1. Photojournalism
Shay woods

2. • Photojournalism is both an art form and a form of journalism.
• From a journalism point of view a photograph should be a “faithful and comprehensive depiction of the subject”
that will allow the medium the image is used in “to reveal the truth”
• It is an art form due to the creative side where image manipulation is sometimes required. Manipulating images is
an area of high debate this being for a number of reasons these are as follows; editing can change the meaning of
the image for example sometimes an image that originally could have a light hearted feeling to it when lots of
contrast is added could become the total opposite.
• Photojournalists and media outlets try to abide by a strict code of conduct which is essentially
– Images must have the intention of depicting reality and must be genuine
– Nothing can be added to or removed from the image
– Editing must be minimal
– Images should never be posed
– Will the image offend the viewer if so do not use it
• The codes of conduct are there so as to A make sure the truth is what the audience sees and B so as to not harm
or offend the viewer this can be down even to the background story behind the image for example
– Photographer Kevin Carter in 1993 was photographing the Sudan famine, the image won a politzer prize; the image showed a
young child on the ground crawling with a bird of prey in the background, Kevin Carter waited for 20mins for the bird to spread
its wings for a more dramatic image without helping the child . So the image itself helped a cause by raising public awareness but
on the other hand the way the image was shot was done in such a way as to make the image break ethical codes of conduct a
further note on this area after shooting the photograph he lit a cigarette and sat in the shade without helping the child.
– In this situation nothing was done but in most cases when guidelines are broken photographers either lose there jobs or are
severely reprimanded in this instance the photographer due to what he saw could no longer live with himself and ended his own
life.
• A debate in photojournalism can sometimes occur over B+W images vs colour images there are pros and cons to
both B+W has far more contrast but is old fashioned the audience is more likely to go for a colour image with it
being and colour attracts attention more so than B+W. Colour is used for most images unless the image is shot in
the studio and the image is of a person and the story is touching on there past
• Cropping is debatable as cropping an image can change the meaning entirely so the image should only be cropped
if it does not effect the integrity and base meaning of the photograph.
• Captioning images is a mainstay of photojournalism as otherwise the image could be misinterpreted or even if the
caption is wrong or not worded correctly can completely change the feel of the photograph.

3. • Photojournalism is used to document significant events, a photojournalist attempts to produce the
truth objectively within there work. Photojournalism enables the viewer to observe the unknown
or forbidden or show what can be difficult to access. The first photojournalistic images taken where
during the American civil war, the main photographers to shoot this were Mathew Brady and Alex
Gardener, there work showed the aftermath of battle showing graphic images of the dead, the first
publication to take advantage of photojournalism was the Picture Post.
• The biggest name in photojournalism however is journalist and social reformist Jacob Riis originally
a NYC police reporter he set his life to exposing inhumane conditions in which the poor lived in, his
successor in the field was Lewis Hine who recorded child labour and used his work to influence
changes in child labour laws in the US.
• Photographers that basically laid the foundation of photojournalism were
– Walker evans
– Dorothea Lang
– Russel lee
– John Vachon
– Gordan Parks
– Marrion walcott
• This generation of photographers have been credited for the tide of social change in western
culture using there images to reveal emotional/provocative and controversial photographs.
• Jacob Riis won many lifetime achievement awards for his work however some of his works on child
poverty were re-enacted this was mostly down to photographic technology meant models couldn't
move without distorting the photos.
• Of the modern photojournalists the most influential was 70’s photojournalist Allen Seckula who
famously shot images of natural disasters, rioting and protests

