EvEry PicturE tElls a story A supplement to Comm 3381: Photojournalism at Lamar University By Andy Coughlan
EVERY PICTURE TELLS A STORY A supplement to Comm 3381: Photojournalism at Lamar University By Andy Coughlan
INTRODUCTION What exactly is photojournalism? It’s exactly what it says— journalism in pictures. The information in this booklet is designed to build a foundation for efficient photojournalism. Will you win a Pulitzer Prize after reading this? Probably not. Photojournalism is an art like any other visual medium, and great art requires imagination, creativity, intellectual curiosity and the ability to see what others ignore. However, with practice, anyone can take consistently good, maybe even great, photos. I always say that if you give a camera to a monkey and he takes enough pictures, he’s going to get something good. Your job, for this course, is to be slightly better than the monkey. Take photos. Take lots of photos. The more you take, the better your chances of a getting a good shot. The more you adopt the principles in this booklet, the fewer shots it will take to get the good one. Remember, this course is a journalism course. By understanding the basic principles of storytelling, you will learn to expand the story of the image beyond the purely visual. If you take it, grades will come. Andy Coughlan
FEATURED PHOTOGRAPHERS Andy Coughlan, Mike Tobias, Nicki Evans, Trish Coughlan, Horace White, Julie Garcia, Lluvia Rueda, Kourtney Reese, Lauren Wigley-Helling, William Rosser, Justin Sanchez, Jabari Lockett, Scott Parish, Josh Reeter, Matt Billiot, William Jones, Josh Aych, Jared McClelland, Molly Porter, Pete Churton. THANKS Howard Perkins, Pete Churton, Mike Tobias
Previous page: Pete Meiners of Tattoomania in downtown Beaumont, tattoos a Union Jack onto Trish Coughlan. This photo was first published in ISSUE magazine to accompany a story on the popularity of tattoos. It won first place in the Press Club of Southeast Texas Excellence in Media Awards Photo by Andy Coughlan for magazine photo. It incorporates angles, lines, balance— but the eyes have it. All these things are in the composition section
Every Picture Tells A Story © Andy Coughlan 2015. All photos used with permission. The University Press is the newspaper of Lamar University www.lamaruniversitypress.com
Three weary travelers hang out in an Austin doorway during the annual SXSW festival in 2010. University Press archive photo by Horace White
BASIC CAMERA/ADJUSTING INFO Good enough to print INTRO This is a theory class, not a camera class. However, there are some basic things you need to know in order to get a printable image. It’s not about how good it looks on your Facebook page. The images for print must be of a suitable size and quality to run in the newspaper or magazine. RESOLUTION The resolution of an image is measured in DOTS PER INCH (DPI). There are two points at which the dpi is important — on the original shot and at output. Digital cameras “scan” the image at 72 dpi, which means they “see” 72 bits of information for each inch. The same goes for most phone cameras. The more dpi, the more source image information is being collected. So, the higher 3
the resolution at the printing stage, the sharper the image. CELL PHONES AS CAMERAS Technology is changing and the world is changing with it. Most phones today have the capability to shoot very good images. Just be aware of the file size when preparing the image for print (see below). Everyone has their camera with them all the time, which means there is no excuse for not taking photos. In fact, the expectation is for more and for more immediate images. SIZING THE IMAGE IN PHOTOSHOP The following is the most basic instruction, but it will suffice. Once the photo is in Photoshop, go under IMAGE on the menu bar to IMAGE SIZE. A window will come up that will show you a file size, horizontal and vertical measurements, and the resolution. According to the source of the image, the numbers will vary. Make sure the measurements are in units you are comfortable with (inches or, if you want to be professional, PICAS. There are six picas to an inch). Click OFF of RESAMPLE IMAGE in the bottom left of the window. This will allow all the units to adjust proportionately (WIDTH, HEIGHT, RESOLUTION). Change the resolution to a suitable size. The University Press newspaper uses images at 120 dpi (glossy magazines have higher quality reproduction, so they should be 300 dpi). You will notice the width and height measurements will change, although the image on the screen will not change). If you make the dpi larger (72>300, the image size will reduce, and vice-versa). The FILE SIZE will remain the same. Now click ON the RESAMPLE IMAGE. This will allow you to adjust the image size without changing the resolution. Reduce the image size to a manageable size (have an idea of the size before you start. Err on the large size). For most pictures for the paper, plan on an image that is 10 INCHES (60 picas) on its longest measure. You should notice the file size will be reduced. Generally, an image that is 10 inches by 7 inches at 120 dpi will have a file size around 3.5 to 4 megabytes. A NOTE ON SIZES When pulling the pictures into a page, it is better to have a larger image than you will need (newspapers rarely run pictures as large as 10 inches, for example). If you have an image larger than you need, you may reduce it down as much as you wish without the image degrading (remember though, that it will increase the file size of your page and will take longer to print). However, you cannot blow an image up more than 125 PERCENT without seriously degrading the quality. That is why, if in doubt, you should keep your source image large. ADJUSTING THE IMAGE The first thing to do is go under IMAGE on the menu bar and go to ADJUST, then AUTO IMAGE. You will see the image adjust. Next go to LEVELS (Command/Apple L) in the same place. This is the hardest part to explain and basically comes down to trial and error. Save the image before you start playing with it. That way you can always revert to the saved image if you mess it up. The final thing to adjust is the BRIGHTNESS/ CONTRAST. This should only be used to tweak the image. 4
REMEMBER, while technology allows the photographer to work on images to make them look better, there is no substitute for taking a good picture. Know how your camera works to get a better shot. EXTRA ADJUSTMENTS The most important thing, whichever stage of the printing process you are involved with, is to know your printer. A newspaper press on newsprint prints very differently from a sheet-fed press on glossy STOCK (that’s what paper is called in the industry). You must make your adjustments so the printed image is at its best. Do not whine because, “Every time the image comes back from the press it’s too dark. Why do they keep #@#%##?#! it up?” Maybe you should lighten it up to compensate! Just as in the darkroom, you can dodge certain parts of the image to lighten particularly dark areas and burn others to darken or hold parts of the image. For color pictures you should be aware of COLOR BALANCE (Command B) and CURVES (Command M) Curves are only to be used in RGB mode. As we have already noted, adjustments are subjective. Each person, with practice, can arrive at the same place in different ways. The key is to always have the goal of achieving the best possible image on the page. The way to learn is to practice and experiment until you feel comfortable with the tools. REMEMBER, you can only make adjustments to improve the picture quality so no flipping pictures, no changing out heads from different photos. GETTING THE IMAGE READY TO PRINT Make your adjustments in RGB (Red Green Blue), the mode in which the camera stores the images. Adjust as you would any picture. When you have finished adjusting the image, go under IMAGE to MODE. Convert the image from RGB to CMYK (Cyan Magenta Yellow Black). These colors constitute PROCESS COLOR, which is used on printing presses. SAVING THE IMAGE FOR PRINT Save all of your images to print as EPS files. Do not save images as JPEGs or TIFFs. JPEGs do not reproduce in the printing process. It is alright to save as JPEG for your own files (it is a compressed, or smaller, file). EPS stands for ENCAPSULATED POSTSCRIPT. GETTING THE IMAGE READY FOR THE WEB Make your adjustments in RGB (Red Green Blue), the mode in which the camera stores the images. Adjust as you would any picture. Save the image at 72 dpi (still 10 inches at its longest measure). SAVING THE IMAGE FOR THE WEB Save all of your images to print as JPEG files. DOUBLE CHECK • Is your resolution correct? 5
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Is it in the correct mode? Is it saved in the correct format? Is your image the correct size?
FINAL THOUGHTS This is quite straightforward, but you need to practice. I recommend doing the adjustments in the same order each time. That way you are less likely to forget something. Everywhere you work will require their own settings. These settings are standard for the University Press. Look at the image after it prints. If your image consistently prints too dark, then you should be aware of the characteristics of the press and adjust your image accordingly.
The cast of “Penetrator” rehearse a scene at The Art Studio, Inc., in October 2013.
A young boy shows off his tricks at Beaumont’s new skate park in April 2014.
ISSUE Magazine photo by Andy Coughlan
UPbeat Magazine photo by William Jones
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Visitors mill around a replica of Christopher Columbus’ ship The Niña at Riverfront Park in downtown Beaumont on Feb. 3, 2007. University Press archive photo by Trish Coughlan
COMPOSITION It’s not how good your best is, it’s how good your worst is INTRO It is relatively simple to explain what constitutes a good composition. There are basic techniques to draw on and basic elements that, in the right combination, create an appealing image. But that doesn’t mean you will take a good photo simply by following a checklist. A lot of it is intuitive. It is an art and requires the eye of an artist. Our eyes are side by side and so we see the world horizontally and between five and six feet off the ground. Getting high and low, and shooting vertically is different from how we normally see the world — just that shift makes the photo more interesting to people. Look at a variety of photos that look good to you. Then ask yourself why they appeal to you? What about the composition draws you into the picture? 7
This photo of a Lamar University golfer practicing in the early morning fog uses space to evoke a University Press archive photo by Trish Coughlan mood of quiet and solitude.
SPACE The negative space (the space surrounding the figures) is important to the composition and can be used to convey a particular mood (loneliness, sadness) or to place a figure in a larger context.
This photo of Katie Beard and Golden Wright of the Lamar University Dance Company uses negative space to capture the grace of the choreography. University Press archive photo by Horace White
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LINES Lines are a fundamental element of composition. The direction and angle of the lines can lead the eye into the focal point of the picture. They are also great graphic elements that can give movement to a static subject matter. Be careful that the lines are used well and do not lead the eye away from the focal point or divide the picture negatively. The elements in your picture will also suggest lines. Figures can be pictured on a diagonal for movement, or even convey stillness with vertical or horizontal lines.
