Academic literature on the topic 'Photography, Journalistic'
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Journal articles on the topic "Photography, Journalistic"
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Saputra, Ellen Agustine. "KONTEN FOTOGRAFI JURNALISTIK YANG MENJADI VIRAL DI INTERNET." DeKaVe 10, no. 2 (March 24, 2018): 25. http://dx.doi.org/10.24821/dkv.v10i2.1991.
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With the presence of the Internet, journalistic photography can provide an opportunity to be more noticed by various societies. Social media and other online media accessed by billions of people each day therefore the spread of journalistic photography are wider. In this case the role of photojournalists becomes more crucial, Rothman (2012) explains that the beginning of motivational photojournalist plunge in the world of journalism due to the insistence in their hearts to announce something that is so important therefore they want to make a change. In this research will be discussed some journalistic photography that raised certain themes using content and structure of journalistic photography with significant results, then become viral on the internet. Some journalistic photography can be viral and some are not. The focus of this research is to find out the reasons and similarities in some journalistic photography that became viral on the Internet. This research uses qualitative content analysis method. Samples were selected based on the virality factor, 4 journalistic photography were taken from various sources and photographed by photographer with different background too. The first photo has been mentioned for 1,890,000 times; the second photo has been mentioned for 32,900,000 times; the third has been accessed for 22,600,000 times and the last has been accessed for 25,270,000,000 times. All four will be discussed based on the theory of journalistic photography, associated with the theory of virality.
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Toaca, Mariana. "Structural and compositional elements of the image in informational journalism texts." Studia Universitatis Moldaviae. Științe Economice și ale Comunicării, no. 11(01) (July 2023): 136–39. http://dx.doi.org/10.59295/sum11(01)2023_19.
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Along with the development of digital technologies, the press also developed. The press comes with visual information that helps journalistic texts to be more credible. The journalistic materials that appear in the press today are considerably improved over those materials that appeared in the 17-th century. Images have the power to complement information, to convince readers that the information is credible. Photographs are a component of the journalistic genre, they attract attention, captures the media consumer’s interest, prompts him to read the text, etc.. Photography is a communication tool, as the journalistic text conveys a message, a photographic composition is valuable when it manages to say something. Photographic images have value because at the time of their publication they convey information about the event and with the passage of time they immortalize information about people, events in history. The process of selecting the right photos is very important, the journalist must take into account several factors: the impact of photography; photo quality; placement in the text. The caption of the photo is unavoidable in order not to cause confusion, confusion, misinformation, etc. The caption of the photo is unavoidable in order not to cause confusion, confusion, misinformation, etc. Just as important as the structural and compositional elements mentioned above is the preservation of image accuracy following digital processing.
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Żyrek-Horodyska, Edyta. "„The image of stigma is no longer shocking”. The Criticism of Media Voyeurism in Eli, Eli by Wojciech Tochman." Tekstualia 4, no. 47 (September 5, 2016): 67–78. http://dx.doi.org/10.5604/01.3001.0013.4298.
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The article analyzes the journalist’s view on the condition of contemporary media as presented in Wojciech Tochman’s Eli, Eli. The book is a reportage about the Philippines. The journalist describes the main challenges faced by literary reporters. Tochman criticizes journalistic voyeurism and excessive press photography. The article compares Tochman’s authorial comments with statements made by other reporters (the precursors of reportage and contemporary writers) who discuss journalistic ethics and the so-called pornography of death, as manifested by the contemporary media.
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Martínez García, Geraldine. "Manipulación fotográfica y credibilidad del medio periodístico a través de la fotografía." Correspondencias & Análisis, no. 9 (April 30, 2019): 106–25. http://dx.doi.org/10.24265/cian.2019.n9.06.
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Mura, Freby Raka. "Analysis of jurnalistic photos about Israel and Palestinan military wars on Instagram @hariankompas." Symposium of Literature, Culture, and Communication (SYLECTION) 2022 3, no. 1 (November 22, 2023): 900. http://dx.doi.org/10.12928/sylection.v3i1.14183.
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The integration of the app within Instagram facilitates the prompt and effortless sharing of photographs and videos, enabling users to showcase their creative output, such as photography. Given the information provided, the researchers opted to carry out a study titled "Journalistic Photo Analysis of the Israel and Palestine Military Battle on the Instagram account @Hariankompas." This study falls under the category of qualitative research and employs Roland Barthes' semiotic approach to analyze journalistic photos found on the @hariankompass Instagram account. The study will focus on the denotations, meanings, and myths associated with journalistic photography. The data analysis technique employed in this study is the Miles and Huberman analysis model. This approach has stages for data collection, data reduction, conclusion writing, and data verification. Data triangulation is employed in this study to validate the data. Triangulation is a method employed in credibility testing to verify data obtained from many sources at various points in time. The results indicate that the denotation refers to the literal meaning of the picture, specifically how the scenario arose as a consequence of the Israel-Palestine conflict. Secondly, the importance of connotation lies in the fact that it adds depth and complexity to the true meaning of a photograph, imbuing it with additional layers of significance, emotion, and subjective value, in addition to its more generic interpretation. Journalistic photography typically eschews artificial lighting techniques due to the nature of the business. Instead, they predominantly rely on natural sunlight, capturing images during daylight hours.
