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Part 4

PhotojournalismCurriculum

Guide

© TAJESeptember1994UpdatedSeptember1998

From theTexas Association of Journalism Educators

TAJE

TAJE Photojournalism

CurriculumGuide

2

Darkroom

essentials:

• Wet area

• Dry area

• Enlarger

• Easel

• Timer

• Chemical trays

• Chemical

storage bottles

• Developing

tanks

• Tongs

• Graduates

• Thermometer

• Paper safe

• Safelights

• Polycontrast

filters

PHOTOJOURNALISMGRADE: 9,10,11,12

EVERY DAY, people are bombarded withthousands of visual images. The print media ofthe late 20th century and beyond will continuethis visually-oriented and graphic trend. One ofthe key components to the success of these vi-sual print publications is photography. Photojour-nalism introduces students to the world of pho-tography and journalism. The law, ethics and his-tory of photography complement the major unitsof study: operation and care of the camera, tak-ing pictures, film and print processing, teamworkand management skills.

IN ADDITION, students will have the op-

portunity to use state of the art computer-aidedpublishing tools and other hands-on productiontools as well as modern darkroom facilities. Thiscourse can serve as the prerequisite to Newspa-per Production I or Yearbook Production I andmay provide students insights into college andcareer choices.

SOME OUT-OF-CLASS TIME will be re-quired including the time to shoot photo assign-ments. Completion of photo assignments includestaking the picture, processing the film, making acontact sheet, selecting the prints, making theprints and turning them all in with a completedevaluation form on time.

(1.) Students enrolled in Photojournalismcommunicate in a variety of forms and for a vari-ety of audiences and purposes. High school stu-dents are expected to plan, interpret, and critiquevisual representation, carefully examining theirproduct for publication. Students will becomeanalytical consumers of media and technology toenhance their communication skills. High schoolstudents will study the laws and ethical consider-ations that impact photography. Technology, vi-sual, and electronic media are used as tools forlearning as students create, clarify, critique, andproduce effective visual representations. Studentsenrolled in this course will refine and enhance theirjournalistic skills, plan, prepare, and produce pho-tographs for a journalistic publication. For highschool students whose first language is not En-glish, the students' native language serves as afoundation for English language acquisition andlanguage learning.

(2.) The essential knowledge and skills as wellas the student expectations for Photojournalism,an elective course, are described in subsection (b)of this section.

(a.) Introduction.

¶74.§110.65 PHOTOJOURNALISM (1/2-1 CREDIT).

TEKS- Texas Essential Knowledge and Skills

(b.) Knowledge and Skills.

1. The student interprets/critiques visualrepresentatons. The student is expected to:

A. recognize the major events in the de-velopment of modern day photography;

B. recognize composition principles andtheir impact on photography;

C. recognize and apply ethical and legalstandards to all aspects of photojournalism; and

D. recognize the impact of electronictechnology and future trends in digital imagingon the traditional field of photojournalism.

2. The student produces visual representationsthat communicate with others. The student is ex-pected to:

A. identify the basic parts of a camera andtheir functions;

B. identify different types of film and de-termine their appropriate uses;

C. produce a properly exposed print wherethe subject is sharply focused and demonstratethe use of the elements or principles of design;

D. use lighting and be aware of its quali-


CurriculumGuide

3

ties such as direction, intensity, color, and the useof artificial light;

E. stop action by determining appropri-ate shutter speed or use panning or hand holdingwith slower shutter speeds;

F. evaluate technical qualities of photos;G. practice safety in handling and dispos-

ing of chemicals when operating in a darkroom;H. learn the theory of film developing by

understanding the latent image, film structure, andmethod of development;

I. use appropriate equipment to processfilm and make prints and make contact sheets;

J. create digitized images using technol-

Chemicals

needed for a

black and white

darkroom:

• Film developers

available

D-76

T-Max

HC-110

Microdol-X

• Paper developer

Dektol

• Stop Bath

• Rapid Fix

• Hypoclear

• Photoflo

ogy to complete the process; andK. improve print quality by using appro-

priate equipment or technology.

3. The student incorporates photographs intojournalistic publication. The student is expectedto:

A. plan photo layouts;B. illustrate events with appropriate pho-

tos and captions;C. plan photographs in relation to assign-

ments from an editor; andD. set up or follow a system for keeping

track of negatives, photo images, contact sheets,and meeting deadlines.

COURSE OUTLINE

I. CAMERA BASICSA. Camera parts

1. Lens2. Shutter3. Aperture

B. Film1. Types2. Film speed (ASA/ISO)

C. Filters

II. COMPOSITIONA. Rule of ThirdsB. BalanceC. Framing, S-curves, Repetition of shapesD. Evaluating composition

III.TECHNICAL QUALITYA. FocusB. LightingC. Stopping action

1. Fast shutter speeds2. Panning

D. Depth of fieldE. Equivalent exposuresF. Evaluating technical quality

IV. DARKROOM PROCEDURESA. Film developing

1. Theory2. Equipment/chemicals3. Process4. Push processing

B. Printing1. Theory2. Equipment/chemicals3. Process

a. Dodging and burningb. Making contact sheets/printsc. Making test stripsd. Using polycontrast filterse. Mounting

C. Troubleshooting1. Dust spots on print2. Over/underexposure3. Over/underdevelopment4. Film developer blotches5. Other

V. PHOTOJOURNALISMA. Caption writingB. Cropping photosC. Role of the photographerD. Filing systemE. Law and ethicsF. History of photographyG. Digital imaging


CurriculumGuide

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Good photos

are:

• Sharp

• Clear

• Clean

and have:

• Excellent

contrast

• A wide range

of tones

• A center of

interest

• Spontaneity

• Action

• Identifiable

people doing

identifiable

things

THE GRADING PERIODSchools across the state of Texas are varied in the adoptionof a 6-week or 9-week grading period and the schedule ofa 7-period, alternating block, or compressed block day. Thiscalendar is developed by weeks, so each teacher can con-vert it to his/her teaching schedule.

Tuesday Wednesday Thursday FridayCourse philosophy/objectives; Illustrating with photos;Discussion of classroom rules; Equipment use, responsibility andcheck-out system; Darkroom tour1

2

3

4

5

6

7

8

9

Week Monday

Safety in handling and disposing of chemicals; Photogram;Camera basics; Film and film speed; Developing film basics

Developing film basics; Printing and Enlarging basics;Darkroom basics; Making a contact sheet

Printing basics; Using polycontrast filters; Making a print;Making test-strips

Making a print; Evaluation of prints;Review camera basics

Lighting; Develop film; Composition

Composition; Develop film; Darkroom work

Darkroom work; Advanced printing- Dodging and Burning-in

Action photography; Review film and shutter speed; Pan-ning

SEMESTER SYLLABUS


CurriculumGuide

5

Monday TuesdayWeek Wednesday Thursday Friday

Film development; Review composition;

Film development; Darkroom work; Lenses and filters

Lenses and filters; Darkroom work

Film Development; Caption writing; Trouble shootingin the darkroom

Film development; Photo layout; Plan photo story; Darkroom work

Darkroom work; Cropping photos; Mounting

Definition of Digital Imaging; Digital Imaging projects

Digital Imaging; Photo ethics; Pinhole camera

History of photography; Careers in photography

10

11

12

13

14

15

16

17

SEMESTER SYLLABUS

Photogram-

plain & simple:

• Materials needed:

photo paper

stuff- opaque

safelights

• Procedure:

-Remove one sheet

of paper under safe

light conditions;

-Place emulsion

side up;

-Arrange some

small objects on the

paper;

-Be careful not to

move objects;

-Expose to room

lights for as long as

it takes to turn the

exposed portion

black

• To make perma-

nent: immerse in

fixer for normal

time and wash

Photogram-

developed out:

• Materials needed:

same as above,

plus enlarger and

developing chemi-

cals

• Procedure:

-Repeat steps 1-4 as

above;

-Expose to enlarger

light 3-5 seconds;

-Remove objects;

-Process as a print


CurriculumGuide

6

Cropping guide-

lines:

• Crop so there is a

center of interest

• Remember the

rule of thirds

• Don't blow up

small areas to

grainy propor-

tions

• Don't amputate

hands, arms, legs

• Allow space in

front of the

subject for

movement

• Crop to eliminate

distracting areas

CLASSROOMACTIVITIES¶74§(110.65(1)(A)

Illustrate news eventswith appropriate photosActivities: • Look through a local newspaper, a daily or weekly,

and find examples of timely, photojournalisticphotos. Have students discuss why these photosare appropriate or why they aren’t.

• Some news events require photo illustrations andnot field work. Help students set up a studio inthe classroom using whatever light sources areavailable. You might try illustrating crime with apair of handcuffs and some other props from yourlocal law enforcement agency or drama depart-ment. You might try illustrating Spring with someflowers. Experiment. The point is to look beyondthe obvious and to realize that some news eventsrequire more thought.

Assessment: • Have students pick the most appropriatephoto for a given event and explain their reason-ing.

¶74§(110.65)(1)(B)

Understand available light, depth offield, and compositionActivities: • Complete photo assignments.

• Display various photos or give students copies ofthem. Have them pick which ones follow the Ruleof Thirds and which ones don't and why. Try topick some that don’t follow the Rule of Thirds,but which are still good photos.

• It’s fun to start teaching the Rule of Thirds with afew games of tic-tac-toe.

• As an alternate assignment, have students take aphoto, with black and white film, illustrating a color.For example, shoot pictures of yellow. It’s helpfulif they learn the concept of complementary col-ors and how to use colored filters (if they’re avail-able) first. To keep things fun, make them shoot itall using available light or studio lights. No flashallowed.

Assessment: • Evaluate photo assignments.

¶74§(110.65)(2)(A)

Operate a 35mm single-lens reflexcamera with a variety of lensesActivities: • Complete photo assignments as requested.

• Using cardboard or other material, cut out a frameapproximately the size of a 35mm piece of film.Have students hold it 6-8 inches in front of theirface to simulate a camera, looking around theschool for assignments.

• Using a variety of lenses, demonstrate the differ-ent angles of view by allowing students to look ata fixed subject from a fixed distance with differentlenses.

• As an alternate assignment, have students shootthe ‘macro’ world. Using a close-up lens or filters,students should take pictures of a piece of some-thing and have others guess what it is. It’s fun topost these and have other students guess what thepictures are of. Any photographer whose pictureremains unidentified should win some award. Theidea here is to look beyond the obvious and to payattention to detail. Be careful, these pictures oftenrequire additional light.

Assessment: • Evaluate photo assignments.• Test how well (and fast) students can load film in

a camera by having them load it while walkingacross the room. Give them room to walk about30 steps at a fast pace and evaluate them on whetherthey can securely load the camera before walkingthe distance.

¶74§(110.65)(2)(C)

Use of Composition TechniquesActivities: • Students will demostrate use of composition tech-

niques in a photo assignment. Look for framingelements, S-curve, repetition of shapes, etc. Stu-dents should avoid the subject in the center of theframe.


¶74§(110.65)(2)(D)

Operate a flashActivities: • Allow students to use a flash either for one of the

photo assignments or for a class exercise in artifi-cial lighting.

• Find examples of photographs used in newspa-pers or magazines taken with a flash. Why was aflash used? What problems did this create?

• Take a trip to a local studio and have photogra-pher (perhaps the school portrait photographer)demonstrate the set-up and use of studio lights.

• Using a ‘model’ (preferably a student in class) dem-onstrate the harsh lighting of direct flash and theless harsh light of bounced flash by firing a flashand having students observe students. This worksbest in a dim, but not dark room. You can also usea slide projector or transparency projector to dem-onstrate this effect.

Assessment: • Evaluate photo assignment completed usingflash.

• Given a specific lighting situation, have studentspredict the results in terms of harshness of lightand direction/intensity of shadows.

¶74§(110.65)(2)(D)

Read a light meterActivities: • Make a meter-reading map of the school: Using a

built-in or hand-held light meter and a map of theschool record settings at various locations at vari-ous times of the day. Be sure to note the time ofday and direction.

• Set up a portrait studio in the classroom using stu-dio lights or a slide projector or a transparencyprojector, or even a window. Demonstrate the vari-


CurriculumGuide

7

ous directions of light and how they can trick themeter. Then discuss compensation for the tricks,especially backlighting which requires additionalexposure to allow more light to reach the subject.

Assessment: • Evaluate meter-reading map.• Given appropriate photos, have students identify

the direction of light and any compensation thatwould be necessary to get a properly exposed sub-ject.

¶74§(110.65)(2)(D)

Apply principles of balance andcontrastActivities: • Display photos of high and low contrast. Have

students pick the appropriate ones.• Show examples of the different composition tech-

niques: s-curves, informal balance, formal balance,framing, repetition of shapes, leading lines, tex-ture, etc. Have students explain why these are pow-erful composition techniques.

• As a photo assignment, have students shoot not aspecific subject, but a concept such as repetitionof shapes or framing. Every shot on the roll shoulddemonstrate one of the techniques.

Assessment: • Given photos of varying contrast, have stu-dents pick the one with the highest contrast andthe one with the lowest.

• Have students match proper composition tech-nique with photo.

¶74§(110.65)(2)(D)

Creating Depth of FieldActivities: • Students will render the background of a photo-

graph out of focus by using a low aperture such asf/4, f/2.8, f/2 or f/1.4. By blurring the back-ground, emphasis is placed on the subject. This isalso an excellent time to stress filling the frame.Move in close.


¶74§(110.65)(2)(E)

Demonstrate knowledge of ASA,aperture, and shutterActivities: • Complete photo assignments.

• Show a series of photos taken of the same subjectwith different f/stops. Have students assign pos-sible f/stops to the appropriate photos.

• Show a series of photos taken of the same subjectwith different shutter speeds. Have students as-sign possible shutter speeds to the appropriate pho-tos.

• Set up various scenarios of action, and selectivefocus. Given certain lighting and using the F/16Rule as a basis, have students determine the equiva-lent exposure.

• Have students shoot fast action pictures. Studentscan take pictures of school sports, students jog-ging, riding a bicycle, etc. Students must stop ac-tion with correct shutter speed or use panning tomake the moving subject clear.


¶74§(110.65)(2)(H)

Understand developing chemistryActivities: • Put an x/y grid on the board with chemicals in the

vertical access and time, temperature, and agita-tion in the horizontal access. Have students fill inthe chart as a group.

• Using some litmus paper from the chemistry de-partment, demonstrate how developer is a basicsolution (try to determine actual pH at differentdilutions) and acetic stop bath and fixer are acidic(again, try to determine actual pH). You may haveto use other acid/base indicators to determine ac-tual pH. Note that stop bath with indicator con-tains bromocresol purple, an acid base indicator.That is why it turns purple when too much devel-oper gets in it.

