Photojournalism

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Photojournalism: Narratives in
visual storytelling
DR SAHIL KOUL
Assistant Professor, Vivekananda School of Journalism & Mass Communication;
VIPS-Technical Campus, GGSIPU, Delhi
introduction
hotographs or images have become an essential component of the glob-
P al information flow of the twenty-first century perhaps because the

information consumers demand to see visuals about what the reporters
write. This necessity has led to a change in how photographs are used to con-
vey information, visual aids are being relied upon more frequently to tell sto-
ries and offer insights, and more photographs are being utilized dramatically.
Photography is at the heart of this innovative, powerful use of the visual.
Reporting using a camera, capturing a fleeting moment in time, or telling a
story with a photo and or video are all examples of photojournalism. It is, in the
words of Henri Cartier-Bresson, capturing the “decisive moment.” The mosaic of
our lives, documented on film and digital sensors, includes moments of misery,
happiness, death, birth, failure, success, terror, and relief. Photojournalism is not
limited to an image captured during a conflict or war in a far-off exotic location.
Photojournalism is also the photographs of members of the state legislature or
the local municipal council debating on a new law or policy. It’s not merely a
national magazine cover photo of a Capitan from an Indian Premier League
(IPL) team holding the trophy. It is also an image of a school team from any of
the states of the country playing for the glory of their school or state.
Vivekananda Institute of Professional Studies

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119 SYNTHESIS
INTEGRAL MEDIA STUDIES | Vol-V
Collins dictionary defines photojournalism as, “Journalism in which stories

are presented mainly through photographs rather than words,” while Merriam-
Webster dictionary defines photojournalism as, “Journalism in which written
copy is subordinate to pictorial, usually photographic presentation of news sto-
ries or in which a high proportion of pictorial presentation is used.” The char-
acteristics of objectivity that is the situation implied by the photographs is a fair
and accurate representation of the events they depict, timeliness which means
that the images have meaning in the context of a published chronological
record of events, and narrative that is the images combine with other news ele-
ments, to inform and give insight to the viewer or reader, set photojournalism
( sometimes also referred as news photography) apart from other genres of
photography like street photography, documentary photography, portraiture
photography, etc. Even though photojournalism has been in practice since the
invention of photography and certainly after the invention of the first 35mm
camera, the Leica in 1925, the term ‘Photojournalism’ was coined much later in
the year 1989 by Frank Luther Mott, Dean Missouri School of Journalism,
University of Missouri.
The majority of the writing on press photography has focused on the fact
that the photograph is the “most technically reliable means of representing
visual reality.” This means that concepts such as record or proof, reliability, tes-
timony, or eye-witness, have dominated the discussions on the role of photo-
graphs in news.
Elements of News Photography / Photojournalism:

1. The Photograph: Not all photographs qualify to be labeled as news photo-
graphs. For a photograph to qualify as a news photograph it must adhere to
the news values like immediacy, proximity, consequence, prominence,
suspense, oddity, conflict, etc., Newsworthiness is the key criterion.
2. Cutline: A cutline is a piece of textual information accompanying the pho-
tography, usually describing the details of what has been captured in the
photograph. The cutline mostly appears below the photograph and answers
5W’s and 1H.
3. Caption: A caption is a headline that precedes the cutline. Captions are short
usually a few words that form a title or headline of a photograph. The font
size of a caption is usually bigger than the cutline. A caption should not be
confused with a cutline both the terms are different and should not be used
interchangeably.
Photojournalism: Narratives in visual storytelling