This photo of workers during construction of the press box at Lamar University’s Cardinal Stadium uses horizontal lines and the diagonal lines of perspective to create an interesting image. University Press archive photo by Horace White
CONTRAST Contrasting elements can convey contrasting emotions, such as two players at the end of a sporting event. The contrast generates variety and interest. The contrast of the fabricated and organic (a building with a tree, for example) is also interesting. When talking about contrast, one should not forget the contrast of light. Nothing can create a mood or visual interest simpler than good use of light.
This photo from the Lamar University Theatre production of “Stage Directions� incorporates strong contrast in both lighting and composition to emphasize the dramatic nature of the scene. University Press archive photo by Trish Coughlan
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The heaviness of the action on the right side of this basketball game shot is balanced by the use of negative space on the left two-thirds of the image. University Press archive photo by Horace White
BALANCE Human beings desire symmetry, but this can be death to a photo unless meticulously planned. Generally, one should try to find an image that allows the weight to shift through the photo, giving movement to the image.
In this example of the rule of thirds, the artist’s face intersects the lines of thirds both horizontally and vertically. The angle of her body leads the eye to her face and gives movement to the image.
GOLDEN MEAN Thought by the Greeks to be the most aesthetically pleasing. It uses a 5:8 ratio and is the foundation for the Rule of Thirds. 10
Sometimes symmetry works. In this photo from the Take A Bow production of “The Glass Menagerie” the composition reflects the power struggle of the two standing figures. University Press archive photo by Trish Coughlan
RULE OF THIRDS Create an imaginary grid in your viewfinder. Divide the area into nine parts, into thirds vertically and horizontally. The focal point of your picture should fall somewhere in the intersection of these thirds of the image. This helps photographers avoid the “Bull’s Eye” syndrome, where the image is centered. Remember, while nature loves symmetry, it tends to lead to static pictures.
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ANGLES We all see the world in the same way — at eye level. By varying the angle, even the most boring scene can be made to look interesting. Get high or low. Extreme viewpoints can be very effective, but be careful not to overuse them. Try different things Getting down low and framing the shot with the wine bottles turned a routine shot of a wine tasting into and see what you an interesting composition. The angle of his hands is slightly out of the norm. This also adds to the interest of the shot. University Press archive photo by Trish Coughlan get. This picture of Lamar student Fletcher DuBose climbing the rock wall in the Sheila Umphrey Recreational Center has a good face, and shooting from below illustrates the height and conveys a sense of excitement. A routine basketball shot-making contest, part of Lamar University’s Homecoming festivities, becomes an interesting shot by taking an extreme high angle. This shot was taken from the University Press window which overlooks the Quad. The photographer took more than 100 frames to get the right shot with the two balls, the faces, and the crowd all working together to capture the mood of the event. Be prepared to take multiple shots to give yourself the best University Press archive photo by Trish Coughlan opportunity.
University Press archive photo by Horace White
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CROPPING Try to compose the picture through the lens if possible. A good photographer should be able to compose full frame. However, sometimes that is not possible. Maybe you cannot get close enough (professionals will tell you to get closer) so you should be able to see a portion of the full frame to crop. Don’t just shoot willy-nilly and worry about cropping later. Try to see the area you want while you are shooting.
This photo of the Women Drummers of Guinea was taken from the crowd at Jazz Fest in New Orleans. The dancer in the center was really energetic and her hair came loose and began to fly wildly. There was no way to get closer so I took 20 quick shots to give myself the best chance to get the image. I knew I didn’t want so much of the stage, or the head of the man to the right. My initial cropping is shown below. I wanted to keep the two drummers flanking her as they drew your eyes to her. But when I looked closer I saw her eyes were really wide and you could see through her hair how they were slightly rolled back. I left the drummer in the background to show the dancer in context. Andy Coughlan
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FRAMING The greatest way to “cheat” to get good photos. I always tell people, “get down low and shoot through something.” It doesn’t matter how boring the scene, if you frame the shot by shooting through a door, or the back of a chair, or a group of people in the foreground, or a plant, you can get an interesting shot. This may not win you a Pulitzer, but you will soon get a reputation as someone who has a good eye. UNIVERSITY PRESS
ARTS
3 Wednesday, September 13, 2006
Blanton offers two chances to view ceramics with shows at BAL, Dishman this weekend A clay wheel hums in a quiet abandoned art room; every available space is filled with disassembled pottery projects waiting for life to be breathed back into them. Slowly, red clay twirls on the top of the pottery wheel, gaining speed, while skillful hands mold, shape and caress the clay into a workable object. From the heart of the earth, clay transforms, mimicking the artistry and skill of millions of artists, firing clay to express and create. The experience an artist has with his medium, his muse, is what drives and motivates him to continue to imagine and reach — it is his desire. This experience is what Linnis Blanton, adjunct professor of ceramics at Lamar, strives to find. In his clay, Blanton finds a solace, a creative outlet, and way of life, something he didn’t always find when he was a painter. “Clay is very calming, very soothing. You are in touch with the mother earth. When I was a painter I had a lot of ups and downs,” he said. “I was either totally excited about what I was doing or totally depressed about it. I wasn’t at a middle ground, being at peace with myself. And when I started working with clay, that was it. It was just fun, where painting was a struggle. In pottery, I am just having a good time.” Blanton’s love for pottery began when he was a college student finding his way in the art department and continued throughout 30 years of teaching. “I lived in the art building. I didn’t take a clay class until after I graduated for the first time. I was a painter for almost four years, and then I started working on clay. That was it. That was really what I wanted to work with…. It was a tremendous experience, almost like being an artist, really,” he said. “Then after that I got a job teaching. I continued taking classes while I was teaching. While I worked on a master’s at Texas Tech University, I studied under James Watkins and Sara Waters. They both taught ceramics, and they were a heavy influence on my work. They were great teachers.” This month Blanton’s pottery of abstract sculptural and traditional pieces is being showcased in two simultaneous art shows at the Beaumont Art League ‘Captured Intentions’ show and the art faculty exhibition at the Dishman Art Museum. With two receptions on the same weekend, Blanton is excited but busy — and has been since last year. “I won the (Beaumont Art League) show by getting best in show at the membership show last year. This show is a two-person show. They had two people who won first place, Sam Keith, a photographer, and I,” he said. “This show was a little bit scary. I had a show in Houston during the summer where I sold almost everything.” Consequently, he said, that he was nervous about this (art league) show. “I have two shows at one time in September — the show at Lamar and the show at the Beaumont Art League. I created as many quality pieces as I could and then I dusted off some older pieces. So I have some old pieces in that show
and some new pieces at the Beaumont Art League, but the show at Lamar is all new pieces.” Blanton is excited about the exhibits and uses this experience to involve his students in the creative process. “I need to push myself and be creative. I need to set an example for the students to go beyond the pot — not just make a pot. I enjoy making a pot. I don’t apologize for making a pot. It is fun to do and the quietness is really nice, but to actually take it and go a step further with it is kind of a challenge for me.” he said. “It is a little more challenging to create something that hasn’t been created before instead of copying something else. I involve the students in creating things, too. I ask them, ‘What do you think I should do next?’ and they say, ‘Why don’t you do this.’ It is a lot of ‘what ifs’ and brainstorming. Then we brainstorm about their work, so it teaches them how to come up with more creative things, how to let an object grow into something nice. Instead of having something in mind and making it, it is putting together something and let it suggest what the next idea is. It keeps growing and growing and you end up with an incredibly wonderful piece that is totally different from when you started. Let it take you some place. It is like giving up control. Sometimes you try to control things and it is stagnant. Let it go and let it have life of its own, and it becomes a little more spontaneous and fresh.” His approach to pottery has yielded some unusual sculptural art pieces for his show at the league. Bowls stacked on top of each other and clay reaching for the ceiling, his pottery is ever expanding and evolving. One of the pieces, a tall object with flames coming out to the top, is his favorite. “I have a piece that is called ‘Desire’ that is probably my favorite at the moment. I worked so hard on it. I have been working on it since January, and I just completed it. It has a flame on top and the flame is like a moth being drawn to a flame — this desire. I like that idea because desire to me is getting there; it is not achieving the goal but going toward the goal. It is not buying the object but saving the money to get the object. Once you get it you don’t appreciate it as much as you did right before. It is kind of like Winnie the Pooh saying, ‘The honey is the sweetest right before it touches your tongue.’ The anticipation is the best part. That piece I am very proud of because I accomplished the goal — but making it was pretty incredible, too.” Blanton feels a sense of contentment with his artwork. His pottery is an emotional outlet for his life, and he is grateful for having found something to enjoy and create. “Life is too short to do something that you are not really enjoying. I found my bliss with clay. I feel sorry for a lot of people who never find what they should do. I think that everybody has something that they can do well and they can enjoy, and hopefully make a living as well. It is really wonderful when you can find that.”
Linnis Blanton framed by “Desire,” above, and shown below at the Beaumont Art League.
Captured Intentions: Linnis Blanton and Sam Keith Beaumont Art League 2675 Gulf St. Sept. 16-29 Opening reception, Sept. 16, 7-9 p.m.
Lamar University Department of Art Faculty Exhibition
Art faculty displays diverse work in annual exhibit
“Ignition Wing” by Kurt Dyrhaug, foreground, and “Untitled” by Xenia Fedorchenko are part of the art faculty exhibition on display at the Dishman Art Museum through Oct. 26.