4. Restrictions
• Photographs are heavily restricted when it comes down to it due to the many codes of practise and
legalities.
• Private property; property owners do not have the legal right to restrict a photograph being taken
from a public place unless other laws or codes of conduct restrict the photograph, if entering
private property legal consent no matter what the case must be given before the photograph can
be published.
• Restrictions on photographs in public places; there are restrictions on photographs in public places
such as military installations or other areas related to national security.
• Harassment and invasion of privacy; it is illegal to harass another person photographs can be
classed under this if someone tells you to stop taking photographs and you continually shoot
• Photographing children; children cannot legally consent and they require a parent or guardian to do
this for them, to take an indecent photograph of children under 18 this includes having things like
having a nude person in the background and a child in the image. While under 16 children cannot
be paid as models
• National security; taking photographs in sensitive areas can lead to being arrested under terror laws
most notably section 44 of the terrorism act 2000 which gives stop and search powers to the police
and the right for them to confiscate equipment and the Official Secrets Act 1911.
• Court proceedings; it is illegal to take photographs in court
• Copyright; photographs of anything copyrighted is illegal unless permission is given to publish the
image if this does not happen copyright laws take over and its a criminal offense.
• Bank notes in the UK; photographs of UK banknotes is illegal unless permission is received from the
relevant authority.

5. Camera Controls
• ISO is the sensitivity in film it would be down to the “speed” of the film however in digital it is the light sensitivity
of the sensor. The more sensitive the film and digital sensor usually the grainier the image with film being
analogue the grain is more natural with digital the image grain is a lot more square and uniformed. The lower the
ISO number the better quality the image however is the least light sensitive the higher the number the more
sensitive and the grainier the image. The grain that ISO causes can be used artistically however this is best done
with film due to the unpredictability.
• In a brightly lit area or studio the recommended ISO is 100 in a room with normal lighting ISO 400 in a darker
environment ISO 1600+
• Shutter speed can affect the image in a number of ways a slower shutter speed allows more light onto the film or
sensor of the camera however movement will create motion blur examples include light trails where this is used
the most. A fast shutter speed allows less light onto the film or sensor and is usually used in conjunction with a
large aperture for things like sports motion capture.
• Aperture controls the size of the lens opening the smaller the aperture the sharper the image however less light is
let through mostly used in studio environments and brightly lit area the smaller the aperture the higher the
number for example a small aperture will be F13.5. With a larger aperture the image depth of field is less meaning
only the focus of the image is clear the rest will be out of focus used to focus on one subject.
• Using these parts of the camera allow you to control the Exposure the higher the exposure the lighter the image
the lower the exposure the darker the image
• White balance is a key area to look at however most photo editing software will automatically correct the white
balance. White balance uses light temperature, warm lighting is more of an orange tone and the colder images is
more of a blue tone the human eye itself picks this up so on a cold day everything will look slightly bluey on a hot
sunny day things appear more orange.
• The light meter shows if the image is going to be correctly exposed the best way to get a correct exposure if not
shooting in a studio is to aim the meter at the background or the brighter area of the set and then aim at the
ground and shoot at halfway between the two readings.

6. Photoshop
• Brightness/contrast used to control the contrast in the image at a basic level the brightness is
extremely useful when adjusting the contrast to help emphasis the blacks and whites within the
image
• Levels are used to control the black and white levels of the image so blacks become deeper and
whites become brighter
• Curves controls tonal ranges in shadows mid-tones and highlights so essentially the features of the
image
• Vibrance controls how vivid the colours are and the saturation of colours
• Colour balance controls the colours CMYK colours within the shadows, mid-tones and highlights
• Selective colour controls each colour individually.
• The highpass filter sharpens the image the best technique to use when using highpass is to
duplicate the image layer use the highpass filter then use the overlay feature this keeps the
sharpness but allows it to blend into the picture rather than create blocky-ness in the image
• I had to use invert to convert my negatives to positive images, using invert can also be highly effect
when using the levels tool as it can highlight the areas a lot easier i find and help to give more
control of the image.
• The heal tool is an effective means of getting rid of blemishes etc on a person’s skin or to fix
scratches etc on an image in the images i shot on film i decided not to use this so as to highlight the
nature of film
• The clone stamp tool is similar to the heal tool however allows a more solid area and more easily
controllable for large areas

7. This is the Photoshop RAW editing program this allows a far more flexible
image control as it is essentially the basics of the image from here you can
adjust exposure, colour temp, image lights darks contrast colour vibrancy
saturation i always edit my images in RAW first then use main Photoshop for
final touch-ups ie for image repair the image editing on RAW is far more in
depth and allows more control than normal editing the image quality is also
more easily maintained when editing on here compared to jpegs where
images can become distorted

8. Colour
• Red= Danger/Anger/Romance/Blood/Energy
• Pink=Love/Feminity
• Orange=Warmth/Autumnal
• Yellow=Summery/Happiness
• Green=Jealousy/Summery/Refreshing/Enviroment
• Blue=Cold/Coolness/Calm/loyalty/Freedom
• Purple=Ominous
• Brown=Relaxing/Autumnal
• Grey=Neutral/Modern
• White=Purity/Starkness
• Black=Emptiness/Depression
• These colours are key to focus on as they appear everywhere it is also good to be aware of as they change the
entire meaning/mood of an image. This is mostly a cause for image post production as sometimes taking
photographs some images can be uncontrollable.

9. Marey
• Marey used multiple exposures rather than a long exposure to find out how things moved. He created
a camera gun so that he could produce the exposures on one piece of film, effectively capturing every
stage of a movement phase. His work led onto early cinematography/film.
• What I like about this piece, even though it is technically an experiment, is how the image flows with
the bird’s movement. The eye is taken from the top left down along the bird’s path to the bottom right.
• With my own interpretations of his work I have done a long exposure and flashing strobe to recreate
the same effect as multiple exposure on digital cannot be done. Also Marey would not have had the
use of a strobe light and therefore his gun camera would have been one of the only way to get this
done effectively.

10. My Work in the Style of Marey
• This was shot at F8 ISO 200 and was
shot at a long shutter speed I don’t
know the shutter speed due to the
fact I held the camera open on bulb.
At a quick guess, it must have been
about 2seconds, to get the multiple
exposure a flashing strobe was used.
This picture doesn’t particularly hold
any depth just what the viewer
wants to see, as it is an experiment
into a style which in its self was an
experiment to look into the
movement of objects. I do like the
effect that it gives, although maybe
a few more flashes and a wider
angle shot would have been better
suited. Something I found hard with
this style was the focus, so the shot
had to be carefully focused before
switching off the lights.

11. My Work in the Style of Marey
• With this shot I wanted to see how I
could use the strobe long shutter
speed and the darkness of the room
and background to see what I could
do. Again I used F11 ISO 200 and held
the shutter on bulb, however this time
the strobe was flashed once, the
subject then moved to shake his own
hand and then flashed the strobe
again when the subject was in position
this was fairly difficult to get the right
position for the model to move to to
make the handshake look more real
and took a few attempts even this
attempt was slightly failed seeing as
how the hands are slightly out of
position. The shutter speed for this
must have added up to about
10seconds

12. Julia Margaret Cameron
• During the early 1860’s, Margaret Cameron’s
children gave her a camera for her birthday,
This started her career as a photographer.
• She focused mainly on portraiture and
managed to capture the subject’s apparent
essence thus gave an insight into the subject.
This picture is of her maid. The shutter speed
would have been fairly long using the cameras
of the time I can also tell this due to the
subjects hair being slightly blurred due to
motion blur.
• The image is just a straight on portrait using a
natural window light on one side, giving the
image as can be seen a high contrast look.
• The subjects the she took pictures of usually
wore a dark cloak so as to bring the viewers
attention solely on the subjects face
highlighting the subjects face as it is the only
part that stands out seeing as it is what she
wants the viewer to notice.

13. My Work in the style of Juliet Margaret
Cameron
• With this picture I have brought all of the
viewer’s attention to the model’s face. She is
staring as Cameron’s subjects did.
• This image was shot at 1/60th F11 at ISO 200.
The lighting I used a soft box on a flash head
to give a more even light on her face.
• In the editing stages, to make the picture look
more from the period, I turned it black and
white and added a colour tint, I also adjusted
the colour levels to try and add more depth
and control the picture more effectively.
• I have found that when doing studio work,
since looking at the work of Cameron, I use
high contrast lighting more often with
portraits and the subject’s facial features

