Qualities and Duties of a Photojournalist

Like a writer, a photojournalist is a reporter but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles. For e.g., physical danger, weather, crowds, etc.

The primary role of the photojournalist is to be a visual storyteller. By photographing, editing, and presenting images, they tell a story in a way that no other media can. The subject matter can vary greatly, from local issues, national political races to social unrest in a foreign country.

Photojournalists must be knowledgeable about the tools of the trade. They need to be able to use digital as well as print photography equipment, editing tools, and publication software. Because more than half of all photojournalists are self-employed, there is often no photo editor in the middle of the process. He or she should be familiar with lighting, setting up for best exposure, and picture quality is critical for professional level photos. Timing is everything for a photojournalist, and they must have an eye for set up and the reflexes to grab that split-second opportunity.

Duties of a Photojournalist

1. Take photographs or film video segments.

2. Process and print negatives or film.

3. Capture images in an authentic and ethical manner.

4. Write copy, captions or headlines to accompany photos.

5. Use image-editing software such as Photoshop to edit images.

6. Prepare audio to accompany video segments.

7. Pitch ideas and photographs to editorial staff.

8. Travel to photo shoot locations.

9. Editphotographs or video for publication specific to Internet.

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Rule of Thirds, 180-degree rule and 30-degree rule

Rule of Thirds

The rule of thirds is a "rule of thumb" or guideline which applies to the process of composing visual images such as designs, films, paintings, and photographs. The guideline proposes that an image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections.

180-degree rule

The 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. An imaginary line called the axis connects the characters and by keeping the camera on one side of this axis for every shot in the scene, the first character will always be frame right of the second character, who is then always frame left of the first. If the camera passes over the axis, it is called jumping the line or crossing the line.

30-degree rule

The 30-degree rule is a basic film editing guideline that states the camera should move at least 30 degrees between shots of the same subject occurring in succession. If this rule isn't followed a jump cut occurs and there is a risk that the audience starts focusing on the filming technique instead of the story that is being narrated. The 30 degree change of perspective makes the shots different enough to avoid a jump cut. The rule is actually a special case of a more general dictum that states that the cut will be jarring if the two shots being cut are so similar that there appears to be a lack of motivation for the cut. The axial cut is a striking violation of this rule to obtain a certain effect.

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Long takes in Filmmaking

The long take, a shot of some duration, was not an aesthetic choice when it was first used. Filmmakers in the early days of cinema had no choice but to shoot their works in one continuous take, until the film ran out. 

Even as it became technically possible to have cuts in films, the finished product would often still look more like a stage drama, with a static camera stringing together a series of narrative sections. 

Hitchcock's Rope (1948), which, through editing, creates the impression of an entire film taking place during one take, and Mike Figgis's Timecode (2000), which shot digitally four ninety-minute takes concurrently. It can be used for dramatic and narrative effect if done properly, and in moving shots is often accomplished through the use of a dolly or Steadicam.

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What are Video Transitions?

Video transitions are the effects added to the video during the editing process. The way in which any two video shots are joined together is called the transition. Transitions are very important, everyone from the camera operator to the editor must have a good understanding of how to make effective transitions.

The most common transition is the cut, in which one shot changes instantly to the next. The next most common transition is the cross-fade (or mix or dissolve), where one shot gradually fades into the next. 

Fade out is a term used to describe a transition effect where the image slowly disappears into a black. This usually indicated the end of a scene or the video. Fade out is a type of dissolve effect. It is the opposite of fade out. In this transition effect the image appear from a black background. This is used in the beginning of a scene or video. A cutaway shot is the interruption of a continuously filmed action by inserting an image of something else. It could be a different subject, a close up of a different part of the subject, or just about anything else.

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Types of Video Editing

With the advancement of technology digital editing became popular and flourished. There are some basic types of editing classified on the basis of the process.

1.      Linear Editing

Linear video editing is the process of editing analogue video tape. It is a post-production process of selecting, arranging and modifying images and sound in a pre-planned, ordered sequence. Most of the digital editing platforms have replaced the linear editing process. In the case of linear editing one cannot go back to the edited portion and re edit. It is a one way editing process. In this type of editing video sequences were edited by inserting new frames into it.

2.     Non – Linear Editing

In digital video editing, a non-linear editing system is a video and audio editing method that allows accessing any frame in a digital video clip regardless of sequence in the clip. The specialty of non – linear editing is the freedom to access any frame, and use a cut-and-paste method, similar to the ease of cutting and pasting text in a word processor. It allows to easily including fades, transitions, and other effects that cannot be achieved with linear editing. It is widely used in the digital video editing. Software like final cut pro, adobe premiere pro etc., are following this method.

3.     Offline Editing

Offline editing is part of the post-production process of filmmaking and television production in which raw footage is copied and edited, without affecting the camera original film stock or video tape. Once the project has been completely offline edited, the original media will be assembled in the online editing stage.

4.     Online Editing

Online editing is a post-production linear video editing process that is performed in the final stage of a video production. It occurs after offline editing. It is a form of live editing process. In digital video and film production, online editing is used to describe editing footage at the original highest-quality. 

