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SS0516 A
EDITION A
6 Credit Hours
SUBCOURSE OVERVIEW
This subcourse reflects the doctrine which was current at the time it was
prepared. In your own work situation, always refer to the latest official
publications.
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TABLE OF CONTENTS
Section Page
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Section Page
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LESSON 1
INTRODUCTION TO PHOTOJOURNALISM
OVERVIEW
LESSON DESCRIPTION:
In this lesson you will learn how to define an event as news, be given basic
guidelines on how to obtain sharp images of moving subjects, and learn to
choose the best film and lens for news/sports action. You will learn to
tell a story with your pictures, using basic layout composition, idea
development, research, and script planning. You will define a photo essay
and a picture story. You also will learn various photographic techniques
that lend themselves to portraying interpretive or subjective ideas.
REFERENCES: The material contained in this subcourse was derived from the
following publications: TM 11-401-2, STP 11-25S13-SM-TG, and
Photographer's Mate Training Series NAVEDTRA 373-02-45-83, MOD
2.
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INTRODUCTION
This subcourse will not turn you into a full-fledged photojournalist like
Robert Capa or Margret Burke White overnight, but it will get you started in
the right direction. Many people learn to do specific photographic jobs
technically correct. A school photographer may shoot hundreds of pictures a
day against a fixed background with fixed lighting and exposure; or a
military photographer may excel in recording damage to equipment; another
may consistently produce aerial photographs with sharp detail. Are these
people only good technicians or merely good craftsman? Who then, are the
photojournalists?
These are the ones who can sense and capture the feeling and emotions of a
situation and transfer them through his pictures to the viewer. A fashion
photographer can make you desire the latest style in a gown. The news
photographer is able to capture and make you feel the tragedy of an accident
or the joy in the face of child. A combat photographer can make you feel
the anguish of war. These are the photojournalists!
1. News.
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(3) Consequence. Does it affect the majority of the people rather
than just a few?
(6) Conflict. Depicts man against man or man versus nature and the
elements.
(8) Progress. Good news that shows a change for the better.
2. News Coverage.
(1) Normally a spot news event requires that you work at top speed
and under the pressure of a deadline. This is a time when mastery of your
equipment and technical competence is a key factor. Your own movement and
control over the subject may be limited; however, you are still expected to
obtain complete coverage.
(2) Complete coverage may include long, medium, and close-up views.
You may be limited to camera angle, choice of lens from your equipment bag,
and the instant of exposure. Considering the environment of a spot news
event, it may very well be the most difficult event to photograph.
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(1) General news events may include sporting meets and ceremonies
such as a change of command, awards, advancements, ribbon cutting, etc. You
will know what, where, when, and who about the event and have some idea of
the type of photographs needed.
(2) You will be able to roughly preplan the coverage, but maintain
some flexibility to decide the exact pictures to take during the event. You
will probably still have a deadline to meet, but these will generally not be
as short-fused, as those for spot news.
(a) Even a posed picture can have action and interest. Avoid
dull, static pictures of people looking into the camera. Plan and shoot for
action, such as shots of a speaker making gestures, audience's facial
reactions, applause, people shaking hands, etc.
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(b) It is not easy to capture action in pictures because people
have a tendency to “ham” or look at the camera. By understanding the
importance of action in your pictures and the abundance of action available
everywhere, you will soon become adept at recognizing and capturing it on
film.
Figures 1-1 and 1-2 illustrates action pictures. In figure 1-1, the
photographer panned with the action which “froze” the player but blurred the
background. In figure 1-2, the photographer kept his camera trained to the
action. A fast shutter speed “froze” the action in place.
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Figure 1-2. Baseball action picture
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Figure 1-3. Crowd reaction shot in a sports event
There are several things you must be aware of and take into your
calculations when photographing subjects in motion: speed of the subject,
angle of travel relative to the film plane, the subject's distance from the
camera, and lens selection.
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b. Angle of Travel Relative to Film Plane. Subject movement matters
most when the subject of the photograph is traveling parallel to or across
the film plane. If a subject is traveling straight toward or away from the
camera at 50 mph, it will appear as if it is hardly moving and will record
as a sharp image on the film. This is true even at a shutter speed as slow
as 1/60 of a second. However, if that same subject was traveling across the
field of view or parallel to the film plane, its speed would be quite
apparent in the blurred image produced on the film. To eliminate the
blurring, you must use a faster shutter speed, such as 1/1000 of a second or
faster. Refer to the chart in figure 1-4.
d. Lens Selection. Another factor that you must consider for action
shots is the lens selection. You may use a variety of lenses in sports and
action photography, depending on your distance from the action.
(1) For sports like boxing, wrestling, golf, or activities where you
can get close to the subject, a normal angle lens, or on occasion a wide
angle lens, can be used.
(2) The preferred lens for field sports is the long focal length
(telephoto or zoom) lens. By using a long lens, you can bring the subject
action up close. The inherent shallow depth of field of these long focal
length lens can also help you isolate the subject (separate it from
background and foreground). There are technical problems which you should
be aware of when using a long focal length lens.
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Figure 1-4. Action stopping shutter speeds for normal
focal length lenses
50mm 1/60th
105mm 1/125th
200mm 1/250th
300mm 1/500th
(1) You may further ensure sharp images by using either a monopod or
chestpod. A monopod, unlike a tripod, has only one
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leg. It provides a steady camera support for long lens use but is easy to
move rapidly from position to position. A chestpod does have three legs but
they are short and mounted under a swivel head which allows you to brace it
against your chest and provide firm support for your camera.
(b) Both color and black and white films come in these faster
emulsions. The advantage to you as the photographer is that you can make
action photographs under natural or existing light.
(d) Remember the “sunny f/16” rule. Set your f/stop at f/16 and
use the reciprocal of the ISO to determine your shutter speed. Using a
color film with an ISO of 400 gives a reciprocal of 1/400 of a second.
Select the shutter speed closest to the reciprocal. The closest on most
cameras will be 1/500 of a second. You will now be able to stop action and
obtain sharp images.
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(1) By selecting shutter speeds slower than those that completely
freeze all the action in a scene, you may obtain blurring that will impart a
greater feeling of motion to your viewer. For example, a picture of a
baseball pitcher may show his head and body in sharp detail while his
pitching arm is blurred, or a soldier running may be sharp except for his
legs. You may have to experiment and practice with this technique.
(2) “Panning,” or following the action with the camera, will give you
a sharp image of the subject and create a blurred background. For example,
an aircraft on its takeoff or a crash vehicle speeding to the scene of an
accident.
(3) To get the feel of this method, practice with an empty camera.
Simply pivot at the waist, keeping the camera lined up on the passing
subject. Remember, these techniques require practice to master. Figure 1-5
illustrates panning.
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PART B - PICTURE STORY
A picture story is a complete unit which you plan, research, and often
support with text and captions. It presents an in-depth account of an
interesting and significant event, personality, idea, or other topic.
b. If the idea is good and you support it with good photography, you
have an excellent chance of producing a professional story. If the idea is
poor and the planning weak, no amount of photographic skill or technical
perfection will make it better. Look at the foldout of figure 1-6 for a
sample picture story. In this picture story, the lead photo introduces the
subject. There is a beginning, middle, and end. The photos lead into the
layout. The last photo provides “closure” by facing to the left, directing
the eye back to the beginning.
