US Army Photography Course SS0516-A - Introduction To Special Photographic Assignments

SUBCOURSE EDITION
SS0516 A
INTRODUCTION TO SPECIAL PHOTOGRAPHIC ASSIGNMENTS
EDITION DATE: SEPTEMBER 1994

INTRODUCTION TO SPECIAL PHOTOGRAPHIC ASSIGNMENTS
Subcourse Number SS0516
EDITION A
United States Army Signal Center and School

Fort Gordon, GA 30905-5074
6 Credit Hours
Edition Date: September 1994
SUBCOURSE OVERVIEW
This subcourse presents you with information on how to accomplish special

photographic assignments in photojournalism, group and awards photography,
investigative photography, clinical/medical photography, and architectural
photography. Topics covered include selection of equipment, lens, film
format, and film. You will learn the professional way to approach an
assignment from idea development and planning to layout of the final
pictures. Techniques for use in investigation and documentation photography
will be examined. In addition, this subcourse will cover perspective
control in architectural photography when using the view camera.
There are no prerequisites for this subcourse.
This subcourse reflects the doctrine which was current at the time it was
prepared. In your own work situation, always refer to the latest official
publications.
Unless otherwise stated, the masculine gender of singular pronouns is used

to refer to both men and women.
TERMINAL LEARNING OBJECTIVE
ACTION: You will identify and describe procedures for photographing

groups and awards ceremonies as well as investigative and
clinical/medical photography.
CONDITION: You will be given information from TM 11-401-2, STP 11-25S13-

SM-TG, and Photographer's Mate Training Series NAVEDTRA 373-
02-45-83, MOD 2.
STANDARD: To demonstrate competency of this task, you must achieve a

minimum score of 70% on the subcourse examination.
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TABLE OF CONTENTS
Section Page
Subcourse Overview .................................................. i
Lesson 1: Introduction to Photojournalism ........................... 1-1
Part A: News/Sports Photography ........................ 1-2
Part B: Picture Story ................................. 1-12
Part C: Photo Essay ................................... 1-22
Part D: Basic Photojournalistic Techniques ............ l-26
Part E: Photo Layout/Captions ......................... 1-37
Practice Exercise......................................... 1-47
Answer Key and Feedback .................................. 1-50
Lesson 2: Group and Awards Photography............................... 2-1
Part A: Formal and Informal Group Photography .......... 2-2
Part B: Recognition Photographs......................... 2-5
Practice Exercise ........................................ 2-15
Answer Key and Feedback................................... 2-18
Lesson 3: Investigative Photography.................................. 3-1
Part A: Aircraft/Vehicle Accidents ..................... 3-2
Part B: Criminal Investigations ........................ 3-5
Part C: Fire and Arson Investigations .................. 3-8
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Section Page
Lesson 4: Clinical/Medical Photography............................... 4-1
Part A: Types of Clinical/Medical Photography........... 4-1
Part B: Autopsies ...................................... 4-6
Part C: Photographing Surgical Procedures .............. 4-7
Answer Key and Feedback .................................. 4-14
Lesson 5: Architectural Photography ................................. 5-1
Part A: Types of Architectural Photography ............. 5-2
Part B: View Camera Operation and Perspective

Control......................................... 5-6
Practice Exercise......................................... 5-13
Appendix: List of Acronyms........................................... A-l
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LESSON 1
INTRODUCTION TO PHOTOJOURNALISM
Critical Tasks: 113-578-1005

113-578-1011
OVERVIEW
LESSON DESCRIPTION:
In this lesson you will learn how to define an event as news, be given basic
guidelines on how to obtain sharp images of moving subjects, and learn to
choose the best film and lens for news/sports action. You will learn to
tell a story with your pictures, using basic layout composition, idea
development, research, and script planning. You will define a photo essay
and a picture story. You also will learn various photographic techniques
that lend themselves to portraying interpretive or subjective ideas.
TERMINAL LEARNING OBJECTIVES:
ACTIONS: a. Describe the qualities which define an event as

“newsworthy.”
b. Explain various methods which can be employed to obtain

sharp images of moving subjects.
c. Identify lens selection for sporting events and various

pictures.
d. Identify the relationship of individual pictures to the

continuity of the overall picture story.
e. Describe the four elements of layout composition and

describe cropping and scaling.

SM-TG, and Photographer's Mate Training Series NAVEDTRA 373-
02-45-83, MOD 2.
STANDARD: Photojournalistic techniques and development of a picture

story/photo essay will be in accordance with TM 11-401-2, STP
11-25S13-SM-TG, and Photographer's Mate Training Series
NAVEDTRA 373-02-45-83, MOD 2.
REFERENCES: The material contained in this subcourse was derived from the
following publications: TM 11-401-2, STP 11-25S13-SM-TG, and
Photographer's Mate Training Series NAVEDTRA 373-02-45-83, MOD
2.
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INTRODUCTION
This subcourse will not turn you into a full-fledged photojournalist like
Robert Capa or Margret Burke White overnight, but it will get you started in
the right direction. Many people learn to do specific photographic jobs
technically correct. A school photographer may shoot hundreds of pictures a
day against a fixed background with fixed lighting and exposure; or a
military photographer may excel in recording damage to equipment; another
may consistently produce aerial photographs with sharp detail. Are these
people only good technicians or merely good craftsman? Who then, are the
photojournalists?
These are the ones who can sense and capture the feeling and emotions of a
situation and transfer them through his pictures to the viewer. A fashion
photographer can make you desire the latest style in a gown. The news
photographer is able to capture and make you feel the tragedy of an accident
or the joy in the face of child. A combat photographer can make you feel
the anguish of war. These are the photojournalists!
Intangibles such as these mentioned are not learned in a short time.

Indeed, they may never be developed unless you begin thinking about
photography in terms beyond the technical. To be successful you must study,
develop skills, and be receptive, sensitive, and concerned. But above all,
you must have a desire to share with and communicate to others.
Technical competence is necessary. The foremost requirement to be a

successful photojournalist is to master your equipment and have it ready for
use at all times. These things, plus your imagination, are the means by
which you can produce pictures that will be appreciated by a great many
people and be satisfying to you.
PART A - NEWS/SPORTS PHOTOGRAPHY
1. News.
a. Qualities of a News Item. To consider an event or subject as news

or newsworthy, it must be of interest to the general public to which it will
be presented. That may sound simple enough, but in reality there are some
specific characteristics or qualities which separates a news item from
ordinary information. Those qualities are:
(1) Immediacy (timeliness). This is why news is NEWS. People are

interested in current events. What happened today?
(2) Proximity. People are interested in what is going on in their

own community.
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(3) Consequence. Does it affect the majority of the people rather
than just a few?
(4) Prominence. Relates to the greatness or notable recognition of

the subject.
(5) Oddity. An unusual event that is inherently newsworthy. “Man

bites dog.”
(6) Conflict. Depicts man against man or man versus nature and the
elements.
(7) Human Interest. An event or subject that has emotional elements

with which the public can empathize.
(8) Progress. Good news that shows a change for the better.
b. Summary. One or more of these qualities should be present in your

subject matter and pictures in order for them to be newsworthy. Often you
will have to draw on your power of observation, sensitivity, and imagination
to capture and communicate to your readers the essence of the event. Good
news photographs do that and thereby leave an indelible mark on the mind of
the viewer.
2. News Coverage.
News coverage is divided into three types:
a. Spot News. Spot news is an event that happens without warning.

Most experienced photographers agree that a spot news event is the most
difficult and nerve-shattering assignment. Why? Because they are rapidly
occurring events with little time to think and a pressing need to “get the
news out.”
(1) Normally a spot news event requires that you work at top speed
and under the pressure of a deadline. This is a time when mastery of your
equipment and technical competence is a key factor. Your own movement and
control over the subject may be limited; however, you are still expected to
obtain complete coverage.
(2) Complete coverage may include long, medium, and close-up views.
You may be limited to camera angle, choice of lens from your equipment bag,
and the instant of exposure. Considering the environment of a spot news
event, it may very well be the most difficult event to photograph.
b. General News. General news is usually an event that is scheduled

and for which you have time to preplan the coverage.
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(1) General news events may include sporting meets and ceremonies
such as a change of command, awards, advancements, ribbon cutting, etc. You
will know what, where, when, and who about the event and have some idea of
the type of photographs needed.
(2) You will be able to roughly preplan the coverage, but maintain
some flexibility to decide the exact pictures to take during the event. You
will probably still have a deadline to meet, but these will generally not be
as short-fused, as those for spot news.
c. Feature News. Feature news is reporting on the activities of some

person, organization, or group that you have selected in advance. Since
speed in publishing is not an overriding factor, a more in-depth story is
possible.
(1) More time is available to research the subject and gain an

understanding of the elements. You can previsualize the entire feature
whether it be a single picture or a series of pictures.
(2) Ideally, you should compile a shooting script. A shooting script

is a written guide you use for planning the coverage. Later in this lesson
we will discuss researching and scripting the shoot in greater detail.
3. Action and Sports.
a. Goal of the Photojournalist. When you photograph people in action,

at work, or at play, the name of the game is anticipation, staying alert,
and expecting the unexpected. Your goal is to capture the “peak” of action
or that moment which best imparts to the viewer the feeling or emotion you
want them to feel. Whether it is the precision movement of the post drill
team or that interception that won the championship, you want the viewer to
feel the intensity of that moment as if he were actually there.
(1) Action pictures of people. The best pictures of people will

usually have action--implied or apparent. Action will enhance the emotional
mood and impact of your images. The action should be appropriate to the
subject.
(a) Even a posed picture can have action and interest. Avoid
dull, static pictures of people looking into the camera. Plan and shoot for
action, such as shots of a speaker making gestures, audience's facial
reactions, applause, people shaking hands, etc.
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(b) It is not easy to capture action in pictures because people
have a tendency to “ham” or look at the camera. By understanding the
importance of action in your pictures and the abundance of action available
everywhere, you will soon become adept at recognizing and capturing it on
film.
Figures 1-1 and 1-2 illustrates action pictures. In figure 1-1, the
photographer panned with the action which “froze” the player but blurred the
background. In figure 1-2, the photographer kept his camera trained to the
action. A fast shutter speed “froze” the action in place.
Figure 1-1. Football action picture
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Figure 1-2. Baseball action picture
(2) Action pictures in sports. While photographing sporting events,

most photographers concentrate on the obvious action; the jump shot in
basketball, the pass reception/interception or the tackle in football, or
the slide for third base. Don't miss those moments, but open your eyes and
look around. Catch the coaches reaction to a touchdown, the water person
running the water bucket onto the field during a time-out or the tired slump
of the players' shoulders who are sitting on the bench. Remember, action is
all around you. Refer to figure 1-3 for a crowd reaction shot.
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Figure 1-3. Crowd reaction shot in a sports event
4. Important Factors in Taking Action Pictures.
There are several things you must be aware of and take into your
calculations when photographing subjects in motion: speed of the subject,
angle of travel relative to the film plane, the subject's distance from the
camera, and lens selection.
a. Speed of the Subject. When the action you are photographing is

violent or rapid, problems may arise. The images may be blurred and
unusable. You can eliminate or control blurred images by choosing the
proper shutter speed to “freeze” and change the technique the action. Keep
in mind that when you increase the shutter speed to stop the action, you
will need to adjust your f/stop in order to maintain the proper exposure.
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b. Angle of Travel Relative to Film Plane. Subject movement matters
most when the subject of the photograph is traveling parallel to or across
the film plane. If a subject is traveling straight toward or away from the
camera at 50 mph, it will appear as if it is hardly moving and will record
as a sharp image on the film. This is true even at a shutter speed as slow
as 1/60 of a second. However, if that same subject was traveling across the
field of view or parallel to the film plane, its speed would be quite
apparent in the blurred image produced on the film. To eliminate the
blurring, you must use a faster shutter speed, such as 1/1000 of a second or
faster. Refer to the chart in figure 1-4.
c. Subject's Distance from Camera. You must also consider the

subject's distance from the camera. The closer a moving object is to the
camera, the faster the shutter speed must be to capture a sharp image. For
example, an aircraft flying at a great distance can be captured as a sharp
image on film at a slow shutter speed, while the same shutter speed will
give you a blurred image of a plane flying much nearer the camera.
d. Lens Selection. Another factor that you must consider for action
shots is the lens selection. You may use a variety of lenses in sports and
action photography, depending on your distance from the action.
(1) For sports like boxing, wrestling, golf, or activities where you
can get close to the subject, a normal angle lens, or on occasion a wide
angle lens, can be used.
(2) The preferred lens for field sports is the long focal length
(telephoto or zoom) lens. By using a long lens, you can bring the subject
action up close. The inherent shallow depth of field of these long focal
length lens can also help you isolate the subject (separate it from
background and foreground). There are technical problems which you should
be aware of when using a long focal length lens.
(3) Because of the shallow depth of field, keeping the subject in

focus can be more difficult, especially when the subject is constantly
moving. Camera movement or shake is more pronounced.
(4) A rule of thumb which helps to eliminate this problem is to use a

shutter speed which is the reciprocal to the focal length of the lens being
used. For example, if you are using a 250mm lens, you should not use a
shutter speed that is slower than 1/250 second. This will help you obtain
sharp images on the film.
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Figure 1-4. Action stopping shutter speeds for normal
focal length lenses
Recommended Focal Length and Minimum

Shutter Speeds to Capture Action
50mm 1/60th
105mm 1/125th
200mm 1/250th
300mm 1/500th
e. Additional Factors to Ensure Sharp Images.
(1) You may further ensure sharp images by using either a monopod or
chestpod. A monopod, unlike a tripod, has only one
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leg. It provides a steady camera support for long lens use but is easy to
move rapidly from position to position. A chestpod does have three legs but
they are short and mounted under a swivel head which allows you to brace it
against your chest and provide firm support for your camera.
(2) Using electronic flash equipment to augment low-light level

conditions is another way to capture fast action on film. Their inherent
speed of 1/1000 of a second or less will freeze action and allow you to
select a reasonable f/stop to maintain depth of field. Be aware of the
electronic synchroflash speed of your camera. Cameras with focal plane
shutters usually sync at 1/60th of a second or slower.
(3) The faster shutter speeds sometimes required to obtain sharp

images of subjects in motion become an important factor in choosing the film
which you will use. Faster shutter speeds will probably require faster
films. Over the past few years the selection available for use has
broadened considerably due to ongoing research and development by film
manufacturers.
(a) Film with International Standardization Organization (ISO) 400

speed once considered fast are now overshadowed by ISO ratings of 1600,
3200, and higher.
(b) Both color and black and white films come in these faster
emulsions. The advantage to you as the photographer is that you can make
action photographs under natural or existing light.
(c) Gymnasiums are notorious for poor lighting conditions. Yet

with special care, a fast film, and a practiced eye, you can create dramatic
photographs. Under normal light conditions where the action is fast, such
as an auto race or a football game, you may wish to use the faster film to
obtain stop action photographs and still be able to select an f/stop that
gives you plenty of depth of field.
(d) Remember the “sunny f/16” rule. Set your f/stop at f/16 and
use the reciprocal of the ISO to determine your shutter speed. Using a
color film with an ISO of 400 gives a reciprocal of 1/400 of a second.
Select the shutter speed closest to the reciprocal. The closest on most
cameras will be 1/500 of a second. You will now be able to stop action and
obtain sharp images.
f. Blurring Techniques. Up to this point we have been directing your

attention to techniques used to stop or freeze action. There is another
effective way to illustrate action. Why not create some blurring?
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(1) By selecting shutter speeds slower than those that completely
freeze all the action in a scene, you may obtain blurring that will impart a
greater feeling of motion to your viewer. For example, a picture of a
baseball pitcher may show his head and body in sharp detail while his
pitching arm is blurred, or a soldier running may be sharp except for his
legs. You may have to experiment and practice with this technique.
(2) “Panning,” or following the action with the camera, will give you
a sharp image of the subject and create a blurred background. For example,
an aircraft on its takeoff or a crash vehicle speeding to the scene of an
accident.
(3) To get the feel of this method, practice with an empty camera.
Simply pivot at the waist, keeping the camera lined up on the passing
subject. Remember, these techniques require practice to master. Figure 1-5
illustrates panning.
Figure 1-5. Panning with a moving subject to stop motion
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PART B - PICTURE STORY
5. What is a Picture Story.
A picture story is a complete unit which you plan, research, and often
support with text and captions. It presents an in-depth account of an
interesting and significant event, personality, idea, or other topic.
a. The production of a picture story is one of the most exciting and

challenging assignments in photography. For Army photographers, it is an
effective method of telling the Army's story. However, the picture story
doesn't just happen. Your idea forms the foundation upon which the story is
built.
b. If the idea is good and you support it with good photography, you
have an excellent chance of producing a professional story. If the idea is
poor and the planning weak, no amount of photographic skill or technical
perfection will make it better. Look at the foldout of figure 1-6 for a
sample picture story. In this picture story, the lead photo introduces the
subject. There is a beginning, middle, and end. The photos lead into the
layout. The last photo provides “closure” by facing to the left, directing
the eye back to the beginning.
c. Regrettably, the development of picture story ideas is a major

stumbling block for many photographers. All too frequently you hear the
comment, “There is nothing in my command on which to do a picture story.”
This is a most unfortunate attitude. Army men and women are surrounded by a
fantastic wealth of picture story material.
d. Army personnel take their environment for granted. It is the same

old story of not being able to see the forest for the trees. All you have
to do is look around. When you say you can not find any subject for a
story, you are admitting that you are not very alert, or observant. You can
get ideas by subjecting yourself to stimulating experiences, talking to
other people and observing the world around you.
6. Picture Story Composition.
Composition is of great importance in photojournalism. Photographs that

possess a center of interest are composed using the rule of thirds. They
are pleasing to view, and are generally considered to be well-composed.
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Figure 1-6. Picture story
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Figure 1-6a. Picture story
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In this subcourse, we will discuss composition in terms of how your pictures
must relate to each other and allow the viewer to follow the story line from
beginning to end. Each picture must have visual appeal and clearly
communicate an idea or feeling that relates to the point or theme of the
story. This relationship is called continuity. Five continuity types that
are frequently used to hold picture stories together are as follows:
a. Simple Commonality. A photojournalist uses simple commonality when

he has a group of images on the same subject that can not be arranged in any
particular order. In other words, the pictures have no starting point and
no conclusion.
(1) For example, suppose a photojournalist has prepared a picture

story on Army journalism training. Individual pictures might show the
following;
(a) Two students tape recording an interview in the radio studio.
(b) A student setting Foto-type headlines for the front page of

his photo-offset paper.
(c) An instructor pointing out a speed graphic to a small group of

students gathered around him.
(d) A student, with pencil and paper in hand, interviewing a

foreign officer.
(e) A general classroom scene showing the students seated and the
instructor using the chalkboard.
(f) A student struggling under the weight of an armful of books

issued to him the first day for use during the 12-week course.
(g) A group of students viewing the rotary presses during a field

trip to a local newspaper.
(2) Each photograph features a different pose, scene, students, and

instructors, but the common denominator is that they all show journalism
training. The photographs have no starting point or conclusion, but the
photojournalist has established or maintained continuity by the fact that
all the pictures pertain to the same general subject matter.
b. Narrative Chronology. Unlike the simple commonality, the narrative

chronology is presented with a definite time sequence in mind. A narrative
chronology will present pictures with a definite beginning, middle or body,
and conclusion.
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(1) Each image is closely related to the one that precedes it and to
the one that follows. The photographer must display the pictures in
sequence.
(2) The first picture should have the visual impact to grab the
readers' attention, the middle pictures should be informative, and the last
picture should impart a definite feeling of conclusion.
c. Repeated Identity. This type of continuity is one of the simplest

to develop and the one photojournalists most commonly use in publications
today.
(1) In its basic form, it involves the repeated appearance of the

same person or subject (repeated identity) in every scene of the picture
story. For example, if you want to develop a picture story of recruit
training in the Army, the easiest way of doing it is to select a typical
recruit and follow him through a day of training from reveille to taps. The
same recruit in every picture, but with every picture showing a different
scene and different action.
(2) Remember, this continuity presentation applies not only to

people, but objects, scenes, moods, and situations as well. The basic
technique is the same; however, more ingenuity may be necessary to make the
presentation interesting and effective.
d. How-to-do-it Continuity. This type of continuity employs a task

sequence of pictures showing step-by-step procedures for doing something.
You can use it to show how to make anything from an eye splice in a line to
building one's own boat. This type of continuity is frequently seen in
today's newspapers and magazines. Publishers commonly use this type of
continuity in how-to-do-it articles dealing with carpentry, hobbies,
homemaking, cooking, building, and sports such as bowling and golf.
e. Parallel or Contrast Continuity. Using this style a photojournalist

employs the “do and don't,” “right or wrong,” or “before and after” approach
in his presentation of pictures in the story. He will frequently use this
style to present two divergent points of view. As an Army photojournalist,
you might use the “do and don't” approach. For example, in a story on
safety you may find that the "right and wrong" technique can be effective in
a feature on military courtesy. The "before and after" comparison is most
commonly used in picture stories dealing with progress.
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Now that you understand the various types of continuity and how they help
communicate the theme of your pictures, let us look at some things that all
good photojournalists do before they even pick up their cameras.
7. Researching Your Picture Story Subject.
Research is one of the most important steps in doing a picture story. You
must have some knowledge about your subject. Before you outline the
shooting script and load your camera, you need to learn as much as possible
about the place, situation, object, and people involved. The more
complicated the story the more in-depth research you will have to do. This
is when you will flesh out that idea, clarify the objective of the story,
and gather information from which to write the shooting script, captions,
and supporting text. The following steps will help you to efficiently and
effectively produce a top quality picture story.
a. Contact the person in charge of whomever or whatever you will be

doing the story on and explain what it is that you desire to cover
photographically.
b. Obtain names, phone numbers, work schedules, and background

information on those persons who will be portrayed in or are important to
your story.
c. Observe the subject of your story, without interfering, and make

notes of picture possibilities. Also think about which lenses to use, the
angle, lighting, and implied or apparent motion.
d. Stay with your subject until you are fully satisfied that you know
and can anticipate the next probable move or step that may occur. Watch for
facial expressions, gestures, and mannerisms which may be useful in the
development of the story.
e. Schedule an interview with the people in your story in order to gain

additional information. This information may give you more picture ideas
and help you write the captions and supporting text for your layout.
Don't short change yourself by skipping any of these steps. Some stories
may require only a few hours of research while others may take days. Once
you have completed your research, sit down and prepare your shooting script.
8. Preparing a Shooting Script.
In order for a carpenter to build a strong sturdy house he must have a

blueprint to follow. A pilot who is making a
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cross-country flight must have a flight plan. The shooting script, like the
carpenter's blueprint and pilot's flight plan, is essential to you as a
photojournalist. It enables you to visualize the entire picture story
before you start taking pictures.
a. Importance of a Shooting Script. Shooting a picture story without a

positive concept and plan of what you are trying to say is, at best, a
gamble. Remember, the shooting script is a blueprint or guide from which
you will build your story.
(1) The shooting script will help you identify weak areas, gaps, and
avoid including material which may cloud the main point of your efforts. If
properly prepared, it will keep you from wandering about or getting
sidetracked once you start taking the pictures for your story. With its
use, you are not likely to forget a key element or lose track of your main
idea.
(2) You must remember that the shooting script is only a guide. It
is not carved in stone, it's not binding. Don't let it stifle your
creativity once you begin shooting. Be alert to developments and actions
that offer new perspectives on pictures that may enhance your picture story.
(3) Having too many photos when you begin composing the layout is not
a bad thing. Having too few can necessitate your going back to shoot more.
(4) Remember that the time you spend preparing your shooting script
is compensated for by the time and possible confusion you save while you are
shooting the job.
b. Preparing the Shooting Script (First Step). The first step in

preparing a shooting script is to write a short objective statement.
Writing an objective statement will help you to focus on the key element in
the story and strengthen the overall impact. It should clearly identify the
subject, who or what the story is about, and what you are trying to
communicate to the reader/viewer. The objective statement should answer the
5 W's: WHO, WHAT, WHEN, WHERE, and WHY.
(1) WHO. Identify the subject or people who will be photographed.

Include names and/or titles, duty responsibilities, and functions.
(2) WHAT. Describe the exact nature of what the subject will be
doing in support of the overall theme of the picture story.
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(3) WHEN. List the dates and times that the subject will be
photographed. Coordinate this with the subject or point of contact to
ensure subject is available when specified.
(4) WHERE. Select the exact location or locations that the

photography will take place.
(5) WHY. State your reasons for shooting the story.
c. Preparing the Shooting Script (Second Step). The second part of

your shooting script will outline how you will put across your idea and
story objective by listing the shots you plan to take. Review the notes you
made while conducting your research, and list each photo idea you pictured
in your mind. Each one should be followed by a description of the
composition you visualized. Whether it should be a long shot, medium shot,
close-up, high or low angle of view, what the point of focus is, and any
unusual lighting conditions or requirements.
The following is an example of a portion of a shooting script:
(1) Shot 1. Medium shot, wide angle lens, syncro-sun fill.
WHAT: Instructor in the field with students. Shoot between two rows of
students from a low angle to separate subjects from background.
WHY: To show the reader the size of the class and the method used to
acquaint students with the Speed Graphic.
(2) Shot 2. Medium shot, normal angle lens, syncro-sun fill.
WHAT: Instructor working with two students, adjusting the Speed Graphic or
pointing out to the proper method of viewing a scene. Use shallow depth of
field, about waist level camera position.
WHY: To identify the instructor and a couple of students attending the

photo school.
(3) Shot 3. Medium shot, normal angle lens, Multiflash.
WHAT: Instructor and student discussing a problem. Show student showing

something to instructor. Shoot from low angle to see faces bent over item
being discussed.
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WHY: To illustrate instructors' interest in their students.
(4) Shot 4. Medium shot, long focal length (105mm), off camera-
flash.
WHAT: Two instructors in section office reviewing a student’s work

progress. Shoot across desk with negative in instructor’s hand the only
thing in focus.
WHY: To illustrate how instructors work together in helping students obtain

course learning goals.
(5) Summary. Carry out this format and plan each picture you have
visualized in your mind while conducting the research. Keep in mind that
you can change this as the situation warrants. You can even add new picture
ideas or delete some. The script is only a guide. Figure 1-7 illustrates a
simple picture story sketch from an assignment to photograph a newly-opened
bowling alley.
d. Evaluation of Shooting Script. You can evaluate your objective

statement and shooting script using the following criteria:
(1) Interest. The leaders must gain something from the story or they
will not read it.
(2) Impact. Your pictures must have impact. That "something" which
appeals to the eye, catches attention and holds it.
(3) Focus/scope. Narrow the scope of your subject. A picture story

about your whole post may be interesting but would be cumbersome and time
consuming to read. Focus on a smaller part. Maybe a department, or
division, or an individual.
(4) People. Focus on people. Whatever your story, the chances are
that it can be made better and more interesting if it is told in terms of
people doing things. Readership tests have shown that people are interested
in people.
(5) Universal appeal. Finally, evaluate your story for universal

appeal. It is not enough that the story subject appeals to you. It must
also appeal to a large number of the people who read the publication in
which it will appear.
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Figure 1-7. Picture story sketch
9. Picture Story Elements.
Your picture story, like all good picture stories, must have certain key
elements; a beginning, a middle, and an ending.
a. The beginning. The lead photograph is the most important single

photo of a story. It has the responsibility of gaining the reader's
attention and making them want to read the rest of the story. It must have
visual impact.
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b. The middle (body). The body of the picture story should proceed in
a logical order, with each picture contributing something fresh and
significant to the development of the story line. You should vary in the
body with long shots, medium, and close-ups. You should vary the angle or
perspective of the shots. Within all of this variety, you must maintain a
continuity which enables your readers to proceed smoothly from the beginning
to the end without becoming bored or confused.
c. The ending. The last picture of the story is the second most
important photograph. This photograph should present a feeling of finality
and enable the viewer to arrive at the desired conclusion.
The Army is a vast reserve of picture story ideas that lend themselves to
keeping the Army in the public eye.
PART C - PHOTO ESSAY
10. Picture Essay.
a. What is a Picture Essay? A picture essay, unlike a picture story,

does not have to follow a logical order, have continuity, or be objective.
A picture essay has no plot, theme, beginning, middle, or end. You may base
an essay on opinion rather than fact and be subjective rather than
objective. It allows you to present a subject from a personal point of
view. For example, how does a main battle tank affect you emotionally? Does
its massive bulk overwhelm you? If so, you might photograph it abstractly
with a fish eye lens or-wide angle lens to emphasize this feeling. The
foldout of figure 1-8 provides a sample picture essay. This essay shows a
series of photos on a television station. The lead photo, the largest,
provides information with the surrounding photos supporting what we see. We
get a glimpse of what it's like at a busy TV station.
b. What the Picture Essay Requires. Like the picture story, creating a
picture essay still requires an idea, research, and planning. You will have
to decide just how subjective you want to be. Will you use a broad
interpretation or a tightly knit, artistic approach? What technique will you
employ?
(1) As a rule, subjective photographs show the subject in an unusual

form which makes it more interesting and stimulating because it is presented
in a new light; a way that they have not been seen before.
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Figure 1-8. Picture essay
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Figure 1-8a. Picture essay
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(2) The picture essay uses pictorial interpretation techniques to
portray the feeling or emotion the photographer wishes. A few that you may
want to consider for inclusion in your shooting are:
(a) Infrared. You can use black and white infrared film to
transform a landscape from a dull photograph to a thing of beauty. Because
of the amount of infrared radiation absorbed or reflected by the subject,
infrared film renders unnatural tones compared to the same subject
photographed on regular black and white film. (When you use infrared, film
foliage and grass appear lighter than normal because chlorophyll strongly
reflects infrared radiation.)
(b) Motion. In still pictures, you can use blurring to suggest or

enhance action. By using a slow shutter speed and panning with the moving
subject, you will produce a sharp subject with a blurred foreground and
background.
(c) Posterization. Sometimes called the "poster effect" because

the images are usually large and uncomplicated. You can use posterization
to capture the viewer's attention quickly and to present a strong point.
(d) Grain. Although many photographers generally consider this

technique objectionable, you can use grain to portray certain subjects or
feelings. A grainy rendition is highly effective when it is used to
emphasize war, violence, dark and somber moods, etc.
(e) High Contrast. Photographers use high contrast for

symbolization. The result is a stark black and white print with little or
no detail. All middle tones are eliminated. In order to make this work
effectively, you need a strong graphic image with leading lines or patterns
and strong highlights.
(f) Image Distortion. When printing, you can use image distortion
to create odd angles and give unnatural appearance to your subject. You can
accomplish image distortion by tilting or arching the printing paper during
exposure. This provides an uneven surface for the projected image and
distortion is the result. You can also use this technique to correct or
reduce unwanted camera distortion.
Whichever technique you choose to use, do it with good reason and not just
to doctor poor pictures. Remember, you are limited only by your own skill,
creativity, and imagination.
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PART D - BASIC PHOTOJOURNALISTIC TECHNIQUES
11. Photojournalism.
Photojournalism is communication of a very special type. It is "in-depth"

reporting with photographs and words. To do so effectively, you must
understand certain fundamentals.
a. You must know and understand your subject. You can not communicate
information about a subject with which you are not familiar. It isn't
necessary that you like the subject, but unless you understand your subject,
how can you expect someone looking at your pictures to understand it?
b. A photographer should have a purpose for the message he is trying to

put across. Otherwise, there is no need for it. Your purpose might be
profound or you might simply want to share an emotion of experience, but
identify your purpose.
c. You should know to whom you are communicating. For example, is it

to a specific audience which possesses some knowledge of your subject? Is it
to adults? Or is it to a mixed group of men, women, and children? Answers to
these types of questions should determine the way you will approach and
cover your subject.
12. People are Interesting Subjects.
Approximately two and one-half million photographs are taken annually by

amateur and professional photographers alike. More then one-half of these
photographs use people as their prime subject. Photojournalism is a form of
communication that portrays people and their environment; therefore, your
choice of subject matter is relatively simple. Or is it?
"All people are different," no two alike. To photograph people, you must
understand their individual differences and explore "in-depth" the world in
which they work, play, and live. Not the world, but their world.
a. You will have to do some research, a little exploring to gain an

understanding about your subject. The following are some examples of the
type of questions you will have to ask of yourself and your subject.
(1) What does this person do?
(2) How do they feel about their work?
(3) Why do I want to photograph this subject?
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(4) What do I wish to show in my pictures?
b. Your list of questions could be endless and you can't stop to get
all the answers. Be sure, though, to ask enough to get the subject clear in
your mind and decide what and how you want to communicate to your viewer
about the subject.
c. You will occasionally be required to produce a photo story about an

inanimate object. Don't panic. You can use the same approach and research
methods to gain that understanding.
You have completed your research, gained some understanding about your
subject, and wrote out a flexible shooting script. You are ready to start
shooting. Think again. No photojournalist worth his silver halides heads
out to a photo assignment without inventorying and thoroughly checking his
gear.
13. Equipment Maintenance.
You and your supervisor would be very unhappy if you lost a picture or maybe
a whole roll of pictures because a piece of gear did not work. Equipment
checks should become a routine part of your approach to every job. Build
your own preventative maintenance kit and keep it in your camera bag. The
following is a list of basic things to put in the kit.
Items
A lint-free cloth.
A small container of denatured alcohol.
Cotton swabs in a clean plastic pill bottle.
Jeweler's screwdriver.
Pencil or typewriter eraser.
Lens tissue.
A soft bristle brush 1/2" wide.
One dozen toothpicks.
You start by finding a clean work place with good light. Then proceed as
follows:
a. Using the lint-free cloth, wipe down the camera's exterior,

including the case. If you find dirt build-up, lightly dampen a cotton swab
and brush the area; then wipe again with the cloth. (A toothpick with a bit
of cotton wrapped around one end makes a good substitute if cotton swabs are
not available.)
b. With the jeweler's screwdriver, tighten all screws on the exterior

of the camera body. Look under the rewind knob and
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on the bottom base plate for hidden screws. Be careful not to over-tighten.
c. Ensure there is no film in the camera. Open the back and continue
your inspection for loose screws in the film supply and take-up chambers.
d. Using your soft brush or compressed air canister, dust or blow

debris and film fragments from the camera's interior. Be careful that you
don't strike or blow air on the shutter curtain (single lens reflex cameras)
because they are easily damaged.
e. While you have the camera open, you can make a quick shutter
function test. Open the f/stop to wide-open. While looking through the
back of the camera, cock and fire the shutter several times at each speed
setting. You can watch the shutter cycle from closed to open then closed
again. This works with both focal plane and between the lens shutters. You
should see a change in the time of the cycle as you work your way through
the speed settings. If not, see your camera repairman.
f. You should next make a lens aperture check. Set the shutter speed
on "B." Wind and trip the shutter. It should remain open. While viewing
the aperture leafs, rotate the aperture ring through its full-range and
back. The aperture should maintain a circular shape as it gets smaller and
larger, as you turn the ring. If it does not, see your camera repairman.
g. If your camera has an automatic aperture stop down feature, you can
run this check. Set the f/stop at 11 or 16 and the shutter speed at 1/2
second or one second. Wind and trip the shutter while again looking through
the open camera back. The aperture should move smoothly from open to the
present aperture without a stop or hesitation.
h. Clean all electrical contacts. Remove the battery and using a

common pencil eraser, clean the contacts on the battery, in the battery
housing, and the cap or screw cover that holds the battery in place. All
these contacts should be shiny and free of oil.
i. Check your battery with the camera battery check or a voltmeter. If

the camera has not been used for six or more months, consider replacing the
old battery with a new one. Batteries go bad from lack of use nearly as
rapidly as with constant use.
j. After ensuring your battery is good, check the camera meter

function.
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(1) Turn on the meter and set an ISO film speed of 400 in the camera.
Aim the camera at a subject of average brightness and balance the meter
needle for correct exposure of that subject. Now aim the camera at a
brighter light subject and then a darker one. The meter is functioning if
the needle responds, or the f/stop or shutter speed changes on automatic
cameras.
(2) You can even make a reasonably accurate check on the accuracy of
your meter on a bright, sunny day. Set your f/stop at f/16 and convert the
ISO to a fraction. For example, using ISO 400 film coverts to 1/400. The
closest shutter speed is 1/500 of a second so set the shutter speed at
1/500. Point the camera at a lawn, the pavement, or the side of a building.
They must be in the sun. If the meter indicates an exposure of f/16, plus
or minus a half f/stop, it is working properly and is fairly accurate.
k. Your next step is to clean all glass surfaces.
WARNING
Never touch the mirror on the inside of the

camera/lens housing, as it can be easily scratched.
(1) To clean the mirror, blow or lightly brush off dust with a soft
brush.
(2) Use a cotton swab or lens tissue to clean the viewfinder glass,
camera lens, and filters.
CAUTION
Never put cleaning fluid directly on glass surfaces.