120 SYNTHESIS
Types of assignments in photojournalism (sometimes referred to as

forms of photojournalism):
Photojournalists as employees of news organizations carry out different
assignments ranging from spot news to photo story. Let us know these assign-
ments in detail.
1. Spot News Photojournalism: These photographs are usually captured
without any prior planning since the atmosphere is unpleasant or undesir-
able and the photojournalist is informed about such incidence in real-time.
Spot news photography includes capturing fires, accidents, plane crashes,
murders, robberies, and natural disasters, among other things. Spot news
usually happens without warning and ends quickly therefore the photojour-
nalist must arrive at the location very quickly. These photographs are usu-
ally accompanied by a news story written by a reporter.
2. Stand-alone Photograph: Stand-alone photographs as the name suggests
are not accompanied by a written story. They are generally accompanied by
a caption or a cutline or both. Stand-alone images are a great way of toning
down the heaviness or seriousness of a newspaper. A lot of newspapers use
a slice of life kind of image to tone down the heaviness of the page e.g., kids
taking a shower under a fountain on a hot summer day, or people using col-
orful umbrellas on a rainy day. Here the photographer has a scope of show-
ing creativity by capturing the photography very aesthetically which is gen-
erally not the case with spot news or other forms of photojournalism.
3. Photo-feature: A photo feature is a series of photographs (usually 3 to 7
photographs) published by a newspaper or a website highlighting an issue.
The photo feature is generally accompanied by a caption and each photo-
graph may carry a cutline or there can be a collective cutline for all the pho-
tographs. Photo features are usually carried out by the local edition of the
newspapers. Generally, the photo features are carried out to highlight the
magnitude of the issue at hand for example during the elections campaigns,
big events, rallies, etc. Many newspapers carry out photo features on lean
days (when there is a dearth of news stories) to fill the space.
4. Photo Essay: A photo essay explores a situation and expresses a story.
Unlike a photo feature, where photographs are essentially depicting the
same thing or theme, in a photo essay, all photographs are different, present-
ing a variety of things. Usually, a photo essay can be a concept and can advo-
cate a point of view. Each photograph in a photo essay makes its point, and
together they can make a larger, more significant statement. A photo essay

121 SYNTHESIS
Picture Credit: Gurpreet Singh, Hindustan Times
might be compared to those tiny Russian wooden doll toys that start enor-
mous before you open them to reveal another much smaller doll and you
keep opening them up until you get a doll that is approximately the size of
your little finger. Similar to those tiny wooden dolls, each of the images in a
photo essay can be understood independently of the other images. When
you disassemble a photo essay, you are surrounded by a variety of stand-
alone photographs which have their meaning. However, combining the
images creates a better final result that is far more potent in communicating
a message or theme. Each image in a photo essay makes a continuous
attempt to offer the images more intellectual depth and depth of meaning.
Despite having unique meanings and definitions of their own, they all work
together to achieve a greater goal. The story in a photo essay would not suf-
fer and the central idea would not falter if you removed one of the photo-
graphs from the essay since the images do not follow any appropriate order.
It is important to remember that for a photojournalist or a photo editor,
deciding on the images that will be included in the photo essay is a tedious
and difficult task. William Eugene Smith, an American photojournalist is
known for his photo essays. He has been described as, “perhaps the single
most important American photographer in the development of the editori-

122 SYNTHESIS
al photo essay.” Some of his prominent Photo essays include American

country doctor, the Pittsburgh, Nurse Midwife, and Minamata.
5. Photo Story: The photographs that make up a photo story are far more
dependent on one another than they are in a photo essay. A visual narrative
that achieves coherence and continuity through the arrangement of related
photographs, captions, and cutlines is known as a “photo story.” To put it
clearly, each photograph in a photo story depends on the others, and remov-
ing images could reduce the impact of a story on viewers or readers.
The important elements of a photo story are:

a. It must be a visual narrative on a single topic. Usually following a single
person.
b. It must have a distinguishable beginning, middle, and end.
c. It should be the best possible edit so much so that removing a single
photograph shall impact the story.
d. The writing or cutline should be very tight. An attempt should be made
to give the entire idea in a single sentence.
A photo story is just like a simple jigsaw puzzle. It consists of numerous pieces
and elements that all look similar and go next to each other, but when you put
them all together, you’ve created a masterpiece. To be able to put the pieces togeth-
er you need to follow proper order, each piece will go at its specific position and
cannot be placed haphazardly. When you have all of the necessary pieces, your
puzzle (or photo story) is finished. However, removing just one piece disrupts the
entire story, and you no longer have a cohesive unit working together to showcase
a complete story. One of the best examples of a photo story is Enrique’s Journey.
It is a Pulitzer prize-winning photo story by Don Bartletti that was published in a
2002 series of the Los Angeles Times. Bartletti was awarded the 2003 Pulitzer
prize for feature photography while Sonia Nazario who wrote the series received
the 2003 Pulitzer prize for feature writing. Nazario later turned the photo story
into a book that went on to become a national best-seller book.
It is very important to remember that a photo feature, photo essay, and
photo story are different and cannot be confused with one another even
though all of these forms of photojournalism use a series of photographs.
Ethical Code of conduct in Photojournalism:

As the saying goes ‘with great power comes great responsibility,’ since jour-
nalism in general and photojournalism in particular impacts the lives of mil-

123 SYNTHESIS
lions, it is pertinent to lay down some ground rules to ensure the highest stan-
dards of professionalism.
The National Press Photographers Association (NPPA), a global profes-
sional association that upholds the highest standards in visual journalism,
recognizes that everyone has a right to accurate information about global
affairs as well as the right to be acknowledged as a member of the society in
which they live.
Photojournalists serve as public trustees. NPPA’s main responsibility is to
graphically report on important happenings from multiple points of view and
the main objective is the accurate and thorough representation of the topic at
hand. A photo-journalist is dutybound to capture society’s history and preserve
it via photographs.
Using the language of visual comprehension, photographs (and videos)
can connect people from all over the world, highlight wrongdoing and neg-
lect, uncover important truths, inspire optimism and understanding, and
more. At the same time, invading photographs or photographs that have
been altered can also be quite harmful. The NPPA’s code of ethics is
designed to encourage the highest standards in all types of visual journalism
and to boost public trust in the field. It is also intended to be used as a teach-
ing tool for individuals who value and practice photojournalism. The
National Press Photographers Association proposes the following code to
achieve this.
Code of Ethics by NPPA

The following standards must be upheld by visual journalists and those who
oversee visual news productions in their day-to-day work:
1. When representing subjects, be thorough and accurate.
2. Avoid letting planned picture ops manipulate you.
3. When documenting or photographing subjects, be thorough and provide
context. Don’t generalize about people or groups. Recognize one’s person-
al biases and try to avoid exhibiting them in the work.
4. Be respectful and dignified toward all people. Give your undivided sympa-
thies to the victims of crime or tragedy and show concern for those who
are vulnerable. Only when the public has a compelling reason to see should
you interfere with someone else’s private moment of pain and grief.
5. Avoid actively altering, attempting to alter, or influencing events while
photographing your subjects.

124 SYNTHESIS
6. Editing must preserve the integrity of the context and content of the pho-
tographs. Avoid any visual or sound manipulation that can mislead view-
ers or portray subjects incorrectly.
7. Never compensate sources or subjects monetarily or give them tangible
rewards in exchange for their information.
8. Refrain from accepting gifts, favours, or payment from anybody who
might try to sway coverage.
9. Avoid purposefully undermining the work of other journalists.
10. Maintain the highest standards of conduct in all professional contacts and
refrain from harassing co-workers, subordinates, or subjects.
Ideally, photojournalists should:

1. Work to make sure that the public’s affairs are handled in the open with
transparency.
2. Ensure that all journalists have rights of access.
3. Develop a distinct perspective and presentation by thinking strategically as
a student of psychology, sociology, politics, and art. Work with a strong
taste for modern visual media and current events.
4. Strive for complete and unfettered access to topics, provide substitutes for
hollow or hurried opportunities, seek a diversity of opinions, and endeav-
our to present controversial or overlooked points of view.
5. Refrain from participating in or appearing to participate in political, civic,
corporate, or other job activities that could undermine one’s journalistic
integrity.
6. Make an effort to interact with subjects in an unassuming and humble
manner.
7. Be mindful of the photographic moment’s honesty and integrity.
8. Work to uphold the ideals and high standards outlined in this code by
leading by example and having an impact. Consult those who uphold
the highest standards of their profession when faced with circumstances
under which the best course of action is unclear. Photo-journalists
should constantly research both their craft and the moral principles that
underpin it.
Press Council of India (PCI) Norms of Journalistic Conduct:

The press council of India in its ‘Norms of Journalistic Conduct’ states that
the media has enormous potential to shape popular perceptions, opinions, and

