PJ Curriculum

Photojournalism CURRICULUM

GuideBY BRADLEY WILSON Spot News Still Life Feature Photo by Bradley Wilson Photo by Kelly Glasscock Photo by Rob Mattson

PHOTOJOURNALISM 1 Grade: 9,10,11,12 Credit: /2 or 1 Prerequisite: Teacher recommendation A good syl- labus should contain: very day, people are bom- other hands-on production tools as • Course title barded with thousands of vi- well as modern darkroom facilities. • Course times (include sual images. The media of This course can serve as the pre- conference E period) the 21st century and beyond will requisite to newspaper production • Instructor continue this visually-oriented and or magazine/yearbook production biography • Grading graphic trend. One of the key com- and may provide students insights system • Required ponents to the success of these visual into college and career choices. materials print publications is photography. Some out-of-class time will be re- • Class rules • Course out- Photojournalism introduces students quired including the time to shoot line • Important to the world of photography and at least three photo assignments dates journalism. The law, ethics and his- per grading period. Completion • Student info form tory of photography will complement of photo assignments includes tak- • General per- mission form the major units of study: operation ing the picture, processing the film, • Student sig- and care of the camera, taking making a contact sheet, selecting nature line • Parent signa- pictures, film and print processing, the prints, making the prints and ture line digital photography, teamwork and turning them all in with a completed management skills. evaluation form on time. Late assign- In addition, students will have the ments result in a grade of 0 for that opportunity to use state of the art assignment. computer-aided publishing tools and Photo- Photo- journalism journalism Curriculum Curriculum Guide Guide By Bradley By Bradley Wilson Wilson ©2002 ©2002 PAGE 2 PAGE 3 Sports Portrait Photo Illustration Photo by Paul Kelly Photo by Victor Junco Photo illustration by H. Rick Mach