It could seep under the glass and attack the glue
that binds the optics together or holds it in place.
(3) If you use a cleaning fluid, lightly dampen a swab or lens tissue
and then gently wipe the glass surface clean.
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14. Techniques.
Let's discuss a few technical aspects you might want to consider. Once you
have a visualization of your subject and how you want to present it to your
viewers, you should consider what film to use, what lenses for what effect,
and your lighting. You will have made many of these choices while preparing
your shooting script.
a. Every photographer has experienced the time when he has seen a shot
he wanted, but when he put the camera up to his eye, he found that the
faster shutter speed for the lighting conditions was too slow to hand-hold.
The photographer has to make a choice:
 Pass up the shot.
 Find a flash or tripod and chance missing the shot.
 Change the ISO of the film allowing him to use faster shutter
speeds.
b. You decide passing up the shot is out of the question. Unless you
carry a flash and some sort of camera support, you choose to change the ISO
of the film. This situation can be avoided or planned for while conducting
your research and preparing the shooting script.
c. You may choose and plan to increase film speed or "push" the film
and process accordingly. "Pushing" film is assigning it a higher ISO.
(1) Keep in mind that once you change the ISO, you must expose the
entire roll at the new ISO to avoid variations in exposure and development.
When you "push" film like this you are simply underexposing and
overdeveloping to produce a printable negative.
(2) Depending upon development, there can be an increase in contrast

and grain and a loss of sharpness. For use in a newspaper where the print
will be screened, a loss of sharpness might not be to worrisome. However,
if you are doing a documentation it might mean a loss of detail. Here is an
example to illustrate apparent film sensitivity increase when you up a film
ISO rating:
(a) You are using a film with an ISO of 400 in low light
conditions that indicate an exposure of 1/15 of a second at f/2 (too slow to
hand-hold). If you double the ISO to 800, the film can be exposed at f/2.8
or at 1/30 of a second. You can even go one step further and rate the ISO
to 1600. You
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will now have two additional f/stops or two faster shutter speeds available
above the original at ISO 400.
(b) Remember to expose for the shadow detail when pushing film
because it is the first thing affected by this technique.
(3) You can not forget the second half of the "pushing" technique,
overdeveloping. By overdeveloping, you compensate for the lack of exposure.
(a) As film is developed, the highlights develop first, then the

shadow areas. In effect, the more silver there is to act on, the more
development takes place. There is an increase in shadow density as long as
the exposure does not fall below the threshold of the film's characteristic
curve.
(b) There are several developers on the market which give good
results when push processing. A few of these are Acufine, D-76, and Ultra-
Fine Grain (UFG). Acufine and UFG are compensating developers. They
effectively increase a films tonal range while controlling contrast.
(c) Kodak's T-Max films and developers are especially effective in

low light pushing situations at keeping grayness to a minimum. "Pushing"
film should be done as a last resort since it causes a loss of shadow detail
and grain can be increased.
15. Lens Choice.
Many photographers use a variety of focal length lens for convenience or for
effect. You, as a photojournalist, must be aware of the apparent
distortions and perspective changes different lens produce, and how they
influence your message.
The classification of a lens (normal, wide, and long) is related to the

diagonal of the image format with which it is being used. If the focal
length of a lens is equal to the diagonal of the image format, it is a
normal angle lens. If it is less, it is a wide angle, and if it is more,
then it is a long or telephoto. The foldout of figure 1-9 illustrates the
three different lenses field of view of the same subject shot from the same
distance. The top photo used a normal angle 50mm lens. The middle photo
used a wide angle 28mm lens. The bottom photo used a narrow (long) angle
90mm lens.
a. Normal Lens. The normal angle lens covers a field of view of

approximately 50 degrees, about what the human eye encompasses.
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(1) This lens produces an image in which the relative size of objects
appears the same as they would to the eye. Also the sharpness of near and
far objects (depth of field), relative to the point of focus, matches that
seen by the eye.
(2) The normal angle lens is used effectively when the subject matter
is not confined to limited space. If there is room to move around the
subject and placement is all that is required, a normal angle lens can be
used effectively.
b. Wide Angle Lens. The wide angle lenses cover a field of view of 45
degrees or more. Extreme wide angle fish eye lens covers up to 75-degrees
field of view.
(1) You will be able to stay close to your subject and put a lot more
of your subject on the film using these lenses. They are very handy and
effective in tight places. Perspective is often exaggerated and distorted.
(2) Combined with the extreme depth of field, you can present your
subject in unusual and interesting ways which reinforce the feeling you are
trying to portray. Consider a low-angle view taken with a 28mm lens of the
muzzle of a 155mm Howitzer. It would make the muzzle look awesome and give
the viewer a feeling of strength and power.
c. Telephoto Lens. The long focal length (telephoto) lens has a field
of view less than 45 degrees. As the focal length increases, the field of
view will decrease.
(1) You will find these lenses extremely useful in situations where
you can not physically get close to your subject. They can reach out and
capture large images of subjects at a distance.
(2) Their normal shallow depth of field makes them an ideal lens with
which to use the "selective focus" technique to isolate a subject from
surrounding, distracting elements.
(3) Another interesting effect that a long lens produces is

"compressed perspective." A photograph of a line of cars traveling down the
highway makes them look close together, and thus, strengthens the feeling of
crowding.
d. Lenses are tools. You can use them to portray your subject in an
interesting way, grab and hold the viewer's attention, and direct him to the
point of the subject matter.
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Figure 1-9. Normal, wide, and long lens field of view photos
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Figure 1-9a. Normal, wide, and long lens field of view photos
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Figure 1-9b. Normal, wide, and long lens field of view photos
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16. Highlight Your Subject.
Two popular techniques for isolating or focusing viewer attention on a

subject are "framing" and "selective focus."
a. Framing. Framing the subject gives the viewer "tunnel vision." His
eyes automatically go to the subject in the photograph because you have
channeled his vision.
(1) Anything in the area can be used for framing. The standard frame
used in outdoor pictures is the branches and leaves of a tree.
(2) Old as the framing technique is, it still works. Your prime
reason for taking photographs is to get people to look at them and feel and
understand your message. Look for things to frame your subject and focus
the viewer's attention where you want it.
Refer now to figure 1-10 for an example of a picture using the framing
technique. When framing a scene, it is helpful to think about "looking
through" something at the subject you're interested in framing. Here the
tree leaves provide a partial frame around three sides to enclose the
subject. The eye is forced to look at what the photographer intended.
b. Selective Focus. Let's say you're photographing a formation of

soldiers and you know, because you researched the job, that SSG Jones in the
first rank is going to be designated as "Soldier of the Month." You want a
picture of him in ranks but you want to isolate him from the other people on
either side of him.
(1) Focus on SSG Jones and from your light meter reading, select a
shutter speed that will allow you to open up the lens diaphragm decreasing
the depth of field.
(2) Again focus on SSG Jones. This time SSG Jones is in sharp focus
while the foreground and background is fuzzy. All the elements are still in
the picture but you have isolated your subject. Now the eyes of the viewer
will not wander off the key subject in your photograph.
Figure 1-11 shows a selective focus picture. Selective focus isolates the
subject by having the foreground and background out of focus. With a wide
aperture, almost any lens can use this technique. Here a 90mm lens was used
to facilitate the effect.
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Figure 1-10. Framing
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Figure 1-11. Selective focus
Framing and selective focus can be highly effective tools to learn and place
in your bag of tricks.
PART E - PHOTO LAYOUT/CAPTIONS
17. The Layout.
Layout is the arrangement of photographs, typed material, white space,

illustrations, and other elements which are used to make up pages of a
newspaper, magazine, or other printed medium. The message you wish to
communicate to the readers should be easy to read and understand. The
elements in a layout should lead the reader in a logical progression through
a page or pages. Good layout is invisible.
a. Understanding Layout. You will not be a full-fledged picture editor

when you finish this part of the lesson, but you should have an
understanding of the main elements of layout composition and be able to
identify standard layout formats. You will also have a grasp on the
problems facing the picture editor. You should be able to use this
information to improve your picture-taking skills for publication use.
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b. Editorial Decisions. Most editors could get a job as a juggler.
Not only do they have to make decisions about your pictures such as which
ones to use, but their size, placement, and cropping. They also must
balance the use of copy, other illustrations, headlines, captions, and white
space.
(1) They are usually hampered by space limitations due to other

material that must go in the publication.
(2) The importance of the material is a determining factor on

location; the hottest or most important items get the best positions. If
your story is so complex that it takes several photos to get the message out
clearly, it may not fit on the front page.
18. Elements of a Good Layout.
If you know how a pictorial presentation is made effective by intelligent

layout techniques, you will be better equipped to be an effective
photojournalist. Your pictures should be arranged in a logical order which
develops the subject theme or idea. The objectives of the layout are to
grab your readers' attention, excite their curiosity, and lead them from the
key picture through the body of the story to complete the communication. To
accomplish that goal, the editor concentrates on four main elements of the
layout composition:
a. Impact. To reach the reader, the editor must select from your
pictures the one that has the most emotional appeal and place it in a
position in the layout that stops the reader. Some viewers become
emotionally involved to the point of tears or anger. Some become
sympathetic or even become actively involved in the issue. The body and end
of the layout must maintain and support that impact.
b. Logical Order. The layout should be arranged to promote an easily-

understood flow of information. A haphazard jumble of pictures causes the
reader to jump about the presentation trying to follow the subject theme or
idea. The result is that the reader loses interest. You must arrange each
element of the layout so one carries the point of interest to the next.
Never use two pictures that repeat a part of the story.
c. Balance. Good balance creates a pleasing and harmonious visual

effect on the reader. Good pictures are often sacrificed on the altar of
space and harmony. Pictures trimmed in odd shapes, such as circles or
diamonds or an unusual format, such as long, narrow, vertical or horizontal,
generally are not used unless they contribute significantly to the layout.
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d. Unity. Whether the story requires one or several pages, you must
establish a unity of page elements that will continue the central theme or
idea you wish to communicate to your viewer.
(1) If you are dealing with two facing pages, you can maintain the
unity by story continuity (text) or by a headline or photograph that runs
across the gutter.
(2) If you have back-to-back pages, your last element on the first
should make your reader desire to turn the page and follow the story to its
conclusion.
(3) You will more than likely achieve this unity if your lead
elements have impact, the layout has a logical order of an easy-to-follow
information flow, and presents a feeling of balance.
19. Flow/Directional Lines in Layout.
a. How We Read. In our culture we read from top left and down to lower
right of a page, in smooth, back and forth loops. The top left is the
primary optical area (POA) and should be the location of our most impact,
attention-getting element. The bottom right area, the terminal area (TA),
is the goal of the eye scan and when our eyes reach this area, the mind
automatically knows from habit that the page has ended. Refer to figure 1-
12.
b. Layout Elements. From this point, a layout must contain appealing

elements that lead the readers' attention, in that left-to-right loop
pattern, until we reach bottom right. Elements that may cause the scan to
backtrack and read higher should be avoided. An example of such an element
is a picture with a strong leading line that would redirect the reader's
attention upward into the portion of the story that has been read.
c. Using Lines of Force. Directional lines of force, real or implied,

are those elements that move from the primary optical area through the left-
right loop scan to the bottom right of a layout.
(1) In laying out your pictures, you must find those lines of force,
leading lines, and use them to build reader interest and force the eye to
flow with the story.
(2) Lines of force can be established by other elements, such as a

headline, copy, or the shape and size of a photograph. Directional lines of
force, when used incorrectly, can lure the eye away from the direction in
which you would like
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it to go. You might ask, "How many elements should go on a page?" There are
only opinions and no rules on that matter.
Figure 1-12. Primary layout elements
d. Key Points to Remember. Your own reading habits will probably tell
you that a great number of items can be confusing. Here is a brief recap:
(1) The most important elements should be placed in the upper-left or

lower-right portion of a page.
(2) Minor elements such as supporting pictures, headlines, rules,

ornaments, or copy blocks should guide the eye either to or from major
elements.
(3) A balanced placement of elements is much more pleasing and