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Film Editing styles

Chronological editing

Editing that follows the logic of a chronological narrative, one event follows subsequently from another, and time and space are logically represented.

Cross-cutting or parallel editing 

The linking-up of two sets of action those run concurrently and are interdependent within the narrative.

Continuity Editing/ Continuity cuts

It is the predominant style of film editing and video editing in the post-production process of filmmaking of narrative films and television programs. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots.

In most films, logical coherence is achieved by cutting to continuity, which emphasizes smooth transition of time and space. However, some films incorporate cutting to continuity into a more complex classical cutting technique, one which also tries to show psychological continuity of shots. The montage technique relies on symbolic association of ideas between shots rather than association of simple physical action for its continuity.

These are cuts take us seamlessly and logically from one sequence or scene to another. This is an unobtrusive cut that serves to move the narrative along.

Match Cut

A match cut, also called a graphic match, is a cut in film editing between either two different objects, two different spaces, or two different compositions in which an object in the two shots graphically match, often helping to establish a strong continuity of action and linking the two shots metaphorical.

Jump cut

Cut where there is no match between the two spliced shots. Within a sequence, or more particularly a scene, jump cuts give the effect of bad editing. The opposite of a match cut, the jump cut is an abrupt cut between two shots that calls attention to itself because it does not match the shots seamlessly. It marks a transition in time and space but is called jump cut because it jars the sensibilities; it makes the spectator jump and wonder where the narrative has got to. Jean Luc Godard is undoubtedly one of the best exponents of this use of the jump cut.

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What are film Editing techniques?

Film editing is part of the creative post production process of filmmaking. The term film editing is derived from the traditional process of working with film, but now it increasingly involves the use of digital technology. The film editor works with the raw footage, selecting shots and combining them into sequences to create a finished motion picture. Film editing is described as an art or skill, the only art that is unique to cinema, separating filmmaking from other art forms that preceded it, although there are close parallels to the editing process in other art forms like poetry or novel writing. 

Film editing is often referred to as the "invisible art" because when it is well practiced, the viewer can become so engaged that he or she is not even aware of the editor's work. On its most fundamental level, film editing is the art, technique, and practice of assembling shots into a coherent sequence. The job of an editor isn’t simply to mechanically put pieces of a film together, cut off film slates, or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively "re-imagine" and even rewrite the film to craft a cohesive whole. Editors usually play a dynamic role in the making of a film.

With the advent of digital editing, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. Film editing is an art that can be used in diverse ways. It can create sensually provocative montages; become a laboratory for experimental cinema; bring out the emotional truth in an actor's performance; create a point of view on otherwise obtuse events; guide the telling and pace of a story; create an illusion of danger where there is none; give emphasis to things that would not have otherwise been noted; and even create a vital subconscious emotional connection to the viewer, among many other possibilities.

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Three Point Lighting technique

The three point lighting technique is produced by three types of lights, i.e., key light, fill light and back light. These lights are classified on the basis of its functions. Key light illuminates the major portion of the scene and it is the main source of illumination. It produces a level of light that creates proper exposure. Basically flood lights are used to for key lighting.

The area that is away from the range of key light will remain dark. This area is filled with illumination using a fill light. It is the source that partially illuminates dark areas. It is used to soften the harsh shadows created by the key light. The intensity of a fill light will be comparatively lesser than a key light. It reduces the contrast between bright and dark sides.

The back light is used to separate the subject from the background and create a three dimensional effect. It is used to enhance the depth of the scene. It is applied from a higher level behind the subject which is opposite to the camera. For the purpose of production the intensity of light is controlled by using barn doors. The lights will be mounted on two types of grids. One is slung lamps which are attached to the ceiling of the studio and pointing downwards. Lights are also fixed on floor stands of adjustable heights called stand lamps.

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Studio Lighting techniques

Lighting is an essential part of cinematography and video production. Lighting provides enough illumination to produce a technically acceptable picture. It conveys a visual sense of space, time and mood. Studio lighting helps to clear the shape, texture and important details desired.

When filmed, the subject and the background look two dimensional to the viewers. Lighting helps to create a convincing three dimensional image by separating the subject and layers or background of the scene. A cinematographer plans how light falls on and around the actors, how light bounces and reflects onto subjects, and where then highlights and shadows are to be.

·         Styles of lighting

There are various kinds of lighting styles applied during a production. Some of them are:

1.      Directional or Hard Light

It illuminates a relatively small area with a clear and sharp light beam. Hard light produces shadows. Shadows can reveal shapes and details of the environment. When it is used effectively it can create vibrant images and emotions.

2.     Differed or Soft light

Soft light illuminates a large area with a wide blurry light beam. It can be used to lessen or avoid shadows. When it is effectively used it can produce sensitive effects. It is also used to compare with the potential harshness of directional light.

3.     High key Lighting

High key light is a highly bright light stream and diminishes the dark areas or shadows within the scene. It produces strong lighting on the subject and the other features present in the scene.

4.     Low Key Lighting

In this type of lighting only few areas are illuminated. It produces more shadow areas. It enhances the depth of the scene and subjects using highlights and shadow.

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