COURSE OUTLINE

I. CAMERA BASICS 2. Equipment/chemicals A. Camera parts 3. Process B. The lens a. Dodging and burning 1. Different types of lenses b. Making test strips C. Film c. Using polycontrast filters 1. Different types d. Mounting 2. Film speed (ASA/ISO) C. Troubleshooting D. Filters 1. Dust spots on print 2. Over/underexposure II. COMPOSITION 3. Over/underdevelopment A. Rule of Thirds 4. Film developer blotches B. Balance 5. Other problems C. Framing, S-curves, repetition of shapes, leading lines V. DIGITAL D. Evaluating composition A. LPI, PPI and DPI B. Prepare a photo for reproduction using Adobe III. TECHNICAL QUALITY Photoshop A. Focus 1. Cropping B. Lighting 2. Sizing 1. Direction 3. Sharpening 2. Intensity 4. Color correction using levels/curves 3. Color 5. Dodging/Burning 4. Artificial 6. Saving in JPEG, TIF, EPS or PSD 5. Metering C. Import a. Bracketing 1. Flatbed scanner C. Stopping action 2. Negative scanner 1. Fast shutter speeds 3. Digital camera 2. Panning 3. Hand holding with slow speeds VI. PHOTOJOURNALISM D. Depth of field A. Caption writing 1. Blurring the background B. Writing/editing stories and headlines 1 2 2. /3 in front, /3 behind C. Page layout E. Equivalent exposures 1. Modular layout F. Evaluating technical quality 2. Typography 3. Cropping photos IV. DARKROOM PROCEDURES D. Different types of photojournalism A. Film developing 1. News 1. Theory 2. Feature a. The latent image 3. Sports Photo- b. Film structure 4. Still life Photo- journalism c. The chemistry of development 5. Portraits journalism Curriculum 2. Equipment/chemicals E. Staff organization Curriculum 3. Process 1. The role of the photographer Guide 4. Push processing 2. Filing negatives, contacts and prints Guide By Bradley B. Printing and making contact sheets 3. Working on deadline By Bradley Wilson 1. Theory F. Law and ethics Wilson a. The latent image ©2002 b. Paper structure ©2002 PAGE 2 c. The chemistry of development PAGE 3 and not ‘field’ work. Help students set up a Plan photographs ‘studio’ in the classroom using whatever light sources are available. You might try illustrating in relation to assignments ‘drug use’ using flour and a mirror and a dollar from an editor bill. You might try illustrating crime with a pair of handcuffs and some other props from Activities: • Put a topic on the board and have students come your local law enforcement agency. You might up with (on their own, at first) different ways try illustrating ‘spring’ with some flowers. to cover this subject going beyond the obvious. Experiment. The point here is to look beyond Then discuss these ideas, noting the time frame the obvious and to realize that some ‘news’ events in which they can be accomplished. require more thought. • Have students list what types of photos they Assessment: • Given an ethical dilemma, what is students’ would like to see in the yearbook. Have them solution? Is it adequate? be specific, listing people, angles, time of day, • Given a legal dilemma, what is student’s reasoning location, etc. for the legality or illegality of the situation? • Have students locate a staff box in a relatively • Have students write a persuasive paper trying small newspaper or magazine, preferably one to persuade an editor to use a questionable which lists more than just the editor. Discuss photo. They should take the position of being the roles and responsibilities of each person the photographer. on that staff with students speculating at first. • Have students pick the ‘most’ appropriate photo Have students write a job description for a staff for a given event and explain their reasoning. photographer. Then, have them refer to their Vocabulary: caption, cutline, photojournalism, ‘fill the manual for the responsibilities of each member frame’, originality, ‘meaning’, camera obscura, on their staff, including photographers. Nicephore Niepce, William Henry Fox Talbot, • Have students complete a photo assignment Louis Daguerre, Ansel Adams, Edward Westin, form. George Eastman, Julia Margaret Cameron, Assessment: • Evaluate ideas for coverage given by students. Edward Steichen, Alfred Steiglitz, Paul Strand, • Evaluate job descriptions written by Margaret Bourke-White, Dorothea Lange photographer. • Evaluate completed photo assignment form. Vocabulary: candid, posed shot, appropriate subject matter Operate a 35mm single-lens reflex camera with Illustrate events with a variety of lenses appropriate photos Activities: • Complete photo assignments as requested. and captions • Using cardboard or other material, cut out a frame approximately the size of a 35mm piece of film. Activities: • Discuss what is ‘appropriate.’ Have students hold it 6-8 inches in front of their • Discuss ethics and law: what is legal and what is face to simulate a camera, looking around the ethical. school for assignments. • Using examples of photos of questionable ethics • Using a variety of lenses, demonstrate the (including examples of war photos, disasters, different angles of view by allowing students to suicides, murders, etc.) discuss why these photos look at a fixed subject from a fixed distance with were used. Given the situation, who would use different lenses. Be sure students understand the them? Why? basic lenses: wide angle, normal lens, zoom and • Pick a photograph out of a magazine and explain telephoto. what it means to you – in depth. Look at the • As an alternate assignment, have students shoot technical quality and composition, of course, but the ‘macro’ world. Using a close-up lens or also look beyond that. Look at what the image filters, students should take pictures of a piece means to you. of something and have others guess what it is. • Look through a local newspaper, a daily or weekly, It’s fun to post these and have other students and find examples of timely, photojournalistic guess what the pictures are of. Any photographer photo. Have students discuss why these photos whose picture remains unidentified should win are appropriate or why they aren’t. some award. The idea here is to look beyond the • Go through a series of magazines, newspapers obvious and to pay attention to detail. Be careful, Photo- and other publications and cut out 10-15 images these pictures often require additional light. Photo- journalism that tell the rest of the class something about you. Assessment: • Evaluate photo assignments. journalism Each image should give everyone some insight • Test how well (and fast) students can load film in Curriculum into your character. This is a good assignment a camera by having them load it while walking Curriculum Guide to do at the beginning of the semester. Make across the room. Give them room to walk about Guide sure each student orally presents the clippings, 30 steps at a fast pace and evaluate them on By Bradley By Bradley mounted on construction paper (or whatever) whether they can securely load the camera before Wilson Wilson to the rest of the class and explains what they walking the distance. ©2002 mean. Vocabulary: wide-angle, zoom, fisheye, telephoto, normal, ©2002 • Some ‘news’ events require photo illustrations single-lens reflex (SLR), filter, film rewind, lens PAGE 4 PAGE 5 release, focus, focus ring, battery check, film all using available light or studio lights. No flash rewind knob, ISO dial, PC cord, hot shoe, shutter allowed. release, shutter speed dial, aperture dial, depth • Under various circumstances, have students of field preview, lens speed, exposure, parallax, evaluate the quantity, quality and direction of aberration, angle of view, bellows, focal plane light. shutter, infinity, lens mount, lense tissue, lens • Take a photo using backlighting, front lighting hood, self timer and sidelighting and evaluate the various effects of each. • Display photos taken under daylight, tungsten Operate a flash light and fluorescent light illustrating the various problems of each. Activities: • Allow students to use a flash either for one of Assessment: • Evaluate meter-reading map. the photo assignments or for a class exercise in • Evaluate photo assignments. artificial lighting. • Given appropriate photos, have students identify • Find examples of photographs used in the direction of light and any compensation that newspapers or magazines taken with a flash. would be necessary to get a properly exposed When buying a Why was a flash used? What problems did this subject. digital camera, create? Vocabulary: tungsten, florescent, daylight, reflected, incident, consider • Take a trip to a local studio and have backlighting, frontlighting, sidelighting, existing photographer (perhaps the school portrait light, available light, ambient light, exposure • the photographer) demonstrate the set-up and use compensation, exposure, harsh sunlight, partly maximum of studio lights. cloudy, cloudy, glare, incandescent, bracket, file size in • Using a ‘model’ (preferably a student in class) timed exposure, depth of field megapixels; demonstrate the harsh lighting of direct flash and the less harsh light of bounced flash by firing a • compatibility flash and having students observe students. This with current works best in a dim, but not dark room. You Demonstrate knowledge of accessories; can also use a slide projector or transparency ISO, aperture, and shutter • file storage projector to demonstrate this effect. in the Assessment: • Evaluate photo assignment completed using Activities: • Complete photo assignments. camera and flash. • Show a series of photos taken of the same subject archiving; • Given a specific lighting situation, have students with different f/stops. Have students assign predict the results in terms of harshness of light possible f/stops to the appropriate photos. and and direction/intensity of shadows. • Show a series of photos taken of the same subject • cost. Vocabulary: bounce, direct, ambient light, available light, fill with different shutter speeds. Have students flash, guide number, dedicate flash, flash synch, assign possible shutter speeds to the appropriate PC cord, existing light photos. Read a light meter and evaluate light Activities: • Make a meter-reading map of the school: Using a built-in or hand-held light meter and a map of the school record settings at various locations at various times of the day. Be sure to note the time of day and direction. • Set up a ‘studio’ portrait in the classroom using studio lights or a slide projector or a transparency projector or even a window. Demonstrate the various directions of light and how they can ‘trick’ meter. Then discuss compensation for the ‘tricks,’ especially backlighting which requires additional exposure to allow more light to reach the subject. Photo- • As an alternate assignment, Photo- journalism have students take a photo, journalism Curriculum with black and white film, Curriculum illustrating a color. For Guide example, shoot pictures of Guide By Bradley ‘yellow.’ It’s helpful if they learn By Bradley Wilson the concept of complementary Wilson colors and how to use colored ©2002 filters (if they’re available) first. To ©2002 PAGE 4 keep things fun, make them shoot it PAGE 5 • Set up various scenarios of action, and selective the form for the first time, teach the students how focus. Given certain lighting and using the F/16 to use it. Go over every line and do some sample Rule as a basis, have students determine the evaluations. equivalent exposure. • Have students find five photos that they consider Assessment: • Evaluate photo assignments. to be good and five that they consider to be Vocabulary: ISO, ASA, DIN, f/stop, aperture, shutter, shutter bad. Have them explain why. Use exchange speed, equivalent exposure, panning, depth of publications for this exercise. field, stopped action, fast film, F/16 Rule, grain • Give students a contact sheet and have them pick the best print for the newspaper or yearbook and explain why. This is fun to do as a class exercise with the same contact sheet. Apply principles Assessment: • Check evaluations that students complete to of composition make sure they are thorough and accurate. • Given photos of varying contrast, have students Activities: • Show examples of the different composition pick the one with the highest contrast and the techniques: s-curves, informal balance, formal one with the lowest. balance, framing, repetition of shapes, leading Vocabulary: technical quality, composition lines, texture, etc. Have students explain why these are powerful composition techniques. • As a photo assignment, have students shoot not a specific subject, but a concept such as repetition Understand of shapes or framing. Every shot on the roll developing chemistry should demonstrate one of the techniques. • Display various photos or give students copies Activities: • Put an x/y grid on the board with chemicals in of them. Have them pick which ones follow the the vertical access and ‘time, temperature, and Rule of Thirds and which ones done and why. agitation’ in the horizontal access. Have students Try to pick some that don’t follow the Rule of fill in the chart as a group. Thirds, but which are still good photos. • Using some litmus paper from the chemistry • It’s fun to start teaching the Rule of Thirds with department, demonstrate how developer is a a few games of tic-tac-toe. basic solution (try to determine actual pH at • Show various photos where the photographer different dilutions) and acetic stop bath and fixer did not move in close enough to fill the frame. are acidic (again, try to determine actual pH). Contrast those with photographs where the You may have to use other acid/base indicators photographer did fill the frame for impact. Show to determine actual pH. Note that stop bath with how filling the frame results in a more powerful indicator contains bromocresol purple, an acid/ photo. base indicator. That’s why it turns purple when Assessment: • Have students match proper composition too much developer gets in it. technique with photo. Assessment: • Make a chart showing the chemicals used, • Have students crop photos to conform to Rule times, temperatures and agitation rates for the of Thirds. film-developing process. Vocabulary: balance, contrast, formal balance, informal • Write out the various chemical reactions that balance, center of visual interest, Rule of Thirds, occur during developing film beginning when S-curves, framing, repetition of shapes, selective the film is exposed to light. focus, leading lines, texture, tone, hue, pattern, Vocabulary: grain, scratch-resistent coating, light-sensitive stopping power, originality material, gelatin, anti-glare coating, plastic, silver halide, fog, emulsion, hypo, hypo-clearing agent, Evaluate photographs agitation, working solution for technical quality Understand and composition darkroom equipment Activities: • Display photos of high and low contrast. Have Activities: • Have students make a print on the first assignment students pick the appropriate ones. with a high-contrast filter and a low-contrast • Display photos that violate good rules of filter as well as the ‘right’ one. Make sure they composition and therefore aren’t effective. Have do a new test strip with each one to demonstrate Photo- students pick the appropriate composition the difference in exposure. Photo- journalism technique and how the photographer could • Demonstrate (or have a photo editor demonstrate) journalism Curriculum have improved the photo. the equipment used in developing film and Curriculum • Display photos of poor technical quality due making a print. Guide to inappropriate shutter speed or aperture use. Assessment: • Evaluate prints made with different filters. Guide By Bradley Have students evaluate the photo stating what • Make a list of all the equipment used in By Bradley Wilson the photographer could have done to improve developing film and explain its use. Wilson the photo. • Make a list of all the equipment used in printing ©2002 • Have students complete a photo evaluation form and explain its use. ©2002 PAGE 6 for a classmate for each assignment. Before using Vocabulary: tank, reel, enlarger, negative carrier, timer, PAGE 7 polycontrast filter, film cleaner, trays, print tongs, print dryer, diffusion enlarger, condenser Crop and scale photos enlarger, lens, f/stop, aperture, easel, baseboard, Activities: • Give students a scaling device and have them easel learn the concept of proportion for photographs. It’s also useful to show this on the computer, Process film keeping the photograph in proportion. Show how one dimension can’t change without Activities: • Make a game out of practicing rolling film with changing the other. two exposed rolls of film. Have two students • Have students mark a photograph that you give compete against each other. The person who them for reproduction in the yearbook. rolls the film the fastest on the reels to be used • Demonstrate use of a proportion wheel. Using for developing keeps competing until he looses. the photos marked for reproduction in the The winner should get some reward. This can be yearbook, use a proportion wheel to calculate done in the light. the percentage of enlargement or reduction. • Process the film for assignments and other • Have students complete some proportion assignments as required. equations as a review of math. Assessment: • Using the practice roll, have each student (for a Assessment: • Grade proportion questions. grade) roll the film on an appropriate reel in the • Given a photo and a space for it on the page, have dark and put it in a canister. Check it. If it’s not students calculate percentage of enlargement or done completely right, they should try again the reduction. next day (or significantly later in the period) until Vocabulary: crop, enlarge, reduce, proportion wheel, fill the they get it right. Don’t allow them to develop film frame, merger until they get it right. • Evaluate processed film. Vocabulary: develop, rinse, fix, negative, dense, thin, latent Lay out articles with photos image, reticulation Activities: • Using newspaper photo pages or yearbook spreads as examples, have students sketch the Print photos pages using paper divided into columns or grids. Pay particular attention to internal margins, size Activities: • Demonstrate (or have a student demonstrate) how of dominant photo, eyeline, etc. to make a print, stressing negative placement, • Using photocopies of 5-10 photos, have students easel adjustment, enlarger height adjustment, pick photos and plan a layout. This can also be a choosing an f/stop, choosing a polycontrast filter, photo-editing exercise. Pay particular attention making a test strip, and developing the paper in to caption and copy placement. the proper sequence including adequate rinsing • Using a layout previously designed by student, time. Also stress and demonstrate darkroom have another student use the same elements at cleanliness and the dangers of dirt and dust. the same size to create another layout. This is • Make the required number of prints for particularly useful for yearbook layouts from assignments 1-8 and other assignments as which four layouts can be made from one basic required. layout by flopping the layout horizontally and • Have students bring in five small, favorite objects vertically. (1/2-3’). In the darkroom, put these objects on • As time permits, you may want students to a piece of paper and expose them to light for complete a sample news writing and/or feature a few seconds at a random f/stop (f/8 works writing fact sheet. Teach the basics about fact well, usually). Semi-transparent objects (like vs. opinion, direct/indirect quotations, and lead/ money and glasses) work best. Then develop quotation/transition writing, but don’t go into this photogram normally. When they’re dry, all the detail reserved for the writing students. have students sign them with a felt-tip pen and As they will remind you, ‘we’re not here to be display them. This is a good printing exercise and writers.’ is fun to display for parents. This is an especially • Have students write a story for a photo page. good exercise to convey the concept of density Make sure they know that the story should be and contrast. typed and edited before turning in. Assessment: • Have students write a narrative ‘how-to’ essay on • Looking through exchange yearbooks, have how to make a prin. students identify bleed photos, including photos • Evaluate print quality. that bleed across the gutter. Note examples Photo- • Use photogram grade as an ‘easy’ grade – a good where bad layout resulted in a face in the Photo- journalism reward. gutter. Discuss lack of communication between journalism Curriculum Vocabulary: test strip, contact sheet, print, burning-in, the photographer and the design team. Curriculum dodging, enlargement, grain, graininess, print, Assessment: • Grade photo page with story. Evaluate story on Guide enlargement, exposure, glossy paper, matte global criteria, marking editing mistakes as time Guide By Bradley paper permits. In other words, grade on content, not By Bradley Wilson grammar, spelling and punctuation. Wilson Vocabulary: lead, inverted pyramid, feature, news, editorial, ©2002 fact, opinion, direct quote, indirect quote, ©2002 PAGE 6 quotation, attribution, transition, bleed PAGE 7 • Save file in a variety of formats (JPEG, GIF, TIF, Write captions EPS and PSD) and compare/contrast the various formats as appropriate for a specific medium/ Activities: • Using a well-respected publication, read some publication. photo captions and determine what makes up a Assessment: • Give students a variety of photos and have them good caption. Be sure to stress how, particularly prepare the photos for reproduction in a given in magazines, a good caption goes beyond just publication. stating the obvious. • Take a photo prepared for reproduction in a • Given a photo, have students write a complete magazine and prepare it for use on the Web. caption. This is particularly useful around • Grab a photo off of a Web page and prepare it deadline time when photojournalism students for reproduction in print. Have the students state can, as a class exercise, write complete captions what problems this presents both practically and for the publications answering the 5W’s and H. legally. • Discuss: what’s wrong with a photographer Vocabulary: LPI, DPI, PPI, highlights, midtones, shadows, writing their name on the back of a photo for a Photoshop, color mode photo credit that they did not take? Talk about the value of the photo credit and taking pride in one’s work. Consider doing periodic displays Set up an assignment system around the school of the work photographers have done. Even consider displaying some and meet deadlines pictures at local businesses carefully mounted with the photographer’s name prominently Activities: • After discussing the role of the photographer displayed on the outside. on a staff, have the photojournalism students Assessment: • Evaluate captions based on whether or not the develop an assignment system that they believe include the answers to the 5W’s and H, identify will work. After discussing these, explain the all recognizable people, include additional assignment system used by the newspaper and information, a kicker and a photo credit. yearbook staff. Discuss its weaknesses, how they Vocabulary: caption, kicker, photo credit, 5W’s & H can be circumvented, and its strengths. • Give all assignments a deadline. • Using a schedule of upcoming events, have Digital input students pick an event to cover as an alternate assignment. Their coverage should more than Activities: • Take photos using a digital camera and bring just the obvious coverage. Then set deadlines those photos into a computer for digital for developed film, contact sheet and print as editing. appropriate depending on lab availability. • Scan prints using a flatbed scanner for Assessment: • Evaluate the students’ ability to follow manipulation digitally. the assignment system devised for each • Scan negatives using a negative scanner for assignment. manipulation digitally. • Deduct points or don’t accept late work after the Assessment: • Evaluate the students’ ability to use scanning deadline. software or digital camera. Vocabulary: photo assignment form, photo assignment Vocabulary: lines per inch (LPI), pixels per inch (PPI), dots calendar, deadline per inch (DPI),pixel Set up a system of keeping Preparing a photo for track of negatives and reproduction digitally contact sheets Activities: • Given a variety of photos crop them appropriately Activities: • With the photography editor as a peer leader, have using Photoshop. photojournalism students file their negatives, • Given a variety of photos apply Levels or contact sheets and prints appropriately. Their Curves to make the highlights, midtones and name should be on the contact sheet and written shadows look appropriate for the medium of on each print. reproduction. Assessment: • Have students complete the appropriate forms • Dodge and burn a variety of photos to make and file negatives. Include the appropriate filing isolated areas lighter or darker as appropriate to as part of the grade for an assignment. Photo- retain detail in the highlights and shadows. Vocabulary: filing, negative sheet, contact Photo- journalism • Apply Unsharp Mask to a variety of photos to journalism Curriculum compensate for imperfections in scanning. Curriculum • Resize photos and resample as appropriate to suit Guide the specific publication. Guide By Bradley • Use various color modes as appropriate for a given By Bradley Wilson photo, including RGB, CMYK and Grayscale. Wilson ©2002 ©2002 PAGE 8 PAGE 9 Research paper topics Other assignment ideas You’re in the darkroom working with students. But what As the semester or year progresses, you may need other are those people who can’t work in the darkroom do- photo assignments to give your introductory photojour- ing? Nothing. That’s not a productive use of class time. nalism students. The best assignments tie into yearbook Classwork for other classes? That’s not photojournalism. topics (particularly student life), but newspaper topics Getting in trouble? That’s not good for your blood pres- can work well for dedicated photojournalists. They give sure. Further, some students won’t have a camera or students a chance to shoot for the publication and the won’t be able to afford the class. They need alternative publication gets some variety. A photo credit can be a assignments. Short or in-depth research papers can solve powerful motivator. these problems. And the biggest problem they create is the extra grading workload. Making students present these • Plain & Fancy: The object is to depict something papers orally helps to solve this problem. Here are some plain and fancy in one picture. This is particularly topics for research papers. challenging if the picture can’t be posed.