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Figure 1-6. Picture story
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Figure 1-6a. Picture story
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In this subcourse, we will discuss composition in terms of how your pictures
must relate to each other and allow the viewer to follow the story line from
beginning to end. Each picture must have visual appeal and clearly
communicate an idea or feeling that relates to the point or theme of the
story. This relationship is called continuity. Five continuity types that
are frequently used to hold picture stories together are as follows:
(e) A general classroom scene showing the students seated and the
instructor using the chalkboard.
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(1) Each image is closely related to the one that precedes it and to
the one that follows. The photographer must display the pictures in
sequence.
(2) The first picture should have the visual impact to grab the
readers' attention, the middle pictures should be informative, and the last
picture should impart a definite feeling of conclusion.
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Now that you understand the various types of continuity and how they help
communicate the theme of your pictures, let us look at some things that all
good photojournalists do before they even pick up their cameras.
Research is one of the most important steps in doing a picture story. You
must have some knowledge about your subject. Before you outline the
shooting script and load your camera, you need to learn as much as possible
about the place, situation, object, and people involved. The more
complicated the story the more in-depth research you will have to do. This
is when you will flesh out that idea, clarify the objective of the story,
and gather information from which to write the shooting script, captions,
and supporting text. The following steps will help you to efficiently and
effectively produce a top quality picture story.
d. Stay with your subject until you are fully satisfied that you know
and can anticipate the next probable move or step that may occur. Watch for
facial expressions, gestures, and mannerisms which may be useful in the
development of the story.
Don't short change yourself by skipping any of these steps. Some stories
may require only a few hours of research while others may take days. Once
you have completed your research, sit down and prepare your shooting script.
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cross-country flight must have a flight plan. The shooting script, like the
carpenter's blueprint and pilot's flight plan, is essential to you as a
photojournalist. It enables you to visualize the entire picture story
before you start taking pictures.
(1) The shooting script will help you identify weak areas, gaps, and
avoid including material which may cloud the main point of your efforts. If
properly prepared, it will keep you from wandering about or getting
sidetracked once you start taking the pictures for your story. With its
use, you are not likely to forget a key element or lose track of your main
idea.
(2) You must remember that the shooting script is only a guide. It
is not carved in stone, it's not binding. Don't let it stifle your
creativity once you begin shooting. Be alert to developments and actions
that offer new perspectives on pictures that may enhance your picture story.
(3) Having too many photos when you begin composing the layout is not
a bad thing. Having too few can necessitate your going back to shoot more.
(4) Remember that the time you spend preparing your shooting script
is compensated for by the time and possible confusion you save while you are
shooting the job.
(2) WHAT. Describe the exact nature of what the subject will be
doing in support of the overall theme of the picture story.
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(3) WHEN. List the dates and times that the subject will be
photographed. Coordinate this with the subject or point of contact to
ensure subject is available when specified.
WHAT: Instructor in the field with students. Shoot between two rows of
students from a low angle to separate subjects from background.
WHY: To show the reader the size of the class and the method used to
acquaint students with the Speed Graphic.
WHAT: Instructor working with two students, adjusting the Speed Graphic or
pointing out to the proper method of viewing a scene. Use shallow depth of
field, about waist level camera position.
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WHY: To illustrate instructors' interest in their students.
(4) Shot 4. Medium shot, long focal length (105mm), off camera-
flash.
(5) Summary. Carry out this format and plan each picture you have
visualized in your mind while conducting the research. Keep in mind that
you can change this as the situation warrants. You can even add new picture
ideas or delete some. The script is only a guide. Figure 1-7 illustrates a
simple picture story sketch from an assignment to photograph a newly-opened
bowling alley.
(1) Interest. The leaders must gain something from the story or they
will not read it.
(2) Impact. Your pictures must have impact. That "something" which
appeals to the eye, catches attention and holds it.
(4) People. Focus on people. Whatever your story, the chances are
that it can be made better and more interesting if it is told in terms of
people doing things. Readership tests have shown that people are interested
in people.
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Figure 1-7. Picture story sketch
Your picture story, like all good picture stories, must have certain key
elements; a beginning, a middle, and an ending.
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b. The middle (body). The body of the picture story should proceed in
a logical order, with each picture contributing something fresh and
significant to the development of the story line. You should vary in the
body with long shots, medium, and close-ups. You should vary the angle or
perspective of the shots. Within all of this variety, you must maintain a
continuity which enables your readers to proceed smoothly from the beginning
to the end without becoming bored or confused.
c. The ending. The last picture of the story is the second most
important photograph. This photograph should present a feeling of finality
and enable the viewer to arrive at the desired conclusion.
The Army is a vast reserve of picture story ideas that lend themselves to
keeping the Army in the public eye.
b. What the Picture Essay Requires. Like the picture story, creating a
picture essay still requires an idea, research, and planning. You will have
to decide just how subjective you want to be. Will you use a broad
interpretation or a tightly knit, artistic approach? What technique will you
employ?
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Figure 1-8. Picture essay
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Figure 1-8a. Picture essay
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(2) The picture essay uses pictorial interpretation techniques to
portray the feeling or emotion the photographer wishes. A few that you may
want to consider for inclusion in your shooting are:
(a) Infrared. You can use black and white infrared film to
transform a landscape from a dull photograph to a thing of beauty. Because
of the amount of infrared radiation absorbed or reflected by the subject,
infrared film renders unnatural tones compared to the same subject
photographed on regular black and white film. (When you use infrared, film
foliage and grass appear lighter than normal because chlorophyll strongly
reflects infrared radiation.)
(f) Image Distortion. When printing, you can use image distortion
to create odd angles and give unnatural appearance to your subject. You can
accomplish image distortion by tilting or arching the printing paper during
exposure. This provides an uneven surface for the projected image and
distortion is the result. You can also use this technique to correct or
reduce unwanted camera distortion.
Whichever technique you choose to use, do it with good reason and not just
to doctor poor pictures. Remember, you are limited only by your own skill,
creativity, and imagination.
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PART D - BASIC PHOTOJOURNALISTIC TECHNIQUES
11. Photojournalism.
a. You must know and understand your subject. You can not communicate
information about a subject with which you are not familiar. It isn't
necessary that you like the subject, but unless you understand your subject,
how can you expect someone looking at your pictures to understand it?
"All people are different," no two alike. To photograph people, you must
understand their individual differences and explore "in-depth" the world in
which they work, play, and live. Not the world, but their world.
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(4) What do I wish to show in my pictures?
b. Your list of questions could be endless and you can't stop to get
all the answers. Be sure, though, to ask enough to get the subject clear in
your mind and decide what and how you want to communicate to your viewer
about the subject.
You have completed your research, gained some understanding about your
subject, and wrote out a flexible shooting script. You are ready to start
shooting. Think again. No photojournalist worth his silver halides heads
out to a photo assignment without inventorying and thoroughly checking his
gear.
You and your supervisor would be very unhappy if you lost a picture or maybe
a whole roll of pictures because a piece of gear did not work. Equipment
checks should become a routine part of your approach to every job. Build
your own preventative maintenance kit and keep it in your camera bag. The
following is a list of basic things to put in the kit.
Items
A lint-free cloth.
A small container of denatured alcohol.
Cotton swabs in a clean plastic pill bottle.
Jeweler's screwdriver.
Pencil or typewriter eraser.
Lens tissue.
A soft bristle brush 1/2" wide.
One dozen toothpicks.
You start by finding a clean work place with good light. Then proceed as
follows:
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on the bottom base plate for hidden screws. Be careful not to over-tighten.
c. Ensure there is no film in the camera. Open the back and continue
your inspection for loose screws in the film supply and take-up chambers.
e. While you have the camera open, you can make a quick shutter
function test. Open the f/stop to wide-open. While looking through the
back of the camera, cock and fire the shutter several times at each speed
setting. You can watch the shutter cycle from closed to open then closed
again. This works with both focal plane and between the lens shutters. You
should see a change in the time of the cycle as you work your way through
the speed settings. If not, see your camera repairman.
f. You should next make a lens aperture check. Set the shutter speed
on "B." Wind and trip the shutter. It should remain open. While viewing
the aperture leafs, rotate the aperture ring through its full-range and
back. The aperture should maintain a circular shape as it gets smaller and
larger, as you turn the ring. If it does not, see your camera repairman.
g. If your camera has an automatic aperture stop down feature, you can
run this check. Set the f/stop at 11 or 16 and the shutter speed at 1/2
second or one second. Wind and trip the shutter while again looking through
the open camera back. The aperture should move smoothly from open to the
present aperture without a stop or hesitation.
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(1) Turn on the meter and set an ISO film speed of 400 in the camera.
Aim the camera at a subject of average brightness and balance the meter
needle for correct exposure of that subject. Now aim the camera at a
brighter light subject and then a darker one. The meter is functioning if
the needle responds, or the f/stop or shutter speed changes on automatic
cameras.
(2) You can even make a reasonably accurate check on the accuracy of
your meter on a bright, sunny day. Set your f/stop at f/16 and convert the
ISO to a fraction. For example, using ISO 400 film coverts to 1/400. The
closest shutter speed is 1/500 of a second so set the shutter speed at
1/500. Point the camera at a lawn, the pavement, or the side of a building.
They must be in the sun. If the meter indicates an exposure of f/16, plus
or minus a half f/stop, it is working properly and is fairly accurate.
WARNING
(1) To clean the mirror, blow or lightly brush off dust with a soft
brush.
(2) Use a cotton swab or lens tissue to clean the viewfinder glass,
camera lens, and filters.
CAUTION
(3) If you use a cleaning fluid, lightly dampen a swab or lens tissue
and then gently wipe the glass surface clean.
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14. Techniques.
Let's discuss a few technical aspects you might want to consider. Once you
have a visualization of your subject and how you want to present it to your
viewers, you should consider what film to use, what lenses for what effect,
and your lighting. You will have made many of these choices while preparing
your shooting script.
a. Every photographer has experienced the time when he has seen a shot
he wanted, but when he put the camera up to his eye, he found that the
faster shutter speed for the lighting conditions was too slow to hand-hold.
The photographer has to make a choice:
Change the ISO of the film allowing him to use faster shutter
speeds.
b. You decide passing up the shot is out of the question. Unless you
carry a flash and some sort of camera support, you choose to change the ISO
of the film. This situation can be avoided or planned for while conducting
your research and preparing the shooting script.
c. You may choose and plan to increase film speed or "push" the film
and process accordingly. "Pushing" film is assigning it a higher ISO.
(1) Keep in mind that once you change the ISO, you must expose the
entire roll at the new ISO to avoid variations in exposure and development.
When you "push" film like this you are simply underexposing and
overdeveloping to produce a printable negative.
(a) You are using a film with an ISO of 400 in low light
conditions that indicate an exposure of 1/15 of a second at f/2 (too slow to
hand-hold). If you double the ISO to 800, the film can be exposed at f/2.8
or at 1/30 of a second. You can even go one step further and rate the ISO
to 1600. You
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will now have two additional f/stops or two faster shutter speeds available
above the original at ISO 400.
(b) Remember to expose for the shadow detail when pushing film
because it is the first thing affected by this technique.
(3) You can not forget the second half of the "pushing" technique,
overdeveloping. By overdeveloping, you compensate for the lack of exposure.
(b) There are several developers on the market which give good
results when push processing. A few of these are Acufine, D-76, and Ultra-
Fine Grain (UFG). Acufine and UFG are compensating developers. They
effectively increase a films tonal range while controlling contrast.
Many photographers use a variety of focal length lens for convenience or for
effect. You, as a photojournalist, must be aware of the apparent
distortions and perspective changes different lens produce, and how they
influence your message.
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(1) This lens produces an image in which the relative size of objects
appears the same as they would to the eye. Also the sharpness of near and
far objects (depth of field), relative to the point of focus, matches that
seen by the eye.
(2) The normal angle lens is used effectively when the subject matter
is not confined to limited space. If there is room to move around the
subject and placement is all that is required, a normal angle lens can be
used effectively.
b. Wide Angle Lens. The wide angle lenses cover a field of view of 45
degrees or more. Extreme wide angle fish eye lens covers up to 75-degrees
field of view.
(1) You will be able to stay close to your subject and put a lot more
of your subject on the film using these lenses. They are very handy and
effective in tight places. Perspective is often exaggerated and distorted.
(2) Combined with the extreme depth of field, you can present your
subject in unusual and interesting ways which reinforce the feeling you are
trying to portray. Consider a low-angle view taken with a 28mm lens of the
muzzle of a 155mm Howitzer. It would make the muzzle look awesome and give
the viewer a feeling of strength and power.
c. Telephoto Lens. The long focal length (telephoto) lens has a field
of view less than 45 degrees. As the focal length increases, the field of
view will decrease.
(1) You will find these lenses extremely useful in situations where
you can not physically get close to your subject. They can reach out and
capture large images of subjects at a distance.
(2) Their normal shallow depth of field makes them an ideal lens with
which to use the "selective focus" technique to isolate a subject from
surrounding, distracting elements.
d. Lenses are tools. You can use them to portray your subject in an
interesting way, grab and hold the viewer's attention, and direct him to the
point of the subject matter.
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Figure 1-9. Normal, wide, and long lens field of view photos
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Figure 1-9a. Normal, wide, and long lens field of view photos
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Figure 1-9b. Normal, wide, and long lens field of view photos
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16. Highlight Your Subject.
a. Framing. Framing the subject gives the viewer "tunnel vision." His
eyes automatically go to the subject in the photograph because you have
channeled his vision.
(1) Anything in the area can be used for framing. The standard frame
used in outdoor pictures is the branches and leaves of a tree.
(2) Old as the framing technique is, it still works. Your prime
reason for taking photographs is to get people to look at them and feel and
understand your message. Look for things to frame your subject and focus
the viewer's attention where you want it.
Refer now to figure 1-10 for an example of a picture using the framing
technique. When framing a scene, it is helpful to think about "looking
through" something at the subject you're interested in framing. Here the
tree leaves provide a partial frame around three sides to enclose the
subject. The eye is forced to look at what the photographer intended.
(1) Focus on SSG Jones and from your light meter reading, select a
shutter speed that will allow you to open up the lens diaphragm decreasing
the depth of field.
(2) Again focus on SSG Jones. This time SSG Jones is in sharp focus
while the foreground and background is fuzzy. All the elements are still in
the picture but you have isolated your subject. Now the eyes of the viewer
will not wander off the key subject in your photograph.
Figure 1-11 shows a selective focus picture. Selective focus isolates the
subject by having the foreground and background out of focus. With a wide
aperture, almost any lens can use this technique. Here a 90mm lens was used
to facilitate the effect.
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Figure 1-10. Framing
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Figure 1-11. Selective focus
Framing and selective focus can be highly effective tools to learn and place
in your bag of tricks.
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b. Editorial Decisions. Most editors could get a job as a juggler.
Not only do they have to make decisions about your pictures such as which
ones to use, but their size, placement, and cropping. They also must
balance the use of copy, other illustrations, headlines, captions, and white
space.
a. Impact. To reach the reader, the editor must select from your
pictures the one that has the most emotional appeal and place it in a
position in the layout that stops the reader. Some viewers become
emotionally involved to the point of tears or anger. Some become
sympathetic or even become actively involved in the issue. The body and end
of the layout must maintain and support that impact.
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d. Unity. Whether the story requires one or several pages, you must
establish a unity of page elements that will continue the central theme or
idea you wish to communicate to your viewer.
(1) If you are dealing with two facing pages, you can maintain the
unity by story continuity (text) or by a headline or photograph that runs
across the gutter.
(2) If you have back-to-back pages, your last element on the first
should make your reader desire to turn the page and follow the story to its
conclusion.
(3) You will more than likely achieve this unity if your lead
elements have impact, the layout has a logical order of an easy-to-follow
information flow, and presents a feeling of balance.
a. How We Read. In our culture we read from top left and down to lower
right of a page, in smooth, back and forth loops. The top left is the
primary optical area (POA) and should be the location of our most impact,
attention-getting element. The bottom right area, the terminal area (TA),
is the goal of the eye scan and when our eyes reach this area, the mind
automatically knows from habit that the page has ended. Refer to figure 1-
12.
(1) In laying out your pictures, you must find those lines of force,
leading lines, and use them to build reader interest and force the eye to
flow with the story.
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it to go. You might ask, "How many elements should go on a page?" There are
only opinions and no rules on that matter.
d. Key Points to Remember. Your own reading habits will probably tell
you that a great number of items can be confusing. Here is a brief recap:
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(4) Elements should be arranged on the page to form an interesting
pattern for the eye to follow.
There are more than a dozen different types of layouts used in newspapers
and magazines today. Some are just slight modifications of others. What
sort of layout is best? There is no black and white, correct or incorrect
answer. Publications use different styles as the creativity of the people
on the staff varies. Significance of the subject matter also may impact on
the choice of layout. Take a look at some of the page designs illustrated
in figure 1-13.
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Figure 1-13. Page designs
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he is trying to communicate. Still some of your photographs may require
additional cropping to fit the layout or to eliminate an unwanted portion of
the photograph. There will be times when the image area is not the shape
that will best communicate the feeling or idea intended. Cropping can
sometimes focus the viewer's attention or heighten the emotional impact. In
addition, cropping is an essential element in the scaling of photographs.
(1) There are several methods to scale photographs. One calls for a
mathematical formula; methods use devices based on the principle of the
slide rule.
(a) Using your cropping L's, outline the area of the photograph
you wish to use (A). Then draw a diagonal line (B) bisecting the cropped
portion of photo.
(b) Determine the width you wish the finished picture to be (i.e.,
one column, two columns, or a given number of picas). Draw a line (C)
perpendicular to the left side of the cropped area, the desired width to the
diagonal. Line (D) is the depth of the cut. Refer to figure 1-14.
1-43 SS0516
NOTE:
If you are restricted by the depth of the space, then
draw line (D)(the first of the desired measurement)
and then line (C) will be the width of space needed.
(2) The words "caption" and "cutline" are often used interchangeably;
however, in journalistic situations "cutline" is the preferred word. To
make a cutline work, it must contain three basic elements:
1-44 SS0516
photograph to the cutline by the action it describes. It should contain a
verb written in the present tense. The reason for this is that the moment
in time captured in the photograph immediately becomes the past. The use of
a present tense verb gives the reader a sense of immediacy, as though the
reader is actually witnessing the event taking place. For example, a
cutline that reads, "SGT John Hero swims through the swirling waters of the
Colorado River to rescue six-year old Ruth Gray..." has more impact and
immediacy than one which reads "SGT John Hero swam through ......".
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LESSON 1
PRACTICE EXERCISE
The following items will test your grasp of the material covered in this
lesson. There is only one correct answer for each item. When you complete
the exercise, check your answers with the answer key that follows. If you
answer any item incorrectly, study again that part of the lesson which
contains the portion involved.
A. Prominence/oddity
B. Consequence/conflict
C. Conflict/human interest
D. Human interest/proximity
A. 1/60
B. 1/125
C. 1/250
D. 1/500
A. 52mm
B. 185mm
C. 500mm
D. 1000mm
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5. You produce a photo story showing the right and wrong things to do
while riding a bicycle on public streets. What type of continuity
should you be using?
A. Repeated identity
B. Parallel contrast
C. Simple commonality
D. Narrative chronology
6. When assigned to do a photo story on the post auto hobby shop, what
should be your first step?
A. In a logical order
B. From an objective point of view
C. With a beginning, middle, and ending
D. From your personal subjective point of view
A. "B"
B. 1/60
C. 1/500
D. 1 second
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11. When you increase a film ISO rating and overdevelop to compensate,
what side effects will you most likely get?
A. Sharper detail
B. Normal appearing negatives
C. Increased contrast and grain
D. Flat contrast and loss of detail
12. Which of the following lenses produces an image similar to what the
human eye sees when using a 35mm format camera?
A. 35mm
B. 52mm
C. 185mm
D. 400mm
13. In a picture story which covers several pages, you must develop the
desire in the viewer to turn the page and follow the story to the end.
What is this called?
A. Unity
B. Impact
C. Balance
D. Contrast
A. Identification
B. Explanation of action
C. Photographer's name and address
D. Additional background information
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LESSON 1
PRACTICE EXERCISE
1. D. Human interest/proximity
An event that has emotional elements with which the public can
empathize and also happens in their own community (page 3, para
1a(7)).
3. D. 1/500
4. A. 52mm
When you are able to get close to the action, a normal angle or
on occasion, a wide angle lens can be used (page 8, para 4d(2)).
5. B. Parallel/contrast
6. D. Find out all you can about the operation of the business
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Item Correct Answer and Feedback
10. A. "B"
With the back of the camera open, you can make an aperture
function check by setting the shutter speed on "B" and select an
f/stop of 11 or 16 and trip the shutter while watching for the
diaphragm to operate (page 28, para 13f).
12. B. 52mm
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Item Correct Answer and Feedback
13. A. Unity
Whether the story requires one, two, or more pages, you must
establish a unity of elements that will communicate the central
idea and encourage the viewer to follow the story to the end
(page 39, para 18d(3)).
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LESSON 2
OVERVIEW
LESSON DESCRIPTION:
In this lesson you will learn how to define and pose formal and informal
groups of people and choose the proper camera format, lens, and lighting.
You will learn how to set up and photograph awards ceremonies to highlight
award recipients. You also will learn to identify the types of common
awards and presentation ceremonies.
REFERENCES: The material contained in this lesson was derived from the
following publications: TM 11-401-2 and Photographer's Mate
Training Series NAVEDTRA 373-02-45-83, MOD 2.
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INTRODUCTION
1. Formal Groups.
(1) The group size is a factor that will determine what format film
you will use. Choose as large a format as practical to achieve maximum head
size for easy recognition of all subjects. You will be able to use 35mm
format for groups up to 15 people. For groups up to three dozen, 120 film
would record a larger image for better recognition of the individuals. For
groups much bigger than that, you will obtain clearer pictures with a 4x5
format.
(2) As a rule of thumb your first choice when choosing a lens for
formal group photos should be a short telephoto lens, provided you have the
room to use it. However, in any case, you have should choose a lens
slightly longer than normal for the film format. This will keep distracting
distortions to a minimum. Use the shorter focal length lens when you are
limited by the physical space available.
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(3) For a group of 8 to 12 people, you may only need a few chairs.
If the group is large (20 or more people), then you may need a method to
raise the third, fourth, and additional rows so they can be clearly seen.
You could use steps, bleachers, a hillside, or a terrace. You also may need
to know the military ranks, and if there are civilians, who is the senior.
You will want to follow military rules and customs and place people front
and center according to rank and importance. Figure 2-1 illustrates a
formal group photo.
(4) Be professional! Arrive at the job site early and ensure the
physical arrangements are correct. Measure off approximate position of
subject placement and have your camera position marked also. You may find
that the use of a tripod makes these jobs a lot easier.
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(1) If the first row has an even number of people the second should
have an odd number, one less or more then the first row. After arranging
the first row (probably seated), arrange the second with individuals looking
between the heads of the people in the first row.
(3) If the group is so large that the rows have 12 or more people in
them, you should arrange them in a slight semicircle to place each person
approximately the same distance from the camera.
(4) Pose the front row with hands and feet in similar positions,
check that hats are squared away, and all eyes are on the camera.
(a) If you have a gift for "gab," a little on-going chatter may
keep your subjects attention focused on you and the camera.
(b) Don't forget the framing technique; it can work for group
shots too. Even a member of the group (the commanding officer) can be your
foreground, with the rest of his staff scattered through out the background.
You may even want to try these ideas out with a group of buddies for
practice. Remember, the subject is the people and they are looking at the
camera. They are not involved in any action.
2. Informal Groups.
Now let's define and discuss informal groups. The informal group is
intended to depict some action or tell a story about the people in the
image.
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a. Although positioning and posing in an informal group shot is
necessarily carefully planned the results must appear casual and realistic.
Achieving this natural feeling will depend on your ingenuity. If at all
possible, limit the number of the group size to as few people as necessary
to tell the story. Three to four subjects is ideal.
b. As you compose the group, make sure everyone is engaged in some kind
of action. The various members may be seated, kneeling, or standing in a
variety of positions and need not be looking in the same direction, but they
should be looking at the point of action taking place. That point of
action, for example, may be a piece of equipment which is being worked on.
3. Lighting.
a. A single light held 2 to 3 feet to the side and higher than the
camera is adequate for small groups.
c. When you use several lights, you must meter the light output across
the full width of the group adjusting the lights until the lighting is even.
d. You will find that the best outdoor lighting occurs on hazy, bright
days during the early part of the day when the sun is at a 45-degree angle
to the horizon. It provides soft light shadows and does not cause your
subjects to squint.
f. On days that are sunny bright or when the shadows are too contrasty,
you should use the synchro-sun flash technique to fill the shadows.
4. Types of Awards.
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recognizing its personnel, and one way of showing that pride is in public
ceremonies. The ceremonies you may be assigned to cover and photograph will
fall into four basic types. These basic types are medal awards, trophies
and certificates, promotions, and reenlistments.
(c) Avoid pictures in which the presenter turns and looks at the
camera. This draws the viewer's attention off the key element, the
recipient. The most effective picture will be shot from the presenter's
right side in order to show the recipient's face and the medal on the left
pocket.
(d) If you are assigned to cover this type of ceremony with the
same presenter frequently, you may be able to get that person "keyed" to
your needs and actions so that you can shoot these pictures during the
ceremony. Figures 2-2 and 2-3 provide pictures of a soldier receiving a
medal. Notice in figure 2-2 that the presenter has moved her hands away
from the award so the camera can clearly see the action. By using an "over-
the-shoulder" angle, the photographer has a clear view of the awardee's
face.
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Figure 2-2. Medal award photo
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(2) Trophies and certificates. This type of presentation usually
involves a sports trophy, certificates of achievement, best mess awards,
etc. The recipient and the presenter are usually holding the trophy or
certificate with their left hands and shaking right hands below it.
(a) Have the subjects look at each other or the award, not
directly at the camera. Be sure the certificate or trophy is held upright.
Refer now to figure 2-4. In this photo, the photographer took control of
the situation and turned the awardee slightly towards the camera. The
results are better identification of the individual and we get to see the
certificate.
Figures 2-5 and 2-6 illustrate promotion photos. Since collar devices are
small, the photographers need to move in and ask the people pinning on the
new rank not to cover the device with their hands. One method is to stage
the action as in figure 2-5. The other method is to be watchful during the
actual ceremony, waiting for that moment where the hands do not cover the
rank as we see in figure 2-6.
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Figure 2-4. Photograph of a certificate award
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Figure 2-5. Photograph of a promotion (view 1)
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(4) Reenlistment Ceremonies. A reenlistment ceremony follows a set
pattern. The officer administering the oath and the reenlistee stand at
attention with their right hands raised as the oath is taken.
(a) The photographer must take extra caution that the raised hands
do not obscure faces or throw shadows on the principal subject.
(b) You may get your best pictures by posing the shot after the
actual event. See figure 2-7 for a picture of a reenlistment ceremony.
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Figure 2-7. Photograph of a reenlistment ceremony
5. Summary.
a. You should watch that backgrounds are not cluttered with distracting
elements. Do not pose your subjects close to the background. You can throw
the background out of focus by using a wide aperture which will give you a
shallow depth of field.
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c. You should take the standard "grip and grin" poses but plan to shoot
a few pictures of the recipient back in his work place. You will produce
more interesting photographs, and more likely, photographs that will be
published.
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Figure 2-8. Environmental portrait
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LESSON 2
PRACTICE EXERCISE
The following items will test your grasp of the material covered in this
lesson. There is only one correct answer for each item. When you complete
the exercise, check your answer with the answer key that follows. If you
answer any item incorrectly, study again that part of the lesson which
contains the portion involved.
A. 35mm
B. 4x5
C. 2-1/4 x 2-1/4
D. 6:45
4. For formal group pictures, when does the best outdoor lighting occur?
A. The medal
B. The recipient
C. The commanding officer
D. The recipient's family
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6. Who should be included with the promotee in a picture of his promotion
ceremony?
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LESSON 2
PRACTICE EXERCISE
2. B. 4x5
The larger the group, the larger the film format required in
order to obtain as large a head size of each individual as
possible for easier recognition (page 2, para 1a(2)).
