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1. I'm Sierra 2. I moved from VT to Marion 3. In my free time, I usually am taking photos are hanging out with friends around campus. 4. I chose photography because photography is one of my favorite hobbies. 5. I have a Canon rebel t5 6.

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Depth of Field is the area of a photo which is in focus. You can make the area smaller so that it only focuses on one thing and the rest of the image is blurry. A larger area would make almost everything in the image sharp.

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This was our test strip for the negative. After we created the test strip, we observed that the perfect amount of time to let enough light through was 12 seconds. So we then placed a piece of picture paper inside the enlarger and the original negative atop the paper.

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According to wikipedia, photojournalism is "the art or practice of communicating news by photographs, especially in magazines." This is most defiantly part of it, but there is a deeper definition. While reading articles on photojournalism the idea of conveying a specific story was mentioned a multitude of times.

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Materials * Shoebox * Aluminum can * Duct tape * Black paint * scissors * Tack or needle Step 1: Make the box light-proof Making the box lightproof means covering up any places that light might be able to get through, and making the inside of the box as dark as possible.

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Photo Journalism is the visual representation of a story. An image is captured to show or portray a certain message or meaning. An example would be capturing an image of trash on the beach. This would show how dirty the world has become.

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Claudio Palmisano, of 10b Photography, based in Rome, processed the images in this story for the journalists who shot them. He provided us with the flat, original RAW files he began with and the final, transformed images that resulted. This image by Yuri Kozyrev was captured in Cairo, Egypt, February 11, 2011.

Claudio Palmisano, of 10b Photography, based in Rome, processed the images in this story for the journalists who shot them. He provided us with the flat, original RAW files he began with and the final, transformed images that resulted. This image by Yuri Kozyrev was captured in Cairo, Egypt, February 11, 2011.

Palmisano adds custom textures, or "grain," for every photographer he works with. This image by Francesco Zizola was captured in South Sudan, March 23, 2011.

Palmisano adds custom textures, or "grain," for every photographer he works with. This image by Francesco Zizola was captured in South Sudan, March 23, 2011.

Palmisano makes small (or "sometimes huge") zonal density adjustments to help move a viewer's eye around the scene, which was photographed by Yuri Kozyrev near Cairo's Tahrir Square, November 23, 2011.

Palmisano makes small (or "sometimes huge") zonal density adjustments to help move a viewer's eye around the scene, which was photographed by Yuri Kozyrev near Cairo's Tahrir Square, November 23, 2011.

Palmisano says: "Color perception is relative and not absolute." Above: Baglar, Diyarbakir, Turkey, February 10, 2012.

Palmisano says: "Color perception is relative and not absolute." Above: Baglar, Diyarbakir, Turkey, February 10, 2012.

Photojournalism in the digital age is fraught with peril. And it brings questions of objectivity, truth, ethics, and deception into sharp relief. While news photography remains vital to our understanding of the world, confusion in both the public consciousness and among photographers about the use of Adobe Photoshop and other editing tools in retouching photos threatens to erode its credibility and destroy its power to illuminate. Photographers, photo editors, and other defenders of the faith have made it their mission to uphold a rigid set of journalistic standards regarding image processing and manipulation. Trouble is, not everyone agrees on what those standards should be.

"I don't think we've really comprehended the scale of the digital revolution," says writer/researcher David Campbell, secretary for the World Press Photo Contest. He points out that every digital photo ever made has been processed, even if its creator never even glanced sideways at the cloning tool. "Digital is fundamentally different from analog because there is no original image," Campbell says. "The RAW file is just data. To even see an image requires processing. The question is not whether you should allow processing, but that it should be transparent and show just how the processing was done."

Campbell and World Press Photo are particularly interested parties in this arena. In 2013 Paul Hansen, a winner of a World Press Photo of the Year s 2012 award, was accused of manipulating the content of his photo "Gaza Burial." Though Hansen's photo was ultimately cleared and the prize stood, the controversy was heated enough, and spoke so deeply to the basic credibility of the medium and the contest, that the organization commissioned Campbell to speak to as many media outlets as possible and create a best practices report on photojournalism and photo manipulation (it's due to be completed this fall, but wasn't yet available at press time).