• Jacob Riis, Ansel Adams and some of the other • America: Photograph something that is typically famous historical figures in photography make American. good research papers. • Pick a letter of the alphabet: Photograph abstract • Research the impact that photos have on the objects that suggest letters of the alphabet. The news. A student survey might prove useful. Ques- center of visual interest cannot be any writing, but tion: do photos impact the news? Pick a leading must be abstract. news event and see which one has more impact, • One Day: Pick one day out of the school year and a story alone or a story with a photo. Why? have students portray that one day. • Do professional photographers have a sense of • Get ready: Take pictures of other people, pref- ethics? How can you tell? Look up the various erably students, getting ready to do something (to codes of ethics that exist from organizations such go to work, to go to school, to go the prom, to go as the Society of Professional Journalists. How do on a date, etc.). they limit photographers? How do they protect society? • In season: Photograph something that portrays the current season, winter, summer, fall, or spring. • Are photographers subject to the same first This must involve other students. For example, amendment freedoms as writers? How can you shoveling snow, raking leaves, washing cars, prove or disprove this? swimming, etc. • Many court cases have been heard that impact • Technology away from home: Photograph stu- the freedoms of photographers. Research several dents using modern technology away from home. of these and report on them. • My place: Take pictures of students wherever they • Why was the first camera developed? appear the most “at home.” This may be in their • Photography is basically chemistry. Research the bedroom, watching television, or riding a bike. basic chemical processes used in exposing and • All in the family: Take pictures of students inter- developing an image. What chemical structures acting with their families, washing dishes, on are in use? What changes do they undergo? vacation, etc. • Many careers involve photography. Pick one. • Up close: Using a true macro lens, have student Research the impact photography has had on take extreme close-ups of everyday objects. See if this career. For example, wildlife photography is they can figure out what the other students photo- a specific field of photography. What role does graphed. a wildlife photographer play? What equipment Photo- is required? Why might documenting wildlife be • Mug shot: One of the most mundane assignments Photo- journalism useful for society? is the mug shoot. Have students take a mug shot journalism Curriculum of someone they don't know, practicing the funda- Curriculum • Consider this question: When is it OK to digitally mentals of lighting and composition. Guide alter an image for a publication such as the New Guide By Bradley York Times? Consider the different levels of altera- By Bradley Wilson tion such as modifications that can easily be done Wilson ©2002 such as dodging/burning as well as the more ©2002 complicated tasks of adding/removing people/ PAGE 8 objects. PAGE 9 Week Monday Tuesday Wednesday Thursday Friday

Illustrating with pho- Instructions, etc. Illustrating with Illustrating with pho- tos (cont'd) Open lab 1 Course Philosophy photos tos (cont'd) Discuss equipment check-out, etc.

Turning in Developing film basics Developing film or Assn. 1: Camera basics Camera basics (cont'd) Open lab a complete 2 (or digital imaging) digital imaging assignment Assn.: Clip file Making a contact sheet means turn- Review developing film Quiz on developing Enlarging basics and or using Photoshop's Open lab 3 or digital imaging film or digital imaging darkroom tour; digital ing in: filing functions imaaging 1.properly filed Assn. 1 due negatives or Printing basics or Printing or digital Printing or digital Assn 2 Open lab digital images; 4 digital imaging imaging imaging Clip file due Making a print 2.properly filed Display prints contact sheet Quiz on printing/ Camera basics (shutter Evaluate photos as a Evaluate prints (cont'd) Open lab 5 digital imaging speed, aperture, etc.) with student’s group (no form) name on the Review lighting, etc. Review lighting Review lighting back or digital Assn. 2 film developed Develop film or digital Develop film or digital Develop film or digital Open lab 6 Six weeks test image; imaging imaging imaging 3.print with student’s name on the THE FIRST GRADING PERIOD a detailed description of the message Assignment 2: Lighting back and/or Week one will be filled with a lot of it conveys. This can also be used as OBJECTIVE: To help students real- digital image class changes, dealing with the start of the beginnings of a clip file. ize that photography is painting with with File Info school or the start of a new semester light. Light can be a photographer’s and all the paperwork associated Assignment 1: Anything goes best friend or worst enemy depending complete; with that. There is little coverage of OBJECTIVE: Quite simply, to get on how it’s manipulated. 4.a complete essential elements during this week students out taking pictures. Being METHOD: After discussing differ- caption for since students adding or dropping a photojournalism course, these ent lighting directions, colors and some assign- will miss it. However, for those stu- pictures should involve people, intensities, have students take a roll dents in attendance, it will set the preferably people at the high school. of film that illustrates three com- ment; and foundation for the rest of the course. This is also a good chance to assess pletely different types of lighting. 5.two complete The other weeks will also build a solid who knows what. Also helps to get It really doesn’t matter how they evaluations by foundation on which the rest of the students familiar with the equipment interpret that, just make sure they other student photographer’s career will be based. and procedures. can articulate the differences in the METHOD: Tell students to take light once they have made their final photogra- ASSIGNMENTS pictures of other students doing print. The differences should be ap- phers. Illustrating with photos something, preferably away from parent on the contact sheet, but each OBJECTIVE: To get students to un- the school (to get a greater variety of student needs to make only one print derstand photography as an art and shots). It’s that simple. Be sure that illustrating one type of lighting which as a journalism medium that can carry you have some other negatives that they should explain to the class. Dif- a message they can print if their film doesn’t ferent directions (frontlighting, side- METHOD: This is a good time to come out. Don’t set them up for fail- lighting, backlighting, etc.) of light bring in some of the history of pho- ure. Be prepared to work with every are the easiest to illustrate, but some Photo- tography and photojournalism and single photographer one-on-one dur- students will choose different inten- Photo- journalism to show students how it has changed ing the first two assignments. It also sities (sunny day, cloudy day, indoors, journalism since the 1800’s when photography helps to have other student photog- etc.). Have the students evaluate each Curriculum was in its infancy. For classroom raphers come and work with them. other’s photo using a photo evaluation Curriculum Guide discussion and evaluation, have stu- Make the lab available outside of class form. Also evaluate and display them Guide By Bradley dents find examples of photos that if possible when you can give them as a group. By Bradley Wilson illustrate a specific point or convey your undivided attention. Have the Wilson a specific messsage. These photos class evaluate the photos as a group. ©2002 ©2002 can come from any printed media. Display them with each photogra- PAGE 10 They should turn in the photo with pher’s name under the photo. PAGE 11 Week Monday Tuesday Wednesday Thursday Friday

Quiz on lighting, etc. Review lighting, etc. Darkroom work or Darkroom work or Assn. 2 due Evaluate Assn. 2 7 Darkroom work digital imaging digital imaging Assn. 3: Action

Darkroom work or Darkroom work or Action photography Action photography Open lab 8 digital imaging digital imaging

Assn. 3 due Darkroom work or Darkroom work or Darkroom work or Darkroom work or Action quiz 9 digital imaging digital imaging digital imaging digital imaging Assn. 4 & 5

Equivalent exposure Equivalent exposure Equivalent exposure Quiz on equivalent information Open lab 10 information information exposure Lenses