interesting than dead centering.
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(4) Elements should be arranged on the page to form an interesting
pattern for the eye to follow.
e. Summary. The goal is to arrange elements on the page so that the

eye moves across and down the layout. We know, for example, that
photographs, headlines, illustrations, and captions are strong attention
getters. Properly positioned, they serve as guideposts pointing out the
readers' visual route through the page.
20. Types of Layouts.
There are more than a dozen different types of layouts used in newspapers
and magazines today. Some are just slight modifications of others. What
sort of layout is best? There is no black and white, correct or incorrect
answer. Publications use different styles as the creativity of the people
on the staff varies. Significance of the subject matter also may impact on
the choice of layout. Take a look at some of the page designs illustrated
in figure 1-13.
a. Informal Layouts. Flexibility and appeal are the main attributes of

informal layouts. There are scores of variations of this easy-moving and
easy-reading pattern. In informal layouts, emphasis goes on nearly every
element through the use of large bold headlines and large pictures. One of
its major drawbacks is that it's prone to overcrowding. Elements in an
informal layout should be kept to a minimum.
b. Balance/Contrast Layout. Balance/contrast layout is perhaps the

most difficult layout to use. We are concerned here with the balancing and
contrasting of masses of elements not so much the individual elements. This
format is not only difficult to layout, but often difficult to understand
and imagine. It is best left to experienced layout men.
c. Horizontal Layout. The horizontal pattern evolved from readability

studies. Tests showed that readers thought they would spend less time
reading blocks of type set horizontally--that is, across several columns,
than reading blocks of type set vertically, down a single column. One
pitfall editors should avoid when using the horizontal pattern is its
overuse. It should be used sparingly to avoid monotony.
d. Modular Layout. Modular is a contemporary design. Its overall

basic pattern is a simple combination of horizontal and vertical rectangles.
Unusual shapes should be avoided. Modular is a highly flexible pattern,
offering make-up editors a wide range of designs for visual impact. Its
uncluttered, orderly appearance affords readers easy accessibility to every
element on the page.
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Figure 1-13. Page designs
21. Cropping and Scaling.
a. Why Cropping is Needed. Cropping is the physical adjustment of a

photographer. A good photographer will crop in the camera so that the image
he records is exactly the essence
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he is trying to communicate. Still some of your photographs may require
additional cropping to fit the layout or to eliminate an unwanted portion of
the photograph. There will be times when the image area is not the shape
that will best communicate the feeling or idea intended. Cropping can
sometimes focus the viewer's attention or heighten the emotional impact. In
addition, cropping is an essential element in the scaling of photographs.
b. The Cropping L's. Among the tools to aid the photographer/editor in

determining the shape, size, and cropping of a photograph are the cropping
L's. They are just that, a pair of large L's measuring 9 to 10 inches on
one leg and 11 to 12 inches on the other. You can make them from mount
board or compressed cardboard. Commercially, plastic L's are available that
have ruler tick marks in 1/8 or 1/16 inch graduations.
In terms of cropping, the photographer/editor uses the cropping L's to

identify that portion of the photograph that should be cut away to properly
convey the essence of his theme. By laying the L's on the photograph and
moving them in or out, he can determine how the final photo will look.
When scaling a photograph, the photographer/editor uses the cropping L's to

calculate the change in size required to make a photograph fit a specific
space or layout.
c. Scaling a Photograph. Your photographs intended for publication

will invariably be reduced or enlarged to fit a specific space. The amount
of reduction or enlargement to make a photograph fit a given space is called
"scaling."
(1) There are several methods to scale photographs. One calls for a
mathematical formula; methods use devices based on the principle of the
slide rule.
(2) The simple method is based on a common diagonal. This is based

on the geometric principle that the diagonals of rectangles of the same
proportions create identical angles with the sides. The following
illustrations show the steps in its use.
(a) Using your cropping L's, outline the area of the photograph
you wish to use (A). Then draw a diagonal line (B) bisecting the cropped
portion of photo.
(b) Determine the width you wish the finished picture to be (i.e.,
one column, two columns, or a given number of picas). Draw a line (C)
perpendicular to the left side of the cropped area, the desired width to the
diagonal. Line (D) is the depth of the cut. Refer to figure 1-14.
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NOTE:
If you are restricted by the depth of the space, then
draw line (D)(the first of the desired measurement)
and then line (C) will be the width of space needed.
Figure 1-14. Common diagonal method for scaling
(c) A good way to avoid damaging the print is to tape hinge a

piece of tracing paper over the surface. This allows you to make your crop
marks without drawing on the print surface. Working on a light table would
help. If you wish to scale up (enlarge) a photo, tape the photo to the
lower-left corner of a piece of larger paper. Use a ruler and project the
diagonal out onto the paper then carry out the rest of the scaling as
previously described.
22. Captions, Cutlines, and Credit Lines.
a. Captions and Cutlines. Your photographs, despite their unique

story-telling ability, are seldom effective enough to stand alone. No
matter how exciting your picture may be, it fails unless the viewer
understands the five W's-Who, What, When, Where, and Why of the photograph.
(1) It is your responsibility, as the photographer, to gather the

necessary information and write complete, concise, and factual captions, and
cutlines.
(2) The words "caption" and "cutline" are often used interchangeably;
however, in journalistic situations "cutline" is the preferred word. To
make a cutline work, it must contain three basic elements:
(a) An explanation of the subject or action. The first sentence

provides an explanation of the subject or action. It is the most important
element in the cutline. It links the
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photograph to the cutline by the action it describes. It should contain a
verb written in the present tense. The reason for this is that the moment
in time captured in the photograph immediately becomes the past. The use of
a present tense verb gives the reader a sense of immediacy, as though the
reader is actually witnessing the event taking place. For example, a
cutline that reads, "SGT John Hero swims through the swirling waters of the
Colorado River to rescue six-year old Ruth Gray..." has more impact and
immediacy than one which reads "SGT John Hero swam through ......".
(b) Identification of persons or things in the picture. Everyone or

thing that is identifiable and pertinent to the story-telling function of
the photograph should be identified. By identifiable, we mean anyone who is
not blurred, obscured, or too far away for recognition. By pertinent, we
mean involved to the central action of the picture. The best way to
identify subjects is by action. If all persons are engaged in the same
action, then you can use left to right.
(c) Additional details of background information. They are facts that

need to clarify the photograph. The amount of information included in this
section depends on two factors: where and how you will use the photograph.
The amount of background information needed to explain a photograph of
bayonet practice is obviously greater for a civilian audience than to a
basic trainee who is participating in such practice.
b. Credit Lines. Credit lines for photographers are used in most

military newspapers and publications. The usual method is to credit both
the photographer and the service directly after the last word of the
cutline. The credit line is in capital letters and enclosed in parenthesis
as shown in the following example:
(U.S. ARMY PHOTO by SGT JOHN SHUMAN).
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LESSON 1
PRACTICE EXERCISE
The following items will test your grasp of the material covered in this
lesson. There is only one correct answer for each item. When you complete
the exercise, check your answers with the answer key that follows. If you
answer any item incorrectly, study again that part of the lesson which
contains the portion involved.
1. You photograph the rescue of a drowning 8-year-old child by a locally-

stationed soldier. What elements of "news worthiness" are met?
A. Prominence/oddity
B. Consequence/conflict
C. Conflict/human interest
D. Human interest/proximity
2. You are photographing a basketball game in a gym with a 35mm format

camera with a focal plane shutter. Which film, shutter speed, and
light source would be best to "freeze" a jump shot?
A. ISO 25, 1/1000, available light

B. ISO 400, 1/60, electronic flash
C. ISO 400, 1/60, available light
D. ISO 3200, 1/500, electronic flash
3. While covering an afternoon football game using a 500mm lens on a 35mm

camera, which shutter speed should you use to stop camera shake?
A. 1/60
B. 1/125
C. 1/250
D. 1/500
4. You have permission to photograph a wrestling match from the edge of

the mat. Which lens should you use?
A. 52mm
B. 185mm
C. 500mm
D. 1000mm
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5. You produce a photo story showing the right and wrong things to do
while riding a bicycle on public streets. What type of continuity
should you be using?
A. Repeated identity
B. Parallel contrast
C. Simple commonality
D. Narrative chronology
6. When assigned to do a photo story on the post auto hobby shop, what
should be your first step?
A. Write a shooting script

B. Go fix your own car there
C. Shoot exposure test inside the facility
D. Find out all you can about the operation of the business
7. You write a shooting script to accomplish which of the following?
A. Write captions for each picture

B. Determine how much film you will use
C. Predetermine exact composition and exposure for each picture
D. To visualize in your mind the entire story and create a general
plan or shooting guide
8. How does your picture essay present the subject?
A. In a logical order
B. From an objective point of view
C. With a beginning, middle, and ending
D. From your personal subjective point of view
9. In photojournalism, which factor most determines the way in which you

will approach and cover your subject?
A. Weather and time of the year

B. The subject of your photo story
C. The number of readers/viewers who will see your story
D. The audience with which you are trying to communicate
10. In order to check lens aperture operation during routine maintenance,

which shutter speed do you use?
A. "B"
B. 1/60
C. 1/500
D. 1 second
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11. When you increase a film ISO rating and overdevelop to compensate,
what side effects will you most likely get?
A. Sharper detail
B. Normal appearing negatives
C. Increased contrast and grain
D. Flat contrast and loss of detail
12. Which of the following lenses produces an image similar to what the
human eye sees when using a 35mm format camera?
A. 35mm
B. 52mm
C. 185mm
D. 400mm
13. In a picture story which covers several pages, you must develop the
desire in the viewer to turn the page and follow the story to the end.
What is this called?
A. Unity
B. Impact
C. Balance
D. Contrast
14. Which of the following is not a basic element of a good caption?
A. Identification
B. Explanation of action
C. Photographer's name and address
D. Additional background information
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LESSON 1
PRACTICE EXERCISE
ANSWER KEY AND FEEDBACK
Item Correct Answer and Feedback
1. D. Human interest/proximity
An event that has emotional elements with which the public can
empathize and also happens in their own community (page 3, para
1a(7)).
2. B. ISO 400, 1/60, electronic flash
A 35mm focal plane shutter usually has an electronic flash sync

speed of 1/60 or slower. The electronic flash duration of 1/1000
of a second or less will stop the motion on a film fast enough to
allow the use of f/11 or f/16 without the available light
recording on the film also (page 10, para 4e(2)).
3. D. 1/500
A rule of thumb is to use a shutter speed which is the reciprocal

of the focal length of the lens being used (page 8, para 4d(4)).
4. A. 52mm
When you are able to get close to the action, a normal angle or
on occasion, a wide angle lens can be used (page 8, para 4d(2)).
5. B. Parallel/contrast
This style of continuity is used to compare or contrast things

(page 16, para 6e).
6. D. Find out all you can about the operation of the business
Research is the most important and the first step in producing a

good picture story (page 17, para 7).
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7. D. To visualize in your mind the entire story and create a

general plan or shooting guide
A shooting script enables you to visualize the entire story

before you start taking pictures. The shooting script is also a
plan of how you are going to shoot each picture and includes
ideas on composition, techniques for posing the subject, lens
selection, and camera angle (page 18, para 8).
8. D. From your personal subjective point of view
A picture essay presents your thoughts or opinion rather than

fact, and is subjective rather than objective (page 22, para
10a).
9. D. The audience with which you are trying to communicate
You should know your audience. Is it all adults or young people?

Do they have knowledge about the subject of your story? Is it a
mixed group of both men and women? Answers to these types of
questions should determine your approach and coverage of the
subject (page 26, para 11c).
10. A. "B"
With the back of the camera open, you can make an aperture
function check by setting the shutter speed on "B" and select an
f/stop of 11 or 16 and trip the shutter while watching for the
diaphragm to operate (page 28, para 13f).
11. C. Increased contrast and grain
When you "push" film, you are simply underexposing and

overdeveloping it to produce a printable negative. Depending on
development there can be an increase in contrast and grain (page
30, para 14c(2)).
12. B. 52mm
The normal angle lens produces an image in which the relative

size of objects appears the same as the human eye sees them (page
31, para 15a(2)).
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13. A. Unity
Whether the story requires one, two, or more pages, you must
establish a unity of elements that will communicate the central
idea and encourage the viewer to follow the story to the end
(page 39, para 18d(3)).
14. C. Photographer's name and address
To make a "caption" work effectively it must contain three basic

elements: explanation, identification, and background (page 44,
paras 22a(1) & (2)).
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LESSON 2
GROUP AND AWARDS PHOTOGRAPHY

113-578-1011
OVERVIEW
LESSON DESCRIPTION:
In this lesson you will learn how to define and pose formal and informal
groups of people and choose the proper camera format, lens, and lighting.
You will learn how to set up and photograph awards ceremonies to highlight
award recipients. You also will learn to identify the types of common
awards and presentation ceremonies.
TERMINAL LEARNING OBJECTIVE:
ACTIONS: a. Describe formal and informal groups.
b. Identify lighting requirements.
c. Explain proper camera format sizes and lenses.
d. Describe proper posing for both small and large

groups.
e. Identify the four common awards and presentation

ceremonies.
f. Identify and describe the techniques, equipment and

background selection, and composition to improve the
"grip and grin" pictures.
CONDITION: You will be given information from TM 11-401-2 and

Photographer's Mate Training Series NAVEDTRA 373-02-45-83,
MOD 2.
STANDARD: Informal and formal group photography will be in accordance

with TM 11-401-2 and Photographer's Mate Training Series
NAVEDTRA 373-02-45-83, MOD 2.
REFERENCES: The material contained in this lesson was derived from the
following publications: TM 11-401-2 and Photographer's Mate
Training Series NAVEDTRA 373-02-45-83, MOD 2.
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INTRODUCTION
Occasionally, you will receive an assignment to make a picture of a group of

people. The group may be a graduating class, the commanding general's
staff, a VIP touring group, or an infantry squad. There is added difficulty
when working with a number of people at one time. You must pay attention to
every member of the group, using every precaution to show each person
clearly, and that interest is not drawn to one individual by some awkward
pose or expression. Group pictures are made for official records,
publicity, and recruiting. Group photographs are classified as either
formal or informal.
PART A - FORMAL AND INFORMAL GROUP PHOTOGRAPHY
1. Formal Groups.
a. Goal. A formal group is one in which several people, uniformly

dressed for the occasion, are posed, seated or standing, in similar poses.
Your goal is to arrange the group to obtain the best composition to fill the
frame and get as large an image size of each person as possible. You want
to avoid stringing out long narrow rows of people across the frame. One
exception to this general rule is when the background or foreground is as
important as the group.
b. Research and Prepare. When you receive an assignment to shoot a

formal group photo you should do your research. A key question you need to
ask is, "How many people are there in the group?" This information will help
you plan the location, physical arrangements, camera format, and lighting
equipment you may need.
(1) The group size is a factor that will determine what format film
you will use. Choose as large a format as practical to achieve maximum head
size for easy recognition of all subjects. You will be able to use 35mm
format for groups up to 15 people. For groups up to three dozen, 120 film
would record a larger image for better recognition of the individuals. For
groups much bigger than that, you will obtain clearer pictures with a 4x5
format.
(2) As a rule of thumb your first choice when choosing a lens for
formal group photos should be a short telephoto lens, provided you have the
room to use it. However, in any case, you have should choose a lens
slightly longer than normal for the film format. This will keep distracting
distortions to a minimum. Use the shorter focal length lens when you are
limited by the physical space available.
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(3) For a group of 8 to 12 people, you may only need a few chairs.
If the group is large (20 or more people), then you may need a method to
raise the third, fourth, and additional rows so they can be clearly seen.
You could use steps, bleachers, a hillside, or a terrace. You also may need
to know the military ranks, and if there are civilians, who is the senior.
You will want to follow military rules and customs and place people front
and center according to rank and importance. Figure 2-1 illustrates a
formal group photo.
Figure 2-1. Formal group photo
(4) Be professional! Arrive at the job site early and ensure the
physical arrangements are correct. Measure off approximate position of
subject placement and have your camera position marked also. You may find
that the use of a tripod makes these jobs a lot easier.
c. Posing. You can ensure a better view of each individual in a large

group by staggering the number in each two.
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(1) If the first row has an even number of people the second should
have an odd number, one less or more then the first row. After arranging
the first row (probably seated), arrange the second with individuals looking
between the heads of the people in the first row.
(2) If you have a third row, it should contain an even number of

subjects and so on until you can see each and every face from the camera
position.
(3) If the group is so large that the rows have 12 or more people in
them, you should arrange them in a slight semicircle to place each person
approximately the same distance from the camera.
(4) Pose the front row with hands and feet in similar positions,
check that hats are squared away, and all eyes are on the camera.
(a) If you have a gift for "gab," a little on-going chatter may
keep your subjects attention focused on you and the camera.
(b) CLICK! Always take several pictures because no matter how

hard you work, there will be someone who blinks if you only take one shot.
(5) Up to this point we have discussed strictly formal groups. What

do you think would happen if you "stylized" the shot just a bit? You could
photograph groups using photojournalist techniques.
(a) Is it always necessary to line them up shoulder to shoulder?

Try loosening the feeling; stagger the group a little on the steps. Put in
some foreground or background.
(b) Don't forget the framing technique; it can work for group
shots too. Even a member of the group (the commanding officer) can be your
foreground, with the rest of his staff scattered through out the background.
You may even want to try these ideas out with a group of buddies for
practice. Remember, the subject is the people and they are looking at the
camera. They are not involved in any action.
2. Informal Groups.
Now let's define and discuss informal groups. The informal group is
intended to depict some action or tell a story about the people in the
image.
2-4 SS0516
a. Although positioning and posing in an informal group shot is
necessarily carefully planned the results must appear casual and realistic.
Achieving this natural feeling will depend on your ingenuity. If at all
possible, limit the number of the group size to as few people as necessary
to tell the story. Three to four subjects is ideal.
b. As you compose the group, make sure everyone is engaged in some kind
of action. The various members may be seated, kneeling, or standing in a
variety of positions and need not be looking in the same direction, but they
should be looking at the point of action taking place. That point of
action, for example, may be a piece of equipment which is being worked on.
3. Lighting.
When you photograph a group indoors, your primary concern is even

illumination over the entire group.
a. A single light held 2 to 3 feet to the side and higher than the
camera is adequate for small groups.
b. You will need several lights to photograph a large group. In both

situations the light or lights should be higher than the tallest person in
the group. This will prevent the appearance of unnatural lighting and
shadows from the subjects in the front row falling on the subjects in the
next row.
c. When you use several lights, you must meter the light output across
the full width of the group adjusting the lights until the lighting is even.
d. You will find that the best outdoor lighting occurs on hazy, bright
days during the early part of the day when the sun is at a 45-degree angle
to the horizon. It provides soft light shadows and does not cause your
subjects to squint.
e. If possible, place your group so the light falls on it from 45

degrees of either side of the camera.
f. On days that are sunny bright or when the shadows are too contrasty,
you should use the synchro-sun flash technique to fill the shadows.
PART B - RECOGNITION PHOTOGRAPHS
4. Types of Awards.
a. Recognition of Personnel. People generally thrive on accomplishment

and recognition of their accomplishments; no place more so than in the
military. The Army takes pride in
2-5 SS0516
recognizing its personnel, and one way of showing that pride is in public
ceremonies. The ceremonies you may be assigned to cover and photograph will
fall into four basic types. These basic types are medal awards, trophies
and certificates, promotions, and reenlistments.
(1) Medal awards. These ceremonies present you an opportunity to

produce pictures that have tight simple composition and strong emotional
impact. You will have three elements to deal with: the recipient, the
medal, and the person making the presentation.
(a) This picture usually calls for a close-up. The

photojournalist must compose his picture so that the recipient (the most
important element) is easily recognized and the medal clearly visible.
Ensure the background is plain and uncluttered.
(b) If you take your picture during the actual ceremony, it is

likely that the medal will be obscured by the presenter's hand. The
professional approach to this problem is to arrange for time to pose a
picture after the ceremony. Then you can arrange the presenter's hands so
they do not hide the medal and may even get a better facial expression on
the recipient.
(c) Avoid pictures in which the presenter turns and looks at the
camera. This draws the viewer's attention off the key element, the
recipient. The most effective picture will be shot from the presenter's
right side in order to show the recipient's face and the medal on the left
pocket.
(d) If you are assigned to cover this type of ceremony with the
same presenter frequently, you may be able to get that person "keyed" to
your needs and actions so that you can shoot these pictures during the
ceremony. Figures 2-2 and 2-3 provide pictures of a soldier receiving a
medal. Notice in figure 2-2 that the presenter has moved her hands away
from the award so the camera can clearly see the action. By using an "over-
the-shoulder" angle, the photographer has a clear view of the awardee's
face.
In figure 2-3, the photographer's angle on this shot is more of a side-view.

The addition of a cluttered background and the presenter's hands covering
the award diminish the usability of this photo.
2-6 SS0516
Figure 2-2. Medal award photo
Figure 2-3. Soldier receiving a medal
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(2) Trophies and certificates. This type of presentation usually
involves a sports trophy, certificates of achievement, best mess awards,
etc. The recipient and the presenter are usually holding the trophy or
certificate with their left hands and shaking right hands below it.
(a) Have the subjects look at each other or the award, not
directly at the camera. Be sure the certificate or trophy is held upright.
(b) On occasion, these awards will be presented to a team or group

of people. The team captain or senior person in the group can be accepting
the award from the presenter with the rest grouped around them. Be careful
that no one’s face is hidden. Remember some of the techniques we discussed
in group photography. You may have to pose this shot after the ceremony so
you are not disruptive.
Refer now to figure 2-4. In this photo, the photographer took control of
the situation and turned the awardee slightly towards the camera. The
results are better identification of the individual and we get to see the
certificate.
(3) Promotions. One of the most significant happenings in a

soldier's career is when he is being recognized for his professionalism by
promotion. With the recipient standing straight and tall, have a senior
noncommissioned officer or an officer holding up a pair of new stripes or
pinning on a new set of bars.
(a) If the recipient has family present, it may be appropriate to

include them in the picture sharing the soldier's happiness. Observe the
same precautions about posing the participants as mentioned above. Make the
recipient the focus of the picture and be sure the insignia is clearly seen.
(b) When a group of individuals are promoted at the same ceremony,

the photographer may want to pose an informal group picture.
Figures 2-5 and 2-6 illustrate promotion photos. Since collar devices are
small, the photographers need to move in and ask the people pinning on the
new rank not to cover the device with their hands. One method is to stage
the action as in figure 2-5. The other method is to be watchful during the
actual ceremony, waiting for that moment where the hands do not cover the
rank as we see in figure 2-6.
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Figure 2-4. Photograph of a certificate award
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Figure 2-5. Photograph of a promotion (view 1)
Figure 2-6. Photograph of a promotion (view 2)
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(4) Reenlistment Ceremonies. A reenlistment ceremony follows a set
pattern. The officer administering the oath and the reenlistee stand at
attention with their right hands raised as the oath is taken.
(a) The photographer must take extra caution that the raised hands
do not obscure faces or throw shadows on the principal subject.
(b) You may get your best pictures by posing the shot after the
actual event. See figure 2-7 for a picture of a reenlistment ceremony.
Reenlistments are difficult at best. When possible, use the over-the-

shoulder technique and at a high angle. Simply standing on a box or low
chair puts the photographer high enough to look over onto the action. Avoid
becoming part of the action by toppling off the chair. This is a solemn
ceremony and a degree of dignity is required. As such, the American and
Army flags should be displayed as part of this formal ceremony. Ensuring
that you include the flags in your photo adds a significant touch.
b. Choosing the Best Shot.
(1) Pride in pictures. The photographer who has covered a lot of

ceremonies sometimes becomes complacent. He may begin to feel there is only
one way to shoot these jobs and begin to think of them as just "grip and
grin" pictures.
(a) Remember, visual memories of these events are important to the

individuals involved. As a photojournalist, you should strive to take
pictures of these events that you would be proud of:
(b) For self-satisfaction and to elevate the status of Army

photography, you should develop real interest and individuality.
(2) Use imagination and creativity. These assignments are an

opportunity to use your imagination and creativity. If a person receives
recognition for his work, picture him on the job instead of in an office
receiving a certificate. If a soldier reenlists, show him enjoying the
benefits instead of standing at attention with his hand in the air. For a
best mess award, show the mess sergeant preparing an attractive display of
food. Picture a soldier who just graduated from advanced individual
training performing her new duties or skills, instead of looking at her
diploma. Remember, as a photojournalist you are trying to make the viewers
feel emotion. All these pictures should show pride, joy, and satisfaction.
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Figure 2-7. Photograph of a reenlistment ceremony
The environmental portrait can be the cornerstone of personality portrait

assignment. It is a storytelling photo that brings some of the individuals
work, hobby, or duties forward. It is more than a portrait. It tells about
the individual rather than identify him or her. Figure 2-8 represents this
type of photo.
5. Summary.
a. You should watch that backgrounds are not cluttered with distracting
elements. Do not pose your subjects close to the background. You can throw
the background out of focus by using a wide aperture which will give you a
shallow depth of field.
b. The professional photographer plans ahead. Before the ceremony

begins brief the participants, check the background, have all props in
place, select the best lens for the job, check your equipment, and pre-focus
your camera.
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c. You should take the standard "grip and grin" poses but plan to shoot
a few pictures of the recipient back in his work place. You will produce
more interesting photographs, and more likely, photographs that will be
published.
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Figure 2-8. Environmental portrait
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LESSON 2
PRACTICE EXERCISE
the exercise, check your answer with the answer key that follows. If you
1. What factor listed here does not describe formal groups?
A. Everyone is uniformly dressed

B. Everyone is looking at the camera
C. Everyone is standing in tiered rows
D. Everyone is looking at the senior man in the picture
2. You are assigned to photograph a group of 60 soldiers in dress

uniform. What format camera should you use to obtain the best image
clarity and head size of each soldier?
A. 35mm
B. 4x5
C. 2-1/4 x 2-1/4
D. 6:45
3. All the people in an informal group should be doing what?
A. Looking at the camera

B. Standing in neat rows
C. Looking in the same direction
D. Looking at the action or subject that is the focus of the picture
4. For formal group pictures, when does the best outdoor lighting occur?
A. At 1200 high noon

B. When the sky is completely overcast
C. At sunrise or sunset when the sun is on the horizon
D. On hazy, bright days in early morning or late afternoon
5. Who or what should be the center of attention in a picture of a medal

award ceremony?
A. The medal
B. The recipient
C. The commanding officer
D. The recipient's family
2-15 SS0516
2-16 SS0516
6. Who should be included with the promotee in a picture of his promotion
ceremony?
A. The soldier's family

B. The soldier's duty section
C. The Public Affairs Officer
D. The command's First Sergeant
2-17 SS0516
LESSON 2
PRACTICE EXERCISE
1. D. Everyone is looking at the senior man in the picture
In formal groups all personnel pictured should be looking at the

camera, posed in tiered rows, and uniformly dressed (page 2,
para 1a).
2. B. 4x5
The larger the group, the larger the film format required in
order to obtain as large a head size of each individual as
possible for easier recognition (page 2, para 1a(2)).
3. D. Looking at the action or subject that is the focus of the

picture.
The informal group picture is intended to depict some action or

tell a story about the people in the picture (page 5, para 2b).
4. D. On hazy, bright days in early morning or late afternoon
You will find that the best outdoor lighting for formal groups is
on hazy bright days in early morning or late afternoon when the
sun is 45 degrees from the horizon (para 5, para 3f).
5. B. The recipient
Avoid picture where the presenter is looking into the camera, or

other element distracting the viewer’s attention is drawn away
from the key element, the recipient (page 6, para 4a (1) (c)).
6. A. The soldier’s family
If the principal subject has family present it may be appropriate

to include them in the picture sharing the soldier’s happiness
(page 8, para 4a (3)(a)).
2-18 SS0516
LESSON 3
INVESTIGATIVE PHOTOGRAPHY
Critical Task: 113-578-1005

113-578-1011
OVERVIEW
LESSON DESCRIPTION:
In this lesson you will learn about various equipment, film, filters,
lighting, and techniques/procedures employed by photographers when taking
investigative photographs and in photographing aircraft and vehicle
accidents. You also will learn to document criminal scenes in order to
preserve and provide evidence for investigations and court exhibits using
special techniques. In addition, you will learn the proper equipment, film,
and lighting necessary to cover a fire to provide the investigators with
visual records and clues.
ACTIONS: a. Identify the best equipment, cameras, lenses, and

lighting used in investigative photography.
b. Explain the prescribed procedures in covering various

types of investigations.
c. Describe the proper camera equipment, film, and lighting

to document evidence.
d. Describe the coverage specific to aircraft and vehicle

accidents.
e. Identify the equipment, film, filters, and light sources

to properly document a homicide, drowning, hanging, and
arson.

SM-TG, and Photographer’s Mate Training Series NAVEDTRA 373-
02-45-83, MOD 2.
STANDARD: Investigative photography will be in accordance with TM 11-

401-2, STP 11-25S13-SM-TG, and Photographer’s Mate Training
Series NAVEDTRA 373-02-45-83, MOD 2.
following publications: TM 11-401-2, STP 11-25S13-SM-TG, and
Photographer’s Mate Training Series NAVEDTRA 373-02-45-83,
MOD 2.
3-1 SS0516
INTRODUCTION
Your responsibility when assigned to photograph crash and accident scenes,

burglary sites, fire damage, etc., is to produce high quality photographs to
help the investigators determine the cause of the accident or crime. The
images you record on film right after an accident will be very valuable; not
in terms of money but by recording and preserving evidence that over time
would be lost. Aircraft and vehicle accidents sites may have to be cleaned
up quickly so runways or roads can be returned to normal service. Fire-
damaged structures need to be repaired or razed, and burglary sites have to
be repaired and security reestablished. Doing your job correctly will
enable the investigators to do their job more effectively.
PART A - AIRCRAFT/VEHICLE ACCIDENTS
1. Aircraft Accidents.
a. Importance of Photography. Photography plays a major role in

aircraft accident investigations. Your pictures may help determine steps to
be taken to prevent similar occurrences. Keep in mind that few accidents
happen from a single cause. In most, a sequence of events occurs, the
elimination of any one of which could have prevented the accident. Your
approach to this type of assignment should be a methodical accumulation of
visual information from aerial views of the site to close-ups of the
smallest details.
b. What's Needed for Good Coverage. There are four essential

characteristics of good aircraft accident coverage.
(1) Promptness. You must get to the scene as soon as possible,

before the evidence is disturbed.
(2) Thoroughness. Photograph all evidence in minute detail. Operate

on the idea that there is no limit to the amount of photography justified to
prevent the reoccurrence of an accident or the loss of a life.
(3) Conduct a planned photographic survey.
(4) Accuracy/clarity. Pictures that show half-truths are

unacceptable. Your pictures must be sharp in detail, well exposed, and not
distort the subject.
c. Use Black and White and Color Films. As the alert photographer,
when you arrive on the scene, you should be prepared to photograph the job
with both black and white (B & W) and color films. Both films can be used
to document the overall and general area of the accident. Color film should
be used to
3-2 SS0516
take medium and close-up shots to show the extent of fire or chemical damage
and to help investigators recognize factors not easily recognizable in black
and white photographs. For instance, excessive friction between moving
parts leaves a color pattern. Close-up color pictures could tell
investigators the degree of wear, and the temperature caused by the
friction.
d. Types of Lenses and Flash Needed. You will find that a good 35mm
format camera with a long focal length lens, a wide angle lens, and a normal
focal length macro lens for close-up photography will be sufficient.
(1) The macro lens will allow you to make 1:1 images of small pieces
of evidence.
(2) The wide angle lens is useful in cramped spaces.
(3) An electronic flash is handy to fill in shadow areas to show

detail. For the close-up photography, an electronic ring flash mounted on
the macro lens provides excellent lighting for extreme close-ups.
e. Picture Details at the Accident Scene. Whenever possible include an

item in the picture that is of a known size for scale; i.e., vehicles in the
aerial view, people or vehicles in the general view, a 12-inch ruler in the
close-ups. You must also take detailed notes so you can accurately caption
each picture for the accident report.
Pertinent photographs of the following details are always required.
(1) General views of the scene along the wreckage pattern from the
point of impact to the point where the aircraft came to rest. Be sure to
include all marks on the ground (i.e., skid marks, burned areas, ruts, and
gouges).
(2) Aerial view of the overall accident scene.
(3) Damage to all objects struck or damaged including government and

civilian property.
(4) All major parts of the aircraft including wheels and landing gear
assemblies, wing and tail structures, and control surfaces.
(5) Medium and close-up views of the cockpit, instrument panels,

switch settings, and control handles.
(6) Engines and propellers.
3-3 SS0516
(7) All parts suspected of structural failure.
f. Additional Pictures Maybe Needed. You, the photographer, are not

expected to be an expert in investigation techniques. In order to ensure
you obtain the detailed pictures not covered by the foregoing list, contact
the on-site investigator and confer on what additional pictures may be
needed.
WARNING
Never move any parts of the wreckage until told to

do so by the investigator.
(1) After initial on site photography some of the small important

pieces of evidence should be rephotographed in the laboratory under
controlled conditions. There you will be able to produce clear and well-
defined images. When possible, include an undamaged like item in the same
picture so that damage and failure is readily apparent.
(2) The final step you must take is to write detailed captions for
each picture identifying the part, its location and position when
photographed, date and time, plus any details that may help the
investigator.
2. Vehicle Accidents.
a. Pictures May Become Court Evidence. Unlike aircraft accident

photography, vehicle accident photography may be used in court to settle
disputes concerning fault and damages. Your photographs can reveal if the
accident was caused by carelessness of the operator or defective mechanisms.
b. Picture Details Needed. Equipment needed to document vehicle

accidents is the same as that for aircraft accidents, and is used in the
same fashion. At a minimum you should obtain coverage of the following:
(1) General views. These should show the accident site from all
angles showing traffic signs and visual obstructions such as shrubbery,
parked vehicles, buildings, and existing weather conditions like rain, fog,
or snow. Take these pictures from the angle of approach of all vehicles
involved in the accident.
3-4 SS0516
(2) Road conditions. These photographs show existing icy conditions,
snow, gravel or sand, loose leaves, mud, etc., which could have contributed
to the accident.
(3) Point of impact. You should show the location where the vehicles
collided. Include as many points of view as possible, and include broken
glass and other parts strewn on the ground.
(4) Skid marks. Photographs of skid marks may help investigators

determine the speed of the vehicles before impact.
(5) Damage to vehicles. Your photographs should include as many

angles as possible of the damaged parts of each vehicle involved. Start
with full-length shots and finish with close-ups of the damage.
c. Handling of Photographs. Under no circumstances do you release any

information or photographs to anyone outside of proper military channels.
The public affairs officer is the only person who releases information to
the public.
d. Providing Captions. Just as with an aircraft accident coverage, you

should take notes as you photograph the accident so you can provide clear
and complete captions.
PART B - CRIMINAL INVESTIGATIONS
Your camera and the photographs you produce are useful tools for criminal
investigation and any legal action that may result. The photographs become
a permanent record of the crime scene. By studying your photographs,
investigators may gain information that will lead to the solution of a
crime, apprehension of criminals, and recovery of stolen property.
Additionally, your photographs may be used as evidence in court proceedings,
criminal surveillance, and in crime prevention.
3. Photographs in a Criminal Investigation.
With certain combinations of film, filter, and light sources, you can record
evidence that is not readily visible to the naked eye.
a. You can make fingerprints, certain dyes, and some invisible ink show
up by using panchromatic film with a yellow filter and ultraviolet lights.
b. With black and white infrared film you can photograph faded
documents and charred paper and read them where the naked eye can not. This
film will also bring out old scars and tattoo marks, see through grease,
grime, and some types of paint.
3-5 SS0516
c. Remember, when producing photographs for legal use, they must be
sharp, clear, and undistorted. You must present the facts as they are; not
your impressions.
(1) Do not use dramatic lighting or other photographic techniques

that create misrepresentation of the facts. Your goal is to record scenes
in their natural state.
(2) Provide a natural view by photographing scenes from eye level

using a normal focal length lens. Keep in mind that there may be occasions
when you must use a shorter focal length lens due to limited room in which
to work. Use a tripod or other method of stabilizing the camera to ensure
sharp images.
4. Photograph Restrictions.
a. Record Detail. Your light source should be strong enough to enable

you to use fine grain high resolution films like Kodak Plus-X, or Kodak
Ektar 25. This will enable you to record small details that will show
clearly in enlargements for use by the investigator and in court
presentations.
b. Prepare Detailed Captions. Your photographs alone are not