Spanning the white walls of the Dishman Art Museum are paintings and photographs, sculptures and pottery. A student walking around examines a series of large photographs, mesmerized. His eyes follow the pictures as their sequence tells a story. The woman in the picture is completely bald. You see the emotion in her body, not her aesthetic appearance.As if it were alive, the artwork speaks to the viewer, displaying and challenging what the artist intended to be said. On display now through Oct. 26,with at reception Friday at 7 p.m. is the Faculty Art Exhibition. The exhibit showcases work from faculty in the art department and contains etchings,
paintings and sculptures from Lamar’s faculty. “There are eight full-time faculty, and there are three adjunct faculty in the show,” Donna Meeks department chair, said. “The Dishman has been open since 1983, and it is a traditional thing for an art department to do a faculty show every year.” Meeks says that the exhibition is one that is diverse and creative, with different media and styles of art on display. This, she says, helps Lamar students bridge the gap between faculty and student. The show allows for students to get on a more personal level with the faculty. “It is an opportunity to showcase
our work to the community, but more importantly the students are able to see what we do every year,” she said.“They get to see our work changing and growing even as their art changes and grows.” The exhibition has one new member of the faculty this year, Xenia Fedorchenko, an instructor who brings a collection of prints and color etchings. “Xenia Fedorchenko is our newest faculty member,” Meeks said. “She joined our faculty this fall. Her masters of fine arts is in printmaking, and you will see multiple color etchings in the exhibit. She is teaching color theory and life drawing here.” Meeks, a professor of painting, also
TEXT AND LAYOUT BY JENNIFER MOORE • PHOTOS BY TRISH COUGHLAN
Dishman Art Museum East Lavaca at MLK Pkwy. through Oct. 26 Reception, Sept. 15, 7-9 p.m.
has works on display in the form of sculptural, painted pieces titled ‘Human Condition.’ “I have the two pieces called ‘Human Conditions,’ and they are cast plaster with oil paint on them. They look like skin on a slab of steel,” she said. “Basically what I have done was created a rubber latex mold from leather, and then I cast plaster in it and make a nice, thick slab.Then I start faux painting it with oil paint so it looks like human skin. Each one has a different situation or condition going on.” The exhibit is free. The Dishman Art Museum is located on the corner of East Lavaca and MLK Parkway.
This photo of ceramicist Linnis Blanton was taken to accompany a feature on his one-man show at The Beaumont Art League in 2006. The photographer took several shots of Blanton with his art, then, because she had taken this class, looked for the framing shots. This piece is called “Desire” and is a flame piece. The writer and layout editor tied this photo to the use of fire in the clay process and the photo, story and layout all won awards. This is not a complicated shot, but it always gives you an interesting effect. University Press archive photo by Trish Coughlan
FACES People want to see people doing things and reacting to things. Faces tell the story. A good reaction shot can tell the entire story. Look for expressions of emotion. Anger, fear, grief, sadness, loss, joy — these are your best friends. These two photos were taken as personality profiles for UPbeat magazine. The photo on the left shows Steve Junious. The accompanying story told how he loved to cook, but also that he is a bit of a rebel. “I like to challenge people’s perceptions,” he said. The look on his face seems to say, “so you think you know me? Think again.” The light diffused from the steam really adds to the image. The photo on the right shows Connie Carter, a “senior senior” as the story says. Connie is a bubbly, enthusiastic character who embraces college and life in general. This photo captures her personality perfectly. University Press archive photos by Lluvia Rueda, left, and Julie Garcia
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THREE BASIC SHOTS OF PHOTOJOURNALISM • Long shots: These establish the scene and show relationships between elements.
The pictures here were all taken at a Hillary Clinton campaign rally featuring Bill Clinton in Beaumont in 2008. This long shot shows the crowd, the location, the stage — basically, it sets the scene. While it is a serviceable shot that covers all the bases, it is not overly exciting.
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Medium shots: Identifies the major individuals or elements in the story.
This medium range shot shows the local dignitaries and the featured speakers. The sign in the foreground adds to the image.
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Close-ups: Moves in on the details. Adds impact and emphasis.
University Press archive photos by Kourtney Reese, Julie Garcia and Lauren Wigley-Helling
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The close ups really capture the event. The picture on the left shows Bill Clinton, the main draw of the rally, and long-time Beaumont congressman Jack Brooks. It has national and local interest. The picture on the right is a “game-behind-thegame” photo. It captures the festive mood of the rally. This picture is likely to attract readers to your story. People like to relate to the events they see.
COMMON ERRORS See the image the way the camera sees it. A busy background may detract from the thing you are trying to highlight. Watch for things “growing” out of people’s heads. Make sure you have a strong focal point. If you are sure of the story you are trying to tell, this should not be a problem. Avoid the “Bull’s Eye” effect. It doesn’t matter what you are shooting, there is no excuse for photos of smiling people posing and staring at the camera. IMPORTANT NOTE Our eyes are side by side, which means we all see the world horizontally. And we are all roughly the same height. Which means we see all see the world the same way. Simply changing the angles — high or low — make the picture more interesting. Also, studies have shown that people think vertical images are more newsworthy. Keep that in mind when on assignment. Newspapers are vertical and vertical photos are easier to lay out. Your page editor will appreciate it. Make sure you have a wide variety of images, both horizontal and vertical. The more choices you give the designer, the more likely you will get the prime spot on the page. Make no mistake, journalism, like all business, is all about competition.
Try to capture the essence of your subject. Artist George Wentz’s work is vibrant and spontaneous. He likes to have fun and likes for his work to reflect that fun. After getting the “safe” shots, George started mugging for the camera as we joked around. This image was one of more than 50 shots and really captures his playfulness. Let your subject guide you. Don’t be locked into a pre-conceived ISSUE Magazine photo by Andy Coughlan idea. This image won an award for magazine photography.
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This photo of a man who identified himself only as “Brother Elijah” was taken in the Lamar University Quad on Feb. 28, 2007. The man attracted a crowd as he preached from the Bible while wearing a T-shirt with the slogan “No Homos” on the front. This picture won several awards. The faces on the crowd, especially the girl shouting, enhances to the power of the image. University Press archive photo by Trish Coughlan
NEWS/FEATURE Content is everything INTRO What is the difference between News and Feature? Journalistically, it has to do with TIMELINESS. A feature shot is interesting and can run any time (or at least has a wide window in which it can run). A news photo is, by definition, new, and therefore needs to run as soon as possible. As in all things, a feature shot can be newsworthy and if one is running a story on an event that has news value but is not time sensitive — a story that deals with pollution for example — can be a feature, or news feature. With all things journalistic, flexible thinking is the key. 16
COVERING AN ASSIGNMENT • Know your audience: What is the audience interested in? It may not be your interest, but your feelings should be subordinate to informing your audience. What issues are important to your community? A good journalist should be aware of his constituency. The journalist should be out and about constantly. Even though you are taking pictures, your most important equipment are your eyes and ears. •
What is the story about?: You should inform yourself, if possible, about your topic before you go out. This will give you an idea of what to expect and will allow you to anticipate events. If possible, go out with the reporter who is covering the story. The two of you will see things that individually you might miss. •
Show how people are involved or affected: One definition of photojournalism, according to Greg Lewis in his book Photojournalism: Content and Technique is “pictures of people doing things.” •
Don’t wait. Shoot the scene you have: Don’t wait for the “perfect picture” you are sure is bound to happen. Make sure you get your stock shots. That way, when the great image you are waiting for fails to materialize (it rarely does appear), you still have something to work with. Note: Sometimes great content overrides great execution. In the image of the preacher, the top of his head is slightly bleached out as the photographer happened to move into the sun at that moment, and there is a sun spot slightly visible. But the decision to run this picture was made based on the strong imagery. Don’t not take a picture because conditions are not “perfect.” •
Watch for and anticipate the decisive moment: Be flexible. Watch how the story is developing around you and be ready for it when it happens.
Note: Be aware that your expectations can be a serious impediment to good coverage. It is important to prepare, to have an idea of what shots are possible. However, don’t get so locked into one idea that you close yourself to the possibilities that present themselves. It’s a cliche, but expect the unexpected. PROFESSIONAL BEHAVIOR People are always complaining about intrusive media and sometimes they have a point. Part of your job is to be intrusive, but you don’t have to be obnoxious. Most people will respond positively to you if you act professionally. Dress well. If you show up at a sensitive event dressed in a pair of Khakis and a dress or polo shirt, you will be less likely to offend than if you are wearing a Marilyn Manson day-glo T-shirt and a pair of cut-off jeans. Do not try to sneak around. Be straightforward and honest about what you are 17
doing and try not to be obtrusive. Most people will respect that you have a job to do. Telephoto lenses help you stay on the periphery. BEWARE OF HAZARDS Do not let your zeal get the better of you. Obviously you want to get as close to the action as you can, but be aware of dangers in certain situations. Try not to get in the way of emergency personnel doing their job. THE PEAK MOMENT You cannot expect to arrive on a scene, rattle off a couple of quick shots and leave. You should cover the scene from as many different angles as possible. Try to get a feel for the full scope of the event. If it is an accident, there will be scenes of damage or injury, scenes of rescue and medical aid, scenes of grieving or confusion. If you pay attention, there will be a peak moment when all the elements of the story come together to provide you with a shot that really tells the story. Be aware of your surroundings. Be aware of the world outside of the viewfinder.
