Advanced Photojournalism

a syllabus

Fall 2003
PHOT 4870.01
© Bill Barrett 2003

Feedback (general opinions, problems, suggestions, etc.) on this hypersyllabus is encouraged! Bookmark this, but don't rely on printing it out. It is very likely that this page will be updated in the course of the semester.

Provides insight into photojournalism by working as members of the campus newspaper staff. Students apply their knowledge of photography by completing a wide variety of weekly assignments. Issues of newspaper photography "going digital," and other real world concerns of the working photojournalist, are introduced. Prerequisite: Photojournalism (PHOT 2190). May be repeated for credit. Note: It is advisable to take Fundamentals of Reporting (JOUR 1030), and Digital Photographic Imaging (PHOT 3190), prior to or concurrent with this course.

Students are introduced to the National Press Photographers Association, and expected to participate in the NPPA Internet discussion group.

Class attendance is important for this course. If an assignment keeps you away from a class meeting, leave a message ahead of time. Do not schedule photographs during class time. Assignments must be completed on schedule!

Texts:
Howard Chapnick, Truth Needs No Ally.
Tim Harrower, The Newspaper Designer's Handbook.
Both are in paperback, and are available at the Webster University Bookstore.

How you're graded: Your final grade is based on your performance throughout the semester. Your attendance and active participation count for 25%; your regular photographic assignments and complete record keeping count for 60%; a feature consisting of at least 4 pictures counts for 10%; an exam counts for 5%. Doing more than required can earn you extra credit; talk to me outside class if you're interested. This is what the grades mean...

What we're doing: You receive regular assignments from the Photo Editors; they should be completed as promptly as possible. (Although the paper goes to press each Tuesday evening, photo assignments should be turned in as early as possible, so that layouts can be made with the photographs in mind. Don't wait until the last minute!) Should anyone other than the Photo Editor want to give you assignments, please talk to the Photo Editor (Lee) and the Photo Advisor (Bill Barrett) before accepting them.

When you have photographed your assignments, you will get the film processed (if B&W, you must do it yourself in the darkroom; if C-41, take it to PhotoFast, 7276 Manchester Rd. in Maplewood, (314) 781-3278), scan in your negatives on the Kodak RFS  3600 film scanner or the RFS 2035 Plus film scanner in the newsroom and make contact sheets (on the computer using Photoshop or in the darkroom) . If you used a digital camera, you can download your photos directly into the computer.

Our Tuesdays will be especially concerned with immediate production questions and concerns. We will meet each week at the start of class and talk about what remains for the paper to get out that night. We will also use the texts and supplementary materials to consider problematic situations both in getting the photos and in production. Our Thursdays will be divided between critiques of the newly arrived issue and practical issues in photojournalism. Later, you can join the editorial meeting with the full staff if your schedule permits. (It is in your own best interest to be there, so you can clarify any questions about stories or photo assignments).

Every Thursday, you should bring your photos from that week to class (including multiple options for a story, if your edited take includes several). Be sure to enter all cutline (caption) information in Photoshop (File, File Info... General). When you print it out (File, Print with Preview), be sure the "Caption" box is checked. Note on each whether or not it ran in that week's paper. If not, give a brief explanation (e.g. Story on Hold, Story Not Written, etc.). Be sure to note the date of the issue and page number if the photo ran, the issue it was initially requested for if it didn't.

Although you should certainly scan your photos in as soon as you have selected the frames you think work best, bear in mind that an editor's job is to look at the overall design of the paper. The Photo Editor may ask you to scan in frames other than those you first select; until you have a good sense of what works for the paper, consult frequently with the Photo Editor.

Because your photographic work is such a big part of your grade, you'll get weekly feedback:

This is meant to give you useful feedback, and is generally reflective of the grades as noted above. Anyone can have a bad week, but if your weekly grade is F four or more times in the course of the semester, you'd likely be fired from a "real" job. You could receive an F for that portion of your overall grade.

Please note the following special dates (and look for additional links on specific topics as we go along):

Week 1 (1/14 & 16). Introductions; how class works. Signing up as student members in the NPPA, and getting onto the NPPA e-mail discussion list. (If you are new to on-line discussion groups, read the "rules of the road" before you jump in!) NB: NPPA student members can now find information on Scholarships in Photojournalism on the Internet. Logistics, film & equipment. First assignments & working under pressure. Writing accurate cutlines.
Production planning meeting. (Every Thursday:) Evaluation of the new issue. Proposals for "Photo Pages" and features.

Week 2 (1/21 & 23). "What went right" and where we can improve. Cutline exercise.

Week 3 (1/28 & 30). Issues using the Kodak DC 240, DC 260, DC 3400, DC 4800,  DCS 315 and DCS 760 digital cameras. .

Week 4 (2/4 & 6). The DCS 315 and DCS 760 digital cameras.

Week 5 (2/11& 13). Some ethical concerns; we'll discuss the Journal's "Policy for the Ethical Use of Photographs," look at guidelines and codes from newspapers around the county,  and screen a videotape discussion of several picture editors talking about ethics in the digital age.Schedule individual meetings with Bill to review your book in progress.

Week 6 (2/18 & 20). What is happening in the world of photojournalism: "The Day in Pictures" from The Chicago Tribune. (Check it often for updates.) Editing exercise.

Week 7. (2/25 & 27).  The motivation needed to get into this career. Be sure to have read Chapter 5 of Truth Needs No Ally. Listen to the Gordon Parks story aired on All Things Considered, 17 September 1997, and to his story about breaking into photojournalism told on his 88th birthday  (Requires the free Real Audio Player.) Time to get ready for the NPPA Quarterly Student Clip Contest for work from December, January and February.

Week 8 (3/4 & 6). Schedule individual meetings with Bill to review your book in progress.The photojournalist as witness: Magnum. (Be sure to read the special handout on the 6 Oct 97 issue of U.S. News & World Report.)

Spring Break

Week 9 (3/18 & 20). How are we doing so far? What do we want to expand or begin regarding photography at the Journal?
Some contests that may be of interest: Nikon Photo Contest International

Week 10 (3/25 & 27). Putting your portfolio together (read chapter 7, Truth Needs No Ally.)

Week 11 (4/1 & 3). Photojournalism around the world: the National Geographic experience.

Week 12 (4/8 & 10). Schedule individual meetings with Bill to review your book in progress.

Week 13 (4/15& 17). Ethics continued. We'll look at the case of the Kent State photograph and consider the falsification of photographs in Stalin's Russia. Listen to an interview with David King, author of "The Commissar Vanishes," aired on All Things Considered, 7 November 1997 (Requires the free Real Audio Player.), and checkout the Newseum's useful site on the book.

Week 16 (5/6 & 8). Finals Week: Schedule individual meetings with Bill to review your completed book. Don't forget the NPPA Quarterly Student Clip Contest for your work from March, April and May.