Press photographer

Photojournalism is journalism that uses images to tell a news story. It usually only refers to still images, but can also refer to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (such as documentary photography, social documentary photography, war photography, street photography and celebrity photography) by having a rigid ethical framework which demands an honest but impartial approach that tells a story in strictly journalistic terms. Photojournalists contribute to the news media, and help communities connect with one other. They must be well-informed and knowledgeable, and are able to deliver news in a creative manner that is both informative and entertaining.

Similar to a writer, a photojournalist is a reporter, but they must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles, among them immediate physical danger, bad weather, large crowds, and limited physical access to their subjects.

History

Origins in war photography

The practice of illustrating news stories with photographs was made possible by printing and photography innovations that occurred in the mid 19th century. Although early illustrations had appeared in newspapers, such as an illustration of the funeral of Lord Horatio Nelson in ''The Times'' (1806), the first weekly illustrated newspaper was the ''Illustrated London News'', first printed in 1842. The illustrations were printed with the use of engravings.

The first photograph to be used in illustration of a newspaper story was a depiction of barricades in Paris during the June Days uprising taken on 25 June 1848; the photo was published as an engraving in L'Illustration of 1–8 July 1848.

During the Crimean War, the ''ILN'' pioneered the birth of early photojournalism by printing pictures of the war that had been taken by Roger Fenton. Fenton was the first official war photographer and his work included documenting the effects of the war on the troops, panoramas of the landscapes where the battles took place, model representations of the action, and portraits of commanders, which laid the groundwork for modern photojournalism. Other photographers of the war included William Simpson and Carol Szathmari. Similarly, the American Civil War photographs of Mathew Brady were engraved before publication in ''Harper's Weekly.'' The technology had not yet developed to the point of being able to print photographs in newspapers, which greatly restricted the audience of Brady's photographs. However, it was still common for photographs to be engraved and subsequently printed in newspapers or periodicals throughout the war. Disaster, including train wrecks and city fires, was also a popular subject for illustrated newspapers in the early days.

Expansion

The printing of images in newspapers remained an isolated occurrence in this period. Photos were used to enhance the text rather than to act as a medium of information in its own right. This began to change with the work of one of the pioneers of photojournalism, John Thomson, in the late 1870s. In collaboration with the radical journalist Adolphe Smith, he began publishing a monthly magazine, ''Street Life in London'', from 1876 to 1877. The project documented in photographs and text, the lives of the street people of London and established social documentary photography as a form of photojournalism. Instead of the images acting as a supplement to the text, he pioneered the use of printed photographs as the predominant medium for the imparting of information, successfully combining photography with the printed word.

On March 4, 1880, ''The Daily Graphic'' (New York) published the first halftone (rather than engraved) reproduction of a news photograph.

In March 1886, when General George Crook received word that the Apache leader Geronimo would negotiate surrender terms, photographer C. S. Fly took his equipment and attached himself to the military column. During the three days of negotiations, Fly took about 15 exposures on glass negatives. His photos of Geronimo and the other free Apaches, taken on March 25 and 26, are the only known photographs taken of American Indians while still at war with the United States. Fly coolly posed his subjects, asking them to move and turn their heads and faces, to improve his composition. The popular publication ''Harper's Weekly'' published six of his images in their April 24, 1886 issue.

In 1887, flash powder was invented, enabling journalists such as Jacob Riis to photograph informal subjects indoors, which led to the landmark work ''How the Other Half Lives''. By 1897, it became possible to reproduce halftone photographs on printing presses running at full speed.

In France, agencies such as Rol, Branger and Chusseau-Flaviens (ca. 1880–1910) syndicated photographs from around the world to meet the need for timely new illustration. Despite these innovations, limitations remained, and many of the sensational newspaper and magazine stories in the period from 1897 to 1927 were illustrated with engravings. In 1921, the wirephoto made it possible to transmit pictures almost as quickly as news itself could travel.

Golden age

The "Golden Age of Photojournalism" is often considered to be roughly the 1930s through the 1950s. It was made possible by the development of the compact commercial 35mm Leica camera in 1925, and the first flash bulbs between 1927 and 1930, which allowed the journalist true flexibility in taking pictures.