You will find that the best outdoor lighting for formal groups is
on hazy bright days in early morning or late afternoon when the
sun is 45 degrees from the horizon (para 5, para 3f).
5. B. The recipient
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LESSON 3
INVESTIGATIVE PHOTOGRAPHY
OVERVIEW
LESSON DESCRIPTION:
In this lesson you will learn about various equipment, film, filters,
lighting, and techniques/procedures employed by photographers when taking
investigative photographs and in photographing aircraft and vehicle
accidents. You also will learn to document criminal scenes in order to
preserve and provide evidence for investigations and court exhibits using
special techniques. In addition, you will learn the proper equipment, film,
and lighting necessary to cover a fire to provide the investigators with
visual records and clues.
REFERENCES: The material contained in this lesson was derived from the
following publications: TM 11-401-2, STP 11-25S13-SM-TG, and
Photographer’s Mate Training Series NAVEDTRA 373-02-45-83,
MOD 2.
3-1 SS0516
INTRODUCTION
1. Aircraft Accidents.
c. Use Black and White and Color Films. As the alert photographer,
when you arrive on the scene, you should be prepared to photograph the job
with both black and white (B & W) and color films. Both films can be used
to document the overall and general area of the accident. Color film should
be used to
3-2 SS0516
take medium and close-up shots to show the extent of fire or chemical damage
and to help investigators recognize factors not easily recognizable in black
and white photographs. For instance, excessive friction between moving
parts leaves a color pattern. Close-up color pictures could tell
investigators the degree of wear, and the temperature caused by the
friction.
d. Types of Lenses and Flash Needed. You will find that a good 35mm
format camera with a long focal length lens, a wide angle lens, and a normal
focal length macro lens for close-up photography will be sufficient.
(1) The macro lens will allow you to make 1:1 images of small pieces
of evidence.
(1) General views of the scene along the wreckage pattern from the
point of impact to the point where the aircraft came to rest. Be sure to
include all marks on the ground (i.e., skid marks, burned areas, ruts, and
gouges).
(4) All major parts of the aircraft including wheels and landing gear
assemblies, wing and tail structures, and control surfaces.
3-3 SS0516
(7) All parts suspected of structural failure.
WARNING
(2) The final step you must take is to write detailed captions for
each picture identifying the part, its location and position when
photographed, date and time, plus any details that may help the
investigator.
2. Vehicle Accidents.
(1) General views. These should show the accident site from all
angles showing traffic signs and visual obstructions such as shrubbery,
parked vehicles, buildings, and existing weather conditions like rain, fog,
or snow. Take these pictures from the angle of approach of all vehicles
involved in the accident.
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(2) Road conditions. These photographs show existing icy conditions,
snow, gravel or sand, loose leaves, mud, etc., which could have contributed
to the accident.
(3) Point of impact. You should show the location where the vehicles
collided. Include as many points of view as possible, and include broken
glass and other parts strewn on the ground.
Your camera and the photographs you produce are useful tools for criminal
investigation and any legal action that may result. The photographs become
a permanent record of the crime scene. By studying your photographs,
investigators may gain information that will lead to the solution of a
crime, apprehension of criminals, and recovery of stolen property.
Additionally, your photographs may be used as evidence in court proceedings,
criminal surveillance, and in crime prevention.
With certain combinations of film, filter, and light sources, you can record
evidence that is not readily visible to the naked eye.
a. You can make fingerprints, certain dyes, and some invisible ink show
up by using panchromatic film with a yellow filter and ultraviolet lights.
b. With black and white infrared film you can photograph faded
documents and charred paper and read them where the naked eye can not. This
film will also bring out old scars and tattoo marks, see through grease,
grime, and some types of paint.
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c. Remember, when producing photographs for legal use, they must be
sharp, clear, and undistorted. You must present the facts as they are; not
your impressions.
4. Photograph Restrictions.
5. Alert Photographer.
Almost every photo lab has an alert photographer available 24 hours a day, 7
days a week to take investigative photography. An alert camera kit should
also be ready at all times and contain the following equipment and supplies:
3-6 SS0516
c. Film to include color negative and slide film, black and white
panchromatic, and infrared film.
7. Homicide.
a. Take at least two pictures of the body. These should be taken from
a standing position and at opposing angles to each other.
8. Hanging.
If you are called upon to photograph the scene of a hanging, again use the
basic scene coverage techniques as outlined above
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but add views that include the body, rope or material used, and close-ups of
any wounds or markings. Illustrate the height of the body above the floor
by having another person stand along side the subject. Include views that
show chairs, stools, etc., that appear to have been kicked out from under
the victim's feet.
9. Drowning.
Start by obtaining overall views of the scene. Photograph the entire body
from both sides from a standing position and ground level. Close-ups should
include foam about the mouth, any wounds, peculiar markings, bruises, or
unusual discoloration. Color film is the best choice to record any
discoloration.
Ever since man discovered fire it has been a blessing and when it gets out
of control, a curse. Firefighters realize the value of a photographic
record of a fire, and the ruins, in helping to determine both the cause of
the fire, and the effectiveness of the methods used to fight the fire.
Another important use of your photography is in training firefighters.
However, our objective in this lesson is to focus on photography as a tool
used to determine the cause of a fire and if arson was involved.
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(3) The fire's progress. Continue to document the fire as it spreads
and is brought under control and extinguished. Use color film to photograph
overall views that include the color and quantity of smoke and the color and
size of flames. The color of the smoke and flames often indicates the type
of material that is burning and whether an accelerant, such as gas, was used
to speed the burning. It is important to keep notes of the time each
picture is made.
(4) Once the fire is out, be prepared to photograph medium and close-
ups of the rubble in the building. Some key things that pictures will be
required of are incendiary devices and combustible materials such as match
books, paper, and liquids such as gas and paint thinner. Fuses even though
burned completely may have left a visible trail. Photograph defective
wiring and electrical and gas appliances which may have been the cause. The
investigator will point out and help you identify these things. Remember,
take notes for each picture caption.
(1) The exposure required may be two stops more than indicated by
normal exposure calculation methods. This is true even for close-ups and if
using flash.
(2) When using flash, hold the flash to the side as much as an arm
length to bring out surface texture of the burned material or heat-blistered
painted surfaces.
(4) Keep the investigator informed and let him know when you have
obtained good pictures/negatives.
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3-10 SS0516
LESSON 3
PRACTICE EXERCISE
The following items will test your grasp of the material covered in this
lesson. There is only one correct answer for each item. When you complete
the exercise, check your answer with the answer key that follows. If you
answer any item incorrectly, study again that part of the lesson which
contains the portion involved.
1. What camera and lens combinations would be best for aircraft and
vehicle accident documentation?
2. What is a good light source to have in the field for extreme close-
ups?
A. Flash bulbs
B. Photo floods
C. Electronic flash
D. Electronic ring flash
A. Skid marks
B. Point of impact
C. Road conditions
D. Aerial view of the accident site
4. What film, filter, and light combination should you use to photograph
invisible ink messages?
5. What lens should you use when taking pictures for a criminal
investigation?
A. A telephoto lens
B. A normal angle lens
C. A 110mm to 400mm zoom lens
D. An extreme wide angle lens
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6. What special views are required and specific to a homicide
investigation?