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Nurahmansyah, Karuniawan. "Pertimbangan Kewajiban Prinsip Deklaratif pada Hak Cipta Fotografi Jurnalistik melalui Media Internet." JURNAL RECHTENS 8, no. 1 (June 28, 2019): 21–36. http://dx.doi.org/10.36835/rechtens.v8i1.485.
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The principle of declarative at the applications have to give priority to the announcementearly so that the creation of and find refuge , related on permasalah that occurs especially thejournalist they still have not realized and understand the importance of copyright protectionon works journalistic photography , copyright protection arranged on act number 28 years2014 on copyright .In general to get the protection of the law on the rights of copyright is todo recording the creation of on works copyright , but the registration of the work of thecreation of not as evidence that of that work have received the protection of the law , it is justthat as the notions of the preliminary to the process of evidence copyright sengeketa whenyour words come true .Journalist did not yet fully understand his creatures that a workcenters on the rights of journalists and the importance of moral right moral soul because isthe creator of the journalis.Keywords: The declarative, legal protection, copyright, photography journalistic
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Glebova, Aglaya. "Elements of Photography." Representations 142, no. 1 (2018): 56–90. http://dx.doi.org/10.1525/rep.2018.142.1.56.
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This essay traces the evolution of landscape imagery in Aleksandr Rodchenko’s photographic oeuvre, focusing especially on images produced during his journalistic trip to the White Sea-Baltic Canal, one of the first Soviet forced labor camps. Through close reading of photographs, it argues that Rodchenko’s abandonment of avant-garde aesthetics, in particular the emphasis on photography’s transformative powers and its medium-specificity, in these images did not represent a shift toward socialist realism but, rather, held critical potential in the face of contemporaneous official censure of formalism and “contemplation” in both science and art.
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Zakharova, Oleksandra. ""PHOTOTELLING" AS THE INNOVATION OF PHOTOJOURNAL "6 MOIS" BY CONNECTING PRESS AND BOOK MARKETS." Bulletin of Taras Shevchenko National University of Kyiv. Sociology 8 (2017): 29–33. http://dx.doi.org/10.17721/2413-7979/8.5.
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he author analyses the French journal «6 MOIS», which was created in Paris in 2011, from the point of view of visual sociology. The notions of documentary photography (350 pages of journalistic photography) that represent social life in the 21st century are investigated. The goal of this article is to demonstrate that the journal is a unique and significant source for social science. The research connects the views of the editorial team with photographers from around the world by analysing and comparing interviews conducted in collaboration with the editorial team and photographers from China, The Netherlands, France, Russia. The interviews reveal the main criteria relevant in selecting documentary photographic material: the “concept-story”; their journalistic nature; visual quality; and the actuality of the topic. By analysing journal publications this author has discovered the way social problems in documentary photography are demonstrated: using age; gender; emotions of heroes; the location of story; and the main social issues. To answer the question of how the popular documentary journal «6 MOIS» constructs the image of the contemporary, the content analysis of photographs and the journal’s interviews and are presented and discussed.
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Nestayko, Markiyan. "Photos of Julian Dorosh on the pages of Lviv periodicals on the example of a magazine “Literature and Art”." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 14(30) (December 2022): 346–59. http://dx.doi.org/10.37222/2524-0315-2022-14(30)-14.
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The article reveals to the peculiarities of photography as an artistic direction and a component of a periodical publication, highlights the characteristic features of photographs that are used as illustrations for journalistic texts. Special attention is focused on the development of photography in the first half of the last century. Illustrative photos of Julian Dorosh on the pages of Lviv periodicals, using the example of the “Literature and Art” publication, were analyzed on specific examples. On the basis of the analysis, the methods and forms of the transmission of color pictures with the help of black-and-white photographs are distinguished. Keywords: photography, Julian Dorosh, periodicals, visual art.
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Iqbal, Muhammad, and M. Badar. "Fotografer dan Dinamika Jurnalisme Positif perspektif Jurnalistik Islam: Studi Media Online Times Indonesia." Moderasi : Journal of Islamic Studies 2, no. 1 (June 13, 2022): 60–78. http://dx.doi.org/10.54471/moderasi.v2i1.24.