Campbell says that news and documentary organizations have built some consensus about what is not acceptable. "Material alteration to the image by including or excluding a certain item" seems to be a standard everyone can agree on, as illustrated by the story of Narciso Contreras, an accomplished conflict photographer who, while working for the Associated Press, used software to remove a colleague's video camera from a photo of a Syrian opposition fighter in the midst of battle. When he brought the incident to the AP's attention, the newswire severed ties with Contreras, saying it will remove his work from its publicly available photo archives, including photos from Syria that, along with the work of other photographers, helped net the AP a 2013 Pulitzer Prize. The story is heartbreaking-Contreras is a hard-working and talented photographer who was probably operating under extreme duress-but in the end his case was not controversial. There is a bright line around adding or removing content, and Contreras very clearly crossed it.

When it comes to the subtler edges of post-processing, however, one finds strikingly little agreement across the industry. Campbell says that looking to the darkroom era for guidance provides little clarity. "People often say they accept changes in line with what would have previously been done in the darkroom, but that thinking is flawed," he says. You can do anything you want in the darkroom, and people did. It can hardly be the basis for what's acceptable and what isn't."

Indeed, analog malfeasance was common. "There was an old trick in the newspaper days for photographing golfers," says Australian Ashley Gilbertson, a photojournalist with the VII agency. "You could never get the golf ball right in the front of your lens, so it looked like the golfer was smacking the ball toward you. I remember hearing stories back home about photographers using a 20-cent coin as a burning tool to make it look like the ball was coming into frame." Even absent that level of creative shenanigans in the darkroom, Gilbertson never understood the attitude that "everything's OK as long as you do it in camera," he says. "That means cross-processing film and light leaks are all OK, but playing with saturation in Photoshop isn't." Indeed, Gilbertson says he used a much heavier hand in his darkroom days, dodging and burning significantly to create drama in his photographs. Now, however, "I have a much softer touch because our industry has come under much more scrutiny than ever before."

Every photographer we spoke with for this piece referenced the dangers of eroding the public's trust in documentary images. Stanley Greene, a photojournalist and one of the founders of the NOOR collective, put it clearly, saying that photo manipulation takes photojournalists "down a dark road," and that "we are the messengers, we are the seekers of the truths, we must be the ones that show the light in the darkest corners of the world. When viewers can no longer trust the picture or the photographer taking it, we are nothing but tricksters."

Fred Ritchin, a professor of photography and imaging at New York University and author of several journalism books on the future of imaging, says this controversy makes today a "difficult and very painful time to be a photojournalist," and that the lack of standards across different publications has the potential to create an environment in which "people may not take seriously certain events or things going on around the world." He continues, "If you walk into a bookstore and ask for nonfiction or fiction, you know what the difference is and what you'll get. But at this point we don't really know what's a fiction photo or a nonfiction photo."

Blaming Photoshop for the fact that photojournalism is viewed with a suspicious eye is to create a double standard, says award-winning conflict photographer and VII cofounder Ron Haviv. It also reveals a naïve and misplaced distrust. "When I shot slide film, I chose film and filters based on the look I wanted to present in the final product," he says. "The tradition of photojournalism has always taken into account aesthetic value, whether we do it with a computer or with film choices or in the darkroom. I might choose a certain film stock because I want punchy, cartoonlike colors. But if I do it on a computer it's seen as going too far."

But Haviv argues that the strong awareness of Photoshop among the general public is a good thing. "The audience is in on it now," he says. "No one had any idea what photographers did in the darkroom. Now people are trying to find the cutoff point of what is and is not acceptable, though it's a false pursuit. People talk about objectivity and photojournalism. But there's nothing objective about photography. I'm not lying to you, but it's not objective. I'm asking the viewer to trust me that this is a fair representation of reality."

Digital photojournalism does have one ace up its sleeve: data. Every digital photo leaves a trail when it passes through a camera or is processed by a piece of software-it's one of the defining differences between analog and digital photojournalism. It's now incumbent on photographers to make sure they can precisely document the process they went through to arrive at the final version of any photo they want to be considered documentary. Campbell notes that precise nomenclature is also very important when designating what has been done to a file. "Manipulation," he says, "refers to moving actual pixels (with the exception of removing sensor dust), while 'processing' is everything done to turn data into an image. Verification, of course, is key to understanding whether any of these techniques has been applied in the first place."

"Professionals are going to need to make their work verifiable," he says. "And verification may involve image makers having a digital trail for all to see. You should be able to see every Photoshop change, every Lightroom change, as well as geotagging for where the image was taken and who was involved in making it. The more you let readers see how the sausage is produced, the more confidence they have in the sausage. The more verifiable an image is, the more authentic it will be regarded as."

The question of how to make that information transparent remains. Since as early as 1994, Ritchin has advocated adopting an icon that would run underneath images. For online photos, when clicked it would list all the processing the image had been through.

Still, the debate over how far is too far isn't going away anytime soon. "At NOOR, we have a code of ethics that we all agree on, a basic tenet being that there's no adding, no taking out," says Evelien Kunst, NOOR's managing director. "But there are nuances that we debate, and even among the NOOR photographers there are different standpoints." If a 12-person photo collective has trouble agreeing on these distinctions, is there any hope for the rest of us?

In some sense, the enhanced verification of the digital age may, in the end, negate the need for universal answers. In fact, it's possible that the messy, unclear legacy of digital post-processing is the greatest gift photojournalism has ever received. The struggle for clarity around our documentary images reminds us that no photojournalist has a monopoly on truth, that everyone has a viewpoint and an aesthetic. "Even having no aesthetic is an aesthetic," Haviv says.

The birth of Photoshop may have marked the death of our photographic innocence, but innocence is overrated. Thirty years ago it was easy to believe that photographs were true representations of reality. But we know now that was never the case. Living in a world where reality is a fluid concept may feel more uncertain, but if we can trust our photojournalists and continue to be able to verify their work, photojournalism may find itself unshackled from its previous constraints and able to explore new avenues of expression. As Gilbertson puts it, "depending on what side of the bed I wake up on, I might think one way of processing a photo is better than another. But the underlying content is what never changes."
BOUNDARY ISSUES
A survey of some of the guidelines used by various news organizations, from minimalist to maximalist FROM NATIONAL PRESS PHOTOGRAPHERS ASSOCIATION CODE OF ETHICS
_www.nppa.org/code-of-ethic_s
Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects
EXCERPT FROM THE ASSOCIATED PRESS'S "NEWS VALUES"
www.ap.org/company/news-values
The content of a photograph must not be altered in Photoshop or by any other means. No element should be digitally added to or subtracted from any photograph. The faces or identities of individuals must not be obscured by Photoshop or any other editing tool. Only retouching or the use of the cloning tool to eliminate dust on camera sensors and scratches on scanned negatives or scanned prints are acceptable.

Minor adjustments in Photoshop are acceptable. These include cropping, dodging and burning, conversion into grayscale, and normal toning and color adjustments that should be limited to those minimally necessary for clear and accurate reproduction (analogous to the burning and dodging previously used in darkroom processing of images) and that restore the authentic nature of the photograph. Changes in density, contrast, color and saturation levels that substantially alter the original scene are not acceptable. Backgrounds should not be digitally blurred or eliminated by burning down or by aggressive ton- ing. The removal of "red eye" from photographs is not permissible.
FROM GETTY IMAGES'S EDITORIAL POLICY
www.gettyimages.com/corporate/editorialpolicy.aspx
We believe that photographs are the visual communication of a story and should be held to an equal level of accountability, responsibility and integrity as the written word in journalism. Images illustrate and reflect the events of our world today and therefore have a responsibility to be delivered to the customer with accuracy and impartiality.
FROM REUTERS'S BRIEF GUIDE TO STANDARDS, PHOTOSHOP AND CAPTIONS
www.handbook.reuters.com
Materially altering a picture in Photoshop or any other image editing soft- ware will lead to dismissal. Rules: No additions or deletions to the subject matter of the original image. (thus changing the original content and journalistic integrity of an image) No excessive lightening, darkening or blurring of the image. (thus misleading the viewer by disguising certain elements of an image) No excessive colour manipulation. (thus dramatically changing the original lighting conditions of an image)

Allowed: Cropping, adjustment of Levels to histogram limits, minor colour correction, sharpening at 300%, 0.3, 0, careful use of lasso tool, subtle use of burn tool, sdjustment of highlights and shadows, eye dropper to check/set gray

Not Allowed: Additions or deletions to image, cloning & Healing tool (ex- cept dust), airbrush, brush, paint, selective area sharpening, excessive lighten- ing/darkening, excessive colour tone change, auto levels, blurring, eraser tool, quick mask, in-camera sharpening, in-camera saturation styles.
WORLD PRESS PRESS PHOTO SUBMISSION GUIDELINES
www.worldpressphoto.org
The content of the images must not be altered. Only retouching which con- forms to currently accepted standards in the industry is allowed.

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Claudio Palmisano, of 10b Photography, based in Rome, processed the images in this story for the journalists who shot them. He provided us with the flat, original RAW files he began with and the final, transformed images that resulted. This image by Yuri Kozyrev was captured in Cairo, Egypt, February 11, 2011.

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Each assignment in this course will build upon previous assignments and is meant to be tackled in order. The didactic purpose of each assignment will be clear at the outset, as will criteria and precedents for success. For instance, following a lecture on shutter speed, your assignment will reinforce concepts covered in the lecture.

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Syllabus
CUNY Graduate School of Journalism Photojournalism Spring 2014
Jennifer S. Altman | jenniferaltman@msn.com | 917-968-8093

Room 442 | Monday, 1:30pm - 4:20pm | Office Hours TBA
Course syllabus (PDF)
***
COURSE DESCRIPTION
This is an introductory course in photojournalism presented in a multimedia context. Students will use the journalism school's Canon dSLRs (those who have equivalent cameras of their own are encouraged to use them). The course will be taught as a hands-on workshop. Instruction will progress from basic camera operation and the news "one shot" to more comprehensive visual storytelling that may incorporate audio, video or other multimedia components.

Despite technologies that in recent years have transformed how news photography is produced and distributed, the strength of the still image remains undiminished. In fact, the market for stories communicated visually has never been stronger. Photographs, presented alone or as an essay in a multimedia context, continue to provide the photojournalists who make them a uniquely powerful window onto the world in which we live.

The semester will be divided into several components: single image stories, camera and technique, photo essay production, presentation and the pro marketplace. Students will be responsible for weekly assignments as well as two long-term projects. We will address relevant topics in photojournalism such as news, copyright, ethics, gender and war photography.

Much of the courses content and supporting material will be present on the class website. Students are responsible for weekly readings, quizzes, tutorials, resource material and discussion presented on the site and for digitally transmitting the assignments.

Students are encouraged to use assignments for other courses as the basis for work in this course when appropriate and with the permission of the instructor. Students may also use the course to develop a photo component for their capstones. There will be the opportunity to do extra credit work through photographer biography presentations and additional assignments.

Course content will include:

Comprehensive instruction in the use of the Canon Rebel XTi/T2i dSLR, including an introduction to the school's super-wide and telephoto lenses, flashes and other accessories (students with comparable cameras of their own may use them)

The essential elements of good visual storytelling

How to photograph the single-image news and feature assignment

Techniques for developing and structuring professional caliber long-form photo stories

How to edit, caption, keyword and organize large numbers of photos and audio

Intermediate/advanced use of post-production software including Adobe Photoshop and Lightroom, a variety of photo content management tools (CMS) such as Photo Mechanic, and several online presentation tools such as iPhoto, Jux, and WordPress.

Tools and standards for building a professional portfolio and presenting visual work online.

Photo equipment requirements: Students should rent cameras and other materials from the school and have to obtain Adobe Photoshop Lightroom 5 for editing on their personal computers.

***
GRADING
Grades for the course will be broken down as follows:

First eight weekly assignments : 40 percent

First photo essay: 20 percent

Second photo essay: 20 percent

Class participation (including online discussions, professionalism and attendance: 20 percent

Quizzes will be factored in.