7. What is the best choice of film to show skin discoloration of the body
of a drowning victim?
A. Color film
B. Color infrared
C. Black and white infrared
D. Orthochromatic black and white
A. Defective wiring
B. Smoke and flames
C. Color of run off water
D. Charred wood in the rubble
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LESSON 3
PRACTICE EXERCISE
You will find that a good 35mm camera with a long focal length
lens, a normal focal length lens, a wide angle lens, and a macro
lens for extreme close-up photography will be sufficient. (page
3, para 1d(3)).
You can make fingerprints, certain dyes, and some invisible ink
show up by using panchromatic film with a yellow filter and
ultraviolet light (page 4, para 2a).
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Item Correct Answer and Feedback
7. A. Color film
3-14 SS0516
LESSON 4
CLINICAL/MEDICAL PHOTOGRAPHY
OVERVIEW
LESSON DESCRIPTION:
REFERENCES: The material contained in this lesson was derived from the
following publications: Photographers' Mate Training Series
NAVEDTRA 373-02-45-83, MOD 2.
INTRODUCTION
1. Clinical Photography.
Clinical photography covers several areas. The most common areas are as
follows:
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a. Actual surgical procedures to illustrate each step of the operation.
2. Technical Considerations.
(1) You may get involved after another photographer has started the
project or have to pass it to someone to finish.
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(1) When the danger of infection is high, you should be governed by
the advice of the medical staff regarding the use of masks, gowns, and
rubber gloves.
(2) As a general rule, you should always wear a gown to protect your
clothes from contamination and infectious organisms. Follow proper
procedures for disposal of these protective items after use.
c. Using a Tripod. No matter how good you are, a tripod is a must for
90% of the clinical medical photography you might be assigned to do.
a. Infrared film, when used with a blue-green filter, can show blood
circulation and some dermatological conditions by enhancing the arterial
patterns under the skin not normally visible to the naked eye.
b. Color infrared film, when used with a yellow filter, can show the
same conditions as black and white infrared film.
4. Lighting.
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b. Contour Lighting. This type of lighting is used to reveal the
volume and contour of forms and shapes.
(1) You change from flat to contour lighting by placing one light
(main light) a little to one side of the camera to produce shadows on the
subject.
(2) Place the second light (fill light) on the opposite side of the
camera and further away from the subject to fill in, but not eliminate the
shadows so detail is still visible. Light ratios from 2: 1 to 4: 1 are
desirable.
5. Background.
(1) You should not have shelves, cupboards, wall hangings, or other
people in the picture area.
(3) Attention must also be given to the color, tone, and texture, as
well as shadows that appear on the background, since they all affect the
scientific value of the picture.
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photographed. Refer to figure 4-1 for appropriate background colors.
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c. Shadows. Shadows can become a distraction in your pictures. One
way to eliminate them is to use a transilluminated background. This is a
transparent or translucent medium light from behind or from underneath,
similar to a light table. This type of background treatment produces
overall uniformity and softness. In addition, it eliminates undesirable
shadows. By varying the intensity and color of the transmitted light you
can easily produce any tone or color you desire.
6. Lenses.
(2) By not using the longer lens, you will keep the camera far enough
away to allow room to properly light the subject.
PART B – AUTOPSIES
7. Photographing Autopsies.
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c. Film Selection. Color negative and color slide films are more
commonly used than black and white. They will give the truest rendition of
the condition of the subject.
(1) You can use infrared film with different filters and light
sources to disclose details invisible to the naked eye or not recorded by
other types of film. Such items as bullet wounds on dark skin or gun powder
residue on dark clothing are vividly depicted with infrared film.
(2) Black and white film used with a green filter renders skin tones
more truthfully.
(1) Shooting the side views are easy. In order to get good shots of
the front and back, you have to get above the table so your view is straight
down on the subject. Using an 8- to 10-foot step ladder should give you the
elevation necessary.
(2) Then proceed with the help of the medical examiner and photograph
all injuries, major and minor, and any other noteworthy features such as
marks, gags, knotted ropes, etc. It is a good technique to include a ruler
in these detail pictures to provide scale. Markers or pointers can be
included in your pictures to indicate important features.
8. Surgical Procedures.
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b. Personal Protection and Preparation. Prior to entering the
operating room (OR), clean all exterior surfaces of your equipment by wiping
with a cloth soaked with rubbing alcohol with the exception of the lens
which can be cleaned with lens cleaner. Next, suit yourself up in a scrub
suit, surgical cap, mask, and conductive overshoe. These items will be
provided by the surgical staff.
WARNING
(1) STERILE.
(2) CONSIDERED STERILE. The space from the sterile areas to the
ceiling.
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(3) CONSIDERED CLEAN.
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4-10 SS0516
LESSON 4
PRACTICE EXERCISE
The following items will test your grasp of the material covered in this
lesson. There is only one correct answer for each item. When you complete
the exercise, check your answer with the answer key that follows. If you
answer any item incorrectly, study again that part of the lesson which
contains the portion involved.
A. Progress record
B. Surgical procedures
C. Gross specimen photography
D. Before and after treatment record
A. Flat
B. Contour
C. Texture
D. Backlight
A. Red
B. Black
C. Neutral mid-gray
D. Green hospital curtain
A. A ruler
B. Your hand
C. A film can
D. The doctor’s hand
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6. How do you prepare your equipment for use in the OR?
A. Steam clean it
B. Sterilize it in an autoclave
C. Expose it to ultraviolet light for 1 hour
D. Wipe it down with a clothed soaked with alcohol
7. Once the operation begins, what happens if you touch the surgeon's
shoulder?
A. Nothing
B. You must be sterilized
C. You must stop and leave the OR
D. The surgeon must rescrub to a STERILE classification
8. Who should you check with on what lights you can use in the OR?
A. The surgeon
B. The head nurse
C. The anesthesiologist
D. The hospital administrator
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LESSON 4
PRACTICE EXERCISE
2. B. Contour.
3. C. Neutral mid-gray
4. A. A ruler
For front and rear full-length photos of the body you need an 8'
to 10' step ladder to gain the elevation necessary (page 7, para
7d(2)).
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Item Correct Answer and Feedback
8. C. The anesthesiologist
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LESSON 5
ARCHITECTURAL PHOTOGRAPHY
OVERVIEW
LESSON DESCRIPTION:
In this lesson you will learn the major use of architectural photography and
the equipment and techniques used to produce it. You also will learn how to
operate the view camera, utilizing its controls to obtain proper
perspective, and correction of distortion for architectural photography.
REFERENCES: The material contained in this lesson was derived from the
following publications: STP 11-25S13-SM-TG and Photographer's
Mate Series NAVEDTRA 373-02-45-83, MOD 2.
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INTRODUCTION
With today's modern, small format, high-tech cameras that take all the worry
out of the mechanical aspects of photography, many photographers, even
professional photographers, are inclined to use their standard or "regular"
camera for every assignment. Most of these cameras do not have adjustments
that allow correction of vertical or horizontal distortions caused when you
tilt or swing from a 90-degree angle of the subject. This inflexibility
presents the subject with unnatural appearance because of excessive vertical
or horizontal convergence. The view camera is the only camera that will
give you the maximum control needed to produce images of a three-dimensional
subject without this distortion on a single plane (the photograph).