Assessment: Make a chart showing the chemicals used,times, temperatures and agitation rates for the filmdeveloping process.

¶74§(110.65)(2)(I)

Process filmActivities: • Make a game out of practicing rolling film with

two exposed rolls of film. Have two students com-pete against each other. The person who rolls thefilm the fastest on the reels to be used for devel-oping keeps competing until he looses. The win-ner should get some reward. This can be done inthe light.

• Process the film for assignments and other assign-ments as required.

Assessment: • Using the practice roll, have each student (fora grade) roll the film on an appropriate reel in thedark and put it in a canister. Check it. If it’s notdone completely right, they should try again thenext day (or significantly later in the period) untilthey get it right.

• Evaluate processed film.

¶74§(110.65)(2)(I)

Print photosActivities: • Demonstrate (or have a student demonstrate) how

to make a print, stressing negative placement, ea-sel adjustment, enlarger height adjustment, choos-ing an f/stop, choosing a polycontrast filter, mak-ing a test strip, and developing the paper in theproper sequence including adequate rinsing time.Also stress and demonstrate darkroom cleanlinessand the dangers of dirt and dust.

• Make the required number of prints for assign-ments 1-8 and other assignments as required.

• Have students bring in five small, favorite objects(1/2-3’). In the darkroom, put these objects on apiece of paper and expose them to light for a fewseconds at a random f/stop (f/8 works well, usu-ally). Semi-transparent objects (like money andglasses) work best. Then develop this photogramnormally. When they’re dry, have students signthem with a felt-tip pen and display them. This is a

Two-Dot Crop:

A Fast and Easy

Way to Crop

Photos

• Supplies needed

Ruler

Grease pencil

Layout

Picture

• Select photo

• Find the center

of interest

• Place a dot on

the desired final

top left-hand

corner

• Place ruler on

the diagonal that

runs from the

upper left-hand

corner to the

lower right-hand

corner of the

layout area

• Without moving

the ruler, slide

the picture

under-neathe the

ruler

•Position the

picture

• Place a dot for

the desired lower

right-hand

corner

• Pull out the

picture

• Mark each

margin

• Rub off the dots


CurriculumGuide

8

good printing exercise and is fun to display forparents. This is an especially good exercise to con-vey the concept of density and contrast.

Assessment: • Have students write a narrative ‘how-to’ es-say on how to make a print.

• Evaluate print quality.• Use photogram grade as an easy grade – a good

reward.

¶74§(110.65)(2)(K)

Understand use of darkroomequipmentActivities: • Have students make a print on the first assign-

ment with a high-contrast filter and a low-contrastfilter as well as the ‘right’ one. Make sure they do anew test strip with each one to demonstrate thedifference in exposure.

• Demonstrate (or have a photo editor demonstrate)the equipment used in developing film and mak-ing a print.

Assessment: • Evaluate prints made with different filters.• Make a list of all the equipment used in develop-

ing film and explain its use.• Make a list of all the equipment used in printing

and explain its use.

¶74§(110.65)(2)(K)

Crop and scale photosActivities: • Give students a scaling device and have them learn

the concept of proportion for photographs. It’salso useful to show this on the computer, keepingthe photograph in proportion. Show how one di-mension can’t change without changing the other.

• Have students mark a photograph that you givethem for reproduction in the yearbook.

• Demonstrate use of a proportion wheel. Using thephotos marked for reproduction in the yearbook,use a proportion wheel to calculate the percentageof enlargement or reduction.

• Have students complete some proportion equa-tions as a review of math.

Assessment: • Grade proportion questions.• Given a photo and a space for it on the page, have

students calculate percentage of enlargement orreduction.

¶74§(110.65)(3)(A)

Plan photo layoutActivities: • Using newspaper photo pages or magazine spreads

as examples, have students sketch the pages usingpaper divided into columns or grids. Pay particu-lar attention to internal margins, size of dominantphoto, eyeline, etc.

• Using photo copies of 5-10 photos, have studentspick photos and plan a layout. This can also be aphoto editing exercise. Pay particular attention tocaption and copy placement.

• Using a layout previously designed by student, haveanother student use the same elements at the samesize to create another layout. This is particularly

useful for yearbook layouts from which four lay-outs can be made from one basic layout by flop-ping the layout horizontally and vertically.

Assessment: • Evaluate photo layout.

¶74§(110.65)(3)(B)

Write captionsActivities: • Using a well-respected publication, read some

photo captions and determine what makes up agood caption. Be sure to stress how, particularly inmagazines, a good caption goes beyond just stat-ing the obvious.

• Given a photo, have students write a complete cap-tion. This is particularly useful around deadline timewhen photojournalism students can, as a class ex-ercise, write complete captions for the publicationsanswering the 5W’s and H.

• Discuss: what’s wrong with a photographer writ-ing their name on the back of a photo for a photocredit that they did not take? Talk about the valueof the photo credit and taking pride in one’s work.Consider doing periodic displays around the schoolof the work photographers have done. Even con-sider displaying some pictures at local businessescarefully mounted with the photographer’s nameprominently displayed on the outside.

Assessment: • Evaluate captions based on whether or notthe include the answers to the 5W’s and H, iden-tify all recognizable people, include additional in-formation, a kicker and a photo credit.

¶74§(110.65)(3)(B)

Illustrate news events withappropriate photos and captionsActivities: • Discuss what is ‘appropriate.’

• Discuss ethics and law: what is legal and what isethical.

• Using examples of photos of questionable ethics(including examples of war photos, disasters, sui-cides, murders, etc.) discuss why these photos wereused. Given the situation, who would use them?Why?

• Pick a photograph out of a magazine and explainwhat it means to you – in depth. Look at the tech-nical quality and composition, of course, but alsolook beyond that. Look at what the image meansto you.

• Go through a series of magazines, newspapers andother publications and cut out 10-15 images thattell the rest of the class something about you. Eachimage should give everyone some insight into yourcharacter. This is a good assignment to do at thebeginning of the semester. Make sure each stu-dent orally presents the clippings, mounted on con-struction paper (or whatever) to the rest of theclass and explains what they mean.

Assessment: • Given an ethical dilemma, what is students’solution? Is it adequate?

• Given a legal dilemma, what is student’s reasoningfor the legality or illegality of the situation?

• Have students write a persuasive paper trying topersuade an editor to use a questionable photo.

Darkroom

management:

• Keep it clean

• Keep it dry

• Limit the

number of

students

allowed to mix

chemicals

• Make sure the

bottles are

labeled clearly

• Color code the

chemistry

bottles

• Inventory

monthly

• Keep MSDS

(Material

Safety Data

Sheets) copies

available in

case of

emergency.

You can get

these from

your local

photo

chemical

dealer.


CurriculumGuide

9

They should take the position of being the pho-tographer.

• Given a topic, students come up with five photoideas that illustrate it.

¶74§(110.65)(3)(C)

Plan photographs in relationto assignment

Activities: • Put a topic on the board and have students comeup with (on their own, at first) different ways tocover this subject going beyond the obvious. Thendiscuss these ideas, noting the time frame in whichthey can be accomplished.

• Have students list what types of photos they wouldlike to see in the yearbook. Have them be specific,listing people, angles, time of day, location, etc.

• Have students locate a staff box in a relatively smallnewspaper or magazine, preferably one which listsmore than just the editor. Discuss the roles andresponsibilities of each person on that staff withstudents speculating at first. Have students write ajob description for a staff photographer. Then,have them refer to their manual for the responsi-bilities of each member on their staff, includingphotographers.

• Have students complete a photo assignment form.Assessment: • Evaluate ideas for coverage given by students.

• Evaluate job descriptions written by photographer.• Evaluate completed photo assignment form.

¶74§(110.65)(3)(C)

Set up an assignment systemActivities: • After discussing the role of the photographer on

a staff, have the photojournalism students developan assignment system that they believe will work.Discuss its weaknesses, how they can be circum-vented, and its strengths.

Assessment: • Evaluate the students’ ability to follow theassignment system devised for each assignment.

¶74§(110.65)(3)(D)

Set up a system of keeping track ofnegatives and contact sheetsActivities: • Have photojournalism students file their negatives,

contact sheets and prints appropriately. Their nameshould be on the contact sheet and written on eachprint.

Assessment: • Have students complete the appropriateforms and file negatives. Include the appropriatefiling as part of the grade for an assignment.

¶74§(110.65)(3)(F)

Evaluate photographs for technicalquality and compositionActivities: • Have students complete a photo evaluation form

for a classmate for each assignment. Before usingthe form for the first time, teach the students howto use it. Go over every line and do some sampleevaluations.

• Have students find five photos that they considerto be good and five that they consider to be bad.Have them explain why. Use exchange publicationsfor this exercise.

• Give students a contact sheet and have them pickthe best print for the newspaper or yearbook andexplain why. This is fun to do as a class exercisewith the same contact sheet.

Assessment: • Check evaluations that students complete tomake sure they are thorough and accurate.

Pinhole Camera

Activity: • Supplies needed: light-tight box; 1" square ofsmooth aluminum foil; straight pin or needle; flatblack paint; paint brush; masking tape; photo-graphic paper

• How to make a pinhole camera:1. paint inside of both box and lid; allow to

dry (this may take up to 24 hours)2. make lens with aluminum foil... lay it flat

on smooth surface and press only the point of theneedle or pin through the foil... IMPORTANT...do not push it all the way through the foil... thehole should be perfectly round and free from ridges

3. when box has dried, cut hole (dime orpenny size) in either one side or one end of thebox

4. next, carefully, tape the aluminum foil overthe hole in the box... use masking or electrical tape...IMPORTANT... make sure that the pinhole is inthe center

5. use another piece of tape to cover thepinhole... this acts as the shutter of your camera

6. under safelight conditions, load one pieceof photographic paper in the center of the insideof the box opposite the pinhole... make sure theemulsion is facing the hole... you may need to tapeit in place

• Taking the pinhole photo:1. place the box on a firm, level surface and

aim it toward your subject2. place object to weight down box during

exposure to prevent blurring3. carefully remove tape covering pinhole4. expose to bright sunny light for about 2

minutes, cloudy bright about 8 minutes5. replace tape over pinhole6. take camera to darkroom and remove pa-

per under safelight conditions7. process as a normal print

Tips:1. the image you see will be negative2. it is best to shoot landscapes, buildings--

non-moving things3. the pinhole camera cannot produce as a

sharp, clear picture as a camera and lens4. the closer the paper to the pinhole the

more of a wide angle effect is produced5. the greater distance the paper from the

pinhole, the more of a telephoto effect is producedGood luck!

Causes of

grain

in film:

• Fast film ISO

• Overexposure

• Overdevelop-

ment

• Long wet time

• High tempera-

tures

• Concentrated

developers

• Degree of

enlargement

• Impure water

• Rapid

development

• Temperature

shift

• Contrast


CurriculumGuide

10

OTHER IDEASAs the semester or year progresses, you may need otherphoto assignments to give your photojournalism students.

• The best of times... the worst of times: Takepictures of compare/contrast places, situations,things, people. This can double as an English teamingproject.

• Plain & Fancy: The object is to depict somethingplain and fancy in one picture. This is particularlychallenging if the picture can’t be posed.

• America: Photograph something that is typicallyAmerican.

• Pick a letter of the alphabet: Photograph abstractobjects that suggest letters of the alphabet. The centerof visual interest cannot be any writing, but must beabstract.

• One Day: Pick one day out of the school year andhave students portray that one day.

• Get ready: Take pictures of other students, gettingready to do something (to go to work, to go to school,to go the prom, to go on a date, etc.).

• In season: Photograph something that portrays thecurrent season, winter, summer, fall, or spring. Thismust involve other students. For example, shovelingsnow, raking leaves, washing cars, swimming, etc.

• Technology away from home: Photograph studentsusing modern technology away from home.

• My place: Take pictures of students wherever theyappear the most “at home.” This may be in theirbedroom, watching television, or riding a bike.

• All in the family: Take pictures of students interact-ing with their families, washing dishes, on vacation,etc.

RESEARCH PAPERTOPICSYou may need alternative assignments for whatever rea-son. Short or in-depth research papers can solve these prob-lems. Here are some topics for research papers.

• Jacob Riis, Ansel Adams and some of the otherfamous historical figures in photography make goodresearch papers.

• Research the impact that photos have on the news. Astudent survey might prove useful. Question: Dophotos impact the news? Pick a leading news event

As journalists, we believe the guiding principle of ourprofession is accuracy. Therefore, we believe it is wrong toalter the content of a photograph in any way that deceivethe public.

As photojournalists, we have the responsibility to docu-ment society and to preserve its images as a matter of his-torical record. It is clear the emerging electronic technolo-gies provide new challenges to the integrity of photographicimages. This technology enables the manipulation of thecontent of an image in such a way that the change is virtu-ally undetectable. In light of this, we, the National PressPhotographers Association, reaffirm the basis of our eth-ics: accurate representation is the benchmark of our pro-fession.

We believe photojournalism guide-line for accuracycurrently in use should be the criteria for judging what maybe done electronically to a photograph. Altering the edito-rial content of a photograph, in any degrees, is a breach ofthe ethical standards recognized by the NPPA.� From the National Press Photographers Association

PHOTO ETHICS

and see which one has more impact, a story alone or astory with a photo. Why?

• Do professional photographers have a sense ofethics? How can you tell? Look up the various codesof ethics that exist from organizations such as theNational Press Photographers Association and theSociety of Professional Journalists. How do they limitphotographers? How do they protect society?

• Are photographers subject to the same first amend-ment freedoms as writers? How can you prove ordisprove this?

• When, where and why was the first camera devel-oped?

• Photography is basically chemistry. Research the basicchemical processes used in exposing and developingan image. What chemical structures are in use? Whatchanges do they undergo?

• Many careers involve photography. Pick one. Researchthe impact photography has had on this career.

• Wildlife photography is a specific field of photogra-phy. What equipment is required? Why might docu-menting wildlife be useful for society?

Other historical

figures in photogra-

phy:

Richard Avedon

Margaret Bourke-

White

Mathew Brady

Harry Callahan

Margaret Cameron

Robert Capa

Henri Cartier-Bresson

Louis Daguerre

George Eastman

Harold Edgerton

Alfred Eisenstaedt

Lewis Hine

Annie Leibowitz

Eadweard Muybridge

Nadar

Joseph Niepce

Irving Penn

Oscar Rejiender

Henry Robinson

Eugene Smith

Edward Steichen

Alfred Stieglitz

William H.F. Talbot

William Wegman

Edward Weston


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GLOSSARY5 W'S & HThe essentials of any story; who, what ,when,where, why and how.

ABERRATIONOptical defects in a lens that cause distortion.

ACETIC ACIDA component of stop bath that neutralizes thedeveloper; CH3COOH.

ADAMS, ANSELA famous Western landscape photographer whodeveloped the Zone System for exposure, pro-cessing and printing control; founded theFriends of Photograph; and, was instrumentalin helping photography achieve the status of fineart.

AGITATIONThe mixing of chemicals by physically movingthe container containing the chemical. One ofthe three factors (including time and tempera-ture) affecting the rate at which a chemical reac-tion, such as developing or fixing, occurs.

AIR BUBBLESTiny bubbles of air that cling to the surface ofan emulsion. If not dissolved, usually by agita-tion, they may appear as black spots on the print.

ANGLE OF VIEWThe area visible through a lens or by a light meter.

ANTI-GLARE COATINGA substance on a lens designed to prevent glarecause by lighting bouncing off the glass elementsof the lens.

APERTUREThe opening of a lens through which lightpasses.

APERTURE DIALThe portion of a lens which allows a photogra-pher to choose the f/stop.

APERTURE PRIORITYA feature of automatic cameras by which thephotographer selects the aperture and the cam-era automatically selects the shutter speed.

ASAThe now outdated speed-rating system for pho-tographic film. The initials did stand for Ameri-can Standard Association. ASA have been re-placed with ISO rating.

AVAILABLE LIGHTLight, usually of a low level, illuminating a sub-ject; also called existing light.

BACKLIGHTINGLighting that comes from behind the subjectcausing the meter to be underexposed.

BALANCEArrangement of shapes, colors or areas of light

and dark that complement one another.

BASEBOARDThe portion of an enlarger on which light pass-ing through the negative is projected.

BATTERY CHECKThe part of the camera which allows a photog-rapher to check how much power is remainingin a battery.

BAYONET MOUNTA type of mount used to attach a lens to a cam-era.

BELLOWSA part of a lens or enlarger that is light-tightand made of collapsible cloth or other materialused to aide in focusing the image.

BMP/BIT-MAPPEDA graphic made of dots, rather than objects;images are low resolution and should not be usedin printing.

BOUNCED LIGHTLight that is reflected off another surface be-fore reaching the subject; softer than direct light.

BOURKE-WHITE, MARGARETA photojournalist who was one of the first staffphotographers for Life magazine. She also pho-tographed the beginnings of WWII in Russia,flew on bombing missions and covered the lib-eration of Jews at the end of the war. One ofher most famous series of photos is of MahatmaGandhi.

BRACKETA technique used by photographers to insurethat a properly exposed picture is taken. Onepicture is taken based upon a meter reading, an-other is taken at an lower exposure and anotheris taken at a higher exposure.

BULB (B)A shutter setting that permits a photographerto keep the shutter open indefinitely.

BULK LOADERA device allowing the transfer of short lengths(20 and 36 exposure frame amounts) of filmfrom a large roll such as 100 feet to a reusablefilm cassette.

BURNING-INThe act in print a photo of making a light areaof the print darker by exposing it to more lightwhile not permitting it to reach the other areasof the print. See also dodging

CAMERA OBSCURALatin: dark room; a device used by early paint-ers which was the predecessor to the photo-graphic camera.

CAMERON, JULIA MARGARETAn English woman who was a member of thePictorialist movement in England during the1800’s. She is best known for her striking por-traits of her friends, including Alfred LordTennyson and Sir John Herschel.

CANDID

Unposed photographs.

CAPTIONThe portion of a layout which explains what ishappening in a photograph. Captions are placetouching the photograph. Also called cutlines.Often includes a kicker and photo credit.

CARRIERThe film holder of an enlarger.

CASSETTEA metal or plastic holder usually for a roll of 35mm film.

CENTER OF VISUAL INTERESTThe element in the photograph that the viewerfirst notices; CVI.

C-41 PROCESSAn abbreviation for Kodak color film process-ing chemistry. It has become an industry stan-dard that is used by many other companies.

CHANGING BAGA light-tight bag with openings for the hands inwhich film can be loaded and unloaded in day-light.

CLEARING AGENTA chemical used to neutralize the hypo, or fixer,on film or paper and reduce washing time.

CLOUDYA type of lighting cause when the majority oflight from the sun is blocked by clouds.

COMPOSITIONThe visual arrangement of elements in a photo-graph.

CONDENSER ENLARGERAn enlarger with a sharp light source that passesstraight through the negative without being dif-fused. Allows prints of high contrast and defi-nition to be made. Negative imperfections suchas dust spots and scratches are more apparenton prints made with this type of enlarger. Seealso diffusion enlarger

CONTACT SHEET OR CONTACTPRINTA type of print made with the negatives in di-rect contact with the paper.

CONTRASTThe difference between the blackest black of aprint or negative and the whitest white. Thegreater the difference, the higher the contrast.

CONTRAST GRADEA number which indicates the relative contrastof photographic paper. The higher the number,the more the image contrast is increased.

CROPPINGThe act of selecting just a portion of the origi-nal image for publication or enlarging.

CUTLINESee caption

DAGUERRE, LOUISAn early photographer who influenced devel-

Turning in a

complete

assignment

means turning

in:

1. properly filed

negatives;

2. properly filed

contact sheet

with student’s

name on the

back;

3. print with

student’s name

on the back;

4. a complete

caption for

some assign-

ment; and

5. two complete

evaluations

by other

student

photographers.


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opment of photography with Daguerreotype.This was the first successful photographic pro-cess. In 1839 Daguerre used heated mercury va-pors to form an image on an copper plate coatedwith polished silver.

DAYLIGHTExisting light provided by the sun.

DEDICATED FLASHAn electronic flash unit designed to operate ona specific model of camera.

DEKTOLA common paper developer manufactured byEastman Kodak.

DENSENegatives that are overexposed or overdevel-oped are said to be ‘dense’ because they don’ttransmit as much light as an ideal negative. Seealso thin

DEPTH OF FIELDThe distance between the element in a photoclosest to the camera and the element farthestfrom the camera that appear in acceptable fo-cus. The greater the distance, the greater thedepth of field. Wider apertures give lower depthof field.

DEPTH OF FIELD PREVIEWA device on a camera which allows the photog-rapher to preview which elements will appear infocus at a given aperture.

DEVELOPThe act of converting a latent image into a vis-ible image through a series of chemical reac-tions.

DEVELOPERThe chemical used to convert the latent imageinto a visible image. Usually a basic solution thatcan be neutralized by acid.

DEVELOPING TANKA lighttight container used for processing film.

DIFFUSION ENLARGERAn enlarger that distributes scattered light acrossthe negative, softening the appearance of theprint. See also condenser enlarger

DIGITAL CAMERAAllows a camera to bypass film and record im-ages on a disk built into the camera, or on afloppy.

DINDeutsche Industrie Norm; a film speed used inEurope before the development of the ISO sys-tem.

DODGINGThe act in print a photo of making a dark areaof the print lighter by not exposing it to as muchlight while permitting light to reach the otherareas of the print. See also burning-in

DOMINANTThe largest photograph on a layout.

DOUBLE EXPOSURERecording two or more images on top of one

another on film or on paper.

DPI/DOTS PER INCHA unit of measurement for measuring the re-production capability of an output device; thesmallest unit of a printer.

DRY MOUNTINGA method of mounting prints on cardboard byusing heat, pressure, and tissue impregnated withshellac.

EASELA device which rests on the baseboard of theenlarger to hold the photographic paper in placeand to assist in cropping of the image.

EASTMAN, GEORGECredited with providing common man withequipment to take pictures.

EMULSIONThe part of photographic paper or film that con-tains the light-sensitive silver halides. The emul-sion side is the side coated with the emulsion.

ENLARGEThe opposite of reduce; reproducing a pictureat a size larger than the original.

ENLARGEMENTA copy of an image is larger than the originalimage. Example: ‘A 5x7 enlargement.’

ENLARGERA device used to make an enlargement. See alsocondenser enlarger and diffusion enlarger

EPS/ ENCAPSULATED POSTSCRIPTA graphics standard for object-oriented fileswhich includes the Postscript code necessary totell the printer how to print a file.

EQUIVALENT EXPOSUREAn exposure that, despite a change in apertureor shutter speed, allows the same amount oflight to reach the film as another exposure.

EXISTING LIGHTThe amount of light in a scene without the ad-dition of light from artificial sources such as aflash. Also known as available light.

EXPOSUREA combination of aperture and shutter speedthat determines how much light reaches thelight-sensitive emulsion.

EXPOSURE COMPENSATIONA change in exposure based on an atypical light-ing situation. For example: the typical compen-sation for backlighting is to increase the expo-sure four times.

EXPOSURE SETTINGThe lens opening and shutter speed selected toexpose film.

F/16 RULEIn bright sunlight with the camera set at f/16,the shutter speed is approximately equivalent to1/ISO of the film being used.

F/STOPA number used to indicate the relative size of

the aperture. The larger the number, the smallerthe lens opening. The numbers increase by mul-tiples of the square root of 2. Typical f/stopsfor a lens begin at f/1.4 and increase to f/22 inthe following order: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16 and f/22. A difference inone f/stop indicates that half or twice as muchlighting is reaching the film. For example: f/8lets in twice as much light as f/11.

FAST FILMFilm with a high ISO that has a high relativesensitivity to light. Example: 3200 T-Max.

FILL FLASHA technique using both available light andsupplementary artificial light. The light from theflash is used to ‘fill-in’ the shadows made by theexisting light.

‘FILL THE FRAME’A phrase used to remind photographers thereshould be no wasted space in a picture.

FILMA sheet or roll of flexible, light-sensitive mate-rial used to record an image in a camera.

FILM CLEANERA solution composed primarily of alcohol usedto clean dust off of film.

FILM CLIPSlow devices made of plastic or metal used tohang film for drying.

FILM REWIND KNOBThe part of the camera which is turned to re-wind the film back into the light-tight canister.

FILM SPEEDRelative sensitivity of film to light, as measuredby standard ratings; currently, film speeds arerated in ISO values. The higher the film speed,the less light required.

FILM SPROCKETSThe rectangular holes on both edges of film suchas 35 mm that are used to accurately advancethe film through the camera.

FILTERA piece of colored glass or plastic used to af-fect the color of the light reaching the light-sensitive emulsion. Filters are used on a cameraand in the printing process. See polycontrast filtersand Polarizing Filter

FISHEYEA type of lens that distorts the image but en-compasses an extremely wide angle of view (near180½), usually greater than 20mm in focallength.

FIXThe act of removing the unexposed silver ha-lides from paper or film with fixer rendering thematerial insensitive to light.

FIXERAn acidic solution used to fix film or paper byconverting unexposed silver halides into a forthat is not sensitive to light and which can beremoved by rinsing; the primary component ofmost fixers is sodium thiosulphate


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files independent of machine type and best usedfor transmitting images with large areas of solidcolor.

GLAREAn unwanted reflection off a shiny surface;sometimes refers to unwanted light bouncingoff the glass elements inside a lens.

GLOSSY PAPERA paper with a highly reflective emulsion. Seealso matte paper

GRADUATEA container marker off in ounces or millilitersand used for measuring photographic solutions.

GRAINThe small silver crystals in a print or negative.When these crystals become visible, the imageis said to be ‘grainy.’ Graininess becomes pro-nounced with pushed processing and fast films.

GUIDE NUMBERA measurement of the intensity of light pro-duced by a flash used to figure the appropriateexposure.

HALFTONEAn image composed only of dots used for re-production on a printed page giving the illusionof a continuous tone.

HOT SHOEThe part of a camera which allows an electronicflash to be fired at the same time as the shutteris released based on electrical contact with thecamera.

HYPOA synonym for fixer.

HYPO CHECKA chemical used to check whether or not thefixer is still capable of making the silver halidecrystals insensitive to light.

HYPO-CLEARING AGENTA chemical used to help remove fixer from theemulsion.

INCANDESCENTLight that results when a substance is heatedwith electricity such as in a tungsten light bulb.See also florescent

INFINITYAs far as the eye can see; the maximum distanceon which a lens can focus.

INFORMAL BALANCENot symmetrical.

INTERCHANGEABLE LENSA lens which can be removed from a camerabody.

ISOAn abbreviation for International Standards Or-ganization. A number assigned to film indicat-ing its relative sensitivity to light. The higher thenumber, the more sensitive the film is to light.

ISO DIAL

The part of the camera which allows the pho-tographer to set the appropriate ISO.

JPEG/ JOINT PHOTOGRAPHERSEXPERTS GROUPThe best format for photographs or graphicsthat have many colors and shades and very few,if any, areas of flat color.

LANGE, DOROTHEAHired by the Farm Security Administration todocument the Great Depression in the 1930’s.

LATENT IMAGEAn invisible image formed when light strikes thesilver halides in the film prior to development.

LEADERA strip at the beginning of a roll of film used tothread it into the camera.

LEADING LINESA technique which uses one part of the photo-graph to lead the viewer into another part ofthe subject.

LEDLetters that serve as an abbreviation for "lightemitting diode." For example, these are used toprovide exposure data around the edges of theviewfinder in an SLR camera.

LENSA device designed to focus light on a given areasuch as a piece of film.

LENS HOODAn accessory that attaches to the front of a lensto prevent lens glare; also called a lens shade.

LENS MOUNTThe part of the camera to which the lens is se-cured.

LENS RELEASEA button which allows the lens to be taken offcertain cameras.

LENS SPEEDA ‘fast’ lens has wider maximum aperture andtransmits more light than a ‘slow’ lens. For ex-ample, a lens with a widest f/stop of f/2 is‘slower’ than a lens with a maximum apertureof f/1.4. Lens speed is a common way of mea-suring lenses. Faster lenses tend to be more ex-pensive and can be used in lower light situations.

LENS TISSUEA soft, lintless tissue used to clean glass surfacessuch as lenses.

LIGHT METERAnother name for an exposure meter.

LONG LENSTerm used to describe a telephoto lens; a lenswhose focal length is longer than the diagonalof the film with which it is used.

LPI (LINES PER INCH)A traditional printing term that refers to rowsof dots in half tones or the frequency of thescreen.

(Na2S2O3•5H2O).

FLASH SYNCHThe fastest speed at which the flash can be usedto illuminate the entire frame with the shuttercompletely open.

FLATA term used to describe a print or negative oflow contrast.

F-NUMBERThe numerical expression of the amount of lightadmitted by a lens, derived from dividing thefocal length by the optical diameter of a lensopening. Low f-numbers, such a f/1.4, allowlarge amounts of light to pass through a lens;high f-numbers, such as f/16, allow little lightto pass through.

FOCAL LENGTHA measurement of the size of a lens; the dis-tance between the film plane of the camera andthe optical center of the lens focused at infinity.

FOCAL PLANE SHUTTERA type of shutter located just in front of thefilm that opens either horizontally or vertically.

FOCUSAdjustment of the subject distance on a lens torender the subject sharp.

FOCUS RINGThe part of the lens which enables the photog-rapher to focus the subject.

FOGThe portion of an image which has been con-verted into a visible image although it was notintentionally exposed. There are two types offog: chemical fog and fog caused by accidentalexposure to light.

FOREGROUNDThe area between the camera and the main sub-ject.

FORMAL BALANCESymmetrical.

FRAMINGA composition technique which the center ofvisual interest in a photo is framed by objects inthe foreground that are usually out of focus;lends depth.

FRONTLIGHTINGLighting that illuminates the front of the sub-ject which has a source behind the photogra-pher.

F-STOP NUMBERSNumbers representing fractions that relate to amathematical ratio of the aperture to the focallength of the lens.

GELATINThe portion of the film in which light-sensitivesilver halides are suspended.

GIF/GRAPHIC INTERCHANGEFORMATFormat used by to assist users in utilizing graphic


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MANUAL OVERRIDEA feature on some electronic cameras that al-lows a photographer to select either the shutterspeed, the aperture, or both independently ofthe exposure system.

MATTEA paper with an emulsion that does not reflectmuch light. See also glossy paper

MEMO HOLDERA bracket on the camera back where the filmbox lid can be held in place.

MERGERThe part of a photo that merges with anotherpart (or the border) unintentionally often gen-erating distracting results.

MOTOR DRIVEAn electronic motor that speeds up the film ad-vance. Also called a power winder.

NEGATIVEDeveloped film; an image where dark areas ofthe actual scene appear light and light areas ap-pear dark.

NEGATIVE CARRIERThe part of the enlarger which holds the nega-tive in place during the enlarging procedure.

NEGATIVE SHEETSeveral negatives contained in a carrier, usuallymade of transparent plastic, designed to assistin making contact sheets and filing.

NIEPCE, NICEPHOREFather of photography; took the first picture in1826.

NORMAL LENSA lens that records an image with approximatelythe same angle of view as the human eye; a 50mm lens is considered ‘normal’ for most 35mmcamera.

OVER DEVELOPMENTDevelopment longer than the recommendedtime at a given temperature and agitation rate;causes increased contrast, graininess and chemi-cal fog; commonly caused by hot developer. Seepushed processing

OVER EXPOSUREAn exposure which allows more than the re-quired amount of light to reach the emulsion;causes a loss of detail in the highlight areas.

PANCHROMATIC FILMFilm that is sensitive to all visible colors of lightand renders them tones similar to those visiblewith the human eye. See also orthochromatic film

PANNINGA photographic technique where the camera ismoved at the same speed and direction as thesubject allowing the subject to remain sharp butblurring the rest of the picture.

PARALLAXThe difference between what is seen in theviewfinder and what is recorded on the film; a

common problem with rangefinder or twin lensreflex cameras.

PC CORDAn electrical, wired connection between a flashand camera that allows the flash to be fired atthe appropriate time after the shutter release ispressed.

PHOTO CREDITPart of the photo caption which states the nameof the photographer or the organization respon-sible for the photograph.

PHOTOGRAMA print made without a negative by positioningobjects between a light source and the photo-graphic paper.

PHOTOJOURNALISMA genre of photography which includes photo-graphing people involved in news events.

PICT/PICTUREA graphics standard for object oriented files(from picture).

PIXEL/PICTURE + ELEMENTThe smallest unit that makes up an image on acomputer screen; the smallest unit of a digitizedphoto.

POLARIZING FILTERA type of filter used when taking pictures toblock out the reflections off non-metallic sur-faces. Also useful for blocking reflections offwater in the atmosphere, darkening blue skies.

POLYCONTRAST FILTERA type of filter used in enlarging that, togetherwith polycontrast paper, allows the user to alterthe contrast of the image without having to usea different type of emulsion. Also known asmultigrade filters.

POSED SHOTA photograph that is set up by the photogra-pher. See also candid

POSTSCRIPTA page-description language developed byAdobe Systems for use in laser printers and otherhigh-quality output devices.

PPI/PIXELS PER INCHA type of measurement of resolution for dis-play purposes.

PRINTA reproduction of an image made with tonescorresponding to those in the actual image. Alsotermed a ‘positive.’ See also negative

PRINT DRYERAn electrical device used to dry prints usingwarm, forced air.

PRINT TONGSDevices used in the printing process which per-mit a person to move prints from one tray tothe next without having to get chemicals on theskin.

PUSHED PROCESSINGA technique used when developing film to in-

crease the actual effective speed of the film byover developing it. Usually used for pictures shotin extremely low light situations without artifi-cial lighting. Increases contrast and grain.

REELA device used in film developing to allow chemi-cals to reach all areas of the film evenly; madeof stainless steel or plastic.

REFLECTEDRefers to light that bounces off a subject.

RESIN-COATED PAPER (RC)Photographic paper coated with clear plastic. RCpapers require shorter processing times than fi-ber-based papers.

RESOLUTIONThe term used to describe the amount of data,or color information, in a scan, a stored imagefile, a screen display, or a printed image.

RETICULATIONCracks in the emulsion caused by temperaturevariations during processing.

REWIND BUTTONA small button in the base of an adjustable cam-era that releases the take-up spool so that thefilm can be rewound into the film cassette.

RINSEA procedure in the development of paper orfilm designed to remove one chemical beforeimmersion in another or before drying.

RULE OF THIRDSA technique used to determine the placementof the subject. When the viewfinder is dividedinto thirds both horizontally and vertically, thesubject goes at the intersection of any two lines.

S-CURVESA technique which uses elements in a photoshaped in curves to grab the reader’s attention.

SAFELIGHTA device which emits light of a wavelength towhich photographic materials are not sensitive,often amber.

SCANNERThe

SCRATCH-RESISTANT COATINGThe portion of film designed to make it lesssensitive to scratches.

SCREW MOUNTA threaded mounting for attaching a lens to acamera body; most modern cameras and lenseshave bayonet mounts.

SELECTIVE FOCUSA technique which renders only certain elementsin a photograph to appear in focus by using widef/stops which give low depth of field.

SELF TIMERA part of a camera a delays the opening of theshutter after the shutter release has been pressed.

SHUTTER


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The part of the camera that opens, allowing lightcoming through the lens to reach the film.

SHUTTER RELEASEThe portion of the camera that when pressedopens the shutter and exposes the film to light.

SHUTTER SPEEDA measurement of how long the shutter willremain open allowing the light-sensitive emul-sion to be exposed to light. Measured in frac-tion of a second.

SHUTTER SPEED DIALThe portion of the camera which allows the pho-tographer to set the appropriate shutter speed.

SIDELIGHTINGLighting that illuminates one side of a subjectmore than another.

SILVER HALIDEThe light-sensitive part of film or paper. Chemi-cally, a silver halide is a compound of silver andeither fluorine, chlorine, bromine or iodine.

SINGLE-LENS REFLEX (SLR)A type of camera which allows a photographerto see the subject through the same lens as lightwill pass when the film is exposed. See also twinlens reflex camera and rangefinder

SLOWA term that refers to a long shutter speed. Alsoa relatively insensitive film.

