DIGITAL PHOTOJOURNALISM
By Manuel C. Zacarias
What is Digital Photojournalism?
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Digital Photojournalism is not just taking pictures; it’s telling the news through photographs.
Like reporters, photojournalists, or news photographers, must have a nose for news. They
must also have the skill to show news, accurately and objectively, through photographs.
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The ways photos are used vary: Some stand alone as a story with a cutline and others are part
of a photo essay. Most photographs, however, accompany stories, so they must coordinate
well with those stories. To accomplish this, you’ll need to be prepared – not only for
spontaneous photo opportunities but for more formally arranged photo sessions, or shoots.
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First, you need to understand why photographs are used. Understanding the functions photos
serve will guide the success of your photo coverage.
I- Functions of Photographs
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Photographs serve several functions in newspapers. All are important, but communication is
the most important function. Unless a photograph communicates something newsworthy, it’s
not photojournalism.
1. Communication
A photograph can communicate general information very quickly. For example, a
photo of a student sweeping up after a dance tells readers this is one of the chores that have
to be done after a dance. The cutline provides specific information. It identifies the student
and may explain that the chore falls to members of the dance committee.
Photos may communicate emotions as well as facts. They inform and express. The
student’s face and body posture, for example, may express disgust with the clean-up chore.
Mood too can be communicated in photographs. For example, you can convey the
nostalgia at the end of a school year in a shot of the school grounds at sunset.
2. Credibility
A photograph makes whatever is pictured seem more real and true. It lends
credibility to the story. People are more inclined to believe what they see than what they
read.
Ex.
3. Visual Appeal
Photographs are visual magnets, drawing readers into a page or a story. For this
reason photos often serve as entry points.
Part of a photograph’s visual appeal is the
variety it adds to a layout. The contrast between a photo and copy is exciting and eye
catching. That’s why a photograph is usually the dominant element on a page or spread.
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A photograph adds life–vitality–to a story in a way no illustration can match. Even a mugshot
can do wonders. It makes readers feel as though the person in the story is real.
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Sometimes a story has vitality, but it needs a photograph to highlight that vitality. Photographs
are especially suited to bringing out the action and human interest in a story.
II. Composition
1. The RULE OF THIRDS
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Many camera include a circle in the center of the view finder that serves as a focusing tool.
It’s not a target for positioning subjects! Subjects placed smack in the middle of a frame create
a static, boring photograph. By following the rule of thirds, you can avoid this humdrum visual
arrangement.
As you look through your view finder, divide the frame by thirds horizontally and vertically to
form a grid--like a tic-tac-toe board. Place your main subject on one of the intersecting points
of the grid. Other subjects may be placed diagonally opposite to create dynamic tension.
Horizontal lines should be along the top or bottom line of the grid.
The theory is that if you place points of interest in the intersections or along the lines that
your photo becomes more balanced and will enable a viewer of the image to interact with it more
naturally. Studies have shown that when viewing images that people’s eyes usually go to one of the
intersection points most naturally rather than the center of the shot – using the rule of thirds works
with this natural way of viewing an image rather than working against it.
In addition to the above picture, here are some of examples:
Photo by Manuel C. Zacarias
2. FILLING THE FRAME
Fill your frame with the image. This means you should get up close whenever you can. You
don’t have to include all of the subject in a picture
--just the most interesting feature. For pictures of people, this is usually the face.
Photo by Manuel C. Zacarias
3. BACKGROUND and FOREGROUND
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no matter how you get, watch the background. It may add to a photo. In that case, play it up.
But if it’s destructing, move yourself or your subject to minimize destruction. Another option
is to adjust your depth of field so the background is out of focus.
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Pay attention to the foreground too. Remove distracting objects if possible. Use the
foreground to your advantage when you can. An overhanging branch or another object in the
corner can create a subtle framing device. It also adds depth.
Photo by Manuel C. Zacarias
3. LEADING LINES
People can’t resist following lines wherever they go. Use lines within your
composition to lead viewers to important subjects in the scene. Lines may be formed by walls,
telephone lines, roads, fences, and even shadows.
Horizontal lines are restful, whereas vertical lines imply action. Diagonal lines are the
most exciting and powerful.
Photo by Manuel C. Zacarias
4. ACTION
Take candid photos of people engaged in activity. They communicate more and are more
interesting visually. (example above-leading lines and action)
5. COLOR CONTRAST
Contrast of colors in your subject really add vitality. It also attracts people/judge to focus on
your photograph because it’s more interesting visually.
Photo by Manuel C. Zacarias
6.
Lines and texture
Same as cartooning, you must also notice and apply different lines (vertical, horizontal,
zigzag, diagonal, etc.) in your subject to have a great output.
Photo by Manuel C. Zacarias
7. INSERT SIZE INDICATOR
Size indicator is useful to speak more on your subject. This kind of composition explains how
big or small your subject, among others.
Photo by Manuel C. Zacarias
8.
POSED GROUP SHOTS
Avoid photographing large groups (more than ten people), especially in small photos.
Determine in the newsmakers in the group and concentrate on them.
Avoid firing squad subjects.
Firing squad sample photo.
Much better group shots:
9. BIRD’S EYE VIEW
A top view shots make your photograph excellent and great.
Photo by Manuel C. Zacarias
10. WORM’S EYE VIEW
Below the ground or worm’s eye view shots
Ex.
11. SILHOUETTE (Shadow, outline)
This composition creates drama in your photographs
Ex.
Photo by Manuel C. Zacarias
12. ANGLES and VIEWPOINTS
Always take more than one photograph of each scene. This gives you options. One shot may
serve better than another.
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Take the same photo from different angles--from above, below, to the side, and so on. Be
mindful of how angles affect the overall image. Photos taken from above make a subject
appear smaller. Photos taken from below make a subject appear larger.
Photo by Manuel C. Zacarias
13. FRAMING
Frame your subjects for a more beautiful shots.
Photo by Manuel C. Zacarias
14. Reflections
Experiments. Reflections can also do wonders and make your subjects more beautiful.
Photo by Manuel C. Zacarias
Photo by Manuel C. Zacarias