Attendance is mandatory. Students who must miss a course should notify me beforehand. Extra credit is available to students who wish to do a 10-15 minutes presentation on a photographer of their choice. Other projects may be considered for extra credit.

Students who wish to incorporate material from the class into a capstone project or work for other courses may be able to make special arrangements.
*** COURSE MATERIAL
NOTE: While news values and ethics in photojournalism do not appear as a specific topic in the outline below, we will discuss it frequently in the context of what is outlined. We will also talk about timely issues in the photojournalism world. Items on the syllabus may be subject to change as relevancy evolves throughout the semester.

Three quizzes will be given through the term at instructor's discretion.
Class One - Introduction

Course overview

Intro to the Canon Rebel T2i

How to file assignments

Technical class

Assignment #1

Class Two - Post production tools and the pro camera bag

Review of assignment #1

Examples of student work

Technical class

Tips for success in photography

Camera equipment: What's in a pro camera bag (and what does the school have)?

Post-production tools - Review of Lightroom and assorted CMSs

Importance of Captioning

Assignment #2

Class Three - The environmental portrait and more on post-production software

Review of assignment #2

Photographer of the day

The vocabulary of photography and photo critique

Technique and technical review

Shooting the environmental portrait

Shooting the self-portrait.

Jpeg/RAW file management

Assignment #3

Class Four - Photographing Places, Object and Events

Review of assignment #3

Photographer of the day

Photographing objects, places and events

Working with reporters

Finding stories

Navigating access

Making the agreement to move forward with a subject

In-Class Lighting Workshop

Assignment #4

Class Five - The Photo Essay and Working with Flash (Strobe) Class Six - Editing photographs Class Seven - On Assignment: From Local News to Travel Photography Class Eight - Developing themes and personal style

Review of assignment #7 and #8

Photographer of the day

Professional style and personal vision

Ideas and contact for First essay/series due

First photo essay shoot to begin

Class Nine - Field Trip to shoot or Exhibit or Agency Visit &/or some class time.

Review of First photo essay shoot

Begin shoot 2 of first photo essay

Class Ten - Photography in a Multimedia Context and with Audio in Particular

Review of first photo essay/part one and 2 of assignment

Examples of audio slideshows

Collecting sound for use with photos

Review of basic audio tools in the context of use with photos and audio editing

-Relevant audio recorders and microphones

-Final Cut

Photo essay/part three of assignment

Talk about ideas for second photo essay and confirm choices

Class Eleven - Studio Lighting

Review of photo essay/part three and whole assignment

Use of class time for workshop with students shooting, either in studio or we will go on location.

Review of basic three-point lighting and other photo techniques

Specialized lighting equipment, tethering and other studio techniques

Other options:

-Photo in interactive graphics, maps, polls and text

-Photo and video

-Crowd-sourced photography

Final long-term assignment (Multimedia/photo essay), Second photo essay started/Part one

Ideas due and contact made for second essay

Class Twelve - Planning the multimedia piece. Class based photo project?

Individual or group?

Presenting the multimedia piece

Review of final first photo essay/part one

Review of completed final first photo essay. FINAL IMAGES DUE, MUST BE IN SEQUENCE.

Final long-term assignment (Multimedia/photo essay), Second photo essay started/Part two

Go over multimedia components

Speaker TBA

Class Thirteen - The professional world of photojournalism

Review of Final photo essay/part two

Final Photo Essay/Part 3

Confirm mulitimedia components

The Photo Portfolio

Copyright and fair use of photographs

Photojournalism ethics

What editors are looking for

-Developing the portfolio site, 'The look', Presentation tools

-Agencies, PhotoShelter, Others
Class Fourteen - The future of photojournalism Class Fifteen - Review of final projects

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CUNY Graduate School of Journalism Photojournalism Spring 2014 Jennifer S. Altman | jenniferaltman@msn.com | 917-968-8093 Room 442 | Monday, 1:30pm - 4:20pm | Office Hours TBA Course syllabus (PDF) *** COURSE DESCRIPTION This is an introductory course in photojournalism presented in a multimedia context.

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http://catbarryphoto.blogspot.com/

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http://gatopics19.blogspot.com/