A new style of magazine and newspaper appeared that used photography more than text to tell stories. The ''Berliner Illustrirte Zeitung'' was the first to pioneer the format of the illustrated news magazine. Beginning in 1901, it began to print photographs inside the magazine, a revolutionary innovation. In the successive decades, it was developed into the prototype of the modern news magazine.Mila Ganeva, ''Women in Weimar Fashion: Discourses and Displays in German Culture, 1918–1933'', Screen cultures, Rochester, New York: Camden House, 2008,
p. 53

It pioneered the photo-essay, had a specialised staff and production unit for pictures and maintained a photo library. It also introduced the use of candid photographs taken with the new smaller cameras.

The magazine sought out reporters who could tell a story using photographs, notably the pioneer sports photographer Martin Munkácsi, the first staff photographer, and Erich Salomon, one of the founders of photojournalism.

Other magazines included, ''Arbeiter-Illustrierte-Zeitung'' (Berlin), '' Vu'' (France), ''Life'' (USA), '' Look'' (USA), ''Picture Post'' (London)); and newspapers, ''The Daily Mirror'' (London) and ''The New York Daily News''. Famous photographers of the era included Robert Capa, Romano Cagnoni, Alfred Eisenstaedt, Margaret Bourke-White and W. Eugene Smith.

Henri Cartier-Bresson is held by some to be the father of modern photojournalism, although this appellation has been applied to various other photographers, such as Erich Salomon, whose candid pictures of political figures were novel in the 1930s.

The photojournalism of, for example, Agustí Centelles played an important role in the propaganda efforts of the Republican side in the Spanish Civil War in the late 1930s.

American journalist Julien Bryan photographed and filmed the beginning of the Second World War being under heavy German bombardment in September 1939 in Poland. He was pioneer worker in color photography, Kodachrome.

William Vandivert photographed in color the German bombardment of London called the Blitz in 1940.

Soldier Tony Vaccaro is also recognized as one of the pre-eminent photographers of World War II. His images taken with the modest Argus C3 captured horrific moments in war, similar to Capa's Spanish soldier being shot. Capa himself was on Omaha Beach on D-Day and captured pivotal images of the conflict on that occasion. Vaccaro is also known for having developed his own images in soldier's helmets, and using chemicals found in the ruins of a camera store in 1944.

Until the 1980s, most large newspapers were printed with turn-of-the-century "letterpress" technology using easily smudged oil-based ink, off-white, low-quality "newsprint" paper, and coarse engraving screens. While letterpresses produced legible text, the photoengraving dots that formed pictures often bled or smeared and became fuzzy and indistinct. In this way, even when newspapers used photographs well — a good crop, a respectable size — murky reproduction often left readers re-reading the caption to see what the photo was all about. The ''Wall Street Journal'' adopted stippled hedcuts in 1979 to publish portraits and avoid the limitations of letterpress printing. Not until the 1980s did a majority of newspapers switch to "offset" presses that reproduce photos with fidelity on better, whiter paper.

By contrast ''Life'', one of America's most popular weekly magazines from 1936 through the early 1970s, was filled with photographs reproduced beautifully on oversize 11×14-inch pages, using fine engraving screens, high-quality inks, and glossy paper. ''Life'' often published a United Press International (UPI) or Associated Press (AP) photo that had been first reproduced in newspapers, but the quality magazine version appeared to be a different photo altogether. In large part because their pictures were clear enough to be appreciated, and because their name always appeared with their work, magazine photographers achieved near-celebrity status. ''Life'' became a standard by which the public judged photography, and many of today's photo books celebrate "photojournalism" as if it had been the exclusive province of near-celebrity magazine photographers.

In 1947, a few famous photographers founded the international photographic cooperative Magnum Photos. In 1989, Corbis Corporation and in 1995 Getty Images were founded. These powerful image libraries sell the rights to photographs and other still images.

Decline

The Golden Age of Photojournalism ended in the 1970s when many photo-magazines ceased publication, most prominently, Life, which ended weekly publication in December 1972. They found that they could not compete with other media for advertising revenue to sustain their large circulations and high costs. Still, those magazines taught journalism much about the photographic essay and the power of still images.

However, since the late 1970s, photojournalism and documentary photography have increasingly been accorded a place in art galleries alongside fine art photography. Luc Delahaye, Manuel Rivera-Ortiz and the members of VII Photo Agency are among many who regularly exhibit in galleries and museums.