125 SYNTHESIS
beliefs. Therefore, the media’s job is to make sure people have access to accu-
rate information that will inform their decisions and help them feel empow-
ered. The PCI’s ‘Norms of Journalists Conduct’ has a specific section dedicat-
ed for photo-journalism
PCI Norms for Photo Journalism

i) Photojournalists and other visual news producers must be much more
responsible and cautious in the performance of their tasks since a photo-
graph or visual presentation of news leaves a greater and longer-lasting
impression on readers and viewers than mere words. So they must make
sure that their reporting is always accurate, unbiased, fair, decent,
sober, and in the interest of the public to uphold the high standards of
journalism.
Dos
1. Photographs should be complete, accurate, and put the subjects in the right
context.
2. Be respectful and dignified toward all people. Give your undivided sympa-
thies to the victims of crime or tragedy and show concern for those who
are vulnerable. Only when the general public has an overriding and legiti-
mate interest in sharing or seeing only then should a photojournalist
invade private grief.
3. The integrity of the photographic images’ context and substance should be
maintained when a visual is being edited. To avoid misleading viewers or
misrepresenting subjects, neither sound nor images should be added to or
altered in any manner.
4. Be as discrete and respectful as possible when dealing with subjects.
5. Respect should be shown for the photographic moment’s integrity.
6. Nothing obscene, vulgar, or offensive to good taste should be depicted in pic-
tures.
7. Work to make sure that the public’s affairs are handled in the open with
transparency. Ensure that all journalists have rights of access.
8. Aim for complete, unfettered access to subjects and suggest substitutes for
limited or hurried opportunities.
9. Look for a variety of opinions and make an effort to present controversial or
overlooked points of view.
10. Maintain the spirit and high standards represented in this code by setting

126 SYNTHESIS
an example for others to follow. When faced with circumstances under

which the best course of action is unclear, seek the advice of individuals
who uphold the greatest standards in their field.
Don’ts
1. Refrain from actively attempting to change, modify, or influence events
when taking pictures of your subjects.
2. The privacy of a person shouldn’t be violated unless there is a compelling
public interest that outweighs it, not out of morbid or racy curiosity.
3. Do not depict mutilated bodies or other pictures that incite horror or incite
racial or communal tensions when reporting on terrorist attacks, riots, or
other violent crimes.
4. Avoid letting planned picture ops manipulate you.
5. Never accept gifts, favours, or payments from anyone who might try to sway
the coverage.
6. Avoid any business, civic, or political activities or employment that would
appear to or undermine your professional independence.
7. For information or involvement, neither the sources nor the subject should
receive remuneration or any other tangible benefit.
8. Any prejudices should not be present in the work.
9. Do not purposefully undermine the work of other journalists.
ii) It is not unethical or against journalistic standards to use a photo of
police personnel standing next to a clandestine gambling house to high-
light the gambling threat that the authorities are ignoring.
iii)The idea of “dignity in death” is universally accepted in civil society,
hence the media would be wise to steer clear of photographing such
events unless they clearly serve a public interest or purpose.
References
● Caple, H. (2013). Photojournalism: A Social Semiotic Approach. London: PALGRAVE
MACMILLAN.
● Code of Ethics. (n.d.). Retrieved April 2022, from NNPA: https://nppa.org/code-ethics
● Horton, B. (2001). Associated Press Guide to Photojournalism (second edition). New York:
McGraw-Hill.
● Langton, L. (2009). Photojournalism and Today’s News Creating Visual Reality. West Susex,
UK: WILEY-BLACKWELL.
● Lester, P. M. (2018). VISUAL ETHICS A Guide for Photographers, Journalists, and Filmmakers”

127 SYNTHESIS
Excerpt From Visual Ethics Paul Martin Lester This material may be protected by copyright.
New York: Routledge.
● Nazario, S. (2014). Enrique’s Journey. New York: Random house.
● Norms of Journalistic Conduct 2020. (n.d.). Retrieved April 2022, from Press Council of India:
https://www.presscouncil.nic.in/ViewPdfContent.aspx?Page=DocumentsOfPCI&Title=Norms
%20of%20Journalists%20Conduct,%202020
● Photojournalism- New World Encyclopedia. (n.d.). Retrieved April 2022, from New World
Encyclopedia: https://www.newworldencyclopedia.org/entry/Photojournalism
●■●

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CHP_11_VOL5_118_127.

qxd 1/26/2023 7:07 PM Page 118

P al information flow of the twenty-first century perhaps because the

Vivekananda Institute of Professional Studies

Collins dictionary defines photojournalism as, “Journalism in which stories

Elements of News Photography / Photojournalism: