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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).
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Filyuk, Kateryna. "The Marking of Absence: What is Contained in the Archive of Iryna Pap." Život umjetnosti, no. 111 (July 2023): 146–59. http://dx.doi.org/10.31664/zu.2022.111.11.
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Iryna Pap, a Ukrainian photographer whose oeuvre was recently rediscovered, stands out starkly in her moment, and the significance of her legacy continues to grow. As a female newcomer to the male-dominated world of Soviet photography, and as such almost unique in her profession, Pap worked for Izvestia, one of the USSR’s newspapers of record from 1958 to 1971. Later on, she launched the first professional School of Journalistic Excellence at the Journalists’ Union of Ukraine, thus shaping the next generation of Ukrainian photographers, some of whom are still active in the field. Pap’s photographs are scattered around different archives in Russia and Ukraine, although, as of 1991, a big portion of them have been rescued and are now preserved at the Fotohof Archiv in Salzburg. This paper provides a brief overview of Pap’s biography, the scope of her work and the problems posed by her archive, and suggests some methodological approaches that may help to address her legacy.
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Malcheni Sangrawati, Erlina Novianti, and Silviana Amanda Aurelia. "GERAKAN DEMO REFORMASI DIKORUPSI DALAM FOTO JURNAL DI JAKARTA." Jurnal Dimensi DKV Seni Rupa dan Desain 7, no. 2 (October 4, 2022): 201–18. http://dx.doi.org/10.25105/jdd.v7i2.12873.
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Photography journalistic is use as factual media in the form of visuals that provide interesting information. The Reform corruption demonstrations demanded the preparation (RKUHP) and RUU KPK. At the photo of the Corruption Reform Demonstration, the writer uses the theory of journalistic photography as a photo that is valuable for information as well as news and uses the EDFAT and Decisive moment methods. The research objective is to document the situation of the corruption demonstration that uses the EDFAT method in journalistic as well as providing factual information. The research method was carried out by observation. The author observed existing photos as well as literature studies for data collection. The results of the research are photo works that use journalistic by paying attention to the EDFAT method in the photo taking design, as well as the decisive moment theory in taking an appropriate event. Keywords: Decisive moment, Democracy, EDFAT, Journalistic photography.
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Wrona, Adeline. "Une madone à Fukushima. La condition numérique du portrait de presse." Sur le journalisme, About journalism, Sobre jornalismo 3, no. 1 (April 15, 2014): 170–81. http://dx.doi.org/10.25200/slj.v3.n1.2014.137.
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Cet submission analyse l’incidence des modes de circulation de l’image sur les pratiques de la photographie de presse. L’exemple choisi est celui d’une photographie qui représente une femme au milieu des décombres d’Ishinomaki, image achetée par l’Agence France-Presse (AFP) à un quotidien japonais, au lendemain du Tsunami de mars 2011. Reprise en couverture de nombreux journaux occidentaux, recadrée autour de la figure féminine, initialement saisie en plan large, cette photographie devient un portrait, rapidement désigné comme « la madone des décombres ». En décrivant les facteurs techniques, commerciaux et éditoriaux qui structurent le secteur de la photographie de presse, l’submission interroge la mondialisation des standards visuels. Il s’agit de comprendre comment des phénomènes de stéréotypie visuelle apparaissent en lien avec le fonctionnement du marché de l’image numérique : l’auteur procède donc à une observation des logiciels utilisés par les journalistes de l’AFP, combinée à une analyse sémiotique des formats, légendes, commentaires sur l’image. Il apparaît que la mondialisation de la photographie de presse, qui repose sur des « syndications » internationales, modifie aussi le statut du photographe d’agence. Alors que les normes journalistiques pour le journalisme agencier préconisent l’effacement de l’auteur, les transformations de la photographie d’Ishinomaki sont le déclenchement d’un feuilleton médiatique, sur les réseaux sociaux comme dans les magazines occidentaux, dont le photographe lui-même devient le héros. L’AFP publie une semaine après le Tsunami une dépêche concernant l’histoire de cette image, dévoilant toutes sortes d’informations qui demeurent ordinairement inconnues du public : prix de vente de la photographie, nom du chef du bureau chargé de la collecte d’informations en Asie, identité du photographe. Tous ces détails sont archivés sur une page du réseau Facebook consacrée à cette image : l’hybridation des standards visuels asiatiques et occidentaux se double donc d’une mutation des formes journalistiques, sous l’emprise des médias informatisés.
This submission analyzes the impact of the means of circulation of images on the practices of press photography. The example chosen is a photograph of a woman standing in the rubble of Ishinomaki following the tsunami in March 2011, which was purchased from a Japanese newspaper by the Agence France-Presse (AFP). Originally a wide shot, the iconic so-called “Madonna of the Rubble” photo was reprinted on the cover of many Western newspapers cropped around the female figure. In describing the technical, commercial and editorial factors which define the domain of press photography, this submission examines the globalization of visual standards in an effort to understand how visual stereotyping appears to be connected to the digital image market. To accomplish this, the author undertook a study of the software used by AFP journalists, together with a semiotic analysis of the image sizes, legends and comments. It would also appear that the globalization of press photography, which is based on international syndication, changes the status of the agency photographer. While journalistic standards for agency journalism normally suggest excising the author, the transformations of the Ishinomaki photograph triggered a media frenzy on social networks as much as in Western magazines – the photographer himself becoming the hero. A week after the Tsunami, the AFP published a dispatch outlining the history of the picture and revealed information that normally remains unknown to the public: e.g., selling price of the photograph, name of the bureau chief responsible for the collection of Asian news and the identity of the photographer. These details are archived on a Facebook page dedicated to this photograph – the hybridization of Asian and Western visual standards join the transformation of journalistic form under the influence of digitized media.
Este artigo analisa a incidência dos modos de circulação da imagem nas práticas da fotografia na imprensa. O exemplo escolhido é o de uma fotografia que representa uma mulher em meio aos escombros de Ishinomaki. A imagem foi adquirida pela Agence Française de Presse (AFP) junto a um jornal japonês no dia seguinte ao Tsunami de março de 2011. Ela foi reproduzida na capa de vários jornais ocidentais a partir de um reenquadramento que destacou a figura feminina. Inicialmente produzida num plano aberto, a fotografia evoluiu para um retrato e rapidamente passou a ser designada como a “madona dos escombros”. Ao descrever os fatos técnicos, comerciais e editoriais que estruturam o setor da fotografia jornalística, este artigo se interroga sobre a mundialização dos padrões visuais. Trata-se de compreender como os fenômenos de estereotipia visual estão relacionados ao funcionamento do mercado de fotografia digital. Nesse caso, a autora realiza uma observação dos softwares utilizados pelos jornalistas da AFP, o que é combinado com uma análise semiótica dos formatos, legendas e comentários sobre a imagem. O estudo revela que a mundialização da fotografia jornalística, que se baseia em um sistema de “syndications” internacionais, pela venda de produtos por meio de pacotes, modifica também o estatuto da fotografia produzida por uma agência. Mesmo que as normas jornalísticas aplicadas ao conteúdo das agências preconizem o apagamento do autor, as transformações da fotografia de Ishinomaki dão origem ao um folhetim midiático, veiculado tanto nas redes sociais como nas revistas ocidentais, no qual o próprio fotográficotorna-se um herói. A AFP publicou, uma semana após o Tsunami, um despacho sobre a história dessa imagem, em que desvenda todo tipo de informação desconhecida aos olhos do público: o preço de venda da fotografia, o nome do chefe do escritório encarregado pela produção de informações na Ásia, a identidade do fotógrafo. Todos esses detalhes estão arquivados na página de Facebook consagrada à imagem. Assim, a hibridação dos padrões visuais asiáticos e ocidentais se combina com uma mutação das formas jornalísticas, sob a égide das mídias informatizadas.
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Le Masurier, Megan. "Like Water & Oil? Fashion photography as journalistic comment." Journalism 21, no. 6 (July 3, 2019): 821–37. http://dx.doi.org/10.1177/1464884919860926.
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In its August issue 2010, Vogue Italia ran a 24-page fashion editorial by photographer Steven Meisel. Entitled ‘Water & Oil’, it was inspired by the Deepwater Horizon oil disaster in the Gulf of Mexico that began in April that year. The shoot caused an uproar in both new and old media. Across the journalistic coverage of the shoot and the attendant commentary from digital readers and bloggers was an underlying sentiment that a boundary had been crossed, that high fashion photography had no right to use environmental catastrophe as a backdrop for the promotion of fashion. Much of the online commentary echoed Angela McRobbie’s argument, that fashion media (and especially Vogue) can only conceive of political reality as ‘gestures of style … they can never take the form of social analysis’. This essay poses two questions: can fashion photography sometimes perform the usually journalistic work of cultural and political comment? And how can we understand the resistance to such a function, especially in a commercial women’s magazine like Vogue? Sitting at the intersection of cultural studies and journalism studies, it will draw on the work of John Hartley to answer these questions. Laying out the discourse surrounding the controversial photo spread, this essay explains how the images created by Meisel are ‘matter out of place’. They provoke us to re-evaluate what journalism is and who is allowed to perform it.
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Gardianto, Gilang Rizky, and Daniar Wikan Setyanto. "KAJIAN JURNALISTIK DENGAN METODE EDFAT STUDI KASUS FOTO PILKADA 2015 HARIAN SUARA MERDEKA." Jurnal Audience 1, no. 2 (July 23, 2019): 144–61. http://dx.doi.org/10.33633/ja.v1i2.2688.
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AbstrakFotografi Jurnalistik merupakan salah satu elemen dalam surat kabar yang memancingpembaca untuk membaca keseluruhan berita. Jurnalis foto memiliki peranan penting dalammembuat sebuah foto yang layak ditampilkan dan dapat memberikan gambaran kejadian dilapangan pada pembaca. Metode EDFAT membantu para jurnalis foto mendapatkan sebuahfoto yang bernilai berita. Secara teori memang metode EDFAT mencangkup semua hal yangdibutuhkan bagi para jurnalis foto untuk menghasilkan foto berita, namun ketika di lapangan para fotografer belum tentu menggunakan metode ini secara maksimal. Data yang akan diteliti merupakan foto-foto pilkada 2015 di harian Suara Merdeka. Foto-foto Pilkada 2015 yangterdapat pada Suara Merdeka semenjak masa kampanye sampai hari pelantikan dikumpulkan.8 foto dipilih dan dikaji menggunakan metode EDFAT untuk mengetahui seberapa efektifmetode tersebut dalam praktikum lapangan.Kata kunci : EDFAT, Fotografi, Fotografi Jurnalistik, Pilkada 2015AbstractPhotography journalistic is one element in newspapers makes us read the whole news.Photojournalist crucial make a photograph worth displayed and can provide an illustrationscene to readers. A method of EDFAT help the photojournalist get a photograph worth news.In theory is a method of EDFAT containing all needed to the photojournalist to producingphotographs news, But when they experience a in the field photographers are not necessarilyuse this method to maximum efficiency. The data would check is photographs election 2015in the Suara Merdeka Newspaper. Photographs election 2015 that is at the Suara MerdekaNewspaper since campaign period until the day of the inauguration collected. 8 photo chosenand examined uses the method edfat to know how effective this method in work field.Keywords : Photography, journalistic, election 2015
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Purnomo, Aji Susanto Anom, Novan Jemmi Andrea, and Monica Revias Purwa Kusuma. "NARASI LIRIS FOTOGRAFI JURNALISTIK PADA MASA PANDEMI COVID-19: STUDI KASUS PROYEK FOTOGRAFI “STILL LIVES” OLEH THE NEW YORK TIMES." Jurnal Bahasa Rupa 4, no. 2 (April 21, 2021): 113–24. http://dx.doi.org/10.31598/bahasarupa.v4i2.714.
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2020 is the year when the world is faced with a health crisis, namely the Covid-19 pandemic or also known as the Corona Virus. All aspects of life are affected by this crisis, the joints of humanity are faced with limitations. The mass media are intensively reporting various incidents regarding the Covid-19 pandemic. The stories are often accompanied by journalistic photos. One of the functions of photojournalism is to strengthen the story of what the media wants to convey. Journalistic photos during this pandemic usually feature scenes from medical activities, government policies and large narratives that are cold on empathetic human relations. However, different from most photojournalism in most mass media, The New York Times publishes "Still Lives" photography projects that are done by its photographers. The project presents a different narrative from this time of the pandemic. The “Still Lives” photography project is important because it presents journalistic photos that tell a domestic narrative that is close to the sides of universal humanity, namely the stories of the photographers' homes and families. This study aims to describe and interpret the “Still Lives” photography project as an alternative in creating a different narrative from photojournalism during the pandemic. This study used a descriptive qualitative research method based on phenomenology with Roland Barthes' main theory of semiotics and supported by journalistic photography theory and representation theory. The research results obtained a complete explanation and meaning of the “Still Lives” Project from The New York Times. The project according to the theory of photo journalistic is photo story based on personal experiences. From the analysis through the theory of semiotics from Roland Barthes and representation theory successfully obtained a result that basically projects “Still Lives” can be understood as a representation of the universal experience and feeling by mankind. Project “Still Lives” provides the representation of covid-19 pandemic through the mass media journalistic that show an alternative offer to journalistic practice to use lyrical narratives and personal experience in the story and more empathy in the mass publication of pandemic covid-19.
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Beriain Bañares, Ana, Jose Ignacio Castelló Rivera, Javier Sierra Sánchez, and Aida María De Vicente Domínguez. "Consumption of Specialized Travel Magazines in Spain." HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, no. 2 (October 31, 2022): 117–28. http://dx.doi.org/10.37467/revhuman.v11.3361.
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This study analyzes the interests of Spanish audiences in travel magazines within the current context of press consumption. The objectives are to identify the readers' reading frequency and reasons for reading, what contents interest them, and what aspects of the photographs attract them. The methodology involves a structured questionnaire completed by a representative sample of the Spanish population (n=1000). The main results reveal a low reading frequency, great interest in practical information, preference for landscape photography (over the age of 54) and nightlife photography (young people), and indifference regarding the journalistic source of the images. These data provide relevant information on which to adapt travel magazines' content strategy.
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Damarjati, FX. "RELASI SUBJEK, OBJEK, DAN NILAI PADA PENCIPTAAN KARYA FOTOGRAFI SENI NICO DHARMAJUNGEN." Jurnal Dimensi Seni Rupa dan Desain 19, no. 2 (February 28, 2023): 235–52. http://dx.doi.org/10.25105/dim.v19i2.16454.
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In the discourse of fine arts, photography is a medium for expressing the expression of its artists whose practice has been similar to other processes of art creation. Expressive photography has become more subjective than other genres such as journalistic and commercial. It is this difference that makes expression photography an interesting discourse to research from the creation process, the embodiment of the work to the presentation technique. An important element in the process of embodiment of expressive photography is the relationship between the subject, object and the value of the artist’s thoughts. The subject as a photographer/creator/artist undergoes aesthetic and artistic experiences that are heavily influenced by his own history, formal education in art schools, experience of undergoing continuous photography practice, experience of observing and seeing the development of photography both in Indonesia and western country. It is this influence that makes the subject become more mature in choosing objects so that they have value and meaning for their photography career journey as well as being wiser in choosing the stories implied in their photographic works of art. In this study, the figure of Nico darmajungen was deliberately chosen considering the criteria above in accordance with his figure. Moreover, his photography styles have brought about a change in the paradigm of photography in Indonesia. The conclusion of this study is that the aesthetic experience experienced by artists and spectators becomes a major stage before works of art are created. Aesthetic experience has stimulated the brain to create works in accordance with the artistic experience that is practiced. The stages that occur subconsciously but are always repeated in the creation of a work of art seem to be a bridge to read an artist’s creative process.Keywords: Art Photography, Nico Dharmajungen, Art Objects, Art Value, Art Subjects
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PETROVICI, Iasmina, and Lucian Vasile SZABO. "Some Aspects of Aesthetic Creativity in Journalistic Photography." Postmodern Openings 9, no. 2 (June 10, 2018): 134–44. http://dx.doi.org/10.18662/po/24.
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Aziz, Abdul, John Felix, and Candy Reggi Sonia. "PRESERVASI VISUAL JARAN KEPANG TEMANGGUNG MELALUI FOTOGRAFI ESSAY." Capture : Jurnal Seni Media Rekam 10, no. 1 (January 15, 2019): 75. http://dx.doi.org/10.33153/capture.v10i1.2208.
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<p><em>The Jaran Kepang Temanggung is a part of cultural products and was developed on the island of Java. The researcher seeks to raise the traditional art of Jaran Kepang Temanggung as research material presenting the topic of the problems related to the visual preservation of the Jaran Kepang Temanggung. It is an effort to preserve Jaran Kepang Temanggung's traditional arts through visual media, especially photography. The researcher will document the art through photographic means. The purpose of this study is how to make a photographic work as an effort to preserve Jaran Kepang's cultural art with journalistic documentation in the form of photographic essays. The research model used in this study is to use visual methodology, since the elements used in this study are visual photography. And it will be analyzed with the semiotic theory of Roland Barthes, where the power of photography is the power of the visual language that will speak. The results of this study are that photography is able to be a good means of documentation by presenting meaningful images.</em></p><p><em> </em></p><p><strong><em>Keywords: </em></strong><em>Preservation, jaran kepang, essay photography</em></p>
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Voskresenskaya, M. A. "“What Is a Good Journalistic Photography”. Book Review: Belenky A. I. Photojournalism in modern media. Moscow, KNORUS, 2022, 164 p." Vestnik NSU. Series: History and Philology 22, no. 6 (August 22, 2023): 183–86. http://dx.doi.org/10.25205/1818-7919-2023-22-6-183-186.
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The author reviews A. I. Belenky's textbook “Photojournalism in Modern Media”, intended for students at universities. Unlike the bulk of teaching literature devoted to photography, this book focuses not on the technical techniques of photography, but on the basics of journalistic work with photography. Alexander I. Belenky has extensive experience as a photo reporter and bildedactor, teacher, media investigator. Each of the aspects of his professionalism was reflected in the book – in the content of theoretical material, in practical recommendations, in methodological guidelines. There are 12 chapters in the book. Chapters 1–8 describe the functioning of photography in mass media. Chapters 9–11 disclose the conditions that ensure the quality and efficiency of the photojournalist. Chapter 12 provides advice on further professional improvement for a photographer working in mass media. The author's reasoning is accompanied by rich illustrative material, including many works by recognized photo masters. The tests at the end of each chapter encourage self-reflection and creative work. A glossary and a list of recommended literature are also useful for students.
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Ramadhan, Tripa, Fitria Ayuningtyas, and Munadhil Abdul Muqsith. "Tantangan dan Peluang Pewarta Foto Di Era Media Baru." SALAM: Jurnal Sosial dan Budaya Syar-i 10, no. 3 (May 29, 2023): 811–20. http://dx.doi.org/10.15408/sjsbs.v10i3.32328.
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Developments in technology and the internet have had a major influence on the journalism industry, including journalistic photography by photo journalists. Technological developments are not only in photography technology but also in the medium of publication. The rapid digitalization and development of social media gave rise to the term "everyone can take pictures". This then triggers its own challenges and opportunities for photojournalists. The purpose of this study is to explain the phenomena that occur as well as describe the challenges and opportunities for photojournalists in the new media era. This study uses a qualitative method with a phenomenological approach. Data collection was carried out by means of observation and interviews, as well as other supporting documents. The result of this research is that challenges come no longer only from fellow professions but more broadly, namely the audience. Photojournalists must be able to adapt to technological developments in order to maintain their existence. The presence of new media also brings benefits for photojournalists to be able to develop themselves as well as their photographic works.Keywords: Photojournalist; Journalistic Photography; New Media; Digitization Abstract Perkembangan teknologi dan internet telah membawa pengaruh besar pada industri jurnalistik, tidak terkecuali fotografi jurnalistik yang dilakukan pewarta foto. Perkembangan teknologi itu bukan hanya pada teknologi fotografinya tapi juga medium publikasinya. Pesatnya digitalisasi dan perkembangan media sosial memunculkan istilah semua orang bisa memotret. Hal ini lantas memicu tantangan dan peluang tersendiri bagi pewarta foto. Tujuan penelitian ini adalah untuk menjelaskan fenomena yang terjadi juga menggambarkan terkait tantangan dan peluang bagi pewarta foto di era media baru. Penelitian ini menggunakan metode kualitatif dengan pendekatan fenomenologi. Pengumpulan data dilakukan dengan cara obervasi dan wawancara, serta dokumen pendukung lainnya. Hasil penelitian ini adalah tantangan datang bukan lagi hanya dari sesama profesi tapi lebih luas yakni khalayak. Pewarta foto harus mampu adaptasi dengan perkembangan teknologi untuk tetap mempertahankan eksistensinya. Media baru hadir juga membawa manfaat bagi pewarta foto untuk bisa mengembangkan diri juga karya fotonya.Keywords: Pewarta Foto; Fotografi Jurnalistik; Media Baru; Digitalisasi
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Sereda, Oksana. "EDITORIAL, PUBLISHING AND JOURNALISTIC ACTIVITIES OF STEPAN DMOKHOVSKY (THE INTERWAR PERIOD)." Proceedings of Research and Scientific Institute for Periodicals, no. 11(29) (2021): 366–87. http://dx.doi.org/10.37222/2524-0331-2021-11(29)-17.
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The importance and relevance of biographical research of the Ukrainian press figures, due to which it is possible to retrieve numerous little-known or forgotten unique names of Ukrainian culture, have been revealed. The journalistic work of the doctor, public and cultural figure, editor, publisher and photographer Stephan Dmokhovsky in the 1920s and 1930s has been analyzed. His participation in the establishment and functioning of a number of Ukrainian press publications in Galicia during this period has been elucidated. The Dmokhovsky’s figure as an editor, publisher and journalist has not yet been the subject of a separate study and has been explored only in pieces. Biographical information about him has been supplemented, Dmokhovsky’s active participation in the social and political life of interwar Galicia has been illuminated. His significant contribution to the development of the Ukrainian sports and amateur movement upon the West Ukrainian lands has been highligh ted. Forty-six of Dmokhovsky’s articles in the Ukrainian press of Galicia in the interwar period have been introduced for scientific use. The typology of Dmokhovsky’s articles on the thematic basis has been accomplished. The most pressing topics for Dmokhovsky were the interwar socio-political life in Galicia, development and Ukrainian youth patriotic education, Ukrainian sports achievements, photography, local cultural life, efficient management and peasantry education. The reviewed publications attest to Dmokhovsky’s high erudition and brilliant journalistic skill. He was able to write in an accessible and witty way on professional economic and artistic topics, therefore these articles deserve attention of contemporary media press researchers and historians. The need for a separate thorough study of journalistic achievements of Dmokhovsky’s emigre period as well as scholarly study of his personal archive stored in the Ukrainian Museum-Archive in Cleveland have been accentuated. Keywords: Stephan Dmokhovsky, journalist, press, article, Galicia, Ukrainianness.