14. • Tim Page was born in England in 1944 he is most well known for his work photography work in
Vietnam during the war since then he has moved to Australia where he is now a lecturer in
photojournalism.
• In 1962 Tim Page left England travelling through Europe, Pakistan, Burma, Thailand and finally Laos
he did this by travelling overland once reaching Laos he ran out of money he found work with an
aid company as well as doing some photojournalism sending his work to AFP news agency. While in
Laos he managed to get exclusive photographs in the failed Coup it was news agency UPI however
that picked him up for this work and he became one of there staff photographers from there he
was posted to Vietnam where the agency had an office in Saigon where he did a lot of freelance
work.
• He covered multiple theatres of war during the 60’s ranging from Vietnam Cambodia and the
Middle East in 1967. during the 60’s he had had a near death experience in a motorbike accident he
was quoted as saying
•
• "I had died. I lived. I had seen the tunnel. It was black. It was nothing. There was no light at the end.
There was no afterlife. Nothing religious about any of it. And it did not seem scary. It was a long,
flowing, no-colour wave which just disappeared. The mystery was partly resolved, all the fearful
church propaganda took on its true, shameful meaning. I was content. I was alive. I was not dead,
and it seemed very clear, very free. This was the dawning, the overture to losing a responsible part
of my psyche. A liberation happened at that intersection. Anything from here on would be free
time, a gift from the gods’’
•
• this lead him to literally live life on the edge it was this that made him put himself into situations
that other photographers and journalists wouldn’t dream of doing he was known to be a drug
addict and this may have been how he managed to get around the fear of a situation and made him
see war as almost glamourous he was called a ‘‘a wigged-out crazy running around Page himself
talks heavily about it in his book ‘‘Vietnam’’ by BBC’s Michael Herr in relation to the program
Dispatches Tim Page after Page’’ he has been a massive inspiration to other war photographers and
also in the film industry where in the film ‘Apocalypse Now’ the journalist is based on Tim Pages
characteristics.

15. • During the 1960’s Tim Page suffered hundreds of injuries and was IIA four times the first time that
he was injured was in 1965 in Vietnam in a place called Chu Lai where he received multiple
shrapnel wounds to his legs and stomach from a mortar round, the second time was in 1966 in Da
Nang, China during the Buddhist riots where he received shrapnel wounds to the head back arms
and legs and in the same year august 1966 he was on a patrol boat when American pilots mistook
the boat for a Vietcong patrol boat Time Page received over 200wounds all over his body and was
adrift at see for 2days, his last injury was in 1969 when he jumped out of a medivac helicopter to
help load wounded soldiers on board when a sergeant nearby stood on a landmine sending a 2inch
piece of shrapnel into Pages head his injuries where so many that many of his friends and family
believed that he wouldn’t live to see his 23rd birthday however he did obviously manage this. After
his last injury he spent a year in the USA where he received masses of surgery while recovering he
worked closely with Vietnam veterans and worked as a carer. During early 1970 he worked as a
freelance photographer for music magazines such as the Rolling Stone magazine and Crawdaddy
however this was short lived after he received information that his best friend and photographer
Sean Flynn was captured in Cambodia and declared MIA for the next 10-15 years he attempted to
find friend and learn what had happened after a few years he realised that Flynn was most likely
dead and so tried to find his final resting place of which has never been found. he decided to erect
a memorial to all those in the media that where either KIA or Mia during the Vietnam war leading
to the founding of the Indochina Media Memorial Foundation and was the keystone to his book
‘Requiem’ this book contains the works of all the journalists and photographers from the Vietnam
war there is also a photographic exhibition in Ho Chi Minh city dedicated to the journalist and
photographer. Tim page went back to Cambodia in 2009 to see if he could find the fate of his friend
however couldn’t and is even today trying to find what happened and his friends final resting place.

16. • this image is over exposed in most of the image however it appears to have
been metered on the girl the image suggests commotion and rushing
around it appears to be shot on a high shutter speed and a wide aperture
which probably means that the film used was a high ISO film maybe 1600 or
3200 the image is well balanced and shows depth the depth of field seems
fairly sharp as well which is confusing to me unless a wide aperture wasn’t
what was used but with the levels of exposure that’s what is suggested the
image was shot on location so the lighting is all ambient lighting. The image
shows dispear on the figures face the image was used in newspapers and
magazines to show what was going on during the war.