Photoshop–preparing Darkroom work or Darkroom work or Lenses and filters Open lab 11 a photo digital imaging digital imaging Concentrate on moving Photoshop–preparing Photoshop–preparing Evaluate photos Assn. 4 & 5 due Open lab 12 a photo a photo Six weeks test up close and filling the frame. Don’t over- THE SECOND GRADING PERIOD Assignment 4 is as important: using the subject of this assignment. They look basic The second grading period will al- the appropriate aperture. The idea must be doing something. Again, low students to become completely here is to render the background stress filling the frame and moving compo- familiar with their camera and dark- out of focus by using a low aperture up close. Remind the photograhers to sition rules room procedures. By the end of this such as f/4, f/2.8, f/2 or f/1.4. By use low depth of field and to watch and good time, they should be able to take blurring the background, emphasis for appropriate lighting. Then they lighting. pictures under most lighting condi- is placed on the subject. This is also should concentrate on good compo- tions and reliably develop the film an excellent time to stress filling the sition techniques. Look for framing Remember, and make the prints. frame. Move up clase. elements. Look for getting the subject photog- METHOD: The subject of the picture out of the center of the frame. Watch raphy is ASSIGNMENTS can be doing anything. Restricting the for mergers. painting Assignment 3: Action subjects to other students is fine. Just OBJECTIVE: After reviewing the prin- make sure emphasis is placed on us- with light. ciples of shooting fast action (using a ing low depth of field and proper ex- fast shutter speed), this assignment posure. This assignment can be done gives students practice. Futher, the in conjunction with assignment 5 (on pictures must be of the action with the same roll), but one print should little wasted space. Move up close. be required for completion of each Fill the frame. assignment. METHOD: Any action goes. Football practice. Riding bikes. Jogging. But Assignment 5: Rule of Thirds it must be more than just students OBJECTIVE: With assignments 3 and walking. Fast action. And they must 4 complete and the students tired of Photo- either stop the action or use panning equivalent exposures and learning Photo- theory and darkroom techniques, it’s journalism to render the moving subject clear. journalism Stress the importance of applying the time to get serious about composition. Curriculum Rule of Thirds and other composition By the completion of this assignment, Curriculum Guide techniques while also concentrating students should be able to accurately Guide By Bradley on proper exposure. the apply the Rule of Thirds (and By Bradley Wilson other composition techniques such Wilson Assignment 4: Selective Focus as framing, s-curves and repetition ©2002 OBJECTIVE: Assignment 3 dealt with of shapes) to any assignment. ©2002 PAGE 10 using the appropriate shutter speed. METHOD: Again, any student can be PAGE 11 Week Monday Tuesday Wednesday Thursday Friday

Review lighting, camera parts, action, Darkroom work or Darkroom work or Assn. 6: academics Open lab 13 equivalent exposures, digital imaging digital imaging etc.

Assn. 6 due Darkroom work or Darkroom work or Still life photography Assn. 7 Evaluate Open lab 14 digital imaging digital imaging Review quiz As the

semester Darkroom work or Darkroom work or 15 Caption writing Caption writing Open lab draws to digital imaging digital imaging a close, Review captions focus on Spot news photog- Darkroom work or Darkroom work or Assn. 7 due 16 Open lab teamwork, raphy digital imaging digital imaging Evaluate Quiz on captions time man- Type basics Photo pages Darkroom work or Darkroom work or agement CVI Yearbook spreads digital imaging digital imaging Open lab 17 Dominant photos and being a Modular layout Layout work Layout work Sketch pages dependable photog- Darkroom work or Darkroom work or Darkroom work or Assn. 8 due 18 digital imaging digital imaging digital imaging Evaluate Open lab rapher. Layout work Layout work Layout work Six weeks test Refine skills learned in the first two THE THIRD GRADING PERIOD staring at books. Look for diversity. Assignment 8: The photo essay grading pe- The third grading period is the culmi- Students dissecting frogs or cats. OBJECTIVE: To get students to apply riods. Work nation of all the knowledge you have Maybe doing a problem at the board all of the skills they’ve learned this been passing along to the students. in math class. Maybe acting out a skit semester to produce a page with 5-7 on getting By now they should be familiar with in English. What about putting up a photos on one topic incorporated into faster. taking pictures, developing film and bulletin board in social studies. Move a layout with copy. making prints – under almost any up close. Fill the frame. Watch the METHOD: Because of the depth of conditions. Now they need to work lighting. Think about composition. this assignment, allow students to on doing it better and faster. Team- Don’t forget the Rule of Thirds. use some photos from previous as- work, dependability and refining signments – but no more than two skills will be the focus of the third Assignment 7: Student Life photos on the final layout can be from six weeks and these concepts can OBJECTIVE: Like assignment six, previous assignments. That means at be carried into a second semester if this assignment (which works well least three pictures must be taken necessary. with assignment 8) gives students for this assignment on a topic of the a good chance to take some pub- student’s choice (student life works ASSIGNMENTS lication-quality pictures. For this well). Look for variety: up-close Assignment 6: Academics assignment, student life, it might be shots, medium shots, “group” shots. OBJECTIVE: By now, undoubtedly, helpful to discuss assignments 6, 7 Look for photos that fill the frame and the yearbook is in full swing. Using and 8 at the same time so students do more than just depict the scene. photojournalists to take some year- can have more time to get a variety They should give meaning to it. Also book pictures gives them yearbook of shots especially in the winter when require a simple layout (a yearbook experience and brings variety to the outdoor activities are scarce. spread is easier than a newspaper book. With academics as the focus, METHOD: This will be a good lesson photo page because there are more Photo- this assignment gets photojournalism in time management and planning rules they can grasp for yearbook lay- Photo- as well as photography, especially if journalism students out shooting around the out), complete captions and at least a journalism school and helps them learn what it used in conjunction with assignment headline if not a short story. Curriculum means to work for a publication. 8. Emphasize moving up close and Curriculum Guide METHOD: It’s helpful if the aca- filling the frame. Also require that Guide By Bradley demics section editor or yearbook all pictures be taken off campus and By Bradley Wilson editor provide some guidance on away from school time. That insures Wilson what types of pictures might go in the variety and a true depiction of student ©2002 academics section of the yearbook. life, not academics. ©2002 PAGE 12 It needs to be more than students PAGE 13 FINAL EXAM The questions on this test are samples of the type of questions which all students completing a photojournalism class should be able to complete. Many of these questions were taken from the state photography exam compiled by the Association of Texas Photography Instructors. Be sure to read every answer completely before responding. Select the “best” response and check your answers carefully. There is only one correct answer per question.