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Miranda, Cristiane Fontinha, Maria José Baldessar, and Marcelo Barcelos. "Transformations in the productive routine of photojournalism: from analogue to visual journalism with Artificial Intelligence - AI tools." Concilium 23, no. 21 (November 27, 2023): 242–54. http://dx.doi.org/10.53660/clm-2437-23s47.
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This paper discusses the changes in the productive routine of visual reporters and connects the work routine with the content transformations, which include the use and mastery of advanced tools to optimize journalistic agendas (using Artificial Intelligence - AI - tools), image editing resources with interactivity and image manipulation guided by systems derived from machine learning. Consequently, new techniques and technologies challenge image producers, nowadays called visual journalists or videographers. With these accelerated advancement, processes and languages were introduced into the photojournalist's routine. Photography has gained new layers and today transposes its traditional physical support of photographic paper, the pages of newspapers and magazines, to a much broader spectrum of possibilities. On the internet, information flows quickly and non-linearly. The demand for audiovisual production resulted in the incorporation of increasingly developed technological resources. Also, cameras are capable of producing high-resolution videos for all types of screens.
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Polańska, Anna. "Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981." Porta Aurea, no. 17 (November 27, 2018): 179–217. http://dx.doi.org/10.26881/porta.2018.17.08.
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With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.
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Lirishati Soethama, Putu, and I. Komang Sumaryana. "Pulitzer Prize’s Breaking News Photography Intensifying Students’ Photojournalism." Journal of World Science 3, no. 4 (April 30, 2024): 468–78. http://dx.doi.org/10.58344/jws.v3i4.591.
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The recent surge in Pulitzer Prize-winning Breaking News Photography has prompted an exploration into its impact on student photojournalism. This research aims to investigate and analyze this phenomenon. The objective of this study is to assess the effects of recent Pulitzer Prize-winning Breaking News Photography on the intensification of student photojournalism. A qualitative approach, utilizing observational methods, was employed in this research. Sampling was conducted through cluster sampling, involving a total of 60 participants. The analysis of Pulitzer Prize-winning Breaking News Photography indicates a notable enhancement in the ability of students to produce high-quality journalistic photos. Assignments focused on reinforcing the essential principles of journalism have facilitated increased creativity in photo composition and improved accuracy in captioning. Moreover, the evaluation of student works uploaded to social media platforms has provided valuable insights for instructors. Additionally, the need for curriculum adaptation to emphasize skill development is highlighted, aiming to cultivate professional, integrity-driven, and honest journalists. The implications of this study underscore the significance of adapting curriculum structures to bolster skill development in student photojournalists, thereby fostering the emergence of journalism professionals characterized by integrity and honesty.
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Kurniawan, Agung, and Dwi Maharani. "REPRESENTASI FOTO VENEZUELA CRISIS DI KALANGAN PEWARTA FOTO PALEMBANG." Jurnal Inovasi 15, no. 1 (May 20, 2021): 27–34. http://dx.doi.org/10.33557/ji.v15i1.2201.
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The purpose of this study was to determine the meaning of the Venezuelan Crisis PhotoRepresentation dance among Palembang Photo Reporters. This research method is qualitative witha descriptive approach to interview, observation, documentation, literature study. Subjects in thisstudy consisted of actors and observers of the art of journalistic photography using Charles SandersPierce's semiotic theory as the theoretical basis of the research entitled Venezuelan Crisis photorepresentation among Palembang photo reporters. Judging from the meaning in the VenezuelaCrisis photo, it is a journalistic photo with the theme of sports news containing a very strongmessage. The meaning of the photo of Venezuela Crisis, there is an allusion to the meaning impliedin it which contains the values and images of the riots in the city of Venezuela in crisis. Based onthe research results, it is concluded that the Venezuela Crisis photo is a photo with a strong messagemeaning to be conveyed to the public to win the world-level photography championship in the worldpress.
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Lara Morales, Edgar. "EL FOTOPERIODISMO COMO CAMPO SOCIAL. PROPUESTA PARA EL ESTUDIO DE LA FOTOGRAFÍA PERIODÍSTICA." Revista Espacio I+D Innovación más Desarrollo X, no. 26 (November 1, 2012): 173–86. http://dx.doi.org/10.31644/imasd.26.2021.a09.
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La fotografía periodística es un mensaje que se construye, como todo acto comunicativo, para provocar algo y, a través de su articulación con otros elementos, puede llegar a estructurar un discurso complejo que excede en mucho la simple enunciación de un hecho particular.Además de la propia fotografía, su estudio debe considerar el polo de producción, cuyos intereses y objetivos determinan sus temas, tratamiento y disposición al público. Entender al fotoperiodismo como campo social permite estudiar la relación –en dos sentidos– entre las estructuras objetivas y las estructuras incorporadas en los agentes del campo y su incidencia en la configuración del mensaje
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Harvard, Jonas, Mats Hyvönen, and Ingela Wadbring. "Journalism from Above: Drones and the Media in Critical Perspective." Media and Communication 8, no. 3 (July 27, 2020): 60–63. http://dx.doi.org/10.17645/mac.v8i3.3442.
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In the last decade, the development of small, remotely operated multicopters with cameras, so-called drones, has made aerial photography easily available. Consumers and institutions now use drones in a variety of ways, both for personal entertainment and professionally. The application of drones in media production and journalism is of particular interest, as it provides insight into the complex interplay between technology, the economic and legal constraints of the media market, professional cultures and audience preferences. The thematic issue <em>Journalism from Above: Drones, the Media, and the Transformation of Journalistic Practice</em> presents new research concerning the role of drones in journalism and media production. The issue brings together scholars representing a variety of approaches and perspectives. A broad selection of empirical cases from Finland, Spain, Sweden, the UK and the US form the basis of an exploration of the changing relations between the media, technology and society. The articles address topics such as: Adaption of drone technology in the newsrooms; audience preferences and reactions in a changing media landscape; the relation between journalists and public authorities who use drones; and attitudes from journalistic practitioners as well as historical and future perspectives.
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Kontos, Ioannis, and Ioannis Galanopoulos-Papavasileiou. "Photojournalism: Values and Constraints, Aestheticism, and Aftermath Photography." European Journal of Fine and Visual Arts 2, no. 1 (April 27, 2024): 1–11. http://dx.doi.org/10.24018/ejart.2024.2.1.20.
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This article delves into the essence of photojournalism, focusing on values and constraints and scrutinizing specific works by Yannis Kontos through the prisms of aestheticism and aftermath photography. Drawing on photojournalist methods, personal experiences, and literature, the authors articulate the nuanced nature of photojournalism at the convergence of aesthetics and aftermath. The core value of photojournalism, resembling forensic documentation, is explored, emphasizing the gathering of evidentiary material in adherence to practical mandates of objectivity, detachment, and neutrality. The discussion extends to practical dimensions, addressing challenges in environments such as war zones concerning time, logistics, technology, and ethics. Contemplating the potential artistic dimensions of photojournalism, the article explores the interplay between aesthetic concerns and the preservation of journalistic and ethical integrity. The author’s self-identification as a documentary photographer with a penchant for the aftermath movement underscores a nuanced approach. While acknowledging artistic exhibitions, the ultimate ambition is for contributions to be a lasting reference, inspiring future generations. In a critical engagement with the broader discourse on photojournalism, the paper situates the practice within both documentary and art photography. It offers a succinct exploration of the inherent values and constraints of photojournalism in diverse contexts, revealing its dynamics at the crossroads of aesthetics and documenting aftermaths.
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Marques, Angela Salgueiro, and Alexei Padilla Herrera. "Biopolitical Frames of Impoverished Women in Journalistic Photography about the Bolsa-Família Program." INTERIN 25, no. 1 (December 6, 2019): 27–56. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp27-56.
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In this article we argue, with Foucault, Fassin and Butler, that there is a particular modality of government of collective bodies: the biopolitical framing of impoverished citizens and groups in the context of the implementation of social politics. The corpus of the research features a total of 120 images related to the Bolsa-Família Program, published between 2003 and 2015 in newspapers such as Folha de S. Paulo, Estado de S. Paulo and O Globo. The paper investigates the political and ethical dimensions of these images in order to show how the biopolitical and neoliberal government of collective bodies involves the production of narratives, arguments and discourses that trace distinctions between ways of life considered as dignified and those widely perceived as despicable. The biopolitical framing is a technique of government or governmentality that formats the scenes of appearance, preparing them to define exemplary citizens and groups, considered as a parameter, whose project and vulnerable way of life are seen as an antithesis of deviation and of existences morally judged as unworthy of consideration and appreciation.
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Marzal, Novrizon, and Mahmoed Mohamed Hosny. "JOURNALISTIC CULTURE IN THE ONLINE MEDIA OF THE BANDUNG CITY GOVERMANTS PUBLIC RELATIONS." Alfuad: Jurnal Sosial Keagamaan 6, no. 1 (July 5, 2022): 43. http://dx.doi.org/10.31958/jsk.v6i1.5708.
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The journalistic culture is currently evolving at such a quick pace that it is reflected in the public media held by the Bandung City government. Especially in the online public media, which is administered by the Bandung City government's Public Relations, such as websites, Facebook, Twitter, and Instagram. The goal of this study is to learn more about Bandung City Public Relations' journalistic culture. This study took a qualitative approach and used a qualitative descriptive method, with Kuhlthau's Information Search Behavior Theory, also known as the "Information Search Process" (ISP), as the scalpel. The ISP is divided into six stages: initiation, selection, exploration, formulation, collections, and presentations. Information gathered through interviews with five people who work in the Bandung City Government's Public Relations department. The Research results, First, there are several types of journalistic activities such as news writing, press releases, photography, videography, and media analysis; second, journalistic products such as news, press releases, photos, videos, magazines, and tabloids are produced; third, there is a routine agenda, important indicators, and editorial policies that are implemented; fourth, the existence of a certain point of view in determining the news taken; and fifth, there is a routine agenda, important indicators, and editorial policies that are implemented.
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Chuluunbaatar, Enkhbat. "Significance of Captions in News Photography." Mongolian Journal of Humanities and Social Sciences 8, no. 17 (December 26, 2023): 135–45. http://dx.doi.org/10.69542/mjhss.v8i17.3426.
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Journalistic prose, accessible to individuals with diverse educational backgrounds, resonates effectively in the realm of photojournalism. When presenting a photograph that encapsulates the essence of an event alongside informative content, it is essential to include the name and a descriptive caption beneath the photo. Whether the image features a prominent personality, a specific location, or a compelling portrait, this practice elevates factual details into meaningful and impactful information. Encountering a magazine cover image without accompanying captions for the first time often sparks surprise or prompts a page turn. Therefore, it is a lapse for the photojournalist to overlook the inclusion of a comprehensive photo description. Individuals possessing discerning skills directly engage with the visual narrative, and the absence of contextual explanation renders the invested time and effort ineffectual. The failure to provide elucidation implies a depreciation of the photographer’s meticulous work. Once a photo description is published, it stands as an immutable record, underscoring the irrevocable nature of this crucial aspect. Хураангуй. Гэрэл зураг нь сэтгүүл зүйн мэдээлэлд чухал ач холбогдол бүхий баримт байдаг. Гэтэл Монголын хэвлэл мэдээллийн хэрэгслүүд нь мэдээллийн гэрэл зурагт төдийлөн ач холбогдол өгөхгүй байгаа дүр зураг ажиглагдах болов. Иймд бид судалгааныхаа хүрээнд өдгөө эрчимтэй хөгжиж буй мэдээллийн шинэ хэрэгсэл болох сайтуудад нийтлэгдсэн мэдээллийн гэрэл зургуудад ажиглалт хийж үнэлэлт дүгнэлт өглөө. Түлхүүр үг: Фото сэтгүүлч, гэрэл зургийн сэтгүүл зүй, тайлбаргүй гэрэл зураг, агуулга, гэрэл зургийн ач холбогдол
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Anggraini, Dewi. "Tingkat Pengetahuan Mahasiswa dalam Membedakan Tulisan Jurnalistik." Jurnal Bahasa dan Sastra 9, no. 1 (April 30, 2021): 70. http://dx.doi.org/10.24036/jbs.v9i1.112068.
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Journalism knowledge with all forms of writing is the product offered to students of Program Studi Pendidikan Bahasa Indonesia, Faculty of Languages And Arts, Universitas Negeri Padang through journalism package courses as predominant skills besides language, literature, and teaching skills. Based on this condition, this study is intended to measure the degree of student knowledge in distinguishing journalistic writing. This research is quantitative research with descriptive methods. Quantitative analysis is designed to measure and describe the level of student knowledge. The population of this study was 453 students of the Pendidikan Bahasa Indonesia study program. Based on the provisions of the research variables, students who had passed the introductory journalism, editorial, and news photography courses were students in 2014 who were used as the research population as many as 105 people. The research sample was taken with Taro Yamane's formula with a precision level of 10% to 51 students. Based on the results of the data analysis, it was found that the student's knowledge of distinguishing journalistic writing was in the range of 79.90%. This result shows that students' knowledge in determining the variety of journalistic writing is in the 'outstanding' criteria.
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Muhyiddin, Ahmad, Hasrullah, and Muliadi Mau. "Journalistic Photography as a Communication Media for President Jokowi to Spread Covid-19 Vaccination Information." International Journal of Science and Society 4, no. 4 (October 7, 2022): 10–16. http://dx.doi.org/10.54783/ijsoc.v4i4.547.
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This study analyzes photojournalism on President Jokowi's official account when disseminating vaccine information. This research uses a qualitative approach and analyzes photos using Roland Barthes' semiotics. Researchers found the results of the study that the news photo provided information so that the public followed the government's recommendation for a vaccine so that the pandemic would end soon and the impact of anxiety about fake news related to vaccines should be minimized because the Covid-19 vaccine was tested to be safe and halal.
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Maksymovych, Myroslav. "FEATURES AND TYPES OF ADVERTISEMENT FOTOGRAPHY IN MODERN PERIODICALS." Bulletin of Lviv Polytechnic National University: journalism 2, no. 4 (2022): 80–86. http://dx.doi.org/10.23939/sjs2022.02.080.