1. Exterior Photography.
(a) They can show whether the contractor did or did not follow
specifications and meet deadlines set out in the contract.
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(d) A complete construction record will require pictures taken at
regular intervals, beginning with groundbreaking to the final landscaping.
You should expect to take pictures every 7 to 14 days. You may be tasked to
take pictures more often; at the beginning or end of significant steps in
the construction, or to document specific construction details. Stay in
touch with the requestor to determine and schedule this additional coverage.
(b) When you take this type of photograph, you should take extra
effort to eliminate all distractions in the field of view. Be sure the
foreground and background are clean, that all windows and doors are either
open or closed, and that all blinds or window shades are adjusted the same.
This presents a clean image of the subject building.
(1) The main controls you have over the picture are the viewpoint and
the lighting. At best, your control of the light is a tenuous thing. You
are limited to the time of the day at which you feel the lighting is best
for what you are trying to photograph.
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(a) When shooting exteriors of buildings, your light source is
that which mother nature provides. It is constantly changing, shifting its
position, changing the shadows, and appearance of texture as it filters
through clouds.
(b) There is only one way to select the best lighting for a
building. You must study the building from different angles and viewpoints
at different times of the day and on sunny and overcast days. Make notes on
the effects you observe and choose the combination that best suits the
subject.
(b) If you wait for a slightly overcast sky, the contrast will be
less and may provide the right light for depicting the building material
texture. The light's direction governs the building's form and may help you
bring out it's characteristic features.
2. Interior Photography.
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(a) The presence of fluorescent tubes in public places means color
balance must be corrected in order to render proper color in your finished
pictures. Mixing of light sources compounds the problem. Refer to the data
sheet packed with your film to determine the correct film, lighting, and
filter combination that will render correct color.
(b) Do not shoot so late or early that the sky seen through
windows in the picture shows completely black.
3. Controlling Perspective.
Your key to perspective control for both outside and inside architectural
photography is the camera position in relationship to the subject. The view
camera with its many adjustments permits complete perspective control
without the need to move the camera from one position to another. Also,
with these controls you can prevent, moderate, or exaggerate distortion, and
extend sharpness in depth of field.
a. Need for Use of View Camera. When you photograph a building, you
usually aim the camera up to include the top. However, when you do, the
perspective appears distorted in the print. All the vertical lines appear
to be converging and no longer look parallel. This distortion is not
acceptable in architectural photography. Correct use of the view camera
will eliminate this problem.
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PART B - VIEW CAMERA OPERATION AND PERSPECTIVE CONTROL
Many photographers shy away from use of the view camera because of its bulk
and many confusing adjustments. The best way for you to become proficient
with the view camera is through practice before shooting official
photographs.
View cameras have changed little since the early days of photography. All
view cameras in use throughout the Army are basically the same. They may
differ somewhat from model to model so it would be wise for you read the
operator's manual for each of the various views you may use. However, all
view cameras have the following standard parts:
c. A rear standard, where the film is loaded, is the same as the front
standard except that on some models it may not have a rising and falling
adjustment.
d. A bellows between the front and rear standards which allows them to
be moved together or apart for focusing, and to accommodate various focal
length lenses. The bellows also maintains light-tight integrity between the
front and rear standards. It also allows extension for 1:1 and larger
images.
h. Other parts which make up the whole view camera include various
locking and adjusting knobs, focusing hood, lens shade, spirit levels, and
springs and clips to secure film holders and dark cloths.
There are only four basic movements or adjustments with a view camera. They
are as follows:
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a. Horizontal or Lateral Swing. Both the front and rear standards
swing horizontally.
(1) Using the swing back. The swing back is used to correct
distortion or perspective in the horizontal plane. When photographing
subjects from an angle, the horizontal lines have the appearance of
excessive convergence. To correct this distortion, the camera back is swung
to a position more nearly parallel to the horizontal plane of the subject.
(2) Using the swing front. The front standards swing allows the lens
to be pivoted horizontally around its optical axis. The swing front is used
to focus and increase depth of field when the swing back is swung off
center. When the swing back is off center, the film is not in the same
plane as the image produced by the lens. Thus by swinging the lens, the
image can be brought onto the same plane as the film.
b. Tilt. The front and rear standards tilt forward and backward.
(1) Using the tilt back. The tilt back is used to correct distortion
or perspective in the vertical plane. Tilting the camera up results in
convergence of vertical lines of the subject image on the ground glass.
This is quite apparent when photographing a tall building. If no correction
is used, the building looks smaller at the top (bottom of the ground glass).
To correct this distortion, the tilt back is tilted so that it is more
parallel to the vertical plane of the subject.
(2) Using the tilt front. The tilt front is used to focus and
increase depth of field when the tilt back is off-center. When the tilt
back is tilted away from the center, the film plane is not parallel to the
image produced by the lens. Thus by tilting the lens, the image can be
brought into the same plane as the film.
c. Shifts. The front and rear standards shift from side to side.
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possible to increase the correction by shifting the rear standard in the
opposite direction.
(3) Adding more correction. If this still does not provide enough
correction, aim the entire camera in the same direction as the front
standard. Use the horizontal swing (front and rear) and front and rear
shift to center the image.
d. Rising and Falling Front. As the shift front was used to center the
image horizontally, the rising and falling front is used to center the image
vertically on the ground glass.
(1) The front standard is moved up or down to center the image on the
ground glass.
(2) If enough correction can not be obtained with this method, you
can correct this by tilting the entire camera up or down and using the
tilting front or back to keep the image on the same plane as the subject.
Figure 5-1 illustrates control movements of both front and rear standards.
(1) Whenever you set up the view camera, always start with all
adjustments in the neutral or "0" position.
(2) Realize also that every time you change the position or adjust
any of the controls, you must adjust the focus and image position on the
ground glass.
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Figure 5-1. Control movements
(2) By tilting the camera back (AB to CB), the lack of parallelism
between the film plane and the subject plane is increased. This increases
the depth of field. Remember to refocus with the front standard.
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Figure 5-3. Increasing depth of field with the swing back
The view camera is the only correct camera to use for architectural
photography. Don't let it scare you. With practice, you will learn to
produce pictures of which you will be proud.
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Figure 5-4. Visual review of perspective control
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Figure 5-5. Visual review of perspective control
(horizontal image placement)
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LESSON 5
PRACTICE EXERCISE
The following items will test your grasp of the material covered in this
lesson. There is only one correct answer for each item. When you complete
the exercise, check your answer with the answer key that follows. If you
answer any item incorrectly, study again that part of the lesson which
contains the portion involved.
1. You are assigned to photograph a building site each week for 21 weeks.
Which type of architectural photography is this?
A. Planning
B. Illustrative
C. Construction
D. Inspection/survey
A. Include people
B. Print picture with a scale
C. Include a yard stick in the picture
D. Include a 12” ruler in the lower left corner
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6. When you try to center the image on the ground glass by shifting the
front standard and cannot obtain enough correction, how can you obtain
more?
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LESSON 5
PRACTICE EXERCISE
1. C. Construction
4. A. Include people
The monorail serves as the base on which all the other components
are mounted (page 6, para 4a).
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Item Correct Answer and Feedback
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