publications
  • The Photo College
    Basic Flash Photography Table of Contents Flash Basics - Guide Numbers, Bounce, Camera Settings, Lens AOV Manual Flash - Power Adjustments Built-In Flash - Beyond your Instruction Manual Dedicated Flash - Shutter speeds, Adapters TTL Autoexposure Flash - Sensors, Light Meters, Autofocus FLASH BASICS Every time you use your flash do you wince? Did your inner self nudge you with that ‘It’s gonna be a lousy FLASH shot!’ question? Do you take more flash shots of the same thing than you really need just because the uncertainties of ‘Flash Photography’ scare you? I might scare you but your flash can be tamed. Flash units provide portable light for your low-light photography. That’s low-LIGHT. You put batteries in and get bright light out. Ah, but how much light do you get out and how can you be sure it’s the correct amount of light? Read your Instruction Manual? That’s a start; but not a finish. In most situations you can set your flash to one setting and just leave it there. And as most people find themselves taking the same general types of pictures each time they grab the camera, you will find yourself actually ‘remembering’ your flash settings without even considering the consequences. It’ll come naturally to you. So, now that we’ve broken the ice let’s get through the hard part that you’ll probably never need to know; ‘Guide Numbers’! A flash unit’s Guide Number, or GN, is it’s rating of maximum light output at full power with fresh batteries. The higher the GN the brighter the light.
    [Show full text]
  • Still Photography
    Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection.
    [Show full text]
  • Photo History Newsletters • Vol
    THE AMALGAMATED PHOTO HISTORY NEWSLETTERS • VOL. 2-2 2021 We hope that the Covid pandemic soon passes away so we can get back to normal with regular meetings and events. In the interim here are addi- tional newsletters to keeping you read- ing. Please enjoy. Ken Metcalf of the Graflex Journal has another interesting issue which should entertain you well. Another fine newsletter comes from The Western Canada Photographic Historical Association in British Colum- bia with some fine reading content. Permissions granted: Graflex Journal– Ken Melcalf The Western Canada Photographic Historical Association– Tom Parkinsion SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 3 2020 FEATURES some leather that was a good match. Thickness was right, color was good, and the pebble grain was close National Graflex Gets a New Coat by Paul S. Lewis……..….....….....….1 enough. So, I had them send me a large sheet; 12x17. Camera Group - Roger Beck………….…….………...….…..…………....2 Having a good supply would allow for some mistakes Viewing Wild Animals at Night by William V. Ward …….…...…………..4 and assure me that there would be enough length and Hold It! Part 1 by Ken Metcalf.……………….…………….…………….....5 width to cover the missing panels with one complete Graflex Patents by Joel Havens….…..………………...…………….…...12 piece. The source I used was Cameraleather ([email protected]). I did just check with them to be sure similar material is available. The report is that although the material is available, supply is limited. So, with material and camera in hand, the next step Ed: Mr. Lewis is a Graflex Journal subscriber and author was to get the new cover panels cut out and attached.
    [Show full text]
  • Push Processing
    May 2002 APPLICATION SHEET PUSH PROCESSING INCREASING APPARENT FILM SPEED BY OVER-DEVELOPMENT All camera films have a basic speed, usually PUSH PROCESSING shown as an ISO rating on the packaging. This How well push processing works is much more gives you a measure of how sensitive the film is to dependent on the subject illumination than for light, but only when processed to ‘normal’ standard processing. The push processing contrast. If you expose the film at its rated speed development times for recommended meter settings and process it to normal contrast according to the given in ILFORD information for films and standard recommendations you will get the best chemicals are chosen to ensure that the maximum results for a wide range of conditions. level of detail is recorded under all conditions, and especially in very poor lighting. However, you cannot always use the rated exposure as the light level may be too low, or you However, in many situations where film is uprated, may need a high shutter speed and/or small the lighting is very unevenly distributed. In these aperture. In these cases, the solution is to uprate cases, you can usually improve the quality of your the film to a higher speed and push process, that final image by changing your exposing and is deliberately underexpose the film and extend the processing. If in doubt though, follow the development time to compensate for it. recommendations in ILFORD information for films and chemicals for the meter setting used. You can uprate many films by one or two stops.