17. • this image shows soldiers under fire while casevac helicopters land to retrieve the wounded the
image has a massive amount of atmosphere and with the soldiers running around medics helping
the wounded and the lone soldier assisting the helicopter to land the dust has been kicked up
adding even more atmosphere this image was probably shot at about midday looking at the colour
of the sky in the background the depth of field isn't massively deep but is enough to get the
helicopter in partial focus the ISO of the film was probably about 200-400 most likely 400 looking at
the grain the shutter speed was probably about a 60th of a second due to there being motion blur on
the helicopter blades. The image was again intended for newspapers/magazines and most likely
army archives.
•
• What I like about Time Pages work in the war is how it literally captures the moment it feels like you
was there the images are usually fairly dirty colours which shows that war isnt clean its dusty and
the grain on the images shows its not tidy either. The use of a high ISO means that he can use a
higher shutter speed which means that extra moment to capture another picture.

18. • Don McCullin served in the RAF as part of his national service requirement he was stationed in the Suez Canal at the time of the crisis of 1956. he was part a
photographic unit he worked as a photographers assistant he tried to become an RAF photographer however failed the theory test paper and so spent all his time
developing and processing in the darkroom. After completing his service he took photography further in 1959 a london gang he had photographed appeared in The
Observer, after this he took things a bit further becoming an overseas correspondent for the Sunday Times reporting and photographing disaster zones and war zones
he photographed in many places such as
• Biafra
• The African Aids epidemic
• The Veitnam War
• Lebanon
• Cambodia
• Uganda
• The Congo
• Northern Ireland conflict
• Those are a few of his more well known works were shot, he had applied for a press pass to shoot and cover the Falklands war however the government refused him
the chance, many including Don McCullen believed this was down to his work being seen as too disturbing and politically damage the war effort. However it turned out
that he had been too late and the navy had used up its quota of press passes and he was simply a victim to the maze that is this countries bureaucracy.
• While he was in Cambodia fellow photographers Dana Stone and Sean Flynn, as well as McCullin’s friend Gilles Caron, were captured and executed in 1970 after being
captured by Khmer Rouge. "They were held in a jungle clearing and then put to death in the most appalling way," Another friend of McCullin’s Japanese photographer
Kyoichi Sawada was also captured alongside Caron, Stone and Flynn however managed to talk his way out and managed to escape he was then killed later on in the
war. McCullin was asked if he felt like one of the lucky ones he replied with the answer "I guess so. I signed up for a job where you have no guarantees. Why should
you? War is war, war means death. If you go and come back, you are lucky."
• It was Sawada in 1970 that photographed McCullin after he had been hit by shrapnel from a morter round in Phnom Penh. While in Uganda he was captured by Idi
Amin and held in a cell for four days while pits where dug just outside of the cell this seems to be the one time McCullin really seemed to fear for his life as in may
interviews he seems to merely brush off his fear until it comes to this event so as a person he seems to be physcologically very strong.
• McCullin has written and had a number of books published and that have proved highly successful these include
• The Palestinians (1980)
• Beirut: A City In Crisis (1983)
• Don McCullin in Africa (2005)
• Shaped by War (2010)
• In many interviews he explains that he doesn’t want to be known as just a War Photographer and says much of his other work is overshadowed by the popularity of his
war photo’s he also explains how he has tried to become better known in other areas of photography and has written another book titled Southern Frontiers: A
Journey Across the Roman Empire.
• McCullin in 1964 was presented with the World Press Photo Award for his work during the war in Cyprus. In the same year he was awarded the Warsaw Gold Medal, in
1977, he was made a Fellow of the Royal Photographic Society, allowing him to place FRPS after his name. He was in 1993 awarded an honorary doctorate from the
University of Bradford in 1993 and a year later an honorary degree by the Open University.
• He was granted the CBE(knighthood) in 1993, the first photojournalist to receive the honour. McCullin was awarded the Cornell Capa Award in 2006 and two years
later received an Honourary Doctorate from the university of Gloucestershire after receiving a lifetime achievment award in photojournalism
• He photographed both sides of the conflicts he observed in doing this embodying the true spirit of journalism in showing nonbias.
• He was embedded with frontline combat units in the warzones he photographed and his work put him in places where he “you have to bear witness. You cannot just
look away”
• His work as a war photographer has become unrivaled at least within the 20th century that has reached the general populas. However his influence in smaller freelance
photographers who publish there work through media hubs such as getty images show his style has been carried by many