Professional organizations

The Danish Union of Press Photographers (Pressefotografforbundet) was the first national organization for newspaper photographers in the world. It was founded in 1912 in Copenhagen, Denmark by six press photographers. Today it has over 800 members.

The National Press Photographers Association (NPPA) was founded in 1946 in the U.S., and has about 10,000 members. Others around the world include the British Press Photographers Association (BPPA) founded in 1984, then relaunched in 2003, and now has around 450 members. Hong Kong Press Photographers Association (1989), Northern Ireland Press Photographers Association (2000), Pressfotografernas Klubb (Sweden, 1930), and PK — Pressefotografenes Klubb (Norway).

Magnum Photos was founded in 1947 by Robert Capa, David "Chim" Seymour, Henri Cartier-Bresson, George Rodger, William Vandivert, Rita Vandivert and Maria Eisner, being one of the first photographic cooperatives, owned and administered entirely by its members worldwide.

VII Photo Agency was founded in September 2001 and got its name from the original seven founders, Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey and John Stanmeyer. Today it has 30 members, along with a mentor program.

News organizations and journalism schools run many different awards for photojournalists. Since 1968, Pulitzer Prizes have been awarded for the following categories of photojournalism: 'Feature Photography', 'Spot News Photography'. Other awards are World Press Photo, Best of Photojournalism, and Pictures of the Year as well as the UK based The Press Photographer's Year.

Ethical, legal, and social considerations

Photojournalism works within the same ethical approaches to objectivity that are applied by other journalists. What to photograph, what to include in the frame, how to curate, and how to edit are constant considerations. Photographing news for an assignment or to illustrate a story can present many possible ethical problems. Photojournalists have a moral responsibility to decide what pictures to take, what picture to stage, and what pictures to show the public. For example, photographs of violence and tragedy are prevalent in American journalism because, as an understated rule of thumb, "if it bleeds, it leads". The public may be attracted to the spectacle of gruesome photographs and dramatic stories. Controversy may arise when deciding which photographs are too violent to show the public.

Photographs of the dead or injured arouse controversy because, more often than not, the name of person depicted in the photograph is not given in the caption. The photograph of the street execution of a Viet Cong soldier during the Vietnam War provoked a lot of interest because it captured the exact moment of death. The victim's wife learned about her husband's death when she was given a newspaper with the photo on the front page. This photo has claimed a reputation of “galvanizing the anti-war movement in the United States” and impacted many people’s perception of the war. Being exposed to such violence can have physiological and psychological effects on those who document it and is but one of many different forms of emotional labor that photojournalists report experiencing. In this case, the photographer Eddie Adams was quoted saying “I was getting money for showing one man killing another. Two lives were destroyed, and I was getting paid for it. I was a hero.” He expressed how this photo haunted him due to its impact on the world.

A key example of how impactful photography can be is found during documentation of the Civil Rights Movement. Bill Hudson was in Birmingham Alabama on a quest to document the peaceful protests of the movement when he took a photo of High School student Walter Gadsden. In this photograph Gadsden appeared to be attacked by a Police Dog and the resulting image brought the gory side of the movement to everyone’s attention. The photo was seen above the fold in the May 1963 New York Times. In the case of this particular photograph, it helped change the path of the civil rights movement and gained it even more attention. We will never know what would have happened if it had never been published, but it's worth noting its change on the movement.

Other issues involving photojournalism include the right to privacy, negotiating how the subject desires to be depicted, and questions of whether compensation is warranted. Especially regarding pictures of violence, photojournalists face the ethical dilemma of whether or not to publish images of the victims. The victim's right to privacy is sometimes not addressed or the picture is printed without their knowledge or consent.

Another major issue of photojournalism is photo manipulation – what degree is acceptable?  Some pictures are simply manipulated for color enhancement, whereas others are manipulated to the extent where people are edited in or out of the picture. War photography has always been a genre of photojournalism that is frequently staged. Due to the bulkiness and types of cameras present during past wars in history, it was rare when a photograph could capture a spontaneous news event. Subjects were carefully composed and staged in order to capture better images. Another ethical issue is false or misleading captioning. The 2006 Lebanon War photographs controversies

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