Every Picture Tells A Story by University Press

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 for magazine photo. It incorporates angles, lines, balance— Photo by Andy Coughlan but the eyes have it. All these things are in the composition section

Every Picture Tells A Story © Andy Coughlan 2018. 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. This means everyone has a 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 inches. The RESAMPLE IMAGE in the bottom left of the window should be on. 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). Reduce the image size to a manageable size. For most pictures for the paper, plan on an image that is 10 INCHES on its longest measure (10 inches wide for horizontal, 10 inches high for vertical). 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. 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 4

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. The basic rule used to be that you can adjust digitally only what you would be able to adjust manually in the darkroom. However, hardly any of you work in the darkroom any more but the principle is sound. This rule applies to photojournalism as it gets to the “truth” of the image (we will cover this more in th ethics section). The rules are different for art. GETTING THE IMAGE READY TO PRINT Make your adjustments in RGB (Red Green Blue), the mode in which the camera stores the images. Note: We used to have to change the adjusted image to CMYK (Cyan Magenta Yellow Black). These colors constitute PROCESS COLOR, which is used on printing presses. However, as we send the pages to print as a PDF, the printer changes it to CMYK when the plate is printed, so it has saved you a step. You should still know what CMYK is. SAVING THE IMAGE FOR PRINT Save all of your images to print as JPG files. SLUGGING (OR TITLING) YOUR IMAGES There is nothing worse than trying to find a photo that someone has saved as 76543.jpg (the default name). If we have to search too hard for an image, we will just go with a different one. Slug your photos with a clear subject, then the publication date, then your initials. For excample, a photo of the crowd at homecoming taken by me should be homecomingcrowd_9-27_ac.jpg If you consistently refuse to follow this format, we will consistently not bother to use your photos (probably because we can’t find them). 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 inch5

es at its longest measure). Go under the FILE menu and go to SAVING THE IMAGE FOR THE WEB Pull up your finished print version in photoshop. Go under FILE to EXPORT. Go to SAVE FOR WEB. Save it into the relevnt web folder. This will mean you will have two versions of the same photo in distinct files. CUTLINES Every picture needs a cutline. If you have five or fewer people in the picture you need their names. Lamar students need name, hometown and classification. Follow the 5 W’s and the H — who, what, why, when where and how. Cutlines count for 50 percent of the photos grades. Example (below): Jody Reho, left, Michael Mason (with bear head) and William Armitage rehearse a scene from Ad Hoc Beaumont’s play “Penetrator” at The Art Studio, Aug. 27. CUTLINES ARE IMPORTANT

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

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 mood of quiet and solitude. University Press archive photo by Trish Coughlan

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

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 Universityâ&#x20AC;&#x2122;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 â&#x20AC;&#x153;Stage Directionsâ&#x20AC;? incorporates strong contrast in both lighting and composition to emphasize the dramatic nature of the scene. University Press archive photo by Trish Coughlan

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

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 â&#x20AC;&#x201D; 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 and see what you of a wine tasting into an interesting composition. The angle of his hands is slightly out of the norm. This also adds to the interest of the shot. get. University Press archive photo by Trish Coughlan

A routine basketball shot-making contest, part of Lamar Universityâ&#x20AC;&#x2122;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 opportunity. Coughlan

This picture of Lamar student Fletcher DuBose climbing the rock wall in the Sheila Umphrey Recreatio nal Center has a good face, and shooting from below illustrates the height and conveys a sense of excitement. University Press archive photo by Horace White

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. Donâ&#x20AC;&#x2122;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 didnâ&#x20AC;&#x2122;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

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. 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. THREE BASIC SHOTS OF PHOTOJOURNALISM 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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Long shots: These establish the scene and show relationships between elements. Medium shots: Identifies the major individuals or elements in the story.

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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Close-ups: Moves in on the details. Adds impact and emphasis.

This medium range shot shows the local dignitaries and the featured speakers. The sign in the foreground adds to the image.

COMMON ERRORS See the image the way the camera sees it. A busy background may detract from the

University Press archive photos by Kourtney Reese, Julie Garcia and Lauren Wigley-Helling

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-behindthe-game” 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.

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 idea. This image won an award for magazine photography. ISSUE Magazine photo by Andy Coughlan

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 17

are 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

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

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

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 old man on 21

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 on. But what if you stop and talk? This wild art picture was taken at Dogtoberfest in downtown Beaumont on Maybe you find out Oct. 21, 2006. The contrast of the small woman with the big dogs and the large man with the little dog makes for a great photo. Humor is a good tool in he was a member of the right circumstances. Sir Edmund Hillary’s University Press archive photo by Kerisha Mark 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

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

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 3rdranked Lady Mountainee rs 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 University Press archive photo by Kourtney Reese to a sense of movement.

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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

EQUIPMENT If you want to shoot sports on a regular basis, GET A TELEPHOTO LENS! Donâ&#x20AC;&#x2122;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 gameoutside-thegame 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

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 44-43, 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.

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 amendment, 31

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.

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 â&#x20AC;&#x201D; 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 doesnâ&#x20AC;&#x2122;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 storyâ&#x20AC;&#x2122;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

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.

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.

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.

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. University Press archive photos by Josh Reeter, right and Miles Caston.

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. University Press archive photos by Horace White

A helicopter pilot talks to a family in the Montagne Center parking lot, Aug. 30. The Montagne was used as a shelter for Hurricane Harvey victims.

UP photo by Noah Dawlearn

A small boy eats a snack in Montagne Center, Aug. 30. He was part of an evacuated family.

Local volunteers took to boats to evacuate residents of the Cypress Glen and Lake Arthur Place nursing homes in Port Arthur, Aug. 30, after flooding from Hurricane Harvey.

UP photo by Hannah LeTulle

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A Grandma Carrie Boudreaux takes Amber Boudreauxs on her first carousel ride at the Texas Rice Festival in Winnie, Saturday.

UP photo by Shane Proctor

A mighty ‘rice’ time Texas Rice Festival held Oct. 4 through Saturday in Winnie Since 1969, the Texas Rice Festival has been held to honor rice farming. This year, the four-day harvest celebration was held Oct. 4 through Saturday in Winnie. More than 100,000 people flood Winnie-Stowell Park annually, and 2017 was no exception. Sponsored by Whataburger, the festival opened Wednesday evening with free admission. Events continued through the weekend with live music, livestock shows, art exhibits and craft shows, antique cars, parades, a horse show, horseshoe tournament, bar-b-que cook-off, rice cooking contest and a carnival.

UP photo by Shane Proctor

UP photo by Ashley Kluge

Esme Lagard, above left, Chynna Lagard and Richeous Robicheaux relax in front of a mural at the Texas Rice Festival in Winnie, Saturday.

The Yoyo was one of the many rides that attracted visitors to the Winnie Rice Festival, Oct. 5 through Sunday.

FEATURES

UNIVERSITY PRESS October 13, 2016

UP PHOTOS GABBIE SMITH AND HANNAH LETULLE • LAYOUT BY HALEY BRUYN

GGY’S

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Breeds ranging from Great Danes to Chihuahuas roamed the streets of downtown Beaumont, Saturday, at Dogtoberfest. The event included a parade and a costume contest, which was won by Amanda Faggard, who dressed as Alice with her canine companion dressed as the White Rabbit. Vendors and local animal shelters filled booths, and there were food trucks, raffles and contests to keep both humans and canines entertained. Booths featured dog treats and accessories, as well as paw readings and dog spas. A red carpet was lined with fire hydrants as contestants showed off their costumes, attitudes and talent. A doggone good time was had by all.

Sarah Hearn Wells stands beneath the grain elevator installed in the Clifton Steamboat Museum lobby.