19. • Don McCullin quoted in one interview this was one of his most favourite pieces simply down to he
got the shot by luck and how the women in the doorway makes the picture what it is.
• The image was shot on Black and white film during the Troubles in Northern Ireland. The picture
shows a few things I do rather like such as the bollard that is in the foreground this is helping to
emphasis how close he got to the shot it cant be seen too well on this picture as the image is
slightly pixelated however you can clearly see the expressions on the faces of all the figures within
the shot initially when looking at the picture it takes you from left to right following the line of
soldiers to the women standing in the doorway the women is slightly away from the soldiers this
helps in my view to balance the image particularly well the depth of field within this image is very
sharp so suggests an F stop of in my opinion F11 to F13 shutter speed seems fairly high also with
the soldiers being frozen mid run this suggests a higher ISO maybe about 400-800 as the grain isn’t
to high but can be a little bit noticeable in places the image appears slightly over exposed such as
on the soldiers and under exposed on the white areas this can be excused as it appears to be a spur
of the moment shot more than anything. The image was intended and used in newspapers and
magazines to show the public what was going on in Ireland. The image isn’t particularly shocking
more of showing what appears to be an almost everyday occurrence.

20. This image is of a US soldier during the Vietnam war this
image is one of McCullens most famous pieces. The image
shows the soldier is shell-shocked. The image is well framed
and draws the viewer either up from the soldiers hands along
the rifle following the lines of the coat to the soldiers face or
vice versa this image has what looks to me like a reasonably
sharp depth of field. The image was shot on film giving a nice
grainy texture to the shot looking at the image possibly the
todays equivalent in film would be slide film. The image has a
broad array of midtones between pure whites and deep
blacks giving a well balanced feel to the image that isn't too
harsh or too soft. Emotionally this image is very moving
showing the plight of the young men America sent to fight in
Vietnam and how the war affected them. Only natural lighting
was used here from what I can see. Ethically this image is
debatable raising questions such as did the photographer
help the man after shooting the image? In this instance he did
the soldier at he time was in no direct danger but the image
does raise that initial question

21. This is another highly famous image shot by
Don McCullen showing a famine in Africa this
image uses a sharp depth of field much like
most of McCullens work and natural lighting he
has the main subject positioned directly in the
centre which is his normal style. This image
evokes massive amounts of empathy for those
in the shot and as a broader subject those
involved in the famine. The image in regards to
ethics is debatable for a few reasons one being
the background to the shot did the
photographer do anything to help those in the
shot after he finished shooting? And the fact
the small boy in the background is nude could
be seen as an issue in at least today's society I
am not too sure how much of a problem it
would have been when it was shot

22. Brainstorm
Africa
Street scenes
P
o
v
e
r
t
y
Emergency services
Homelessness
Protests
Violence
Night scenes
These are a few thoughts that came to mind for images I can shoot in the style of Don
McCullen who tends to show images of human suffering in his early work and the troubles
of life, I shall most likely look at either the Homelessness in further detail with it being an
issue world wide and there are local sources I can shoot, or the Africa thing Don McCullen
shot numerous images in African countries showing poverty hunger etc
Life style

23. Image Board
I decided to do an image board of both the homeless scene and pictures of Africa to give
me inspiration
This shows me that I can use a
wide variety of camera angles
to achieve what I need B+W
images seem to be the most
emotionally involving but not
as initially eye catching as the
rest of the colour images

24. Initial ideas
Shooting the emergency services has its
complications and can become very limted
and or dull unless there is a breaking story
where there is a lot of action i find images of
police standing around rather dull and
doesnt help there cause

25. Initial ideas
This image board is to give me a few
ideas for shots i can use they are
varied and allow me a lot of
flexibility i looked at these images in
particular as they show the main
areas i am most interested in
shooting and they show off well
modern africa.