    [Show full text]
  • 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.
    [Show full text]
  • What Resolution Should Your Images Be?
    What Resolution Should Your Images Be? The best way to determine the optimum resolution is to think about the final use of your images. For publication you’ll need the highest resolution, for desktop printing lower, and for web or classroom use, lower still. The following table is a general guide; detailed explanations follow. Use Pixel Size Resolution Preferred Approx. File File Format Size Projected in class About 1024 pixels wide 102 DPI JPEG 300–600 K for a horizontal image; or 768 pixels high for a vertical one Web site About 400–600 pixels 72 DPI JPEG 20–200 K wide for a large image; 100–200 for a thumbnail image Printed in a book Multiply intended print 300 DPI EPS or TIFF 6–10 MB or art magazine size by resolution; e.g. an image to be printed as 6” W x 4” H would be 1800 x 1200 pixels. Printed on a Multiply intended print 200 DPI EPS or TIFF 2-3 MB laserwriter size by resolution; e.g. an image to be printed as 6” W x 4” H would be 1200 x 800 pixels. Digital Camera Photos Digital cameras have a range of preset resolutions which vary from camera to camera. Designation Resolution Max. Image size at Printable size on 300 DPI a color printer 4 Megapixels 2272 x 1704 pixels 7.5” x 5.7” 12” x 9” 3 Megapixels 2048 x 1536 pixels 6.8” x 5” 11” x 8.5” 2 Megapixels 1600 x 1200 pixels 5.3” x 4” 6” x 4” 1 Megapixel 1024 x 768 pixels 3.5” x 2.5” 5” x 3 If you can, you generally want to shoot larger than you need, then sharpen the image and reduce its size in Photoshop.
    [Show full text]
  • 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.
    [Show full text]
  • A Person Who Creates Still Photographic Images for the Publicity of Films and Television Programs and Other Photography: Producing Still Images
    BA Still Photography Still photography refers to unit still photographer: a person who creates still photographic images for the publicity of films and television programs and other photography: producing still images. The liberalization, globalisation and opening up of economy has led to the setting up of a host of 24X7 news channels as well as a large number of entertainment channels. Further, with the mindset of Indian masses undergoing sea change, the working in the entertainment Industry is no more a limitation. More and more young men and women are taking to entertainment industry. Courses of Film and Television is driven by the singular desire to create New Media Communicators using cinema and television as a means of dialogue with their world. We aim to provide a global platform for quality media and film professionals. Eligibility Criteria: 10+2 or equivalent in any stream To earn a BA (Hons) in Still Photography, a student has to earn a minimum of 90 credits. Minimum 24 credits are to be earned from Still Photography subjects and the remaining can be taken from any stream. Every student has to attain a minimum of D grade in all courses; a student may however, and repeat or change any course being offered. Notwithstanding, every student must acquire the desired number of credits. The detailed course structure under different categories is given in succeeding pages. Brief description of the course content follows thereafter. Codes Subject Name Credit 16A.101 Creative Writing 4 16A.102 Still Photography 4 16A.103 Media Appreciation
    [Show full text]
  • Foveon FO18-50-F19 4.5 MP X3 Direct Image Sensor
    ® Foveon FO18-50-F19 4.5 MP X3 Direct Image Sensor Features The Foveon FO18-50-F19 is a 1/1.8-inch CMOS direct image sensor that incorporates breakthrough Foveon X3 technology. Foveon X3 direct image sensors Foveon X3® Technology • A stack of three pixels captures superior color capture full-measured color images through a unique stacked pixel sensor design. fidelity by measuring full color at every point By capturing full-measured color images, the need for color interpolation and in the captured image. artifact-reducing blur filters is eliminated. The Foveon FO18-50-F19 features the • Images have improved sharpness and immunity to color artifacts (moiré). powerful VPS (Variable Pixel Size) capability. VPS provides the on-chip capabil- • Foveon X3 technology directly converts light ity of grouping neighboring pixels together to form larger pixels that are optimal of all colors into useful signal information at every point in the captured image—no light for high frame rate, reduced noise, or dual mode still/video applications. Other absorbing filters are used to block out light. advanced features include: low fixed pattern noise, ultra-low power consumption, Variable Pixel Size (VPS) Capability and integrated digital control. • Neighboring pixels can be grouped together on-chip to obtain the effect of a larger pixel. • Enables flexible video capture at a variety of resolutions. • Enables higher ISO mode at lower resolutions. Analog Biases Row Row Digital Supplies • Reduces noise by combining pixels. Pixel Array Analog Supplies Readout Reset 1440 columns x 1088 rows x 3 layers On-Chip A/D Conversion Control Control • Integrated 12-bit A/D converter running at up to 40 MHz.