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Photography has an important role in the world of journalism. However, someone who works as a photographer doesn't just take pictures based on his imagination based on the photographer's own volition. This study aims to describe the role of photography and the dynamics of positive journalism in online media at www.timesindonesia.com. This research uses qualitative research with descriptive analysis, which describes phenomena and facts systematically and analytically. Is the role of photographers and the dynamics of positive journalism from the perspective of Islamic Journalism by having a case study in the online media Times Indonesia. The data collection method was based on the virtual ethnographic paradigm in cyber media (Nasrullah, 2014), especially online documentation from the work of photographer Senda Hardika Prasasti for the 2016-2017 period, while the results of the interviews were conducted on July 10, 2017. The analysis of this data used analytical techniques. The Miles and Huberman model; is in the form of data reduction analysis, data display, and conclusion verification. The results of the study indicate that the role of photographers in Timesindonesia has fulfilled the rules of positive and constructive photojournalism, including; (1) Appropriate/appropriate photo composition; (2) Contains journalistic elements (5W+1H); (3) Does not destroy the reality of events; and (4) Has more value than ordinary photos. The recommendations for all photographers in this study, among others; are (a) A photographer should always comply with the applicable journalistic photography ethics and journalistic photography publication ethics, and (b) Do not be easily bribed with material to produce and publish fake photos that can cause polemics in the community. The research also states that Islamic Journalism is a constructive solution to developing online mass media based on religious and humanitarian knowledge (humanism).
Dissertations / Theses on the topic "Photography, Journalistic"
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Fabricio, Laura Elise de Oliveira. "REPRESENTAÇÕES DO FEMININO NA CAMPANHA ELEITORAL DE 2006: YEDA CRUSIUS EM FOTOGRAFIAS JORNALÍSTICAS DE ZERO HORA." Universidade Federal de Santa Maria, 2009. http://repositorio.ufsm.br/handle/1/6298.
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The field of the journalism, through his regramentos, builds representations of the actors what it composes too many fields through his journalistic devices, like the photography. Historical and culturally, the field of the politics from Rio Grande do Sul was always predominated by
masculine actors. However, in the contemporaneousness this scenery is changing: the women hurl themselves as you apply and, in the last election to the Government of Rio Grande do Sul, she is elected the first woman. In this context, this dissertation is proposed to analyse as
the representations of the feminine one are built in the journalistic photographies of Zero Hour during the electoral campaign of 2006 to the government of Rio Grande do Sul and, for so much, it makes use of the figure of applies Yeda Crusius like object of analysis. From
analyses of direction it was noticed semiotics that, in the journalistic photographies that portray Yeda Crusius, there is no the construction of a representation of the feminine one, but appropriations of diversified representations of the feminine one like strategy of symbolic construction of the figure of the woman in the politics.O campo do jornalismo, através de seus regramentos, constrói representações dos atores que compõe os demais campos através de seus dispositivos jornalísticos, como a fotografia. Histórica e culturalmente, o campo da política gaúcha sempre foi predominado por atores masculinos. Porém, na contemporaneidade este cenário vem mudando: as mulheres se projetam como candidatas e, na última eleição ao Governo do Rio Grande do Sul, elege-se a primeira mulher. Neste contexto, esta dissertação propõe-se a analisar como são construídas as representações do feminino nas fotografias jornalísticas de Zero Hora durante a campanha eleitoral de 2006 ao governo do Rio Grande do Sul e, para tanto, utiliza-se da figura da candidata Yeda Crusius como objeto de análise. A partir de análises de orientação semiótica, constatou-se que, nas fotografias jornalísticas que retratam Yeda Crusius, não há a construção de uma representação do feminino, mas apropriações de diversificadas representações do feminino como estratégia de construção simbólica da figura da mulher na política.
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Contreras-Gama, Rosana. "Comprendre les dispositifs photo-humanitaires : être journaliste dans l’humanitaire, faire de l’humanitaire avec des photographies." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0271/document.
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Les coopérations de plus en plus proches et fréquentes entretenues par des photojournalistes et des ONG humanitaires soulèvent des réactions diverses. En même temps que l’on célèbre les bénéficies du témoignage photojournalistique pour faire avancer des causes humanitaires, on soupçonne les photojournalistes de perte d’indépendance ou de brader leur profession. L’objectif de la recherche est de comprendre les conditions de ce rapprochement, dans un contexte de critique et d’incertitude. À partir de l’analyse de 17 entretiens auprès de photographes et du personnel de l’humanitaire, et de documents liés aux expositions photo-humanitaires, nous avons exploré l’hypothèse selon laquelle, pour construire ensemble, les acteurs de ces deux mondes doivent se mettre d’accord sur la base de valeurs communes. L’objectif des acteurs est de sauvegarder la cohérence de chaque monde et de pouvoir argumenter leurs choix d’une manière qui puisse être considérée comme acceptable face aux critiques. Notre approche consiste à restituer les contraintes matérielles et discursives auxquelles font face ces professionnels quand ils coopèrent ensemble. Nous montrons comment le photographe est reconnu pour son attachement à des causes sociales, pour son engagement sur le long terme et pour les risques qu’il entreprend, devenant ainsi un personnage du récit humanitaire. En effet, les ONG humanitaires proposent la création d’espaces qui contribuent à la légitimation du photojournalisme comme profession spécifique. De manière paradoxale, en légitimant ce photojournalisme, le risque est rendre flous les contours de la profession, en lui accordant un sens nouveau, en dehors de la presseThe increasing, close and regular cooperation between humanitarian NGO and photojournalists raises diverse reactions. As some people will extol the virtues of photojournalistic testimony to promote humanitarian causes, other will make claims of photographs having relative little independence or making a negative impact on their own professional group's economy. The purpose of our research is to understand the conditions that make possible this cooperation in a context of criticism and uncertainty. The hypothesis is that in order to build on and move forward, actors involved in the cooperation have to agree on the basis of common values. Their purpose is to protect the coherence of their world and to support their choices with arguments that can be considered as acceptable. We base our analysis on the content of 17 interviews to both photographers and humanitarian workers, as well as of documents related to photo-humanitarian exhibitions. Our approach, comprehensive and axiological, allows us to highlight the material and discursive constraints that these professionals face when they create together. Our study shows that photographers are recognized for their engagement to social causes, for their long-term commitment and for the risks they undertake, becoming eventually characters of the humanitarian narrative. Indeed, NGO workers make considerable efforts to create spaces that contribute to the legitimization of photojournalism as a specialized profession. The paradox is that, by legitimizing this kind of photojournalism, this regular cooperation to make unclear the outlines of the profession, redefining this practice in a way that doesn’t include the press
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Contreras-Gama, Rosana. "Comprendre les dispositifs photo-humanitaires : être journaliste dans l’humanitaire, faire de l’humanitaire avec des photographies." Electronic Thesis or Diss., Université de Lorraine, 2016. http://www.theses.fr/2016LORR0271.