26. Photographs i have shot

27. Images I have shot

28. With this image i shot it from a moving bus so I was required to use a
high shutter speed and it was incredibly bright I shot this at
approximately 1/300th on 100ISO I also used a polarising filter to get
rid of the reflections on the glass. I used a sharp depth of field to
capture the whole image as sharply as possible this meant I had a
relatively I shot the image on RAW so as to tweak the image more
accurately without distorting it. I a colour balance layer so as to add
the reddish tone this I did to highlight the surrounding colours of the
soil sky and the red on the building . This image is ethical as it shows
what i noticed to be a common sight in Mombasa where children just
sit around the colour adjustment doesn't change the meaning or
over emphasis the shot.

30. This image was again shot from a moving bus she shot is again a common sight on the outskirts
of Mombasa the image already had a brown tinge from the tinted glass and the vinetting of the
lens has created a nice mood to the image again shot at about 1/300th the image subject is
central ish

32. Here I used a sharp depth of field the same that the bulk of Don McCullens’ work is it was shot in Kenya just outside of Mombasa. I used film as I
felt it captured the feel of the image. I push processed the film so as to get a better image contrast the sharp depth of field brings out the image
better than a shallow depth as there is not just one focus I want the viewer to see the cows that appear half starved and the smiling woman
walking along carrying on with her life carrying her child this image adheres to ethical codes of conduct as there is no suffering it shows a way of
life . I shot this image from a moving bus using a polarising filter to remove the windows reflection and a fast shutter speed as i knew i would be
push processing i set the camera to 800 ISO using HP5 film the level of contrast Ii not too excessive with the image having a broad range of
midtones sometimes it can be overly difficult when editing a film negative to get the tonal range . I don't believe colour would make a massive
difference on this image and would in fact make the image appear more dramatic than it is in B+W these images I did no editing on so it is as
shot

34. Again shot in film on HP5 and push processed this image was shot in a work house where wooden carvings of animals
mostly as well as masks and such are made the, everything is handmade that comes out of this factory. Due to the light
levels being so poor I used a flash gun this has created a harsh contrast that in fact emphasis’s the meaning of the image
in a way that does not change the meaning. In keeping with Don McCullens style the whole image has a sharp depth of
field. I shot it on f8 ISO400 , i push processed the film so as to get a nice level of grain I found for images like this the
natural grain that film has makes the image feel a lot more atmospheric without destroying the original meaning of the
image . Ethically I don't believe I have broken any rules I have shown the scene exactly how it is I did not interfere with
the setup and it shows the truth the smile on one of the workers faces shows he is happy with his job and way of life

36. Section 2

37. Fashion
Animals
Musicians
Locations
Athletics
Shooting
Airsoft
swimming
Underwater
Clothing
Sex appeal
Amnesty international
Charity

38. • This layout is effective due to it being plain and simple it has one image and the
story and the large title gives it away the design layout traps the view to ¾ of the
image and allows the minimalistic feel I like the design however making it work for
4 images would be a challenge as to have it working I would have to use four
smaller scale images to fit into a similar size area as the one image in the example
above the design does also limit. There is too much open unfilled space. The use of
colour or lack of colour is effective with the red line essentially drawing the eye
where the designer wants to it to go the contrast in the photograph is what makes
it stand out in this layout if it was not such a contrast shot in regards to the
persons clothes the images would be hardly noticeable and not eye catching at all
but it appears to be a style that a number of high end fashion magazines follow.

39. • For this layout again its designed around a one image layout this has less ability to be transformed
than the previous however there is ability to have 3 other smaller images around in the top right
corner as long as the colour theme matches that of the main image this is doable with the images i
have in mind the bottom left corner is the title and what i would change to a stand first and top
right would be the main body of the article. Again the image is black and white this seems to be a
theme in high end fashion with high end celebs or models I would be using colour to add punch and
grab attention. The image is right weighted and flows to the left creating a flowing shot the person
on the right is there because when you open the magazine the person is there and drags you to the
left. Right hand pages are always the places where in advertising are the most expensive because
its the first thing people see.