This “peak moment” photo of a sleeping refugee from New Orleans was taken at Beaumont’s Ford Arena in the wake of Hurricane Katrina. The photographer was sent to capture Texas Governor Rick Perry’s visit to the facility. In a lot of ways, this was a simple assignment. In most tragic events, the images are so compelling it is easy to get good pictures. However, always be on the lookout for that extra moment. The photographer noticed this sleeping man with a copy of the Houston Chronicle. The headline on the paper captured the mood of the event perfectly. The editor even asked if this shot was set up, but both the photographer and writer promised it was just luck. Good eyes see good images. University Press archive photo by Trish Coughlan
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THE STORY BEHIND THE STORY Some news stories have value as a story but little visual material. Try to find out what makes this a newsworthy story and come up with an angle that supplements the story. For example, when LU President Simmons holds his convocation in the Lamar Theatre, the content of his speech is important, but there are fewer images more boring than someone at a podium. You might want to shoot the faces of the audience as they listen or shoot his wife as she watches from the stage with Simmons in the background. This example could also apply to concerts. The performance shot is cliche, concentrate on the audience or, better yet, backstage action. Like all good journalism, it helps if you do your homework. Few events are unanticipated if you are prepared for all possibilities that could occur. ANTICIPATE and you will be prepared for most contingencies. CAMERAS IN COURT Cameras are allowed in state and local courts at the judges discretion, although they are not allowed in federal court. Rules are imposed on the photographer and you must follow the rules exactly. Court rules require the photographer to stay in one seat and shoot without a flash. Some courts require special sound-deadening covers be used. WEATHER Weather happens all the time, so concentrate on how it affects people. Everyone is affected by the weather. That’s why there is a 24-hour weather channel. That’s why onethird of evening TV news broadcasts are weather. So you should assume people are interested in weather shot. Don’t blow them off. If it is the middle of summer and we get a drop in temperatures to 60 degrees, you’d better find a way to illustrate that. An unidentified student exchanges words with Brother Matt, a traveling evangelist, in the Quad, Feb. 20. The student tried to rip apart a sign after Brother Matt called his girlfriend a “whore.” The picture is actually slightly out of focus, but as an illustration of the principle of “content over technique,” the photo won several awards University Press archive photo by Josh Aych
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THE PHOTOGRAPHER AS PROPHET A good photographer will anticipate events. If a certain intersection always floods, you might want to go there during a torrential rain storm and see what happens. KNOW YOUR COMMUNITY! Know people and places that are constantly newsworthy. Any good journalist should study and investigate the community he or she is involved with. Know who to talk to. Build up a good rapport with local officials. If you are personable and professional, they will allow you access to things when you need them to (and if you are lucky, they will be good background sources). NEWS FEATURES Spot News photos are those which are timely and need to run as soon as possible. However, you will also need News Feature photos. These can be slice-of-life shots, or those that illustrate an investigative story or series where a reporter is working on a story over a period of time. Weather shots will often fall into this category. A picture of gusty winds blowing someone’s hat off, for example, tells everything about the conditions without the need for a full story. The entire story can be taken care of with a cutline. Series shots offer you the chance to try something different. WORK WITH THE REPORTER. The entire thing is in the idea. Look for places or situations that illustrate the story. FEATURE MATERIAL As we have already seen, feature material has a timeless quality. However, that does not mean it can sit around forever. If you take a picture in the spring of a guy in a tree on campus, it is no good to whip out in the fall and say “I’ve got a good shot here.” However, a travel feature on a specific place you visited is as valid next summer as it is this past summer. In fact you may want to hold “where I went this summer” story until people are beginning to plan their vacations. Steven Bragg sits in his New Orleans home with the altar he built to the folk saint Santisima Muerte. This photo accompanied a profile of Bragg that was found by the journalist while on vacation in the Crescent City. A good journalist seeks out stories wherever they are.
University Press archive photo by Jared McClelland
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This picture was taken at a motor cycle rally at Ford Park in Beaumont. The juxtaposition of the “tough” biker image and the teddy bear gives the image a humorous tone and has human interest. University Press archive photo by Trish Coughlan
This picture shows artist Abigail McLaurin posing in front of one of her paintings. McLaurin’s work deals with images of the “normal” American family of the ’50s. This was a set up shot as part of a feature on her exhibition at The Art Studio. It is a good example of why one should always try to find go to where the subject is comfortable.If we had met at a neutral site, this picture would not have happened. ISSUE Magazine photo by Andy Coughlan
Feature material really falls into the “people doing things” category. Few journalism photos have as much impact sans homo sapiens as with. Even a photo about the face of Jesus appearing in a screen door is better with someone holding, looking through, or amazed by the screen door. WILD ART The majority of the pictures you take for this class will fall into this category. These are images you discover on your own. There is no particular story attached to the image. They are just cool shots that tell a small story. If it is baking hot and you see kids running through a sprinkler, take the picture. Then relate it to the weather forecast. If you see an 21
old man on the front stoop of his house watching his cat chase a butterfly, take the picture then you might relate it to the spring weather. OR, there may be more…. Take the time to talk with people and find out out their story. Being a journalist means being nosy. You should have an intellectual curiosity. Everything is a potential story. Take the example of the old man in the previous paragraph. You could drive by, take the picture, get his name and move This wild art picture was taken at Dogtoberfest in downtown Beaumont on Oct. 21, 2006. The on. But what if you contrast of the small woman with the big dogs and the large man with the little dog makes for stop and talk? Maybe a great photo. Humor is a good tool in the right circumstances. University Press archive photo by Kerisha Mark you find out he was a member of Sir Edmund Hillary’s expedition to Mount Everest in 1953 and was sidelined by the flu or he would have been the third man to scale the peak. And now he lives in Beaumont. What a great treasure to find. But you didn’t get it because you didn’t want to get out of the car. PRESS PASSES Press passes guarantee you absolutely nothing. If you have a pass for the University Press, it guarantees you access to the University Press and that’s about it. Most events and agencies issue their own passes which you apply for in advance. A press pass is not a license to break the law. CUTLINE INFORMATION The same rules apply as in journalistic writing. WHO, WHAT, WHERE, WHY, WHEN AND HOW. Always get names and check the spelling with the person. As soon as you assume someone spells their name John Smith, you find they spell it Jon Smythe. Nothing loses you credibility faster than a misspelled name. The same applies to someone’s title. Do not assume anything. For example, you might know that Jon Smythe is vice-president of Reelly Bigg Chemical Corp. and don’t need to clarify it. Later, you find he is one of 48 VPs and his title is VP for copier ink purchase and has no authority to 22
comment on the major spill that destroyed all the fish in Sabine Lake. The University Press has a policy of getting students’ names, home town and classification. It is better to get more information than you need than not enough. It is your responsibility to make sure the editor and layout person has all the information they need. Type it up and give them clear info on spellings, etc. Type all your info into the FILE INFO box in Photoshop. Check your cutline info on the page prior to printing. Take responsibility for your own work. Remember, your name is on the photo.
This piece of wild art shows Abel, a 7-year-old first grader from Saenz Elementary, gazing into the shark tank at the Texas State Aquarium in Corpus Christi. This photo won first place for on-site photography at TIPA convention. The photographer had a limited time to find a shot. Use the elements that surround you. The light from the tank perfectly frames the wonder in the kid’s face. Don’t overthink your assignments. University Press archive photo by Josh Reeter.
AVOID CLICHÉS • A person pretending to talk on the phone • A fake conference • Handing over a check, or a diploma, or an award, or an opening with giant scissors • People lined up, especially against a wall (unless it is a firing squad) • “Out and About” shots • People holding protest signs (if that’s your story, change your angle, look for faces, conflict, emotion. People protesting are rarely static.) DEALING WITH PEOPLE DON’T: Gossip, get visibly angry, reveal technical problems, argue. DO: Listen, find common ground, give positive feedback, be confident, dress appropriately. 23
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FEATURES
Thursday, October 16, 2014
UNIVERSITY PRESS
CROWDS AND COLORED CLOUDS More than 6,000 people participated in the Julie Richardson Procter 5K Ribbon Run Color Rush, Saturday, in downtown Beaumont. The race began in front of the Beaumont Civic Center at 8 a.m. and culminated with a color blast outside of Beaumont City Hall at 9:30 a.m. Participants were pelted by colored corn starch as they rushed to raise funds for cancer research. Even the Beaumont Police Department got in on the fun, with at
Look for all the angles of an event. See if you can tell the whole story in images. The photographer who shot this had no idea that she would end up with a entire page. This picture page won several awards. Be open to the possibilities. University Press archive photos by Molly Porter
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least one officer driving his bike through the colored cloud. The Color Rush, which was sponsored by the Julie Rogers Gift of Life Program, had raised more than $140,000 at press time through fees and individual fundraising. “It’s hard to say right now exactly how much we’ve raised because we’re allowing teams to turn in their money until Oct. 17,” Ashlynn Lalonde, Gift of Life public rela-
tions coordinator, said. Established in 1994, the Gift of Life program provides health services to underserved members of the community. The organization has provided 1,701 free clinical breast exams and mammograms this year, and they provided 441 free prostate cancer screenings in 2013. The organization also provides educational outreach concerning gynecological cancers, tobacco prevention and healthy lifestyle choices.
UP PHOTO STORY BY
MOLLY PORTER
This photo of a student participating in the “Steam Engine,” part of LUPT’s exercise program, won multiple awards. The picture has action and a really good face shot. It shows the exertion and strain of the activity. The photographer had completed the program and knew what to look for. It pays to know your subject. University Press archive photo by Horace White
SPORTS Know what you are shooting INTRO Great sports photography is easy — IF you have a thorough knowledge of the sport you are covering. Something is always happening. Sports is the ultimate reality show. It is life in microcosm. Every game starts off like a new life, full of hope and anticipation. During the course of a game, there is pain, suffering, joy and struggle. At the end, someone will be happy and someone will be miserable. And there is another game tomorrow. Many people are afraid to shoot sports for fear they don’t know anything about the game. You need to educate yourself enough to know the basics of the game. Then, just watch and see the reactions. Let it be a fun experience. 25
ACTION AND FEATURE • Action: The action shot is a staple of sports coverage. Simply put, it is a picture of someone in the process of playing the game. The problem with these shots is that you go into it with little expectation of getting something new. A football game, for example, has the same basic elements at work no matter what level you are watching. Therefore, it is reasonable to assume the “great shot” you just took is not unique and has been done hundreds of times before. The “great” action shot is still a great shot and worth running. The action shot is the staple picture and should be the first thing you look for.
This shot of a Lamar Lady Cardinal surrounded by members of the West Virginia team was taken during Lamar’s NCAA game in Austin. Lamar was beaten by the 3rd-ranked Lady Mountaineers who had a size advantage. This picture conveys the tough task the Lady Cards faced. University Press archive photo by Horace White
This is a good wide shot that shows peak action. It is good to get close ups of faces, but the photographer has used a narrow frame to focus all eyes on the ball. The diagonal of the net also adds to a sense of movement. University Press archive photo by Kourtney Reese
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•
Feature: Shows the human interest side of the story. This is where the principle of THE GAME OUTSIDE THE GAME comes in. Shots of athletes warming up, enjoying victory or suffering a loss show a lot about the story. Also, remember the crowd and the peripheral scenes are important parts of the sporting event. SHOOT NOT ONLY THE ACTION BUT THE REACTION.
Craig and Millie Hoyal, both in their 70s, have not missed a Lamar University men’s or women’s home basketball game since the Montagne Center opened in 1984. The photographer noticed them at every game and finally interviewed them for a short sports-related feature. Remember, a good photojournalist is a people person. University Press archive photo by Kourtney Reese
The photo on the left, of a high school twirler, won an award for sports feature. The forced verticality creates an intriguing look. The lines on the field and the eyes of the girl lead the viewer’s eye to the batons. The batons of the girls behind crossed at just the right moment. Sometimes luck plays a part. University Press archive photo by Horace White
This humorous 2005 photo, right, was taken for the Lamar University hoops preview. The shot captures a moment when the balls are seemingly floating in air. The lack of movement of the players adds to the effect. University Press archive photo by Trish Coughlan
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EQUIPMENT If you want to shoot sports on a regular basis, GET A TELEPHOTO LENS! Don’t rely on a motor drive or auto focus. The best shots come from you and your expertise. These tools can help, but if you are not anticipating the game, you will still miss the shot. THREE RULES FOR SPORTS COVERAGE 1. Know the sport: It is not enough to know the basics. In order to truly anticipate the action, you must understand the strategies, the teams, the individuals and the type of action anticipated in certain situations. For example, if you go to a soccer match and a penalty is awarded you should be ready to shoot. This is the only time in a match that you can be sure there is a shot on goal. 2. Know the sport: It is not enough to know the basics. In order to truly anticipate the action, you must understand the strategies, the teams, the individuals and the type of action anticipated in certain situations. 3. Know the sport: It is not enough to know the basics. In order to truly anticipate the action, you must understand the strategies, the teams, the individuals and the type of action anticipated in certain situations. Yes, I know I have repeated this part three times. What does that tell you? CREDENTIALS As usual, the UP pass means nothing. Major events require you to apply for a special pass. Remember, space is limited and you need to carefully plan where you want to go.
This photo is a perfect game-outsidethe-game shot. The photographer saw this Lamar University player share some water with a young fan on a particularly hot day. This photo won awards at three different competitions. University Press archive photo by Josh Reeter
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SHOOTING POSITIONS Watch the more experienced photographers. Follow them around, they will normally have a plan of where to go. Football: NFL and NCAA guidelines designate the area between the 25-YARD LINES as the team areas. You must stay out of there. You must also be at least 4-YARDS back from the touchlines. The stands are good places to get wide shots of the whole event. The end zone is a good place to be if the offense is coming your way. Know the game. Other similar sports are rugby, flag football, indoor soccer. Baseball: The best places to shoot are along the first- and third-base lines. Again, know the game. Any time a ball is hit, the batter is going to run to first, so you know something will happen there. From first base, on a play at the plate, you are more likely to see the runners face and from the third base side you are more likely to see the catchers face. Other similar sports are cricket, softball. Basketball: The biggest challenges with basketball are lighting and keeping up with the game. Obviously, you can’t use a flash during a game, so use 1600 ASA film or the equivalent setting on the digital camera. Most of the time that will suffice. You need to ZONE FOCUS your attention. What does that mean? It means to focus on a particular area where you anticipate the action will be at some point — the rim for example — and shoot as soon as the action moves into that area. Other similar sports are soccer, hockey, handball. Golf: Golfers are sensitive to noise, so you must be sure to use a telephoto lens away from the action. The advantage of golf is you know where the action is going to take place. Other similar sports are gymnastics, track, swimming. Racing events: Try to get near the finish line. If you are at a car race or track, even a swim meet, you know competitors are going to return to the same place again and again. This gives you an opportunity to park yourself down and get a feel for the event. It is almost impossible to go to a swim meet and not get a good photo. To follow a runner or car etc., you will need a good FOLLOW FOCUS technique. This is similar to a zone focus. You should focus on a specific point then follow the moving object with your camera until it reaches the point you have focused on. IMPORTANT Award-winning photographer Robert Hanashiro says: Read you own paper! You’d be surprised how many journalists don’t read the paper they work for (I wouldn’t). Most sports sections run “pre-stories” or player features before the game. Study these stories. Often, they will tell you a lot (especially about the opposition which, if they are from out of the area, you may know nothing about). Often you can find out who the key players are they type of offense they run, and so on. The more information you have on these teams, the more prepared you are to shoot the game. 29
TIPS • Watch for faces. They will tell you a lot about the game. • Look for the peak moment. It is the moment when the athlete has expended to maximum energy. • What is the story of the game — is it the winning basket, the bean-ball, the fumble? The story may not be at the end of the game. If a team loses a football game by a 4443, then the story may be the missed extra point on the first possession. • Polish your reaction time. • Anticipate. • KNOW THE GAME!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
LU wide receiver J.J. Hayes catches a touchdown pass from Jeremy Johnson in Lamar University’s 45-35 victory over the University of Incarnate Word Sept. 17, 2011 at Provost Umphrey Stadium. Hayes had 4 catches for 96 yards and 2 touchdowns. Notice how complete the cutline is. The strength of this award-winning photo is not the good catch, a scene repeated many times during any game, but the face and pose of the official. The implied lines all lead to the ball. Try cropping the picture to just include the players and you will see how it loses its impact. University Press archive photo by Matt Billiot
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In this Sept. 2, 1993 photo, 4-year-old Jarren Edwards checks out the scene where Bill Simmons was gunned down the night before at the corner of Victoria and Royal streets in Beaumont, two houses from where Jarren lived. Simmons, a black man, had, on the day he was killed, moved from a public housing complex in Vidor to Beaumont because he feared for his life in Vidor after living there several months.The federal government's efforts to integrate public housing in Vidor and other parts of East Texas was a national story and Simpson was one of the main players. His murder in Beaumont proved to be a random act of street violence, committed by two young black men. Possible reactions to the graphic nature of an image is just one of the questions that should be considered when choosing photos. Beaumont Enterprise archive photo by Pete Churton For more info, see: http://findarticles.com/p/articles/mi_m1355/is_n21_v84/ai_14427443.
ETHICS Do the right thing for the right reasons INTRO The same rules apply to photojournalists as apply to any reporter. There are no special ethical rules that are separate for photographers. Greg Lewis, in Photojournalism: Content and Technique, writes that, “with freedom comes responsibility…Many people don’t trust the press, and this thought combined with the fact that some in the legal community do not view the First Amendment as an absolute, should remind us all that freedom of the press exists only as an attitude.” When the San Jose Mercury News ran a photo by George Wedding, of a father weeping over the body of his drowned son, there were complaints that the photo, “reaches the height of insensitivity and oversteps the principles of freedom of the press.” While recognizing social and legal limits to the first 31
amendment, Lewis writes, “if this kind of attitude were to expand, the press, and consequently the free flow of ideas, could be more restricted than is healthy for our society.” So does that mean you should not take photos that might be questionable? NO. It is not your job to make those decisions. Your job is to take the photo. When it comes time to run the photo, the editors must consider several difficult questions. But that is for later. CONFLICT OF INTEREST The photojournalist should strive to remain impartial. This is difficult if he or she is emotionally, commercially, or ideologically involved with the subject. Close relationships can cause problems. Keep things on a professional level. If you are a member of a Greek organization, it is best if you do not cover that group. Even if you are completely impartial, you open yourself up to criticism. AVOID THE PERCEPTION OF IMPROPRIETY. Your reputation is the main thing you have. Do not put yourself in positions where your motives can be questioned. Avoid freelance jobs with businesses you may be required to cover later. And be open and honest about the connections you have. PROFESSIONAL CONFLICTS When arriving at an accident scene, should you help out or just take pictures. Lewis writes that a good rule of thumb is, “if anyone is there helping and you can do no more than anyone else, record the event. But if no one is there, you must step in to help, as a human being first, a journalist second.” UNPUBLISHED PHOTOS The FBI asked to borrow the film of a dorm fire on campus so they could plot the course of the fire. Much discussion took place as to whether we wanted to release the unpublished images. Surely there is no problem with that situation. But what if you are shooting a demonstration and a riot breaks out in the Quad? Should you turn your unpublished images over to the authorities so they can identify agitators? Does your role as photographer extend to being an arm of law enforcement? Lewis cites an example of an anti-Ku Klux Klan group asking for pictures of a Klan rally. What if it was the Klan was seeking your photos of an anti-Klan rally? Making your unpublished photos freely available puts you in the position of being seen as an informant, thereby eroding belief in your impartiality. Once you lose the trust of the people, it is really hard to get it back. The policy of most newspapers is to supply the photos that ran in the paper and nothing else. A PICTURE NEVER LIES… That old saying is completely untrue. You only have to look at the supermarket tabloids to see that. The way a picture is cropped can radically change the context of the image. Be aware of the potential meaning in the image. If you shoot a picture of a speaker and show someone behind him yawning, it could be inferred that the speaker was boring. This is called false light. I saw a movie where a politician was shown with his arm around a young blonde getting out of a car. The photo was distributed by his opponent to show him as a philanderer. The full image would have shown another girl also being 32
helped out of the car. In reality, the politician was taking his granddaughter and her friend to the mall. In the end, it comes down to honesty and personal integrity. PHOTO ILLUSTRATIONS/DIGITAL MANIPULATION/SET-UP SHOTS When TIME magazine ran a cover of O.J. Simpson after he was arrested for the first time, they Photoshopped his mug shot to darken his 5-o’clock shadow and the area around is eyes to make him look menacing. It was labeled as a photo illustration in small type on the contents page. TIME received many complaints that it had set out to portray Simpson in a bad light. Technology allows for manipulation to be easily done. But how far should you go? It is easy to clean up an image that is too dark or to burn an image that is too light. You should apply this simple rule. Don’t do anything that could not have been easily done in the dark room prior to digital cameras. Now, most of you have never been in a dark room, so here’s another simple rule. Take a good picture correctly and you won’t have this problem. Simple. What if you want to take a figure from one photo and superimpose it on another top get a more newsworthy pic? You really need Lamar President Jimmy Simmons and the visiting dignitary in the same shot but you didn’t think about that until later. So it is alright? NO! You screwed up. Deal with it. You should have thought about it at the time. And don’t think, “no one will notice.” Someone will. And there goes your credibility. Be aware of how the picture can be perceived. Suppose you are assigned art for a series on binge drinking on college campuses. Your friend is having a frat party this weekend, so you decide you will take some photos of people drinking and dancing at the party. Congratulations, you have just implied that everyone in the photo is a binge drinker. You decide to use models in fraternity paraphernalia. How is this better? How would you feel if the models were representing an organization you are involved with? Does simply labeling the image as an illustration balance any negative implication? GRIEF, SUFFERING AND PRIVATE MOMENTS When does the pursuit of the story warrant intrusion? Can it ever? In the case of the drowned child, mentioned earlier, the argument was made that showing the tragedy in such a raw way might stop future tragedies. Does the magnitude of the event change the way you shoot it? If a person fell from the Lamar library would you shoot it? What about the Trade Towers? What about a suicide? Would it make a difference if it was a Lamar student as opposed to a famous person? These questions should be addressed. Be aware of people’s feelings. As mentioned in the News Photo section, be considerate, act and dress professionally if you are going to an event, such as a funeral or memorial, where you are pretty sure people are going to be highly emotional. If you do your job professionally and with respect, people will normally let you do your job. THE FIRST AMENDMENT “Congress shall make no law…abridging the freedom of speech, or of the press.” Contrary to what you may think, the First Amendment does not give you the right to present any image in any way you want. You are protected if the photo and cutline are 33
factually correct, but know what you are doing and how the photo can be misconstrued. You cannot just wander around and take photos without fear of prosecution simply by yelling, “freedom of the press, mate.” You can be guilty of trespass at the point you cross into a legally protected area, or, if you have been given permission to be somewhere, if you exceed the limits of the permission. If you climb over a fence and take pictures of illegal dumping at an area plant, you can be arrested for trespass. However, they cannot take your film. This is a violation of your property rights. A press pass doesn’t mean you wander in to anywhere you want. Many organizers require you to apply for permission before an event. Do not show up at a Bob Dylan concert with your UP press pass and expect to get backstage (but if you do get in, get me an autograph). The federal government has enacted open meeting statutes. If you find yourself shut out, don’t assume the group has the right to do so. Contact your newspaper’s lawyer. You normally have the right to shoot pictures at a wreck or fire. The police do not have the right to run you off. However, maintaining a low profile and not obstructing the action will work to your advantage. Act professionally and treat people with respect and you will normally get the same in return. PRIVACY RIGHTS There are four basic areas to be aware of: INTRUSION; APPROPRIATION; PUBLIC DISCLOSURE OF PRIVATE FACTS; and FALSE LIGHT. This area of law, as with libel suits, is a constantly changing field. Be aware of trends in the courts. Intrusion: If you invade a person’s space in a manner that would be considered to be offensive to reasonable people. This climbing up on a building to take pictures through somebody’s window. The courts generally rule that if something can be reasonably seen from the public area it is fair game. The key question? Is your subject in a place where he or she can reasonably expect privacy? Appropriation: Be aware of Commercial Appropriation — unlawfully using someone's likeness for commercial reasons. Basically, don’t do it. Private Facts: If you are doing a story about binge drinking and you go to a party where there is drinking you could be opening yourself up to a lawsuit. The picture will imply that everyone there is a binge drinker — even if they are binge drinking, they could argue that you are showing them in an unflattering light. False Light: Be careful of running pictures that can be construed in ways other than what actually happened, thereby showing the subject in an embarrassing or misleading way. CUTLINES All of the above applies to cutlines. Make sure the information is correct. Make sure spellings and identifications are correct. Do not editorialize or make comment on the events. Get as much information as you can. LIBEL In Texas, libel is defined as defamation expressed in oral, written, printed or any other audible or visual form. 34
RULES IN CASE OF COMPLAINT OR THREAT OF SUIT Follow these rules carefully. This stuff is so important it will be on the test in its entirety. I’m not kidding! • Receive the threat politely and without comment. • Gather all the facts and contact the editor. • Do not admit fault. • Do not defend anything. • Do not be apologetic. • Do not release anything. • Do not release any comment. • Don’t put anything in writing unless the lawyer says. • Don’t wait until a mistake is noticed to prepare yourself. • When counsel has it, don’t talk about it. USEFUL INFO • In Texas, one is legally an adult at age 17. • Attributing quote does not protect you from libel. • The news media generally avoids revealing names of children and rape victims. • A person can be identified even though his name is not used. • Use your common sense and adopt an attitude of fairness. • Leave your personal prejudices at home.
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Page 6
Wednesday, November 8, 2006
University Press
Page 6
SHOOTS OF SPIRITUALITY BAMBOO FESTIVAL DRAWS FAITHFUL, CURIOUS TO BUDDHIST TEMPLE
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amboo symbolizes the Far East heritage of the monks of the Buu Mon Bhuddist Temple. They celebrated the plants place in their culture with a festival held this weekend on Procter Street in Port Arthur. The temple grounds were crowded, yet solemn and calm as focus was centered on the spiritual. Monks formed a linear procession, stopping from person to person to receive alms and offerings for the temple’s upkeep with bows of gratitude and reverence. Tranquil, hypnotic chants emanated from the crowd. Young and old alike gave without hesitation. The temple’s only permanent resident is a black labrador dog; a self-invited guest who feels it is his obligation to “jollify” with the fellowship. He accepted rewards, treats and rubs from visitors with a simple wag of the tail. This bamboo ceremony took place under the shadow of the temple tower. People from all faiths and walks of life were welcomed to the annual event, the bamboo forming the basis and grounds for fellowship, prayer and social interaction.
PHOTO STORY BY WILLIAM ROSSER AND JUSTIN SANCHEZ
Friday, November 9, 2007
University Press
Country within a town PORT ARTHUR’S NINTH AVENUE AREA OFFERS LITTLE SLICE OF VIETNAM IN HEART OF SOUTHEAST TEXAS
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he Queen of Vietnam Church, located on Ninth Avenue in Port Arthur, is a shining display of grace in an area that usually connotes danger to passersby. Father John Tran Dinh Diem gave the sermon to a parish filled with Vietnamese-Americans, both young and old. Across from the church stands the Queen of Peace Shrine, which was built a few years ago. It acts as the glue that holds the section of the street together. The shrine is next to the lot that used to be Howard’s Grocery before it burned. The part of Ninth Avenue that is closest to Proctor Street is known locally as the Square of Peace. The area is comprised of Vietnamese shops and businesses, including a doctor’s office, hair salon, gift shops and authentic eateries. Most of buildings are in use, but some are not. Mini’s School of Beauty is one of the oldest buildings on the street and is now vacant, except for a garage apartment in the back. The Square of Peace will continue to be a center of Vietnamese culture and a ‘country within a town’ for locals.