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Les coopérations de plus en plus proches et fréquentes entretenues par des photojournalistes et des ONG humanitaires soulèvent des réactions diverses. En même temps que l’on célèbre les bénéficies du témoignage photojournalistique pour faire avancer des causes humanitaires, on soupçonne les photojournalistes de perte d’indépendance ou de brader leur profession. L’objectif de la recherche est de comprendre les conditions de ce rapprochement, dans un contexte de critique et d’incertitude. À partir de l’analyse de 17 entretiens auprès de photographes et du personnel de l’humanitaire, et de documents liés aux expositions photo-humanitaires, nous avons exploré l’hypothèse selon laquelle, pour construire ensemble, les acteurs de ces deux mondes doivent se mettre d’accord sur la base de valeurs communes. L’objectif des acteurs est de sauvegarder la cohérence de chaque monde et de pouvoir argumenter leurs choix d’une manière qui puisse être considérée comme acceptable face aux critiques. Notre approche consiste à restituer les contraintes matérielles et discursives auxquelles font face ces professionnels quand ils coopèrent ensemble. Nous montrons comment le photographe est reconnu pour son attachement à des causes sociales, pour son engagement sur le long terme et pour les risques qu’il entreprend, devenant ainsi un personnage du récit humanitaire. En effet, les ONG humanitaires proposent la création d’espaces qui contribuent à la légitimation du photojournalisme comme profession spécifique. De manière paradoxale, en légitimant ce photojournalisme, le risque est rendre flous les contours de la profession, en lui accordant un sens nouveau, en dehors de la presseThe increasing, close and regular cooperation between humanitarian NGO and photojournalists raises diverse reactions. As some people will extol the virtues of photojournalistic testimony to promote humanitarian causes, other will make claims of photographs having relative little independence or making a negative impact on their own professional group's economy. The purpose of our research is to understand the conditions that make possible this cooperation in a context of criticism and uncertainty. The hypothesis is that in order to build on and move forward, actors involved in the cooperation have to agree on the basis of common values. Their purpose is to protect the coherence of their world and to support their choices with arguments that can be considered as acceptable. We base our analysis on the content of 17 interviews to both photographers and humanitarian workers, as well as of documents related to photo-humanitarian exhibitions. Our approach, comprehensive and axiological, allows us to highlight the material and discursive constraints that these professionals face when they create together. Our study shows that photographers are recognized for their engagement to social causes, for their long-term commitment and for the risks they undertake, becoming eventually characters of the humanitarian narrative. Indeed, NGO workers make considerable efforts to create spaces that contribute to the legitimization of photojournalism as a specialized profession. The paradox is that, by legitimizing this kind of photojournalism, this regular cooperation to make unclear the outlines of the profession, redefining this practice in a way that doesn’t include the press
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Coleman, Renita. "The effects of visuals on ethical reasoning : what's a picture worth to journalists making ethical choices? /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3025613.
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McDaniel, Kyle Ross. "Reviewing the image of the photojournalist in film how ethical dilemmas shape stereotypes of the on-screen press photographer in motion pictures from 1954 to 2006 /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4997.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 7, 2007) Includes bibliographical references.
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Rose, Josh. "When Reality Was Surreal: Lee Miller's World War II War Correspondence for Vogue." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4357/.
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During World War II, Lee Miller was an accredited war correspondent for Vogue magazine. Miller was trained as a surrealist photographer by Man Ray, and her wartime work, both photographic and written, is indicative of a combination of journalism and surrealism. This thesis examines Lee Miller's war correspondence within the context of Vogue magazine, establishing parallels between the photographs and writing to determine how surrealism informs it stylistically and ideologically. Using surrealist techniques of juxtaposition and an unmanipulated photographic style, and the surrealist concepts of the Marvelous and Convulsive Beauty, Miller presented the war as a surreality, or a surreal reality. This study concludes by using Miller's approach to suggest a new concept of journalistic practice: surrealist journalism.