40. My designs
This layout uses one large image of
which i will turn down the opacity
so as to allow the text to be read
and the rest of the images to stand
out ideally the images will all have
similar backgrounds so will not
stand out as too obvious that they
are all separate i want the images
to help bring the reader from the
right hand side to the left page.
Colour scheme depends on the
theme for fashion blacks and greys
to allow the images to stand out
and for the dogs theme greens and
browns the title is in the top left
below that the stand first and
below that the article

41. One lar

44. My images

50. • I opted for one large background
image that was the closeup that i
was required to include as it helps
create a natural way of breaking
down the page into sections i used
the opaticity tool to make the
images seem less harsh as i want
the focus to be on the background
image everything else is secondary
to that the writing will go on the
right hand side the left hand side
where i have the images is the part
of the layout that will not be
noticed so much anyway using
four images in one layout is rather
difficult to balance and work with
but i think this layout may have
the right level of balance sorted i
used black and white images for
the secondary pictures as i dont
want them to be drawing attention
and also it does add a nice
contrast to the page i chose to
have the mid shot not faded as it i
think helps add a bit more depth
to the story the next

52. Task 3

53. Julia Margaret Cameron• Julia Margaret Cameron
• During the early 1860’s Margaret Cameron’s children gave her a camera for her birthday this started her career as a photographer. She quickly
became a member of the Photographic Society of London. Within her work she tried to capture what she saw as raw beauty. She wrote about her
work and said “I longed to arrest all the beauty that came before me and at length the longing has been satisfied." To me this is saying that she
wanted to create a visual record everything that came before her and capture a moment such as people dressing up or just simply making the person
seem so real the viewer of the picture would think they could understand what the subject was thinking.
• She always took the opportunity to take pictures usually of her maid friends and family and though her photography was not particularly different to
what many other photographers where doing at the time it shows a certain spontaneity that was not common in the work of otherphotographers of
the time. Her enthusiasm for her craft meant that her children and others sometimes tired of her endless photographing, but it also means that we
are left with some of the best of records of her children and of the many notable figures of the time who visited her.
• During her career, Cameron registered each of her photographs with the copyright office and kept detailed records. Her shrewdbusiness sense is
one reason that so many of her works survive today. Another reason that many of Cameron's portraits are significant is because they are often the
only existing photograph of historical figures. Many paintings and drawings exist, but, at the time, photography was still anew, challenging medium
in which she was a pioneer.
• The bulk of Cameron's photographs fit into two categories: celebrity portraits and illustrations for literary works.
• Portraits
• Cameron's sister ran the artistic scene at Little Holland House, which gave her many famous subjects for her portraits. Some of her famous subjects
include: Charles Darwin, Alfred Lord Tennyson, Robert J Browning, John Everett Millais, Dante Gabriel Rossetti, Edward Burne-Jones, Ellen Terry and
George Frederic Watts. Most of these distinctive portraits are cropped closely around the subject's face and are in soft focus. Cameron was often
friends with these Victorian celebrities, and tried to capture their personalities in her photos.
• Photographic illustrations
• Cameron's posed photographic illustrations represent the other half of her work. In these illustrations, she frequently photographed historical scenes
or literary works, which often took the quality of oil paintings. Cameron's friendship with Tennyson led to his asking her tophotograph illustrations
for his Idylls of the King. These photographs are designed to look like oil paintings from the same time period, including rich details like historical
costumes and intricate draperies. Today, these posed works are sometimes dismissed by art critics. Nevertheless, Cameron sawthese photographs
as art, just like the oil paintings they imitated.
• Later life
• In 1875 the Camerons moved back to Ceylon (now Sri Lanka). Julia continued to practice photography but complained in letters about the difficulties
of getting chemicals and pure water to develop and print photographs. Also, in India, she did not have access to Little Holland House's artistic
community. She also did not have a market to distribute her photographs as she had in England. Because of this, Cameron tookfewer pictures in
India. These pictures were of posed Indian natives, paralleling the posed pictures that Cameron had taken of neighbours in England. Almost none of
Cameron's work from India survives. Cameron died in Ceylon in 1879.
I have looked at Julia Margaret Cameron for this task because of how she using
lighting in her photographs and how she captures essentially the essence of the
subject her style is echoed by many modern photographers that shoot images for
papers like the Sunday times supplement where the people stand out from the
photograph

54. inspiration

55. My images