STEICHEN, EDWARDTogether with Alfred Stieglitz, founded thePhoto-Secessionists in America in 1902. Dur-ing his lifetime, he helped America discover,through Stieglitz’s galleries, such artists and pho-tographers as Picasso, Monet, and Rodin. Helater became staff photographer for CondeNast, creating new and unique fashion photog-raphers. During WWI and WWII, he was a pho-tographer for the U.S. Armed Forces. DuringWWII, he was director of photography in thePacific theatre. He later became the director ofphotography at the Museum of Modern Art inNew York City where he organized one of itsmost famous exhibitions: ‘The Family of Man.’

STEIGLITZ, ALFREDOne of the most influential photographers whoever lived. He brought the impressionistic styleof photography from Europe to Americathrough the organization of the Photo-Seces-sionists. He would later lead the way to straightphotography by recognizing and promoting thework of such photographers as Paul Strand,Edward Weston and Ansel Adams. He openedthe first photography gallery in New York Cityand helped to establish the first department ofphotography at an American museum. Duringhis entire lifetime, he fought for photography’sacceptance as an art form. He was married tothe artist, Georgia O’Keeffe.

STOP BATHAn acidic solution used to stop the action ofthe developer.

STOPPED ACTIONMoving subjects photographed with fast shut-

ter speeds so they appear stopped.

STRAND, PAULAn American photographer who began work-ing in the early 1900’s on a style of photographythat became known as ‘straight’ photography.His early photographers of candid street sceneswould influence photographers for the next 30years.

SUBORDINATE ELEMENTSElements which a viewer sees after viewing thedominant element.

TALBOT, WILLIAM HENRY FOXCredited with creating the negative/positiveprocess

TANKA light-tight device made of metal or plastic intowhich film or paper is placed for development.

TECHNICAL QUALITYRefers to the qualities in a photo which resultfrom things other than composition, includingexposure and proper development.

TELEPHOTOA lens with a narrow angle of view allowing dis-tant objects to fill the frame.

TEST STRIPA small piece of photographic paper exposedto light for various intervals to determine theproper exposure time.

TEXTUREThe quality of a photograph’s compositionwhich makes it appear as though it will feel likeanother material.

THINNegatives that are underexposed or underde-veloped are said to be ‘thin’ because they trans-mit more light than an ideal negative. See alsodense

TIFF/TAG IMAGE FILE FORMATThe most common format for saving scannedimages; a graphics standard for high-resolution.

TIMED EXPOSUREAn exposure of unusually long duration oftentimed by the photographer rather than the cam-era.

TIMERA device used to aid a photograph in gettingaccurate exposures or development times.

TONEAn quality of composition produced by thecombination of light, shade and color.

TRAYSContainers used in the darkroom used to con-tain chemicals and into which prints (or film)are placed so they can be in full contact with thechemical.

TRIPODA three-legged stand on which a camera can bemounted.

TWIN-LENS REFLEXA type of camera which has two lenses, one forviewing the subject in preparation for taking thepicture and one through light passes beforereaching the film.

UNDER DEVELOPMENTDevelopment shorter than the recommendedtime at a given temperature and agitation rate;commonly caused by cold developer or ex-hausted chemicals.

UNDER EXPOSUREAn exposure which allows less than the requiredamount of light to reach the emulsion; causes aloss of detail in the shadow areas.

WESTON, EDWARDBegan as a successful portrait photographer inHollywood, he destroyed all of his negatives andmoved to Mexico for four years to rethink hisphotographic style. Together with Ansel Adams,Imogene Cunningham and others, he helpedfound Group f/64. The first photographer toreceive a Guggenheim Fellowship, he is bestknown for his landscapes, nudes and still lifesof peppers. He photographed for completesharpness and detail in his images, insisting onextreme depth of field, contact printing his 8x10negatives, mounting on white board and not re-touching or manipulating the image at all.

WETTING AGENTA chemical used to reduce surface tension of afilm and promote even drying.

WIDE-ANGLEA lens with a wide angle of view allowing morenearby objects to fill the frame.

WORKING SOLUTIONA mixture of a chemical in water that is readyto be used.

ZOOMA type of lens with multiple focal lengths asopposed to a fixed lens.


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RESOURCESn

Burchfield, Jerry. Photography in Focus. 5th ed.,1998. Available from: NTC/ContemporaryPublishing Co. 4255 W. Touhy Ave.Lincolnwood, Ill. 60646.n

Dennis, Ervin A. Applied Photography. 2nd ed.,1993. Available from: Delmar Publishers. (Stateadopted text for Communications Graphics).n

DuBoff, Leonard D. The Law for Photogra-phers. 1995. Available from: JEA Bookstore.n

Hargrave, Sean. Sports and Adventure Photogra-phy. 1995. Available from: JEA Bookstore.n

Hilton, Jonathan. Action Photography. 1997.Available from: JEA Bookstore.n

Hoy, Frank P. Photojournalism: The VisualApproach. 2nd ed. Englewood Cliffs, NJ: Prentice-Hall, 1986. Available from: Prentice-Hall, 800/922-0597.n

Hughes, Jerry. The World’s Simplest PhotographyBook. 5th Ed. Dallas: Phillips Lane Publishing, 1993Available from: JEA Bookstore.n

Kruger, Wendy. Photo Editing: Making GoodPhotographs Great. 1997. Available from: JEABookstore.n

Lewis, Greg. Photojournalism: Content and Tech-nique. Dubuque, IA: William C. Brown Publishers,1991. Available from: JEA Bookstore.n

Nelson, Terry. Yearbook Photography. Montgom-ery, AL: Herff Jones, 1993. Available from: Herff Jones,800/453-2813.n

Peterson, Bryan. Understanding Exposure. 1990.Available from: JEA Bookstore.n

Stark, Rosalind. Is Seeing Believing?. 1996.Available from: JEA Bookstore.n

Wilson, Bradley. Camera Ready. Austin: Hoorayfor High School Journalism, 1989.

CONTRIBUTORS

• Lynda Farabee, Levelland HS(Levelland, TX)

• Susan Komandosky, Round RockHS (Round Rock, TX)

• Mark Murray, Arlington I. S. D.(Arlington, TX)

NOTESPhotojournalism is one of the most funand challenging courses a teachercan ever teach. There is no greaterreward than teaching students to seethe world around them.

Bradley WilsonApril 1994

Updated, revisedand converted

to TEKS byNyla WatsonPearland H.S.

Susan RobertsLa Porte H.S.September

1998

OFFICERSSUSAN ROB-ERTSPRESIDENTLa Porte HS(La Porte, TX)

JANET ELBOMPRESIDENT-ELECTJohnston HS(Austin, TX)

NYLA WATSON,TREASURERPearland HS(Pearland, TX)

NORMAFITZGERALD,SECRETARYLos Fresnos HS(Los Fresnos, TX)

BOBBYHAWTHORNE,STATE DIREC-TORUIL State AcademicDirector(Austin, TX)

PAT GATHRIGHT,CONVENTIONDIRECTORMacArthur H S(San Antonio, TX)

RANDYVONDERHEIDPAST PRESI-DENT

RHONDAMOORE,EXECUTIVEDIRECTORBowie HS(Austin, TX)

TAJE

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For further info:Kodak1-800-242-2424Ilford1-800-535-9205

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