PHOTO STORY BY LAUREN WIGLEY AND JULIE GARCIA
University Press archive photos by William Rosser and Justin Sanchez
University Press archive photos by Julie Gracia and Lauren Wigley-Helling
PHOTO STORIES, PAGES & SERIES Letting the pictures tell the tale INTRO The PICTURE STORY is just that — a story told in pictures. For a good picture story, you should only have minimal text. The pictures tell the story. A good picture story on a broadsheet should have 5 or 6 photos. For a tabloid or magazine, it depends on the number of pages you have. The photos should all work toward building a narrative. There may be instances where you have a brilliant photo that has great elements but just doesn’t fit with the overall theme. You can always use that as wild art or something. Plan your picture page well. If your theme is a true feature, leave yourself enough time to make a return trip if necessary. If it is a one-off event, make sure you cover all 36
your bases. As usual, be open to opportunities that present themselves. A PICTURE PAGE is collection of images to show the color of an event. If you are at a carnival, you can have a good collection of images that show all facets of the event. However, unlike a picture story, there is no real narrative. You can choose your images based on the individual composition. The PICTURE SERIES is rarely seen any more, probably due to easy access to moving images. Newspaper Web sites often feature short movie clips. But the picture series still has its place. It is a great way to show an action (as in the series featuring the waveboarder). It is also an interesting way to capture someone who is animated during an interview. Playboy uses the picture series to illustrate its Q&A section. BASIC LAYOUT PRINCIPLES You should have two dominant photos on the page. But they should be different sizes. Make sure the reader knows which photo is your main art. A good general rule is large vertical and secondary horizontal, or large horizontal with secondary vertical. The other photos fill in the story. You should take enough pictures of all types to give yourself some flexibility. Your page should have movement. That is, the photo layout, text and headline should lead the reader around the page. Avoid square photos. They stop the eye dead. Use a good dominant headline that captures the story’s central theme. Do not have photos looking off the page. *TAKE PHOTOS FROM ALL ANGLES AND SIDES, VERTICAL AND HORIZONTAL, CLOSE UP AND FAR AWAY. GIVE YOURSELF OPTIONS UPbeat
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Bikers rally to Ford Park for weekend of chrome, camararderie and entertainment he sounds of thunder rumbled through exhaust pipes, gas fumes filled the air and the sun gleamed off the shiny chrome on hundreds of motorcycles as Southeast Texas bikers gathered at Ford Park April 7-9 for the Cowboys on the Coast Motorcyle Rally. Men and women, boys and girls, bikers and wanna-bes, and the tough and softhearted journeyed to the park to partake in the festivities where motorcycles of every brand, shape, style, size and color were lined up along every sidewalk. The three-day rally featured stunt shows, bike shows and games, food and vendor booths, live music each night and a cowboy church on Sunday.
PICTURE STORY NICKI EVANS & TRISH COUGHLAN
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University Press archive photos by Nicki Evans and Trish Coughlan
This photo package of a bike rally at Ford Park in Beaumont won first place in the Press Club of Southeast Texas. The photographers (there is nothing wrong with two people working together to cover all the angles) tried to capture all the elements of the event. When it came time to lay out the pages, they worked hard to ensure the eye flowed easily through the section. The first two pages faced each other. The third page stood alone. They used their images to tell a story from the gathering early in the morning, to the end of the day. The flag on the bike seemed like a natural ending.
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La Nin˜a Visita
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Jump to Success Stunt world champion performs at local bike rally
Romance means rush for florists St. Valentine’s Day is the biggest one-day holiday of the year for a florist shop. J Scott’s Aflorist in Orange, processes approximately 3,000 roses each year for Valentine’s Day, and the staff works every day, including the weekend, in the week leading up to Feb. 14. The staff must decorate vases, strip the
Tommi Ahvala of Helsiniki, Finland, performs for a crowd at the Cowboys on the Coast Motorcycle Rally at Ford Park April 8. Bikers of all ages gathered to watch Ahvala perform stunts, including jumping over a member of the crowd and climbing ramps on his trial bike. The twotime world champion travels around the world performing with Team Extreme on a trials stunt tour. Ahvala started riding when he was 6 and now has numerous awards, including national championships in various countries and two world championship titles.
Replica of Columbus’ favorite ‘child’ makes waves in Beaumont router, a modern full-sized man would not be able to stand a full height. Although small, no space was wasted. This was a ship that had to carry a 27-man crew, a captain, over a month’s supply of food, and a large supply of animals. There was no wasted space. Walking in the Niña, a person could see how its crew lived, their views, their thoughts, their struggles, and and their home. Life on board the Niña in 1492 was not for the light-hearted. When the Niña left on any of her three voyages to the New World, her cargo hold was full of provisions. There were live animals ranging from horses, cows, pigs and chickens. The Columbus Foundation, British Virgin Islands website, says, There was little room below decks for the 27 or so crew to sleep or cook. Cooking was done in a firebox located on decks in the bow of the ship. Sleeping was on the deck and was always uncomfortable as the ship was so loaded with cargo, her decks always awash. The Niña, with its mast stretching toward the sky, entwining ropes, and billowing sails breathes life into the stories that all of us were taught down in the grades. Walking along the deck, one hears the sounds of the crew and smells the animals. Seeing the Niña is seeing Columbus.
Photo page by Nicki Evans and Trish Coughlan
Christopher Columbus discovered America in 1492 after 32 days at sea aboard the Niña, the Pinta and the Santa Maria. After a six-year battle to find a faster route to the oriental spice trades, Queen Isabella funded Columbus to raise sails westward for the India-China trade only for him to discover the Americas. On Friday, the replication of the Niña sailed into Southeast Texas and will be in Riverfront Park until Sunday. Large black masts with weathered, cream-colored sails contrasted against the blue sky Saturday. While a chilly wind blew across the Neches River, children climbed over large ropes wrapping around domineering planks and poles, scrambling from port to starboard and from stem to stern. The historically accurate replication of Columbus’ smallest ship brings to life a legend that many American school children have known. “Smaller than most people’s private yachts,” said an article on the boat, the Little Girl, the translation for Niña, illustrates how small and dangerous voyages across the sea were. Being spoiled with movies such as “Hook” and “Pirates of the Caribbean,” Americans’ views of sailing ships are quite grandiose in comparison to the real thing. The Niña was compact. In the interior deck, for example, which housed the ships
Wednesday, February 14, 2007
TEXT BY JENNIFER MOORE • PHOTOS AND LAYOUT BY TRISH COUGHLAN
University Press archive photos by Trish Coughlan
This photo page doesn’t attempt to tell a story. In fact, there is quite a bit of text. The main focus of the page was to document the visit of the ship to Beaumont and to point out the historical details. There are nine photos on this page, more than one would normally include, but the page still flows and leads the eye through the images.
leaves off of the rose stems and process the assorted flora and fauna that will go into the arrangements. Owner Scott Hasty, shown below right, said he has taken 250 orders for Valentine’s Day deliveries, and will have more than 350 orders when Monday and Tuesday are included.
On the day itself, Hasty employs a team of drivers to make deliveries, all of whom will wear tuxedos. Hasty says the most expensive arrangement he has ever done for Valentine’s Day was $750. He said that 5 percent of shop’s income for the year will be generated during this period.
Photo Essay by Trish Coughlan
University Press archive photos by Nicki Evans
University Press archive photos by Trish Coughlan
This is a picture series. It captures the elements of the routine of the stunt rider. The page flows nicely. Notice the cutout slicing through the headline. Cutouts can work well, although beware of overusing them. Like all graphic elements, make them mean something.
This is a picture story. It shows the activity of a florist shop in the days leading up to Valentine’s Day. A florist may generate 10 percent of its revenue in the one week. The page starts with the packages of flowers being opened and ends with a finished arrangement — and the mess left behind by all the activity.
FACES IN THE CROWD
ELLIOTT DOLLAR — Beyond the limits of doubt and fear Editor’s note: This is the second in a series of short features on people associated with the Lamar and LIT communities.
Wakeboarding was initially created in the late 1980s by a few California surfers who wanted to surf and could find only flat water. After hooking their boards to the back of trucks for momentum, wakeboarding was born. It has evolved into its own genre of sport, with new and improved boards, the use of boats, but the same idea: to test human mental and physical capabilities and to push beyond the limits of doubt and fear to pursue endless possibilities. Elliott Dollar, Vidor senior, wakeboards because it is his passion and has been for about eight years. “A true rider will never be satisfied and will always strive to reach a higher level than the one he was previously on,” Dollar said. Just like any other sport, the time to learn to wakeboard will vary from person to person. Having a pretty extensive background in sports previous to wakeboarding, it didn’t take Elliott long. It requires patience, dedication and time. But it should always be fun. As with other sports you can learn tricks and stunts, some taking longer than others. Some tricks you can stick on the first
try, while others can take 60-plus tries, ending painfully. One thing to keep in mind is not to think too much, or your mind will get in the way of your body, which “can leave you floating in a motion-less heap in the water.” Dollar’s worst injury was one to his knee that kept him off the water for a month-and-a-half. Tack on countless cuts, bruises and a few beautiful shiners, and you’ve got a sport. Wakeboarding competitions have taken Dollar all over the South, including Texas, Northern Louisiana, and soon Florida, where he will compete in a tournament that was re-scheduled because of Hurricane Wilma. He will probably only compete for another year since he is graduating in May, unless he hits it big and goes professional. But as a personal passion of his, he will wakeboard “until his knees and back give out.” Text and photo by Nicki Evans and Amanda Kuykendahl
A classic picture series. The photographer is in the boat and captures the wakeboarder doing a flip. This took several attempts to get it just right. Take lots of photos. Give yourself the opportunity to get the right shot.