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It is stated in the publication that in modern periodicals photos more and more often do not only play role of visual accompaniment of informative, analytical or journalistic text, but they are also independent elements of advertisement business. Advertisement photos become important visual marks to attract attention of consumers of different types of goods and services. Such approach increases requirements to quality of illustrative materials in modern periodicals, because quantity of financial benefit from advertiser and welfare of periodicals editorial office depends on it. A short review on source base of research issue is carried out in the publication. Main definitions and characteristic features of advertisement photography as one of the most important elements of modern periodicals layout are stated. The author pays attention to the role, purpose and features of advertisement photography as one of subspecies of modern photo art. The value of advertisement photos in system of photo art genres is singled out. In the article specific features of modern advertisement photography are analyzed, the features of its functions in modern consumers culture are stated. The author indicates that one of characteristics of this photo art genre is psychological influence on viewer’s receptors and keeping in their subliminal mind wish to buy advertised goods or services. The author provides views of photojournalism theorists on modern state of advertisement photography and gives recommendations of photographers about the main requirements to creating photos in advertisement business. In conclusions the author emphasizes on professional aspects and skills of photographers who work in sphere of advertisement photography
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Anis, Elis Zuliati. "Navigating Ethics and Empathy in Disaster Photojournalism in Indonesia." Jurnal Kawistara 14, no. 1 (May 13, 2024): 123. http://dx.doi.org/10.22146/kawistara.93420.
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This study is based on the scholars' critique of the Indonesian media reporting on disaster for focusing on vulnerable groups' suffering, sadness, and grief. The absence of comprehensive journalistic ethical guidelines for disaster published photographs in Indonesia, might contribute to the recurring choice and publication of such images in Indonesian print newspapers. Examining major disasters, including the 2004 Aceh Tsunami, the 2006 Yogyakarta and Central Java earthquake, the 2010 Mt. Merapi Eruption, and the 2015 Sumatra Forest fires, this research provides critical evidence for re-evaluating the Indonesian journalist’s codes of ethics, especially concerning the published photographs of disaster victims. Methodologically, this study draws on interviews with six Indonesian journalists and two media practitioners, exploring the ethical practices and dilemmas in photojournalism with a specific emphasis on disaster reporting in Indonesian print newspapers. The transcripts were analysed thematically, emphasising the repeating ideas or patterns present in the text. It also includes an analysis of three graphic/disturbing photographs from the 2010 Mt Merapi eruption coverage in Kompas and Kedaulatan Rakyat newspapers. The study highlights the complex balance between ensuring truthful reporting and honouring the dignity and privacy of those affected by disasters. It advocates for a nuanced method in disaster coverage that harmonizes journalistic integrity with a compassionate portrayal of victims. This research contributes to the discourse on ethical disaster photojournalism and has significant implications for policy development, journalist training programs, and the revision of journalistic codes of ethics, promoting a more empathetic and responsible approach in the field.
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Gunawan, Agnes Paulina. "Genre Fotografi yang Diminati oleh Fotografer di Indonesia." Humaniora 5, no. 2 (October 30, 2014): 1234. http://dx.doi.org/10.21512/humaniora.v5i2.3266.
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When speaking of progress, photography is one of the things that is experiencing a quite vast development, and relatively wide in terms of technology or its visual feature. What it means by visual feature here is that in a long period of time, a lot has changed in its idea or concept. Also, it means the print media, or even its printing technique. Moreover he most basic of all is its character of the result in the photo itself. Whether the object taken, moment or time of the photo shoot, all these factors quite represent several genres in photography. For example, if the photography is making a human being to become its model, it might mean a modeling photo shoot, kids, or family photo shoot. Also it might mean a studio/indoor photo shoot or an outdoor photo shoot, when speaking of genre category. If the photo taken is a moment or an event, it might be a journalistic genre or a documentation one. Several themes or visual feature in a photo shoot will become one of the aspects for us the subject to be able to categorize the kind of genre they are. Hence, those genres definitely serve different functions.
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Caetano, Kati E. "The Women of Islam: The role of journalistic photography in the (re)production of character-type." Brazilian Journalism Research 2, no. 1 (June 30, 2006): 141–56. http://dx.doi.org/10.25200/bjr.v2n1.2006.71.
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Jarolímková, Zuzana. "How will we remember the war? Journalistic photography in the relationship between memory formation and education." Civilia 14, no. 2 (December 15, 2023): 87–99. http://dx.doi.org/10.5507/civ.2023.010.
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Maksymovych, Myroslav. "NEWS PHOTOGRAPHY IN MODERN PHOTOJOURNALISM: TYPES AND FEATURES." Bulletin of Lviv Polytechnic National University: journalism 1, no. 1 (2021): 7–14. http://dx.doi.org/10.23939/sjs2021.01.007.
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The article is about the fact that in modern mass-media photos more and more often become not only a visual background to informative, analytical or journalistic text, but as headlines attract attention of audience. Such kind of approach increases quality requirements of illustrative material in modern periodicals because popularity of texts which are published in newspapers and magazines depends on that. Some separate photos might become a kind of visual factage which does not need any verbal explanation. A lot of attention is paid to the role, purpose and features of photos for news as a genre of modern photojournalism. A short review of sources of research issues is made in the article. The author has considered the main definitions and features of news photography as one of the main informative genres of modern pictural journalism. It is accented on the fact that modern photojournalists have to orientate not only in genres of photojournalism but also to be able to use them in everyday practice. Here you can find views of photojournalism theorists on the condition of news photography. In the article are given recommendations of photojournalists practitioners and workers of information agencies on the main requirements of producing photos in this genre. In the article process of producing news photos and their use in modern periodical publications are considered. The author emphasizes on the quality of such pictures and their place in visual accompaniment of informative text. In the summary are given recommendations on preparation of photojournalists who are going to work in the genre of news photography.
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Arya Putra, I. Putu Dudyk, and Agung Wijaya. "PELATIHAN FOTOGRAFI, VIDEOGRAFI DAN MENULIS BERITA DI MEDIA SOSIAL UNTUK PENYANDANG DISABILITAS DI ANNIKA LINDEN CENTRE." Jurnal Lentera Widya 3, no. 1 (December 22, 2021): 33–42. http://dx.doi.org/10.35886/lenterawidya.v3i1.274.
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A B S T R A C T
English translation.
Today's growing digital world also affects the variety of types of work for disabilities. One of the prospective job opportunities for disabled people is freelance work. Freelance work for the disabled is available among others in the world of photography, design and writing such as photographers, news contributors / journalists, graphic design, copywriters, social media admins. These positions certainly require special skills so that disabilities can develop a career in the creative industry sector. If pursued, freelance work can be one of the career alternatives for disability. Many disabled colleagues have an interest in photography but are constrained by physical limitations and the availability of needed devices. Through a series of community service through training in the framework of disability day, want to introduce the world of photography and at the same time utilize the functionality of mobile phones so that it can be maximized by people with disabilities. Photography skills such as editing and other related abilities such as video editing will be useful for disabilities to lead a career into the creative world of photography. The world of photography and journalism are two things that are interrelated, writing becomes a skill mastered by people with disabilities as a writer. The need for journalistic training for disabilities becomes important as a starting point for disability recognizing interests in the field and further building a career in that field.
A B S T R A K
Dunia digital yang semakin berkembang saat ini turut mempengaruhi variasi jenis pekerjaan bagi disabilitas. Salah satu peluang pekerjaan yang prospektif bagi disabilitas adalah pekerjaan freelance. Pekerjaan freelance bagi disabilitas tersedia antara lain di dunia fotografi, desain dan penulisan contohnya profesi seperti fotografer, kontributor berita/jurnalis, desain grafis, copywriter, admin media sosial. Posisi-posisi tersebut tentunya mensyaratkan keterampilan khusus agar disabilitas dapat mengembangkan karir di sektor industri kreatif tersebut. Apabila ditekuni, pekerjaan freelance dapat menjadi salah satu alternatif karir untuk disabilitas.Banyak rekan disabilitas memiliki minat di dunia fotografi namun terkendala keterbatasan fisik maupun ketersediaan device yang dibutuhkan. Melalui serangkaian pengabdian kepada masyarakat melalui pelatihan dalam rangka hari disabilitas, ingin memperkenalkan dunia fotografi dan sekaligus memanfaatkan fungsionalitas ponsel agar dapat dimaksimalkan oleh penyandang disabilitas. Kemampuan fotografi seperti editing dan kemampuan terkait lainnya seperti video editing akan berguna bagi disabilitas untuk menuju karir ke dunia kreatif fotografi. Dunia fotografi dan jurnalistik adalah dua hal yang saling terkait, penulisan menjadi keahlian yang dikuasai oleh penyandang disabilitas sebagai penulis. Kebutuhan akan adanya pelatihan jurnalistik bagi disabilitas menjadi penting sebagai titik awal disabilitas mengenali minat di bidang tersebut dan untuk selanjutnya dapat membangun karir di bidang tersebut.
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Churchill, Robert R., and E. Hope Stege. "From Afghanistan to Iraq in Media Maps: Journalistic Construction of Geographic Knowledge." Cartographic Perspectives, no. 54 (June 1, 2006): 55–68. http://dx.doi.org/10.14714/cp54.346.
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The last two decades have seen a marked rise in the number of maps in the popular media, yet academic interest in journalistic cartography remains low, though the bulk of the public relies on the media for its geographic knowledge. Because they invoke a sense of belonging, identity, and allegiance, the number of media maps, like flags and other patriotic icons, increases during conflict. From the U.S. invasion of Afghanistan until the proclamation of victory in Iraq almost two years later, three major American news magazines published nearly 200 related maps. Early maps of Afghanistan affirmed U.S. military prowess and promised quick retribution, but with the failure of this promise, pointed to obstacles from terrain to climate. As interest in Afghanistan cooled and rhetoric over Iraq heated up, cartographic attention shifted accordingly. Initial maps of Iraq were provocative, focusing especially on the state’s supposed possession of weapons of mass destruction. Maps again depicted American military might, and as the invasion progressed seemingly unimpeded, Baghdad came into cartographic focus. In these compositions the melding of artwork, remotely sensed images, and photography lends even greater veracity to the maps themselves, which not only convey but also construct both political and geographic knowledge.
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Porter, Mark. "Show, don’t tell." Mediapolis – Revista de Comunicação, Jornalismo e Espaço Público, no. 16 (July 19, 2023): 9–19. http://dx.doi.org/10.14195/2183-6019_16_1.
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The influence of technology on the media is not a new phenomenon. Several innovations occurred in print production throughout the years and allowed newspapers to improve their design and visual storytelling, following the idea that sight is our dominant sense. This also applied to the digital world: broadband networks made it possible to upload and download large image files, enhancing the importance of visual content. The advent of user-generated content encouraged professional journalists to try harder to create and deliver material of the highest possible journalistic, aesthetic and technical standard. By the end of the first decade of the 21st century, the use of photography, video, audio and data visualisation on the web had come together into something genuinely new - the form of digital storytelling known as “multimedia”. The increasing dominance of social media, and especially social video, has affected media organisations profoundly. Publishers and broadcasters have become reliant on social traffic, and many find that their visual content is increasingly being accessed outside their own domain. We should also be aware of the forces pulling in a different direction — also towards visuals, but in the truncated, shallow and trivialised form that succeeds on social media. The future of serious journalism is facing numerous challenges.
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Biryukova, Evgenia. "Functionality of Photographs in Modern Ukrainian Press as a Factor of Increasing the Effectiveness of the Perception of Creolized Texts (on the example of the publication «Ukrainian Week» for 2021–2023)." Social Communications: Theory and Practice 15, no. 2 (March 30, 2023): 93–109. http://dx.doi.org/10.51423/2524-0471-2023-15-2-6.
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The article analyzes the problem of perception of realized texts with the help of visual images, particularly photographs, in the modern Ukrainian press. Particular attention is paid to how photographs can convey emotions, create images and influence the viewer's response. It also explores how the rise of social media and multimedia formats has changed the need to use photos to interact with content. The purpose of the study: is to find out the role of photographs in the modern press, as a component that can help readers better perceive realized texts. An analysis of the publication «Ukrainian Week» for 2021–2023 was carried out. The methodology is the use of photographs in the Ukrainian mass media, in particular in the online publication «Ukrainian Week», as well as the audience's reaction to the impact of photographs in the mass media, which made it possible to obtain a complete description and understanding of the situation. The results of the study showed that modern Ukrainian mass media, which specialize in photojournalism, use various genres and types of photography to convey various aspects of events and plots. Based on the results of the analysis, we concluded that the number of photos and photo reports published on the Internet by the Ukrainian Week during 2021–2023 decreased. We believe that the mentioned fact indicates changes in the use of visual content, which can be related to many factors that were mentioned above in the study. According to the survey, it was established that visual content is important for the effective perception of information, as photos help to better understand the content of journalistic materials. Keywords: realized texts, journalism, photojournalism, mass media, photo, analysis, online edition, «Ukrainian Week», audience.
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Mäenpää, Jenni. "Future directions of professional photographers: A case study of changing hats between journalism and humanitarian photography." Nordicom Review 44, no. 1 (January 1, 2023): 65–84. http://dx.doi.org/10.2478/nor-2023-0004.
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Abstract This article examines the professional values of self-employed photographers and other communication professionals who have worked for both journalism and humanitarian nongovernmental organisations (NGOs). These professionals face the current changes in the media work environment and expand their reach to different fields to find new work opportunities. The study focuses on the photographers’ motivations and professional values in addition to NGO–journalism relations. The findings show that pushing factors in the journalistic field, along with pulling factors in NGO work, motivate photographers to choose advocacy work. When photographers change from photojournalism to NGO photography, they must adhere to new professional values and ethics that mix with their existing values and which may occasionally contradict with photojournalistic working methods or the marketing and fundraising images at the NGOs, causing ethical dilemmas. Finally, photographers with a photojournalism background help NGOs gain news media publicity, yet they are rarely able to change the news agenda.
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Seixas, Netilia Silva dos Anjos, and Thaís Christina Coelho Siqueira. "IMAGEM E IMPRENSA NA AMAZÔNIA: a configuração da fotografia no jornal Estado do Pará." Revista Observatório 2, no. 5 (December 25, 2016): 121. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n5p121.
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Este estudo busca contribuir para o entendimento da trajetória da fotografia nos jornais paraenses, a partir de um dos principais impressos do Estado, o Estado do Pará (1911-1980). Trata-se de um estudo exploratório, com base em pesquisa bibliográfica, documental e análise dos dados empíricos, usando os métodos iconográfico e iconológico, de Erwin Panofsky e Boris Kossoy. Foram observadas as fotografias publicadas em 1912, quando uma das primeiras fotografias jornalísticas foi encontrada no impresso, 1920, 1960 e 1980, nos meses de janeiro, abril, julho e outubro, correspondendo a cerca de 30 por cento do total de edições de cada ano selecionado. O jornal Estado do Pará iniciou sua edição com apresentação gráfica inovadora, destacando-se, mais tarde, com a publicação de imagens fotográficas e participando do estabelecimento da imprensa na Amazônia.
PALAVRAS-CHAVE: Fotografia de imprensa; Jornal Estado do Pará; Amazônia.
ABSTRACT
This study seeks to contribute to the understanding of the trajectory of photography in the newspapers of Pará, from one of the main printed forms of the country, the State of Pará (1911-1980). It is an exploratory study, based on bibliographical research, documentary and empirical data analysis, using the iconographic and iconological methods of Erwin Panofsky and Boris Kossoy. Photographs published in 1912 were observed, when one of the first journalistic photographs was found on the press, 1920, 1960 and 1980, in the months of January, April, July and October, corresponding to about 30 percent of the total editions of each year selected. The newspaper Estado do Pará began its edition with an innovative graphic presentation, highlighting, later, with the publication of photographic images and participating in the establishment of the press in the Amazon.
KEYWORDS: Press photography; Newspaper Estado do Pará; Amazon.
RESUMEN
Este estudio pretende contribuir a la comprensión de la fotografía en los periódicos de Pará, a partir de uno de los principales periódicos del Estado, el Estado do Pará (1911-1980). Se trata de un estudio exploratorio, basado en la investigación bibliográfica y documental y el análisis de los datos empíricos, utilizando los métodos iconográfico e iconológico, de Erwin Panofsky y Boris Kossoy. Fueran observadas las fotografías publicadas en 1912, cuando una de las primeras fotografías de prensa fue vista en el periódico, 1920,1960 y 1980, en enero, abril, julio y octubre, lo que corresponde a aproximadamente el 30 por ciento de la historia total de cada año seleccionado. El periódico Estado do Pará empezó su edición con diseño innovador, poniendo de relieve, más tarde, con la publicación de las imágenes fotográficas y participando en la creación de prensa en la Amazonia.
PALABRAS CLAVE: Fotografía de prensa; Estado do Pará; Amazonia.
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Drobe, Christian. "Alma Karlin and Alice Schalek Look East: Travel Writing by Central European Women in the Interwar Period." Austrian Studies 31, no. 1 (2023): 88–105. http://dx.doi.org/10.1353/aus.2023.a919425.
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Abstract: The article takes a comparative look at Alma Karlin's and Alice Schalek's travelogues from Japan of the 1920s. Both women originated from the former Habsburg Empire and became successful journalists and writers. Their travelogues show the unabating engagement with Japonism, the exotic and the 'other', while introducing new phenomena of modernity, such as women's lives in the big city, into the orbit of travel literature. Although both women came from different social milieus in Central Europe and travelled for different reasons, in their evaluation of foreign cultures they arrive at similar conclusions. This article attempts to explain these conclusions with recourse to their working methods and strategies. Both writers operated in a global journalistic environment, which offered them good earning opportunities. Their many public lectures and the use of the medium of photography further underline the democratization and professionalization of travel writing. Personal hardships (in the case of Karlin) and the confrontation with unfamiliar upshots of modernity lead both women towards conservative stances in their evaluations. Der Aufsatz betrachtet vergleichend die Reiseberichte aus Japan, die Alma Karlin und Alice Schalek in den 1920er Jahren verfasst haben. Beide Frauen stammen aus dem ehemaligen Habsburger Reich und wurden zu erfolgreichen Journalistinnen und Schriftstellerinnen. Ihre Reiseberichte zeigen die fortgesetzte Auseinandersetzung mit dem Japonismus, dem Exotischen und 'Anderen'; zugleich führen sie neue Phänomene der Moderne, wie das Leben der Frau in der Großstadt, in den Diskurs der Reiseliteratur ein. Obwohl beide Frauen aus unterschiedlichen sozialen Milieus in Zentraleuropa kommen und aus unterschiedlichen Gründen reisten, kamen sie doch zu ähnlichen Ergebnissen in der Bewertung der fremden Kultur. Der vorliegende Beitrag versucht, diese Ergebnisse anhand ihrer Arbeitsweisen und Strategien zu erklären. Sie agierten beide in einem weltweiten journalistischen Netzwerk, das ihnen gute Erwerbsmöglichkeiten bot. Ihre vielen öffentlichen Vorträge und der Gebrauch des Mediums Photographie unterstreicht die Demokratisierung und Professionalisierung von Reiseberichten. Persönliche Notlagen im Falle Karlins und insgesamt die Notwendigkeit, immer wieder Phänomene der Moderne und Tradition aus westlicher Perspektive erklären zu müssen, führen beide Reiseschriftstellerinnen zu eher konservativ anmutenden Einschätzungen.
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Abilova, Ramina O., and Yana Yu Kirillova. "Photographic Heritage of the Kazan Pharmacist Arnold Brening: History and Composition of the Collection (1904–37)." Herald of an archivist, no. 3 (2023): 861–75. http://dx.doi.org/10.28995/2073-0101-2023-3-861-875.
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The article presents results of studying photographic heritage of the Kazan pharmacist Arnold Brening (1879–37). Its first part examines his biography drawing on documents from the State Archive of the Republic of Tatarstan and on private archive of his granddaughter Tatyana Brening. Close attention is paid to the professional development of A. Brening, from his apprenticeship at the Brening Heirs Pharmacy to obtaining a pharmacist's degree at the Imperial Kazan University, from tenant to owner of the pharmacy at the corner of Bolshaya Prolomnaya (Bauman street, since 1930) and Universitetskaya. In the same part, the history of formation and development of his photographic practices is revealed. Brening’s passion for photography began during his military service in Harbin in 1904–06. Having returned to Kazan, he continued taking photographs. He subscribed to photographic literature, experimented with retouching and technologies, bought new equipment. Brening regularly cultivated his skills during his walks with camera, “photographic excursions.” He took pictures of architecture, street scenes, town events. After his marriage, his photographic repertoire expanded to portraits of his wife. Brening not only showed his photographic results to a close circle of friends, he sent them to photographic journals and exhibitions in Moscow. After the Russian Revolution, his family lived in Siberia about three years. Upon his return, Brening continued to work in the field of pharmaceuticals and to take photographs of the city and its suburban area. In the 1930s, he worked at Osoaviakhim and later at the Institute of Chemical Technology. In 1937 he was arrested and shot. Among incriminating evidence was his photograph taken in 1917. The second part of the article presents the history of Brening’s photographic heritage. It establishes current location of its disparate parts: at the National Museum of the Republic of Tatarstan, the State Museum of Fine Arts of the Republic of Tatarstan, the Zelenodolsk Museum of Historical and Cultural Heritage, personal archives of citizens; and briefly demonstrates some items. Until late 1980s, Brening’s photographs remained forgotten. They were preserved thanks to the efforts of his wife, children, and granddaughter, and actualized in active work of local historians, journalists, museum specialists in the 1990s–2000s. This article is one of the first steps in scientific understanding of Brening’s photographic heritage.
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Saputra, Sandi Jaya. "Arif Hidayah’s Authorship in the “Memories of Home”." Jurnal Kajian Jurnalisme 6, no. 2 (January 30, 2023): 119. http://dx.doi.org/10.24198/jkj.v6i2.43029.
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Authorship is an attitude of a creative worker, which in this context is a photojournalist that can develop over time. In this study, researchers examine the form of ideas that exist in Arif Hidayah in visualizing the Tamansari community with the title “Memories of Home”. This study aims to determine the form of Arif Hidayah’s authorship in terms of aesthetic competence, personal implications and the meaning of Arif Hidayah himself in understanding substance. The researcher used qualitative research methods with an authorship case study approach. Data collection was carried out through in-depth interviews, observation and literature studies. The results showed that, (1) Arif Hidayah chose the type of composition, lighting and display in accordance with Arif Hidayah’s personal ideas, (2) Arif Hidayah’s personality has implications for creating the subject’s background within the scope of education, work, family and interests that is in Arif Hidayah to visualize the Tamansari community as a victim of eviction, (3) All meanings in visualizing the Tamansari community, Arif Hidayah always keeps the meaning in terms of the understanding that exists in Arif Hidayah, (4) The idea in Arif Hidayah’s photo project is the connection between his background ideas and Arif Hidayah’s mastery of the technical aspects of photography itself. These aspects are interconnected because Arif Hidayah’s imagination regarding the Tamansari community is based on memories and memories of his past, which are unconsciously conveyed through journalistic photography techniques in the “Memories of Home” project.