7. To eliminate reflections /glare from 13. Your camera is set at f/5.6. To stop MULTIPLE CHOICE nonmetallic surfaces use a : down two stops, you set the aper- QUESTIONS a. neutral density filter ture at: b. blue filter a. f/2.8 1. A common measure of a film’s c. polarizing filter b. f/4 sensitivity to light is: d. yellow filter c. f/8 a. latitude e. conversion filter d. f/11 b. panchromatic e. f/16 c. contrast 8. A layer of light sensitive material d. film speed on paper or film is called: 14. If the borders and highlights ap- e. emulsion a. resolution pear gray on the finished print, the b. emulsion cause would be: 2. Selecting a ______with c. grain a. overdevelopment the proper contrast grade for a d. mineral deposits b. underdevelopment negative is one of the most funda- e. titactin c. wrong grade of paper used mental choices a darkroom techni- d. fog from the safelight or cian can make when printing. 9. Slow films are characterized by stray light a. filter/paper ______than fast films. e. chips in the lens b. developer a. larger grain and less con- c. lens trast. 15. Your finished photographs have d. safelight b. smaller grain and less con- tiny white spots on them. This phe- e. none of the above trast nomenon is probably caused by: c. larger grain and more con- a. chips in the lens 3. You can sharpen, retouch, redefine, trast b. dust on the negative clone and otherwise completely d. smaller grain and more c. dust on the lens manipulate the photographic image contrast d. poor quality of film with: e. none of the above. e. fog from the safelight a. the enlarger b. the camera 10. The smallest component of a digital 16. The photographer who mass mar- c. the computer image is the keted photography for amateurs d. all of the above a. grain was: e. none of the above b. line (as in lines per inch) a. George Eastman c. dot (as in dots per inch) b. Stanley Kodak 4. Most publication photographs d. pixel (short for picture ele- c. Henry Fox Talbot should be: ment) d. Matthew Brady a. of the photographer e. none of the above e. Ansel Adams b. of cheerleaders c. of posed subjects 11. Photographers can bracket expo- 17. In composition, the principal d. of candid subjects sures to ensure themselves of the that applies the best placement e. of groups of people perfectly exposed shot. Bracketing of a horizon line in a photograph means to: one-third of the distance from the 5. The photojournalist known for a. take a picture using the rec- bottom or top is: bringing to light how millions of ommended exposure only a. framing immigrants had to live in over- b. take a picture using the b. leading lines crowded slums and eke out pitiful recommended exposure and c. mergers wages at enslaving jobs in the early two equivalent exposures d. repetition 1990’s was: c. take an picture using the e. rule of thirds a. Jacob Riis recommended exposure and b. Ansel Adams at least one overexposure 18. To make an isolated area of the c. Lewis W. Hine and one underexposure print darker without changing the d. Tom Howard d. use three different lenses rest of the image, the photographer Photo- e. Alfred Stieglitz with each shot would Photo- journalism e. none of the above a. burn in the isolated area journalism 6. Mottled or sand-like effect that ap- b. dodge out the isolated area Curriculum pears when a negative is enlarged 12. The shutter speed best for freezing c. use the smudge tool in Curriculum Guide is: action would be: Photoshop Guide 1 a. reticulation a. /500 d. use the brightness/contrat 1 By Bradley b. grain b. /60 control panel By Bradley 1 Wilson c. distortion c. /8 e. use a filter Wilson d. resolution d. 1/ ©2002 2 ©2002 e. latitude PAGE 12 PAGE 13 19. As a general rule there is approxi- 26. The technique of agitation of the 33. The difference in densities of vari- mately ______of the total amount tray during processing of sheet ous areas of a negative is the: of depth of field in front of the film, plates or prints by lifting and a. latitude point of focus and ____ behind the lowering the tray’s sides and ends b. panchromatic point of focus. is: c. contrast 1 2 a. /3, /3 a. not recommended d. film speed 1 1 b. /2, /2 b. recommended e. emulsion 1 3 c. /4, /4 c. only for darkroom amateurs 2 1 d. /3, /3 d. outdated 34. Any compound of silver and a 3 1 e. /4, /4 e. none of the above halogen, e.g. silver chloride, silver iodide, silver bromide is a: 20. A lens with a narrow angle of view 27. ______and ______a. silver wave which is used for nature, sports work together to determine ex- b. silver halide and candid photography is a: posure. c. simple silver a. wide angle lens a. shutter speed, focal length d. silver sine b. normal lens b. light, light meter e. silver filter c. fisheye lens c. lens size, aperture d. telephoto lens d. aperture, shutter speed 35. Ethics and photography involve: e. outdoor lens e. film, camera a. how well a photographer can take a photograph 21. Electronic flash and ______light 28. Deciding whether to set the f/stop b. what kind of camera a pho- are the same when shooting with or the shutter speed first will de- tographer has color film. pend on the ______. c. whom the subject is a. incandescent a. the subject d. a photographer’s legal back- b. daylight b. time of day ground c. fluorescent c. type of developer to be used e. a photographers moral d. tungsten d. type of camera values e. candle e. none of the above 36. The ability of a film to record fine 22. To achieve minimum depth of field 29. A major responsibility of the details is: a photographer would: publication’s photographer is to use a. latitude a. open up, get closer to the photographs to: b. resolution subject and use a fast shut- a. make friends c. contrast ter speed b. tell a story d. panchromatic b. open up, get farther from c. sell newspaper or yearbooks e. emulsion the subject and use a slower d. capture action shutter speed e. gain photo credits 37. Fixing your prints makes them c. stop down and get closer to permanent by: the subject 30. The eye is most readily attracted to a. hardening the emulsion d. put on a long lens on the ______areas on a print. b. changing the silver salts to camera, open up and get a. dark silver halide closer b. red c. removing undeveloped light e. set the camera on automatic c. yellow sensitive halide. and pray d. blue d. coating emulsion with a e. light non-light sensitive layer, 23. A lens which provides the most preventing further exposure depth of field but may cause distor- 31. ______is a composition tech- e. stopping the action of the tion is: nique that is effective for emphasis developer a. wide angle lens of the subject by using another b. normal lens object that is also in the picture, 38. A photographer shoots and image c. zoom lens usually in the foreground. but has not moved up close to d. telephoto lens a. framing fill the frame. What can the page e. none of the above b. rule of thirds designer do to improve this photo? c. balance a. increase the resolution to 24. A curtain of fabric or metal foil d. emotion see more detail inside the camera is: e. center of interest b. reshoot the image himself a. an iris shutter c. use the magnifying glass in b. a leaf shutter 32. After processing, if you see a milky- Photoshop to zoom up close c. a focal plane shutter white substance in the clear por- d. crop the image to eliminate Photo- d. an auto focus shutter tions of your negative, you should unnecessary details Photo- e. parallel shutter ______for a longer period of e. use a blur filter to blur the journalism time. background journalism Curriculum 25. A normal lens for a 35mm negative a. develop Curriculum would be a _____ focal length lens. b. wash Guide a. 28 mm c. fix Guide By Bradley b. 135 mm d. stop bath By Bradley Wilson c. 80 mm Wilson d. 35 mm ©2002 e. 50 mm ©2002 PAGE 14 PAGE 15 39. To bring an original print image 46. To minimize the effect of a “busy 52. With the negative in place in the into the electronic environment background” a photographer enlarger, focusing is accomplished when manipulating photographs would: with the enlarging lens: on the computer, the image must a. set the focus at infinity a. wide open first be: b. use the smallest aperture b. stopped down one stop a. matched possible c. stopped down two stops b. digitized c. use a very fast shutter speed d. stopped down as far as pos- c. computed d. change lenses sible d. evaluated e. use a larger aperture and e. none of the above e. desensitized move in close to the subject. 53. The name of the special effect that 40. Subject illumination that is most 47. A piece of glass or other trans- uses a slow shutter speed and a likely to give texture to the subject, parent material, curved so as to moving camera that follows the giving it some depth and helping it form an image by the refraction of subject is ______. not to appear so flat, is light or other radiation is a: a. blur a. back lighting a. shutter b. panning b. front lighting b. reflection c. bas-relief c. key lighting c. lens d. posterization d. side lighting d. aperture e. reticulation e. average lighting e. reversal image 54. If the print turns yellow and dark 41. One of the photographers hired by 48. The file format most appropriate after processing has been com- the Farm Security Administration for saving images to be published pleted, what is the problem? to record the Depression of the on the Web is a. The developer is exhausted. 1930’s on film was: a. TIF (Tag Image File Format) b. The stop bath solution was a. Dorothea Lange b. JPEG too strong. b. Matthew Brady c. GIF (Graphic Interchange c. The fixer is exhausted. c. Ansel Adams Format) d. The paper is outdated. d. John Eastman d. EPS (Encapsulated Post- e. The print washed too long. e. Alfred Hines Script) 1 e. PSD (Photoshop) 55. Given a shutter setting of /60, you 1 42. The ______regulates the length of would let in /4 times as much light time light is permitted to strike the 49. When the flash is placed away from by setting the shutter at ______film the camera, usually to one side this _____. 1 a. sync cord is: a. /125 1 b. depth of field preview a. off line b. /250 1 c. hot shoe b. off camera c. /500 1 d. aperture c. off shooting d. /1000 1 e. shutter d. off stage e. /2000 e. off shoe 43. The lens that has a variable focal 56. The chemical that shortens the length is the: 50. ______objects permit the required wash time of the film is a. wide angle lens passage of light but scattering it so the: b. normal lens that objects behind cannot be easily a. photo-flo c. fisheye lens distinguished. b. fixer d. zoom lens a. opaque c. hypo clear e. telephoto lens b. translucent d. wetting agent c. tonal e. none of the above. 44. The camera part that is used for d. clear displaying the limits of the scene to e. black 57. The ISO/ASA rating of a film tells be recorded by the camera is the: you: a. parallax point 51. There are small, round, and clear a. the sensitivity of the film to b. viewfinder spots on the negatives. What is the light c. depth of field preview problem? b. what type of camera in d. aperture a. The developer was not which the film will fit e. shutter diluted properly. c. the format of the film b. Stop bath solution was not d. the speed of the lens 45. Agitation is important for both film used. e. what time of day at which to development and paper devel- c. The film was fixed -im shoot Photo- opment because: properly. Photo- a. It maintains an even devel- d. There were air bubbles on 58. The term aperture refers to: journalism oping temperature. the film during devel- a. the size of the lens opening journalism Curriculum b. It ensures uneven develop- opment. b. the speed of the shutter. Curriculum ment. e. The developing tank was c. the film format of the cam- Guide c. It ensures that fresh devel- not clean. era Guide By Bradley oper is always working on d. the speed of the lens By Bradley Wilson the exposed emulsion. e. the chemical reaction of Wilson d. It is a listed procedure. developer to stop bath ©2002 e. None of the above. ©2002 PAGE 14 PAGE 15 59. When using a 200mm lens, what is 67. The reduction of the size of the the slowest recommended shutter lens aperture is: ESSAY QUESTIONS Answer each question thoroughly on speed that should be used without a. widening up a tripod? b. opening up a separate piece of paper. Be sure to 1 read your essay and correct grammar, a. /500 c. stopping up 1 spelling and punctuation errors when b. /60 d. stopping down 1 possible. c. /125 e. opening down 1 d. /1000 1 1. Describe, in detail, the process of e. /250 68. The image in a photosensitive material, after exposure but before making a print. Be sure to include 60. A line drawn on a photograph to it is made visible and useable by all chemicals, times, temperatures indicate the boundary of the area development is the: and agitation rates. that is to be used when reproduced a. contrasty image photo–mechanically is a: b. flat image 2. You’re out taking pictures on a a. crop mark c. underexposed image bright sunny day of the band prac- b. cyanotype d. overexposed image ticing for marching contest. The c. cut line e. latent image sun is behind you. While the band d. cutaway members are marking time and e. cutout 69. Three factors that are important to standing relatively still, what would film processing are: be a good exposure using TMax 61. The process by which a surface a. time, intensity and agitation 400 film? Why? receives light is: b. photo flo, hypo, and fix a. illumination c. time, intensity and sensi- 3. After you take that first picture, b. metering tivity you notice an annoying pole in c. candle light d. time, temperature and agi- the background, and you decide d. exposure tation that you need to minimize depth e. electricity e. sensitivity, intensity, and of field. What would be a better agitation exposure? Why? 62. The process of converting a latent image into a visible one is: 70. If the background is causing inac- 4. Then, all of the sudden, a cloud a. dichroic curate light meter readings, the comes overhead, dimming the b. fixation photographer can: light. What would be an appro- c. development a. stop down the aperture one priate exposure under these partly- d. induced stop. cloudy conditions? Why? e. condensation b. move further back from the subject and take the light 5. With the clouds overhead, the 1 band starts moving. Since you’re 63. An equivalent exposure for /60 @ meter reading f/5.6 is: c. move close to the subject taking pictures of the percussion 1 section and you want to stop the a. /1000 @ f/16 and take the light meter 1 movement of their sticks, what b. /500 @ f/11 reading 1 would be an exposure that would c. /500 @ f/ 8 d. open up the aperture one 1 stop this fast movement? Why? d. /500 @ f/4 half stop e. 1/ @ f/2 e. none of the above 500 6. You’re preparing a photo for repro- 64. An exposure that is NOT equiv- duction in the literary magazine alent to 1/125 @ f/8 is: that uses a line screen (LPI) of 133. 1 List all the steps you would go a. /60 @ f/11 1 through to prepare this photograph b. /250 @ f/5.6 1 including the specific file format, c. /30 @ f/16 1 color mode and resolution for the d. /500 @ f/5.6 1 photo? (5 pts.) e. /1000 @ f/2.8

65. Developing film in warm developer will: a. decrease development time b. increase contrast c. increase grain d. decrease tonal range e. all of the above Photo- Photo- 66. The supplemental text, as in a journalism book, magazine, and/or catalog journalism Curriculum that accompanies and explains the Curriculum subject matter of a photographic Guide image, is : Guide By Bradley a. a legend By Bradley Wilson b. a caption Wilson c. an illustration ©2002 d. a crop ©2002 e. not necessary PAGE 16 PAGE 17 FINAL EXAM KEY

MULTIPLE 12. a 27. d 41. a 55. b 69. d CHOICE 13. d 28. a 42. e 56. c 70. c QUESTIONS 14. d 29. b 43. d 57. a (1 PT. EA) 15. b 30. e 44. b 58. a 1. d 16. a 31. a 45. c 59. e 2. a. 17. e 32. c 46. e 60. a 3. d 18. a 33. c 47. c 61. a 4. d 19. a 34. b 48. b 62. c 5. a 20. d 35. e 49. b 63. e 6. b 21. b 36. b 50. b 64. d 7. c 22. d 37. c 51. d 65. e 8. b 23. a 38. d 52. a 66. b 9. b 24. c 39. b 53. b 67. d 10. d 25. e 40. d 54. c 68. e 11. c 26. b ESSAY QUESTIONS 1. Describe, in detail, the process of making a print. Be sure to include all chemicals, times, temperatures and agitation rates. (15 pts.) A. Prepare materials including chemical trays, tongs, the enlarger, easel and filters. B. Place negative in negative carrier. C. With only safelight illumination, focus with lens wide open. D. Choose an appropriate aperture that is not too light or too dark. E. Choose an appropriate filter based on the contrast range of the negative. Higher-numbered filters raise contrast. Lower-numbered filters lower contrast. F. Make a test strip to determine the time of exposure. G. Based on the test strip, expose the properly cropped image. H. Develop picture using the following times (suggested only) Dektol: 1 minute, room temp., constant agitation Stop bath: 10 seconds, room temp., constant agitation Rapid fixer: 5 minutes, room temp., periodic agitation Rinse: 20 minutes in running water, room temp., constant agitation Dry I. Clean up materials.