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Laval, Sylvie. "Journalisme dans les conflits armés : les incidences de la technologie sur les pratiques professionnelles." Bordeaux 3, 2002. http://www.theses.fr/2002BOR30056.
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La présente étude porte sur les conflits armés dans lesquels sont intervenues des puissances occidentales, de la guerre du Vietnam (1962-1973) jusqu'à la guerre en Afghanistan (2001). L'objet de la thèse est d'analyser l'influence qu'ont eu les outils de captage, de traitement et de transmission des données sur les pratiques professionnelles des journalistes des différents médias (presse écrite, radio, télévision, agence). La miniaturisation des outils, la multiplication de leurs fonctions ont modifié la relation du journaliste avec son environnement physique, le rendant plus autonome et plus mobile sur ce terrain d'exercice trés particulier. Le journaliste a également une autre relation avec les acteurs qui composent son environnement social : population, militaire, rédaction. Les modes de production ont changé du fait de cette évolution et de l'accélération de la vitesse de circulation de l'information et la profession a en conséquence subi des transformations structurellesThe study deals about wars in which western countries are involved, from the Vietnam war (1962-1973) to the Afghanistan war (2001). The purpose is to analyse the influence of data keeping up, processing and transmission tools over professional pratices of different type of journalists (television, radio, agency, written press). The tools have been miniaturized and the number of their functions has increased. The way the journalist are connected with physical environment has changed. The relations with the actors of their social environment, population, armed forces, editorial staff have also changed. The production process is now different due to this evolution and to circulation of information speeding up. The profession suffers from structural transformations
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Barnett, Maura. "The contemporary response to British art before Ruskin's "Modern painters" : an examination of exhibition reviews published in the British periodical press and the journalist art critics who penned them : from the late eighteenth century to 1843." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/34732/.
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A particular literary genre, the exhibition review, forms the subject of this dissertation. It represents one facet of a discourse which began to develop in Britain during the latter years of the eighteenth century. Art historians have become increasingly interested in such criticism, but have usually treated it, not as an historical phenomenon which in itself deserves a full investigation, but as a pool of evidence from which to draw remarks concerning individual artists or works of art It is argued that such a one-dimensional approach is unsatisfactory, but that in attempting to go beyond it, the methodological problems posed by this primary source need to be considered. It is stressed that the building up of a basic corpus of knowledge is very important, and an inventory of identified critics is presented in order to assist this. Some observations on the careers of these critics are given. The exhibition reviews published in two contrasting periodicals, the Sun and The Examiner, form the subjects of case studies. The latter are known to have been penned by Robert Hunt and present no problems of attribution. The former are ascribed to John Taylor and the supporting evidence is put forward. The reviews are compared and it is shown how they differed according to their published contexts, and according to the idiosyncracies of their authors. It is suggested that in spite of these differences, a shared critical idiom was a strong force which led reviewers to make many similar comments. This idiom and the precedents which determined its nature are examined. The ways in which it at once harboured and yet disguised certain ideologies are demonstrated. Evidence which helps to place reviews into a more rounded picture of the past is given in conclusion, including statements which show that contemporaries perceived the press as an important influence on the development of taste.
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Mersoni, Carina. "Enquadramento jornalístico no retrato: as fontes populares nas fotografias do Diário Gaúcho." Universidade do Vale do Rio dos Sinos, 2014. http://www.repositorio.jesuita.org.br/handle/UNISINOS/3527.
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Esta pesquisa tem por objetivo investigar como são construídos os retratos de fontes populares no Diário Gaúcho, jornal popular lançado em 2000 pelo Grupo RBS no Rio Grande do Sul. A partir de pesquisa bibliográfica e exploratória, realizamos etnografia, acompanhando o trabalho de editores, fotógrafos e repórteres pelo período de cinco dias, em atividades internas e externas. No relato de observações e conversas com os profissionais da redação, junto às fotografias que registram o trabalho da equipe, são analisados retratos que tiveram acompanhamento na produção e edição. A partir destas informações, elaboramos categorias nas quais dispomos nossas apropriações e tensionamentos: o ambiente, o sujeito, a pauta, a história, os problemas sociais, e o espaço gráfico e a busca pela visibilidade. Os apontamentos permitiram identificar o enquadramento jornalístico no retrato, pensando desta forma o quadro fotográfico como espaço de produção de sentidos. Identificamos que as fontes populares estão frequentemente relacionadas a pautas que tratam de problemas sociais e as imagens evidenciam os dramas vividos, forma que o jornal encontra para sensibilizar a sociedade e buscar soluções. O jornal mantém um relacionamento muito próximo com suas fontes e preocupa-se em construir uma imagem positiva desses sujeitos, valorizando, desta forma, os gestos espontâneos. Mostrar o ambiente onde estão essas fontes também é uma meta constante, apesar de os espaços do projeto gráfico destinados à fotografia, muitas vezes, serem reduzidos. Nas matérias de serviços, esses sujeitos ainda são transformados em instrumentos de instrução aos leitores, servido de exemplo para as questões explicativas, especialmente nas imagens, já que o jornalismo popular aposta nos recursos visuais para se comunicar com seu público.
This research aims to investigate how portraits of popular sources on the Diario Gaucho are made, a popular newspaper launched in 2000 by RBS Group in Rio Grande do Sul. From bibliographic and exploratory research we conducted ethnography, watching the work of editors, photographers and reporters for five days in indoor and outdoor activities. In the account ofobservations and conversations with professionals in the newsroom, along with photographs that record the team's work, pictures that were followed in the productionand editing are analyzed. From this information, we developed categories in which we have our appropriations and tensions allocated: the environment, the subject, the agenda, history, social problems, graphic space and the quest for visibility. The notes allowed the identification of the journalistic framing in the picture, thinking this way the photographic picture as a space for production of senses. We found that the popular sources are often related to agendas that deal withsocial problems and the images show the lived dramas, a way that the paper finds to touch society and seek solutions. The newspaper maintains a very close relationship with its sources and worries about building a positive image of those subjects, enhancing thus the spontaneous gestures. Showing the environment where these sources are located is also a constant target, although the spaces of graphic design destinated for photography are often reduced. In articles of service, those subjects are still transformed into instruments of instrction to readers, serving as an example to explaining matters, especially in the images, sincethe popular journalism believes in visual resources to communicate with its audience.
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Lopes, Sara Isabel Silva. "Quem escreve e quem fotografa nos meios de comunicação: os desafios multitarefa para a “geração multimédia”." Master's thesis, 2018. http://hdl.handle.net/1822/58813.
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Relatório de estágio de mestrado em Ciências da Comunicação (área de especialização em Informação e Jornalismo)Cada vez mais os estudantes de Ciências da Comunicação saem das universidades preparados para saber fazer de tudo um pouco. Quando anteriormente se privilegiava a especialização, agora torna-se necessário dominar praticamente todas as linguagens e suportes do jornalismo, incluindo o vídeo e a fotografia. A verdade é que existe cada vez mais uma forte aposta no jornalismo multimédia, devido à presença das tecnologias de informação e comunicação, que vieram pôr em questão a forma como se fazia jornalismo. Como consequência, há novos profissionais que acabam o seu percurso académico capacitados para produzir peças escritas, fotográficas ou em vídeo, quer seja pela formação que receberam nas instituições de Ensino Superior ou por instrução que procuraram autonomamente. No entanto, constata-se que essa mudança de paradigma ainda não se transpôs para todos os meios de comunicação empregadores. Nesse sentido, e a partir da experiência de estágio, o presente Relatório procura compreender porque é que existe uma barreira entre fotojornalistas e jornalistas e porque é que muitos meios de comunicação não aceitam que os seus profissionais façam ambas as coisas, se forem capacitados para tal. Para isso, são apresentadas características do jornalismo multimédia, utilizando como pontos de ligação algumas características do fotojornalismo e do jornalismo impresso, bem como uma investigação sobre as razões que levam os jornais a aceitar ou não profissionais que produzam simultaneamente fotografia e texto. Essa investigação consiste em entrevistas feitas a jornalistas, a fotojornalistas, a profissionais que façam as duas coisas, a editores de fotografia e a diretores das seguintes publicações: Público, Revista Rua e Jornal de Barcelos.
Nowadays, more and more students of Communication Sciences leave the universities prepared to know how to do everything a little. When previously the specialization was privileged, it now becomes necessary to dominate practically all the languages and products of journalism, including video and photography. The truth is that there is a strong bet in Multimedia Journalism, due to the presence of information and communcation technologies, which put into question the way in which journalism has been done. As a consequence, there are new professionals who finish their academic degree able to produce written, photographic or video pieces, either by the training they received in higher education institutions or by instructions that they seek autonamously. However, it is noted that this paradigm shift has not yet transpired for all media employers. In this sense, and reflecting from the internship experience, this report seeks to understand why there is a barrier between photojournalists and journalists and why many media do not accept that their professionals do both jobs, if they are trained to do so. For this, characteristics of multimedia journalism are presented, using as points of attachment some characteristics of photojournalism and printed journalism, as well as an investigation into the reasons why media companies accept or not professionals who simultaneously produce photography and text. This research consists of interviews with journalists, photojournalists, professionals who do both things, photo editors and publishing editors from Público, Revista Rua e Jornal de Barcelos.
Books on the topic "Photography, Journalistic"
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Kobre, Kenneth. Photojournalism: The professionals' approach. Boston: Focal Press, 1985.
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Lide, Hu. Dian shi xin wen she xiang: Television journalistic photography. Hangzhou Shi: Zhejiang da xue chu ban she, 2011.
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1922-, Manchester William, Lacouture Jean, and Magnum Photos (Firm), eds. Magnum: 50 ans de photographies. Paris: Nathan Image, 1989.
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Kaneko, Shōichirō. Shinbun kameraman no shōgen: Sengo shinbun shashinshi. Tōkyō: Nihon Shinbun Kyōkai, 1986.
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Kaneko, Shōichirō. Shinbun kameraman no shōgen: Sengo shinbun shashinshi. Tōkyō: Nihon Shinbun Kyōkai, 1986.
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Bob, Cato, ed. Life classic photographs: A personal interpretation. Boston: Little, Brown, 1996.
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Loengard, John. Life classic photographs: A personal interpretation. London: Thames and Hudson, 1988.
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Loengard, John. Life classic photographs: A personal interpretation. Boston: New York Graphic Society Books, 1988.
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Blackman, Victor. Naff off!: Confessions of a Fleet Street photographer. London: BFP, 1987.
Find full textBook chapters on the topic "Photography, Journalistic"
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Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.
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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.
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Zierenberg, Malte. "Fabricating Authentic Pictures: Press Photography as a Transnational Mode of Observation at the Turn of the Twentieth Century." In Journalists and Knowledge Practices, 161–79. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003111993-11.
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Domingos, Ana Cláudia Munari, and José Arlei Rodrigues Cardoso. "Media Representation and Transmediation: Indexicality in Journalism Comics and Biography Comics." In Beyond Media Borders, Volume 2, 79–115. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49683-8_4.
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Abstract This article analyzes the ways in which journalism comics and biography comics create indexicality through intermedial relations. These strategies include media representations of different qualified media types (journalistic report, biography, and autobiography) and of specific media products (such as familiar images of people and places). The article starts with a short history of comics. It then offers a theoretical discussion of intermediality, media representation, and transmediation, with specific focus on the tactics that journalism and biography comics use to represent reality indexically through media representation and transmediation. Furthermore, the authors analyze intermedial relations in the comic albums The Photographer: Into War-Torn Afghanistan with Doctors Without Borders by Emmanuel Guibert, Didier Lefèvre, and Frederic Lemercier; Il mondo di Aisha—Storie di donne dello Yemen by Ugo Bertotti; Maus by Art Spiegelman; To the Heart of the Storm by Will Eisner; Dotter of Her Father’s Eyes by Mary M. Talbot and Bryan Talbot; and Footnotes in Gaza by Joe Sacco.
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Olivieri, Claudia. "Москва на рубеже истории. О “топонимической встряске” и не только." In Biblioteca di Studi Slavistici, 243–55. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.21.
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Moscow at the turn of history. About the “toponymic upheaval” and not only. The article digs into the urban (and political) geography of Moscow and how this is perceived in Italy in the aftermath of the collapse of the Soviet Union. In particular, the investigation will focus on a number of volumes related to the late Soviet era that were published in Italy between the late 1980s and the mid-1990s. The authors are mainly newspaper and TV correspondents: Vittorio Zucconi (1944-2019, Il Corriere della sera, Si fa presto a dire Russia); Demetrio Volcic (1931-2021, RAI, Mosca. I giorni della fine); Enrico Franceschini (1956, La Repubblica) who is both a journalist (La fine dell'impero. Ultimo viaggio in URSS) and a novelist (La donna della Piazza Rossa). However, the texts index also includes a politician, Giulio Andreotti (L’URSS vista da vicino. Dalla guerra fredda a Gorbaciov), and a comic character, Mickey Mouse, who, in an October 1988 issue number, shows how in the years of perestroika people looked at the nascent (dying) country with both fear and curiosity. All the authors, regardless of their profession and orientation, have the feeling that they are also witnessing history through urban geography; it is no coincidence that all the texts analyzed, to varying extents, “photograph” buildings, streets, monuments... that is to say , “places,” which may be “old,” i.e. inherited from previous travelers or the result of historical, political or literary reminiscences, or “new” places, where a new path of history is being written.
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Motuloh, Oscar. "JOURNALISTIC CIRCUS:." In A History of Photography in Indonesia, 195–230. Amsterdam University Press, 2022. http://dx.doi.org/10.2307/j.ctv3029w58.12.
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"Journalistic Photography Online: A Possible Future." In Phototruth Or Photofiction?, 221–26. Routledge, 2005. http://dx.doi.org/10.4324/9781410613080-29.
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Motuloh, Oscar. "CHAPTER 8 Journalistic Circus: A Look at Photojournalism in Indonesia and the History of the Antara Gallery of Photojournalism." In A History of Photography in Indonesia, 195–230. Amsterdam University Press, 2022. http://dx.doi.org/10.1515/9789048558025-010.
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Ehrlich, Nea. "Indeterminate and Intermediate or Animated Nonfiction: Why Now?" In Drawn from Life, 47–66. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0004.