    [Show full text]
  • Valuing Subjectivity in Journalism: Bias, Emotions, and Self-Interest As Tools in Arts Reporting
    Original Article Journalism Valuing subjectivity in journalism: Bias, emotions, and self-interest as tools in arts reporting Phillipa Chong McMaster University, Canada Abstract This article examines the meanings and norms surrounding subjectivity across traditional and new forms of cultural journalism. While the ideal of objectivity is key to American journalism and its development as a profession, recent scholarship and new media developments have challenged the dominance of objectivity as a professional norm. This article begins with the understanding that subjectivity is an intractable part of knowing (and reporting on) the world around us to build our understanding of different modes of subjectivity and how these animate journalistic practices. Taking arts reporting, specifically reviewing, as a case study, the analysis draws on interviews with 40 book reviewers who write for major American newspapers, including The New York Times, The Los Angeles Times, The Washington Post, and prominent blogs. Findings reveal how emotions, bias, and self-interest are salient – sometimes as vice and sometimes as virtue – across the workflow of critics writing for traditional print outlets and book blogs and that these differences can be conceptualized as different epistemic styles. Keywords Blogs, emotion, literary journalism, newspapers, online media, practice, subjectivity/ objectivity Introduction Objectivity has long been the gold standard in American journalism and was key to its development into a profession (Benson and Neveu, 2005; Schudson, 1976). Yet Corresponding author: Phillipa Chong, Department of Sociology, McMaster University, 609 Kenneth Taylor Hall, 1280 Main Street West, Hamilton, ON L8S 4M4, Canada. Email: [email protected] Chong 2 scholars have complicated the picture by pointing to the unattainability of objectivity as an ideal with some noting the increasing acceptance of subjectivity across different forms of journalism (Tumber and Prentoulis, 2003; Wahl-Jorgensen, 2012, 2013; Zelizer, 2009b).
    [Show full text]
  • Reuters Institute Digital News Report 2020
    Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media.
    [Show full text]
  • 151 Australasian Journal of Information Systems Volume 13 Number 2 May 2006
    AN EXPLORATION OF USER INTERFACE DESIGNS FOR REAL-TIME PANORAMIC PHOTOGRAPHY Patrick Baudisch, Desney Tan, Drew Steedly, Eric Rudolph, Matt Uyttendaele, Chris Pal, and Richard Szeliski Microsoft Research One Microsoft Way Redmond, WA 98052, USA Email: {baudisch, desney, steedly, erudolph, mattu, szeliski}@ microsoft.com pal@ cs.umass.edu ABSTRACT Image stitching allows users to combine multiple regular-sized photographs into a single wide-angle picture, often referred to as a panoramic picture. To create such a panoramic picture, users traditionally first take all the photographs, then upload them to a PC and stitch. During stitching, however, users often discover that the produced panorama contains artifacts or is incomplete. Fixing these flaws requires retaking individual images, which is often difficult by this time. In this paper, we present Panoramic Viewfinder, an interactive system for panorama construction that offers a real-time preview of the panorama while shooting. As the user swipes the camera across the scene, each photo is immediately added to the preview. By making ghosting and stitching failures apparent, the system allows users to immediately retake necessary images. The system also provides a preview of the cropped panorama. When this preview includes all desired scene elements, users know that the panorama will be complete. Unlike earlier work in the field of real-time stitching, this paper focuses on the user interface aspects of real-time stitching. We describe our prototype, individual shooting modes, and provide an overview of our implementation. Building on our experiences with Panoramic Viewfinder, we discuss a separate design that relaxes the level of synchrony between user and camera required by the current system and provide usage flexibility that we believe might further improve the user experience.
    [Show full text]