2. You’re out taking pictures on a bright sunny day of the band practicing for marching contest. The sun is behind you. While the band members are marking time and standing relatively still, what would be a good exposure using TMax 400 film? Why? (3 pts.) Based on the f/16 rule (exposure on a bright/sunny =f/16 at 1/ISO of film), the appropriate exposure would be 1/500 at f/16. [Remember that an exposure consists of both an aperture and a shutter speed.]

3. After you take that first picture, you notice an annoying pole in the background, and you decide that you need to minimize depth of field. What would be a better exposure? Why? (3 pts.) Because you’re trying to minimize depth of field, you must decrease the aperture. In order to decrease the aperture and still maintain an equivalent exposure, you msut increase the shutter speed. A better exposure would be f/11 at 1/1000. If the camera permits, a still better exposure would be f/8 at 1/2000.

4. Then, all of the sudden, a cloud comes overhead, dimming the light. What would be an appropriate exposure under these partly-cloudy conditions? Why? (2 pts.) You loose about two stops of light on a partly-cloudy day. This would make your exposure 1/500 at f/8 (or f/5.6 at 1/ 1000).

5. With the clouds overhead, the band starts moving. Since you’re taking pictures of the percussion section and you Photo- want to stop the movement of their sticks, what would be an exposure that would stop this fast movement? Why? Photo- journalism (2 pts.) journalism Curriculum Since you want to stop movement, you need to use the fastest shutter speed possible, 1/1000 on most cameras. Since your Curriculum intial exposure was 1/500 at f/8, the only possible equivalent is 1/1000 at f/5.6. Guide Guide By Bradley 6. You’re preparing a photo for reproduction in the literary magazine that uses a line screen (LPI) of 133. List all the By Bradley Wilson steps you would go through to prepare this photograph including the specific file format, color mode and resolution Wilson for the photo? (5 pts.) ©2002 (1) Crop; (2) Adjust levels/curves; dodge/burn; (3) Size to 266 ppi at desired size; (4) Unsharp mask; (5) Change to ap- ©2002 PAGE 16 propriate color mode–grayscale or CMYK; (6) Save as TIFF file. PAGE 17 VOCABULARY

5W’S & H BELLOWS COLUMN The essentials of any story; who, what, when, where, A part of a lens or enlarger that is light-tight and made A vertical division of a layout which aides in giving why and how. of collapsible cloth or other material used to aide in structure to the page. focusing the image. ABERRATION COMPOSITION Optical defects in a lens that cause distortion. BLEED The arrangement of elements in a photograph. A photograph that extends all the way to the edge of ACETIC ACID a piece of the paper on which it is printed. Only pos- CONDENSER ENLARGER A component of stop bath that neutralizes the de- sible in trimmed publications such as yearbooks. An enlarger with a sharp light source that passes

veloper; CH3COOH. straight through the negative without being diffused. BODY COPY Allows prints of high contrast and definition to be ADAMS, ANSEL See text made. Negative imperfections such as dust spots and A famous Western landscape photographer who de- scratches are more apparent on prints made with this veloped the Zone System for exposure, processing and BOUNCED LIGHT type of enlarger. See also diffusion enlarger printing control; founded the Friends of Photograph; Light that is reflected off another surface before reach- and, was instrumental in helping photography achieve ing the subject; softer than direct light. CONTACT SHEET the status of fine art. A type of print made with the negatives in direct BOURKE-WHITE, MARGARET contact with the paper. AGITATION A photojournalism who was one of the first staff pho- The mixing of chemicals by physically moving the tographers for Life magazine. She also photographed CONTRAST container containing the chemical. One of the three the beginnings of WWII in Russia, flew on bombing The difference between the blackest black of a print factors (including time and temperature) affecting the missions and covered the liberation of Jews at the end or negative and the whitest white. The greater the rate at which a chemical reaction, such as developing of the war. One of her most famous series of photos difference, the higher the contrast. or fixing, occurs. is of Mahatma Gandhi. CONTRAST GRADE AMBIENT LIGHT BRACKET A number which indicates the relative contrast of See existing light A technique used by photographers to insure that photographic paper. The higher the number, the more a properly exposed picture is taken. One picture is the image contrast is increased. ANGLE OF VIEW taken based upon a meter reading, another is taken The area visible through a lens or by a light meter. at an lower exposure and another is taken at a higher CROPPING exposure. The act of selecting just a portion of the original image ANTI-GLARE COATING for publication or enlarging. A substance on a lens designed to prevent glare BURNING-IN cause by lighting bouncing off the glass elements The act in print a photo of making a light area of the CUTLINE of the lens. print darker by exposing it to more light while not See caption permitting it to reach the other areas of the print. APERTURE See also dodging DAGUERRE, LOUIS The opening of a lens through which light passes. An early photographer who influenced development CAMERA OBSCURA of photography with Daguerreotype. APERTURE DIAL Latin: dark room; a device used by early painters The portion of a lens which allows a photographer which was the predecessor to the photographic DAYLIGHT to choose the f/stop. camera. Existing light provided by the sun.

APPROPRIATE SUBJECT MATTER CAMERON, JULIA MARGARET DEADLINE A subject which, on any given assignment, fits the An English woman who was a member of the Pic- The time when an assignment is due to be com- parameters of the assignment and is in good taste. torialist movement in England during the 1800’s. pleted. She is best known for her striking portraits of her ASA friends, including Alfred Lord Tennyson and Sir DECORATIVE TYPE See ISO John Herschel. Typefaces not used for typical headlines or text which serve to decorate a page design and accent a story. ATTRIBUTION CANDID The part of a text block which tells the reader who Unposed photographs. DEDICATED FLASH made an opinionated statement quoted by the writer; A fully-automatic flash that illuminates the subject the most common verb for attribution is ‘said.’ CAPTION only with the light required and no more depending The portion of a layout which explains what is hap- on the flash-to-subject distance and the ISO of the AVAILABLE LIGHT pening in a photograph. Captions are place touching film being used. See existing light the photograph. Also called cutlines. Often includes a kicker and photo credit. DEKTOL B/A A common paper developer manufactured by East- Black area; the area left on a layout into which pho- CENTER OF VISUAL INTEREST man Kodak. tographs are placed by the printer. The element in the photograph that the viewer first notices; CVI. DENSE BACKLIGHTING Negatives that are overexposed or overdeveloped are Lighting that comes from behind the subject causing CLOUDY said to be ‘dense’ because they don’t transmit as much the meter to be underexposed. A type of lighting cause when the majority of light light as an ideal negative. See also thin Photo- from the sun is blocked by clouds. Photo- BALANCE DEPTH OF FIELD journalism Arrangement of shapes, colors or areas of light and CMYK The distance between the element in a photo clos- journalism Curriculum dark that complement one another. A color mode (cyan, magenta, yellow, black) de- est to the camera and the element farthest from the Curriculum signed for output in four layers four printing in the camera that appear in acceptable focus. The greater Guide BASEBOARD four-color process the distance, the greater the depth of field. Wider Guide The portion of an enlarger on which light passing apertures give lower depth of field. By Bradley through the negative is projected. COLOR MODE By Bradley Wilson The mode of a digital image which depends on the DEPTH OF FIELD PREVIEW Wilson BATTERY CHECK output of the image: grayscale, RGB or CMYK are A device on a camera which allows the photographer ©2002 The part of the camera which allows a photographer common modes to preview which elements will appear in focus at a ©2002 to check how much power is remaining in a battery. given aperture. PAGE 18 PAGE 19 DEVELOP EXPOSURE FLUORESCENT The act of converting a latent image into a visible A combination of aperture and shutter speed that A type light with a blue-green cast; generates much image through a series of chemical reactions. determines how much light reaches the light-sen- less heat than tungsten light. sitive emulsion. DEVELOPER FOCAL LENGTH The chemical used to convert the latent image into EXPOSURE COMPENSATION A measurement of the size of a lens; the distance a visible image. Usually a basic solution that can be A change in exposure based on an atypical lighting between the film plane of the camera and the optical neutralized by acid. situation. For example: the typical compensation for center of the lens focused at infinity. backlighting is to increase the exposure four times. DIFFUSION ENLARGER FOCAL PLANE SHUTTER An enlarger that distributes scattered light across the F/16 RULE A type of shutter located just in front of the film that negative, softening the appearance of the print. See In bright sunlight with the camera set at f/16, the opens either horizontally or vertically. also condenser enlarger shutter speed is approximately equivalent to 1/ISO of the film being used. FOCUS DIN Adjustment of the subject distance on a lens to render Deutsche Industrie Norm; a film speed used in Europe F/STOP the subject sharp. before the development of the ISO system. A number used to indicate the relative size of the aperture. The larger the number, the smaller the FOCUS RING DIRECT QUOTATION lens opening. The numbers increase by multiples of The part of the lens which enables the photographer See quotation the square root of 2. Typical f/stops for a lens begin to focus the subject. at f/1.4 and increase to f/22 in the following order: DISPLAY TYPE f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16 and f/22. A FOG Letters that are printed larger than 14 points and difference in one f/stop indicates that half or twice as The portion of an image which has been converted which serve to grab the reader’s attention. See also much lighting is reaching the film. For example: f/8 into a visible image although it was not intentionally text lets in twice as much light as f/11. exposed. There are two types of fog: chemical fog and fog caused by accidental exposure to light. DODGING FACT The act in print a photo of making a dark area of the A statement that can be proven. Not an opinion. FORMAL BALANCE print lighter by not exposing it to as much light while Symmetrical. permitting light to reach the other areas of the print. FAST FILM See also burning-in Film with a high ISO that has a high relative sensitivity FRAMING to light. Example: 3200TMax A composition technique which the center of visual DOMINANT interest in a photo is framed by objects in the fore- The largest photograph on a layout. FEATURE ground that are usually out of focus; lends depth. A type of story written with some interpretation that DOTS PER INCH (DPI) goes beyond just reporting the facts. FRONTLIGHTING The smallest portion of an image output from Lighting that illuminates the front of the subject which a printer such as a laser printer, 1200 dpi, for FILING has a source behind the photographer. example; do not confuse with PPI or LPI. A system used to keep negatives, contact sheets and photographs organized for quick retrieval. GELATIN EASEL The portion of the film in which light-sensitive silver A device which rests on the baseboard of the enlarger FILL FLASH halides are suspended. to hold the photographic paper in place and to assist A technique using both available light and supple- in cropping of the image. mentary artificial light. The light from the flash is used GLARE to ‘fill-in’ the shadows made by the existing light. An unwanted reflection off a shiny surface; sometimes EASTMAN, GEORGE refers to unwanted light bouncing off the glass ele- Credited with providing common man with equip- ‘FILL THE FRAME’ ments inside a lens. ment to take pictures. A phrase used to remind photographers there should be no wasted space in a picture. GLOSSY PAPER EDITORIAL A paper with a highly reflective emulsion. See also A type of story which serves to express an opinion and FILM CLEANER matte paper encourage the reader to take some action. A solution composed primarily of alcohol used to clean dust off of film. GRAIN EMULSION The small silver crystals in a print or negative. When The part of photographic paper or film that contains FILM REWIND KNOB these crystals become visible, the image is said to be the light-sensitive silver halides. The emulsion side The part of the camera which is turned to rewind the ‘grainy.’ Graininess becomes pronounced with pushed is the side coated with the emulsion. film back into the light-tight canister. processing and fast films.