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In this chapter Nea Ehrlich proposes that the contemporary fascination with animated documentary stems from animated non-fiction’s challenging of traditionally perceived differences between animation and photography as seminal modern and postmodern visual media. In tandem with the huge proliferation of animated documentaries since 2008, there has also been a significant rise in the creative practice, academic study, and distribution of this medium. This chapter explains why this shift in visual culture is occurring now, and how it shapes viewership. Ehrlich advances a case for understanding animated documentary’s increasing contemporary usage and perceived credibility by exploring the wider context of animation’s use within news media. These range from daily news broadcasts made by the Taiwanese broadcaster Next Media Animation through to investigative short films produced by the UK’s Guardian newspaper. Ehrlich reflects upon different modes of representation that many deem “more real” and believable as legitimate documentation than traditionally privileged photographic and journalistic tools and strategies.
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Teukolsky, Rachel. "Realism." In Picture World, 84–142. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0003.
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While “realism” is usually studied in novels, paintings, or photography, Chapter 2 analyzes realism in the illustrated newspaper, newly invented in 1842. The chapter focuses on reportage of the Crimean War (1853–6), often dubbed the first “media war”: this was the first international conflict to be documented by independent war correspondents, on-the-spot sketch artists, and photojournalists. The chapter argues that the war’s disastrous turns prompted a representational crisis demanding a new visual vocabulary, one that pictorial journalists addressed using four kinds of reality effects. These are designated as the descriptive, the authentic, the everyday, and the plausible, and they are tracked through the Crimean War’s distinctive newspaper imagery, including the trenches, the amputee, the nurse, and “the Valley of Death.” Alongside new journalistic norms, the 1850s also saw the first use of “realism” as a term of literary criticism, reflecting the spread of realist paradigms across media and genres.
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Akaydin Aydin, Aysegul, and N. Beril Eksioglu Sarilar. "Are You an Observer or a Supporter of War?" In Research Anthology on Modern Violence and Its Impact on Society, 1412–25. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-7464-8.ch077.
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This chapter presents a framework for narratives of war news in consideration of Galtung's war and peace journalism theories. News narratives are discussed in the light of BBC's ethical principles of war journalism. Additionally, transformation of war journalism with the advances in communication technologies is analysed. The method of research is through review of literature and interviews in depth. Five war journalists were interviewed. These five Turkish journalists witnessed five different eras. Ergin Konuksever is the oldest war journalist in Turkey. He was reporting the news from Cyprus Peace Operation in 1974. İsmail Umut Arabacı is the first journalist to announce ‘Operation Peace Spring' live from the border. Cem Tekel is the editor and war journalist who joined the operation. Coşkun Aral is an international Turkish photographer and war journalist. He won SIPA PRESS award in 1977 with his photograph of 1st May National Labor Day. Kerim Ulak is an A Haber editor and journalist who joined the operation. His news about the operation turned out to be fake.
Conference papers on the topic "Photography, Journalistic"
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Suárez, María Paula. "El Testigo: Witnessing the Colombian Internal Armed Conflict through Journalistic Photography." In AHM Conference 2022: ‘Witnessing, Memory, and Crisis’. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789048557578/ahm.2022.012.
Full textReports on the topic "Photography, Journalistic"
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Tabinskyy, Yaroslav. VISUAL CONCEPTS OF PHOTO IN THE MEDIA (ON THE EXAMPLE OF «UKRAINER» AND «REPORTERS»). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11099.
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The article is devoted to the analysis of the main forms of visualization in the media related to photo. The thematic visual concepts are described in accordance with the content of electronic media, which consider the impact of modern technologies on the development of media space. The researches of the Ukrainian and foreign educational institutions concerning the main features of modern photo is classificate. Modifications and new visual forms in the media are singled out. The main objective of the article is to study the visual concepts of modern photo and identify ideological and thematic priorities in photo projects. To achieve the main objective in the article a certain methodology were used. Due to the historical-theoretical description it was possible to substantiate the study of visual concepts. The conceptual-system method was used to study the subject of media photo projects. The main results of the research are the definition of visual concepts of photo on the example of electronic media and the identification of the main thematic features in the process of visual filling of the media space. Based on the study, we can conclude that today the information field needs quality visual content. For successful creation of visual concepts it is necessary to single out thematic features of modern photo and to carry out classifications on ideological and semantic signs. Given the rapid development of digital technologies, the topic of the scientific article we offer is relevant for scientists, journalists, media researchers, visual journalism experts and photojournalists. Modern space is filled with a large number of pictorial materials, which in most cases form specific images, patterns or stereotypes in the mind of the reader (viewer). Also important is the classification of photo used in journalistic publications. That is why there is a need to explore the content and principles of distribution of ideological priorities of photo in the media. The substantiation of scientists about the important place of photography in the modern media space and the future development of visual technologies, which already use artificial intelligence, is relevant.
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Editors, Intersections. On Religion: Photography in Collaboration. Intersections, Social Science Research Council, April 2024. http://dx.doi.org/10.35650/int.4061.d.2024.
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This article showcases photographic essays produced by collaborations between visual artists, journalists, and religious scholars through a partnership between New York University and the Magnum Foundation.