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Fascinating sights can be found below streets of ‘Big Apple’
PHOTO STORY BY TRISH COUGHLAN
Thoughts of a visit to New York conjure images of skyscrapers reaching far up into the clouds. But head in the other direction — down — and the “Big Apple” is every bit as exciting and impressive. For the price of a Subway token, you can see art and performances, and even spot some of New York’s famous wildlife. A trip down the “W” line from 59th Street to Canal offers a variety of sights. At 42nd. Street you may find a lifesize music box doll. She stands
motionless until you put a dollar in her hat. Then she comes alive and dances. Pop artist Roy Lichtenstein created a mural that dominates the 42nd Street station concourse. New York is known for its live theater and you will always know what’s playing by the posters everywhere. There’s beautiful art work — not including the graffiti — and many stations have mosaics built into the walls. Be careful not to get so engrossed in the art that you miss your train.
At Canal Street, at the end of the line, mosaic wall reliefs depict pastoral scenes of ducks in flight. But the most interesting pasttime is people watching. Young and old, rich and poor — all of society is represented by the subway traveler. As for the wildlife? Well, New York is also famous for its rats. Just watch the tracks while you are waiting for the train and it won’t be long before one of the metropolis’ furry inhabitants scampers by. Be sure to say hello.
University Press archive photos by Trish Coughlan
This is a combination page. The initial assignment was to capture the arts commissioned for the subway system of New York. Rather than have a random collection, the photographer chose to focus on one line — the W. As she took the photos, she chose to expand the concept to include all the sights to be seen on the journey. Even though it is a collection of images, together they form a narrative.
The difference between a picture story and a story with pictures is illustrated here. The travel story, far right, features the rquired number of photos for a picture page, but the length of the story indicates that they serve to illustrate the story. The picture page, right, has a short story that functions as an extended cutline to explain the pictures.
FEATURES
8 Thursday, September 29, 2011
UNIVERSITY PRESS
TRAVEL
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UNIVERSITY PRESS At Tokyo’s Tsukiji tuna auction, the tails of the fish are cut to allow inspection of the meat.The buyers, after checking the tuna for quality and fat content, make bids through the effervescent auctioneers. Meanwhile, workers line up the fish, mark them for identification and dispose of the massive amounts of foam boxes and materials used in the market.
UP Matt Billiot
Taking on Tsukiji
REMEMBERING THE SOUTH REENACTORS COMMEMORATE 150TH ANNIVERSARY OF SOUTHERN VICTORY Civil War enthusiasts celebrated the 150th anniversary of the Battle of Wilson’s Creek, a Southern victory over the North, in August with a reenactment that included more than 3,000 participants. Wilson’s Creek was the first major battle west of the Mississippi River and occurred early in the four-year war. It took place near Springfield, Mo., and was a catalyst for the Southern forces, commanded by Gen. Benjamin McCulloch, to push north. The battle was of major strategic importance to both sides because it allowed access to the West and gave access to the Missouri, Ohio and Mississippi rivers. The Northern commander, Gen. Nathaniel Lyon, was killed during the battle, marking the first Union general killed during the Civil War. This ultimately gave way to a Union retreat. This battle is also referred to as the “Bull Run” of the West, due to its bloodiness and because it was fought at such close range. There were more than 2,500 casualties from both sides combined — this was double the casualties that occurred during the Battle of Bull Run. For more information visit www.wilsonscreek.com.
WORLD’S LARGEST FISH MARKET CATCHES IMAGINATION If you like sushi, you love fish, or you are simply fascinated by trade occurring on a massive scale, you should check out the Tsukiji fish market located in Tokyo. No, not Tokyo, as in the sushi restaurant with multiple locations in Golden Triangle — Tokyo, as in the large metropolis located in Japan. True, it is not a short trip, nor is the 13-hour flight the only hardship you must face in order to see the world-famous market — however, the spectacle that is Tsukiji is well worth the effort. The market handles 2,888 tons of seafood a day — that’s about 2.8 billion yen ($33 million) of fish bought and sold every day. Yes — everyday. Those numbers seem almost unbelievable, but on a recent trip to Tokyo I visited Tsukiji, and the reality of the market is every bit as impressive as the data. One of the big draws is the tuna auction, but because of the chaotic nature of the surroundings and the market’s limited infrastructure, Tsukiji only allows 120 visitors into the auction each day. I say ‘ each day’ but I should really say ‘each morning,’ because that’s when the auction takes place; the visitor center opens at 5 a.m. on a first-come, firstserve basis, which means if you want a guaranteed spot, you should be there around 4:30 a.m. Skipping coffee, forgoing bathroom breaks and paying for a $60 cab ride, my bleary-eyed family and I made it to the visitor center at 4:50 a.m. — and we were the last to be let in line. As the guard blocked off access, we sighed with relief
and then guiltily averted our eyes from the group of tourists who showed up right behind us, their shoulders slumping dejectedly as the guard informed them that no more visitors would be allowed to enter the auction. Undoubtedly, these latecomers had pushed snooze on the alarm one too many times, lingered over a final cup of coffee or perhaps forgotten to reserve a taxi the night before — yet we couldn’t help but feel sorry that their experience of Tsukiji was over before it had even begun. But dark moments give way to brighter times and, as the sun peeked over Tokyo’s skyscrapers, we were ushered out of the cold morning and into the visitor’s building like cattle at the market (ironic, I know). Once inside, we donned blue vests to identify us as observers and not buyers — an important distinction since a single tuna recently sold for more than $700,000 and the subtlest of gestures can implicate a bid — and waited expectantly to begin our tour of the world-renowned fish auction. Twenty minutes later, we were guided out of the comfortably heated building and into the cold bustling streets of the market. Danger was ever present as small motorized trucks and forklifts zoomed around on all sides. Literally, any step out of our single-file line would have resulted in a bruised shin at least or a fatal head injury at worst; the management’s limitation on the number of visitors suddenly seemed much more reasonable. As we were led through the precarious traffic, we kept catching glimpses inside the large warehouses on each side of the street — fish upon fish were lined up in orderly rows, all waiting to be bought, sold or carted away. At one of these buildings, our guide suddenly stopped at a door and motioned us inside. At last, we had ar-
rived at the main event. The space reserved for the 60 visitors is nothing more that a four-foot wide, roped-off area running just over half the width of the auction warehouse, but on each side of this packed space lay hundreds of thousands of dollars worth of marine products. On one side, tuna that had already been sold were painted with distinguishing marks after which workers slid them across the concrete floors to be taken way. On the other side, a mass of buyers milled around dozens of rows of tuna, examining each fish for quality and fat content via a small cut that had been made near each of their tails (some of the buyers even hacked off little chucks to feel and taste the meat). Both the men and the tuna were at the mercy of the auctioneers — the obvious stars of this show — who were spaced out at intervals throughout the warehouse. When inspection time had passed, these fast-mouthed men rang hand bells, checked their clip-boards and began to recite what I can only assume were numbers at such a fast pace and with such fervor that even some of the buyers became amused. All of this happened at break-neck speed. Tuna were brought in, inspected, sold, tagged, and carried away in minutes and at multiple locations within the warehouse. As visitors and non-Japanese speakers, we had no idea what was happening beyond the fact that people were spending and making a whole lot of money — and that it was great fun. Halfway around the world, I was immersed in a daily ritual that combined economics, culture, nature and efficiency in a way and on a scale I had never dreamed existed. Then, it was over. As quickly as we had been ushered in we were whisked away — back through the never-ceasing traffic, past the largest pile of Styrofoam
any of us had ever seen and out to the edge of the market where our guides politely requested that we return our blue vests. Somewhat shell-shocked and completely amazed, my family and I realized it wasn’t yet 7 a.m. We looked at one another, wondering what we should do that early in the morning and the answer seemed to come from the market itself — sushi! Sushi will never get any fresher or any more authentic than in the scores of restaurants that line the perimeter of Tsukiji. All of them welcome tourists, but very few have workers who speak English — but the language of food (and of money) is universal. We sat down at the first place that
got our attention and seemed to have the least wait (some had lines snaking out the door, even at that ungodly hour). Pointing to menu items, gesturing towards cuts of fish, and ordering the only two beverages we knew how to say in Japanese — sake and beer — we had a grand time and a tasty meal. Not only that, but no one seemed to think it odd we were eating raw fish at 7:30 in the morning — or washing it down with rice wine and “biru.” Finishing our meal, we browsed a few of the shops, explored the surrounding area and finally caught a train back to our lodgings — a full day still ahead of us and yet a lifetime of memories already created in the few hours since we had first woken.
STORY PACKAGE BY MILES CASTON
PHOTO PACKAGE BY JOSH REETER
University Press archive photos by Josh Reeter, right and Miles Caston.
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FITNESS
8 Friday, November 13, 2009
UNIVERSITY PRESS
STORY PACKAGE BY HORACE WHITE
This award-winning picture page shows the exertions of the LUPT fitness program. Note the use of a cutout around the hed and page header. Some people have a tendency to want to use cutouts all the time. They can be very cool, but if you use them too much they lose their impact.
FITNESS PROGRAM BRINGS PAIN, GETS RESULTS
Lamar University Physical Training, an athletic student organization, was founded through the Ronald E. McNair Scholars Program by Julie Arizmendi, Luis Hall-Valdez, and Juan Gaona in 2007. L.U.P.T has successfully completed seven cycles of military-based regimen and is currently in the process of completing the eighth. The organization aims to build a foundation for physical fitness through the intense 11-week program. The regimen draws from the United States Marine Corps’ 12-week boot camp and boxing exerises from the United States Boxing Assocation. There are three phases of L.U.P.T, which include all-terrain runs, calisthenics, water aerobics, plyometrics and weight training. For more information, visit www.luptchallenge.com.
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University Press archive photos by Horace White