ENLARGE FILTER GRAYSCALE The opposite of reduce; reproducing a picture at a A piece of colored glass or plastic used to affect the A color mode for black-and-white photos in any size larger than the original. color of the light reaching the light-sensitive emul- medium. sion. Filters are used on a camera and in the printing ENLARGEMENT process. See polycontrast filters and Polarizing Filter GRID SYSTEM A copy of an image is larger than the original image. A system of layout in which the page is divided into Example: ‘A 5x7 enlargement.’ FISHEYE small units which are filled in. A type of lens that distorts the image but encompasses ENLARGER an extremely wide angle of view (near 180˚), usually GUIDE NUMBER A device used to make an enlargement. See also con- greater than 20mm in focal length. A measurement of the intensity of light produced by a denser enlarger and diffusion enlarger flash used to figure the appropriate exposure. FIX EQUIVALENT EXPOSURE The act of removing the unexposed silver halides HALFTONE An exposure that, despite a change in aperture or from paper or film with fixer rendering the material An image composed only of dots used for repro- Photo- shutter speed, allows the same amount of light to insensitive to light. duction on a printed page giving the illusion of a Photo- reach the film as another exposure. continuous tone. journalism FIXER journalism ETHICS An acidic solution used to fix film or paper by HARSH SUNLIGHT Curriculum A standard of conduct based on moral beliefs. converting unexposed silver halides into a for that A type of lighting cause by light from direct light Curriculum Guide is not sensitive to light and which can be removed from the sun. Guide EXISTING LIGHT by rinsing; the primary component of most fixers is

By Bradley The amount of light in a scene without the addition sodium thiosulphate (Na2S2O3•5H2O). HEADLINE By Bradley Wilson of light from artificial sources such as a flash. Also The portion of a page layout with large type de- Wilson known as available light. FLASH SYNCH signed to summarize a story and grab the reader’s ©2002 The fastest speed at which the flash can be used to attention. ©2002 illuminate the entire frame with the shutter com- PAGE 18 pletely open. PAGE 19 HIGHLIGHTS LEADING LINES NIEPCE, NICEPHORE The lightest portions of a print, often the "high- A technique which uses one part of the photograph to Father of photography; took the first picture in lights" of a person's eyes. lead the viewer into another part of the subject. 1826.

HOT SHOE LENS NORMAL LENS The part of a camera which allows an electronic flash A device designed to focus light on a given area such A lens that records an image with approximately the to be fired at the same time as the shutter is released as a piece of film. same angle of view as the human eye; a 50mm lens is based on electrical contact with the camera. considered ‘normal’ for most 35mm camera. LENS HOOD HUE An accessory that attaches to the front of a lens to OPINION A particular variety of a shade or color. prevent lens glare; also called a lens shade. A statement which cannot be proven. Must be at- tributed when published as part of a story other HYPO LENS MOUNT than an editorial. A synonym for fixer. The part of the camera to which the lens is secured. ORIGINALITY HYPO CHECK LENS RELEASE Work that is new and which has not been seen in its A chemical used to check whether or not the fixer A button which allows the lens to be taken off certain present form before. is still capable of making the silver halide crystals cameras. insensitive to light. ORTHOCHROMATIC FILM LENS SPEED Film that is insensitive to red light but very sensitive HYPO-CLEARING AGENT A ‘fast’ lens has wider maximum aperture and to blue and green light. A chemical used to help remove fixer from the transmits more light than a ‘slow’ lens. For example, emulsion. a lens with a widest f/stop of f/2 is ‘slower’ than a OVER DEVELOPMENT lens with a maximum aperture of f/1.4. Lens speed Development longer than the recommended time at a INCANDESCENT is a common way of measuring lenses. Faster lenses given temperature and agitation rate; causes increased Light that results when a substance is heated with tend to be more expensive and can be used in lower contrast, graininess and chemical fog; commonly electricity such as in a tungsten light bulb. See also light situations. caused by hot developer. See pushed processing florescent LENS TISSUE OVER EXPOSURE INCIDENT A soft, lintless tissue used to clean glass surfaces An exposure which allows more than the required Refers to the light falling on a subject. such as lenses. amount of light to reach the emulsion; causes a loss of detail in the highlight areas. INDIRECT QUOTE LIGHT-SENSITIVE MATERIAL See quotation Material such as photographic paper or film which PANCHROMATIC FILM reacts when exposed to light. Film that is sensitive to all visible colors of light and INFINITY renders them tones similar to those visible with the As far as the eye can see; the maximum distance on LINES PER INCH human eye. See also orthochromatic film which a lens can focus. The smallest portion of an image on a printed page; generally resembles an elliptical dot when magni- PANNING INFORMAL BALANCE fied; the larger the dot, the more color is applied to A photographic technique where the camera is moved Not symmetrical. the paper. For example, an 80% black dot applies at the same speed and direction as the subject al- more ink, and therefore appears darker, than a 20% lowing the subject to remain sharp but blurring the INTERNAL MARGIN black dot; do not confuse with DPI or PPI. rest of the picture. The margin between text, headlines, captions, pho- tographs and art on the page. The internal margin, MATTE PAPER PARALLAX usually one pica, should be consistent. A paper with an emulsion that does not reflect much The difference between what is seen in the viewfinder light. See also glossy paper and what is recorded on the film; a common problem INVERTED PYRAMID with rangefinder or twin lens reflex cameras. A style of writing most commonly applied to news ‘MEANING’ stories in which the most important facts appear early Photographs must be more than just elements thrown PARTLY CLOUDY in the story and less important facts later in the story. together. Photography is art, and the art should have A type of lighting cause when the a significant portion The copy at the end of the story can easily be cut to ‘meaning.’ of light from the sun is blocked by clouds. fill the space. MERGER PATTERN ISO The part of a photo that merges with another part A type of photographic composition in which the An abbreviation for International Standards Orga- (or the border) unintentionally often generating elements follow a predictable organization. nization. A number assigned to film indicating its distracting results. relative sensitivity to light. The higher the number, PC CORD the more sensitive the film is to light. MIDTONE An electrical, wired connection between a flash and The middle tones of a print, generally the flesh camera that allows the flash to be fired at the appro- ISO DIAL tones; halfway between the black and white. priate time after the shutter release is pressed. The part of the camera which allows the photographer to set the appropriate ISO. MODULAR LAYOUT PHOTO ASSIGNMENT CALENDAR A style of layout where elements are placed on the A calendar used to help photographers and editors KICKER page in easy-to-move, rectangular ‘modules.’ keep track of deadlines and events which need to be A short (one or two word) statement at the beginning photographed. of a caption that serves as part of a caption to grab NEGATIVE the reader’s attention. Developed film; an image where dark areas of the ac- PHOTO ASSIGNMENT FORM tual scene appear light and light areas appear dark. A form used to help photographers and editors keep LANGE, DOROTHEA track of events for which they are responsible for Hired by the Farm Security Administration to doc- NEGATIVE CARRIER photographing. ument the Great Depression in the 1930’s. The part of the enlarger which holds the negative in Photo- place during the enlarging procedure. PHOTO CREDIT Photo- LATENT IMAGE Part of the photo caption which states the name of journalism An invisible image formed when light strikes the silver NEGATIVE SHEET the photographer or the organization responsible for journalism halides in the film prior to development. Several negatives contained in a carrier, usually made the photograph. Curriculum of transparent plastic, designed to assist in making Curriculum Guide LEAD contact sheets and filing. PHOTOGRAM Guide The beginning of a story which serves to summarize A print made without a negative by positioning By Bradley the story and/or grab the reader’s attention. NEWS objects between a light source and the photographic By Bradley Wilson Information delivered about an event shortly after the paper. Wilson LEADING event has occurred. ©2002 The space between lines of text measured in points. ©2002 PAGE 20 PAGE 21 PHOTOJOURNALISM REEL SILVER HALIDE A genre of photography which includes photo- A device used in film developing to allow chemicals The light-sensitive part of film or paper. Chemically, graphing people involved in news events. to reach all areas of the film evenly; made of stainless a silver halide is a compound of silver and either steel or plastic. fluorine, chlorine, bromine or iodine. PICA One-sixth of an inch. A printers’ measurement used REFLECTED SINGLE-LENS REFLEX (SLR) primarily for column widths. Refers to light that bounces off a subject. A type of camera which allows a photographer to see the subject through the same lens as light will PIXEL REPETITION OF SHAPES pass when the film is exposed.See also twin lens reflex The smallest unit of an electronic image – literally a A technique which uses repetition of elements in a camera and rangefinder picture element. photo to grab the reader’s attention. STEICHEN, EDWARD PIXELS PER INCH RETICULATION Together with Alfred Stieglitz, founded the Photo-Se- The number of pixels in an inch of a digital image; Cracks in the emulsion caused by temperature varia- cessionists in America in 1902. During his lifetime, he LPI * 2 = PPI. tions during processing. helped America discover, through Stieglitz’s galleries, such artists and photographers as Picasso, Monet, PLASTIC RGB and Rodin. During WWI and WWII, he was a pho- The part of some photographic film or paper to which A color mode (red, green blue) for photos destined tographer for the U.S. Armed Forces. During WWII, the gelatin adheres; a lightweight component of many for output on a television or computer monitor. he was director of photography in the Pacific theatre. photographic devices. He later became the director of photographery at the RINSE Museum of Modern Art in New York City where he POINT A procedure in the development of paper or film organized one of its most famous exhibitions: ‘The One seventy-second of an inch. A printers’ mea- designed to remove one chemical before immersion Family of Man.’ surement used primarily for measuring type and in another or before drying. leading. STEIGLITZ, ALFRED RULE OF THIRDS One of the most influential photographers who POLARIZING FILTER A technique used to determine the placement of the ever lived. He brought the impressionistic style of A type of filter used when taking pictures to block out subject. When the viewfinder is divided into thirds photography from Europe to America through the or- the reflections off non-metallic surfaces. Also useful both horizontally and vertically, the subject goes at ganization of the Photo-Secessionists. He would later for blocking reflections off water in the atmosphere, the intersection of any two lines. lead the way to straight photography by recognizing darkening blue skies. and promoting the work of such photographers as S-CURVES Paul Strand, Edward Weston and Ansel Adams. He POLYCONTRAST FILTER A technique which uses elements in a photo shaped opened the first photography gallery in New York A type of filter used in enlarging that, together with in curves to grab the reader’s attention. City and helped to establish the first department of polycontrast paper, allows the user to alter the con- photography at an American museum. He was mar- trast of the image without having to use a different SAFELIGHT ried to the artist, Georgia O’Keeffe. type of emulsion. Also known as multigrade filters. A device which emits light of a wavelength to which photographic materials are not sensitive, STOP BATH POSED SHOT often amber. An acidic solution used to stop the action of the A photograph that is set up by the photographer. developer. See also candid SANS SERIF Type with no extensions at the letters which is easier STOPPED ACTION PRINT to read at large sizes. Moving subjects photographed with fast shutter A reproduction of an image made with tones corre- speeds so they appear stopped. sponding to those in the actual image. Also termed a SCRATCH-RESISTENT COATING ‘positive.’ See also negative The portion of film designed to make it less sensitive ‘STOPPING POWER’ to scratches. The ability of a photograph to catch the eye of a PRINT DRYER viewer. An electrical device used to dry prints using warm, SELECTIVE FOCUS forced air. A technique which renders only certain elements in a STRAND, PAUL photograph to appear in focus by using wide f/stops An American photographer who began working PRINT TONGS which give low depth of field. in the early 1900’s on a style of photography that Devices used in the printing process which permit became known as ‘straight’ photography. His early a person to move prints from one tray to the next SELF TIMER photographers of candid street scenes would influence without having to get chemicals on the skin. A part of a camera a delays the opening of the shutter photographers for the next 30 years. after the shutter release has been pressed. PROPORTION WHEEL SUBORDINATE ELEMENTS A device used to determine the percentage of en- SERIF Elements which a viewer sees after viewing the largement or reduction that will be required when a An extension on the end of certain letters which make dominant element. photograph is going to be printed. the type easier to read. TALBOT, WILLIAM HENRY FOX PUSHED PROCESSING SHADOW Credited with creating the negative/positive process A technique used when developing film to increase The darkest portion of an image, often the shadows the actual effective speed of the film by over develop- in the background. TANK ing it. Usually used for pictures shot in extremely low A light-tight device made of metal or plastic into light situations without artificial lighting. Increases SHUTTER which film or paper is placed for development. contrast and grain. The part of the camera that opens, allowing light coming through the lens to reach the film. TECHNICAL QUALITY QUOTATION Refers to the qualities in a photo which result from A statement made by another person included in a SHUTTER RELEASE things other than composition, including exposure published story. A direct quotation is exactly what a The portion of the camera that when pressed opens and proper development. person said and appears inside quotation marks. An the shutter and exposes the film to light. Photo- indirect quotation is a paraphrase of what a person TELEPHOTO Photo- said and does not appear inside quotation marks. SHUTTER SPEED A lens with a narrow angle of view allowing distant journalism A measurement of how long the shutter will remain objects to fill the frame. journalism RANGEFINDER open allowing the light-sensitive emulsion to be ex- Curriculum A type of camera which contains a viewfinder separate posed to light. Measured in fraction of a second. TEST STRIP Curriculum Guide from the lens. A small piece of photographic paper exposed to Guide SHUTTER SPEED DIAL light for various intervals to determine the proper By Bradley REDUCE The portion of the camera which allows the photog- exposure time. By Bradley Wilson The opposite of enlarge; reproducing a picture at a rapher to set the appropriate shutter speed. Wilson size smaller than the original. TEXT ©2002 SIDELIGHTING A story. Also called body copy. Usually set in 9-12 ©2002 Lighting that illuminates one side of a subject more point type. PAGE 20 than another. PAGE 21 TEXTURE The quality of a photograph’s composition which makes it appear as though it will feel like another RESOURCES material. Hoy, Frank P. Photojournalism: The Visual

THIN Approach. 2nd ed. Englewood Cliffs, NJ: Pren- Negatives that are underexposed or underdeveloped tice-Hall, 1986. Available from: Prentice-Hall, 800/ are said to be ‘thin’ because they transmit more light than an ideal negative. See also dense 922-0597, $44.  I take what photojournalism I teach as part of my journalism TIMED EXPOSURE course straight out of this text. It’s good good things on devel- An exposure of unusually long duration often timed oping and printing. • Anna Hodges, Mayde Creek HS (Katy, by the photographer rather than the camera. TX) TIMER A device used to aid a photograph in getting accurate Hughes, Jerry. The World’s Simplest Photog- exposures or development times. raphy Book. Dallas: Phillips Lane Publishing, TONE 1993. An quality of composition produced by the combi-  I like it because of examples of right and wrong. Very simple. nation of light, shade and color. Not for the photojournalist necessarily, but good for the be- TRANSITION ginning photographer. • Lynda Farabee, Levelland HS (Level- The portion of a story which helps the reader move land, TX) from one point to the next. Transitions serve three purposes: to help the story flow, to add information, and to explain other items in the story. Kobré, Kenneth Photojournalism: The Pro- fessionals' Approach. 4th ed. Boston, Mass.: TRAYS Containers used in the darkroom used to contain Focal Press, 2000. chemicals and into which prints (or film) are placed  The best text on the market targeted specifically at the photo- so they can be in full contact with the chemical. journalist. Includes dozens of contemporary examples of the finest in photojournalism, information on digital imaging and TUNGSTEN history, law and ethics. Not heavy on technique. Focuses more A metal found in common light bulbs that when burned gives off an orange color. on content and meaning. TWIN-LENS REFLEX Lewis, Greg. Photojournalism: Content and A type of camera which has two lenses, one for viewing the subject in preparation for taking the Technique. Dubuque, IA: William C. Brown picture and one through light passes before reach- ing the film. Publishers, 1991. Available from: JEA Bookstore, $37.50. UNDER DEVELOPMENT  If I could afford to buy a copy of this book for each of my staff Development shorter than the recommended time photographers to use as a textbook, I would. It comes much at a given temperature and agitation rate; commonly closer to what we want kids to produce for publications than caused by cold developer or exhausted chemicals. any state-adopted text. It is full of beginner information including UNDER EXPOSURE a brief history of photojournalism. • Linda Duncan, Deer Park An exposure which allows less than the required High School (Deer Park, TX) amount of light to reach the emulsion; causes a loss of detail in the shadow areas. Nelson, Terry. Yearbook Photography. Mont- WESTON, EDWARD gomery, AL: Herff Jones, 1993. Available from: Herff Began as a successful portrait photographer in Hol- lywood, he destroyed all of his negatives and moved Jones, 800/453-2813, $40. to Mexico for four years to rethink his photographic  A complete, practical source for thoroughly teaching photog- style. Together with Ansel Adams, Imogene Cunning- raphy units in beginning journalism classes. Great photos clearly ham and others, he helped found Group f/64. The first demonstrate effective photography techniques. For best results, photographer to receive a Guggenheim Fellowship, he purchase a class set so all students can clearly see the photos is best known for his landscapes, nudes and still lifes of peppers. He photographed for complete sharpness and detail in his images, insisting on extreme depth of field, contact printing his 8x10 negatives, mounting on white board and not retouching or manipulating the image at all.

WHITE SPACE The portion of a page with nothing on it used to draw a viewer into the other elements on the page. All white space should be planned.

Photo- WIDE-ANGLE Photo- A lens with a wide angle of view allowing more nearby journalism objects to fill the frame. journalism

Curriculum WORKING SOLUTION Curriculum Guide A mixture of a chemical in water that is ready to Guide be used. By Bradley By Bradley Wilson ZOOM Wilson A type of lens with multiple focal lengths as opposed ©2002 to a fixed lens. ©2002 PAGE 22 PAGE 23 Photo- Photo- journalism journalism Curriculum Curriculum Guide Guide By Bradley By Bradley Wilson Wilson ©2002 ©2002 PAGE 22 PAGE 23 CONTRIBUTORS Without these people, this guide would not have been possible. A special thanks goes to Lynda Farabee who was always willing to contribute in any way possible. • Lynda Farabee, Levelland HS (Level- land, TX) • [email protected] • Susan Komandosky, Round Rock HS (Round Rock, TX) • komando@- tenet.edu • Mark Murray, Lamar HS (Arlington, TX) • [email protected]

NOTES Photojournalism is one of the most fun and challenging courses a teacher can ever teach. There is no greater reward than teaching students to see the world around them. This Photojournalism Curriculum Guide has served, in other forms, as the basis for introductory photojournalism courses at Wimberley Secondary School (Wimberley, Texas), Irving High School (Irving, Texas) and Kansas State University (Manhattan, Kan.).

THANKS Several students throughout the years (not to mention the teachers) have tested this material. Without them, things might have worked out differently. • Jonathan Allen • Chris Barnes • Jonathan Dwyer • Gabe Harcrow • Nathan Hunsinger • Sam Mercer • Ian Shott • Butch Watts

COLOPHON The essential elements and vocabulary information was entered into FileMaker Pro on a Mac II where it could be sorted in many ways. The data was then ex- ported and merged into a formatted Microsoft Word file and placed into PageMaker where the final publication was formatted. A Power Macintosh G3 and Hewlett Packard LaserJet 5000N were also used in production.

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