admissible evidence in a court of law. Someone must attest to the
authenticity of the picture. You can aid in this by preparing detailed
captions.
(1) The caption should contain names, places, dates, times,

circumstances, and perhaps measurements. In addition, it should contain
photographic data such as lens focal length, film type, camera angle, height
and distance from the subject. A sketch of the scene marking the spot from
which each picture is taken will be helpful especially if you take more than
one picture.
(2) Strict security procedures are also required to protect proof of

authenticity, even if the pictures do not contain classified material.
5. Alert Photographer.
Almost every photo lab has an alert photographer available 24 hours a day, 7
days a week to take investigative photography. An alert camera kit should
also be ready at all times and contain the following equipment and supplies:
a. A 35mm format camera with a variety of lenses from wide angle to

telephoto.
b. An electronic flash with extra batteries and sync cords.
3-6 SS0516
c. Film to include color negative and slide film, black and white
panchromatic, and infrared film.
d. A flash light, pencil, and paper.
e. A checklist of the kit's contents and a checklist for each of the

types of investigative jobs that are covered in this lesson.
6. Burglary and Vandalism.
As when documenting an accident, you must obtain complete coverage when

photographing burglary and vandalism sites. Coordinate with the senior
investigator at the site. At a minimum, start by obtaining overall views
showing the placement/locations of objects in the room. Do this by standing
in each of the four corners of the room and take a picture looking toward
the diagonally opposite corner. Follow this by taking medium shots of all
important items. Finish by making the close-ups required by the
investigator.
Your coverage of burglary and vandalism scenes should include:
a. General views of both the inside and outside.
b. Medium shots of the point of entry and exit.
c. Articles left at the scene.
d. Marks left from shoes, tools, tires, etc.
e. Areas from which items were removed.
7. Homicide.
Photographic documentation of a homicide scene closely resembles that of a

burglary, with these additions:
a. Take at least two pictures of the body. These should be taken from
a standing position and at opposing angles to each other.
b. Include close-ups of the wounds that illustrate apparent cause of

death. Location of the murder weapon, if present, in relation to the body,
and other special aspects of the body or scene as directed by the
investigator.
8. Hanging.
If you are called upon to photograph the scene of a hanging, again use the
basic scene coverage techniques as outlined above
3-7 SS0516
but add views that include the body, rope or material used, and close-ups of
any wounds or markings. Illustrate the height of the body above the floor
by having another person stand along side the subject. Include views that
show chairs, stools, etc., that appear to have been kicked out from under
the victim's feet.
9. Drowning.
Start by obtaining overall views of the scene. Photograph the entire body
from both sides from a standing position and ground level. Close-ups should
include foam about the mouth, any wounds, peculiar markings, bruises, or
unusual discoloration. Color film is the best choice to record any
discoloration.
Again, under no circumstances do you release any information or photographs

to anyone outside of military channels. The Public Affairs Officer
determines what information should be released to the civilian press. Your
responsibility is to the scene commander and his staff conducting the
investigation.
PART C - FIRE AND ARSON INVESTIGATIONS
Ever since man discovered fire it has been a blessing and when it gets out
of control, a curse. Firefighters realize the value of a photographic
record of a fire, and the ruins, in helping to determine both the cause of
the fire, and the effectiveness of the methods used to fight the fire.
Another important use of your photography is in training firefighters.
However, our objective in this lesson is to focus on photography as a tool
used to determine the cause of a fire and if arson was involved.
10. Photographing Fire and Arson Scenes.
a. Importance of Early Arrival. The photographer should make every

effort to arrive at the scene and begin documenting the fire as quickly as
possible, whether arson is suspected or not. The standard alert camera bag,
as discussed earlier in this lesson, should contain the necessary equipment.
Like any assignment of investigative photography, you should report to the
on scene commander to coordinate your efforts with what he needs.
b. The pictures you make of a fire while it is burning should include:
(1) The area or areas in which the fire started.
(2) Pictures of any spectators/groups. An arsonist often remains to

watch the fire. These group photos may later help investigators identify
suspects.
3-8 SS0516
(3) The fire's progress. Continue to document the fire as it spreads
and is brought under control and extinguished. Use color film to photograph
overall views that include the color and quantity of smoke and the color and
size of flames. The color of the smoke and flames often indicates the type
of material that is burning and whether an accelerant, such as gas, was used
to speed the burning. It is important to keep notes of the time each
picture is made.
(4) Once the fire is out, be prepared to photograph medium and close-
ups of the rubble in the building. Some key things that pictures will be
required of are incendiary devices and combustible materials such as match
books, paper, and liquids such as gas and paint thinner. Fuses even though
burned completely may have left a visible trail. Photograph defective
wiring and electrical and gas appliances which may have been the cause. The
investigator will point out and help you identify these things. Remember,
take notes for each picture caption.
c. Special Exposure Requirements. If you have never taken pictures of

blackened and fire-charred material, you will be surprised/shocked by the
amount of light these materials absorb.
(1) The exposure required may be two stops more than indicated by
normal exposure calculation methods. This is true even for close-ups and if
using flash.
(2) When using flash, hold the flash to the side as much as an arm
length to bring out surface texture of the burned material or heat-blistered
painted surfaces.
(3) Return to the laboratory and process your film as soon as

possible to ensure you have good exposures. If not, return to the scene
immediately and using your notes, reshoot as necessary.
(4) Keep the investigator informed and let him know when you have
obtained good pictures/negatives.
11. Possible Emotional Effects.
Investigative photography can be an emotionally disturbing assignment.

Confusion and excitement compounded by the sight of severe wounds,
fractures, burns, mutilation, and even death can cause nausea and even
fainting. You must prepare yourself and maintain self-control; think about
the photographic demands of the mission. You must remain calm under the
very serious conditions which you may encounter.
3-9 SS0516
3-10 SS0516
LESSON 3
PRACTICE EXERCISE
1. What camera and lens combinations would be best for aircraft and
vehicle accident documentation?
A. A 4x5 view camera with a 135mm lens

B. A twin lens reflex with a 85mm lens
C. A 35mm camera with a 35mm, 50mm, and 105mm lens
D. A 35mm camera with a 35mm, 90mm, and 200mm lens
2. What is a good light source to have in the field for extreme close-
ups?
A. Flash bulbs
B. Photo floods
C. Electronic flash
D. Electronic ring flash
3. Which of the following picture subjects is not applicable to vehicle

accident coverage?
A. Skid marks
B. Point of impact
C. Road conditions
D. Aerial view of the accident site
4. What film, filter, and light combination should you use to photograph
invisible ink messages?
A. Color negative with a 85-C filter and photo floods

B. Black and white film with a green filter and flash
C. Color slide film with a U.V. filter and ultraviolet
D. Panchromatic film with a yellow filter and ultraviolet
5. What lens should you use when taking pictures for a criminal
investigation?
A. A telephoto lens
B. A normal angle lens
C. A 110mm to 400mm zoom lens
D. An extreme wide angle lens
3-11 SS0516
6. What special views are required and specific to a homicide
investigation?
A. General pictures of the whole site

B. Close-ups of the soles of the feet
C. Pictures of missing articles of clothing
D. Two pictures of the body from opposing angles
7. What is the best choice of film to show skin discoloration of the body
of a drowning victim?
A. Color film
B. Color infrared
C. Black and white infrared
D. Orthochromatic black and white
8. In your pictures, which of the following would help fire investigators

determine if an accelerant was used?
A. Defective wiring
B. Smoke and flames
C. Color of run off water
D. Charred wood in the rubble
9. What must you do to ensure sufficient film exposure when photographing

charred and fire-blackened material at a fire scene?
A. Use time exposure

B. Use two light sources
C. Hold the flash to the side of the subject
D. Overexpose by 2 f/stops above normal calculations
3-12 SS0516
LESSON 3
PRACTICE EXERCISE
1. C. A 35mm camera with a 35mm, 50mm, and a 105mm lens
You will find that a good 35mm camera with a long focal length
lens, a normal focal length lens, a wide angle lens, and a macro
lens for extreme close-up photography will be sufficient. (page
3, para 1d(3)).
2. D. Electronic ring flash
For the close-up photography an electronic ring mounted on the

macro lens provides excellent lighting for extreme close-ups
(page 3, para 1c).
3. D. Aerial view of the accident site
Aerial views of the accident site are a specific requirement for

aircraft accidents because the debris usually covers a large area
(page 3, para 1d(3)).
4. D. Panchromatic film with a yellow filter and ultraviolet
You can make fingerprints, certain dyes, and some invisible ink
show up by using panchromatic film with a yellow filter and
ultraviolet light (page 4, para 2a).
5. B. A normal angle lens
Your goal is to record scenes in their state. Provide a natural

view by photographing scenes from eye level using a normal focal
length lens which produces images similar to the human eye (page
5, para 3a).
3-13 SS0516
6. D. Two pictures of the body from opposing angles
Photodocumentation of a homicide is similar to that of a burglary

with the addition of taking at least two pictures of the body
from opposite angles (page 7, para 7a).
7. A. Color film
At the scene of a drowning, the use of color film for pictures of

the victim will record any discoloration (page 8, para 9).
8. B. Smoke and flames
The color of smoke and flames often indicates the type of

material that is burning and whether an accelerant, such as gas,
was used to speed the burning (page 9, para 10b(4)).
9. D. Overexpose by 2 f/stops above normal calculations
Fire blackened and charred material absorbs light more then

normal surfaces and may need as much as 2 f/stops more exposure
then normal calculations indicate (page 9, para 10c(4)).
3-14 SS0516
LESSON 4
CLINICAL/MEDICAL PHOTOGRAPHY

113-578-1011
OVERVIEW
LESSON DESCRIPTION:
In this part you will learn to identify different types of clinical/medical

photography. When finished, you will be able to select the right equipment,
film, filters, and lighting needed to best show the subject.
ACTIONS: a. Identify various types of clinical/medical photography.
b. Describe film, filters, lighting techniques, and

background selection.
CONDITION: You will be given information from Photographer's Mate

Training Series NAVEDTRA 373-02-45-83, MOD 2.
STANDARD: Selection of proper camera equipment, film, and lighting for

medical photography will be in accordance with Photographer's
Mate Training Series NAVEDTRA 373-02-45-83, MOD 2.
following publications: Photographers' Mate Training Series
NAVEDTRA 373-02-45-83, MOD 2.
INTRODUCTION
As a military photographer, by the natural rotation of military assignments,

you may one day find yourself assigned to a hospital photographic section.
While there, you may be called upon to document various clinical procedures.
There you will be faced with unique technical and personal requirements.
PART A - TYPES OF CLINICAL/MEDICAL PHOTOGRAPHY
1. Clinical Photography.
Clinical photography covers several areas. The most common areas are as
follows:
4-1 SS0516
a. Actual surgical procedures to illustrate each step of the operation.
b. "Before" and "after" pictures are made whenever a case is

distinctive enough to merit study, and show the effect or success of the
treatment.
c. A progress record is a series of pictures taken during long term

treatment of a condition. If the changes in the patient's condition is
expected to be slow, pictures can provide a record of change not easily
noted in day to day observations.
d. Gross specimen photography is the photography of human tissue and

organ samples removed in part or whole during surgery or an autopsy. These
pictures are useful in teaching, illustration, exhibition, or to aid further
study in the cause and progress of disease. Your photographs are an
efficient way to record size; shape, and structure. When photographed in
color, they are valuable in recording the appearance of freshly dissected
specimens, and the changes caused by disease.
e. Battered/abused people is the documentation of abuse to either

spouse or children, or other people who have been physically beaten. Your
photographs may be used to press criminal charges in court. There is one
added dimension: of all the clinical cases you may cover, child abuse or
neglect may be the most emotionally challenging.
2. Technical Considerations.
a. Importance of Keeping Records. If you are involved in producing

photographs for "before" and "after" pictures or progress records, there
will obviously be a passage of time between the beginning and end of the
assignment. That passage of time may be days, weeks, even months.
(1) You may get involved after another photographer has started the
project or have to pass it to someone to finish.
(2) Because of this possibility, it is necessary that you record

every shot made and include technical details of the equipment used, film,
lighting, etc., to enable someone else to pick up the job and continue on
maintaining and matching the quality of the pictures.
b. Personal Protection. While involved in gross specimen photography,

you should keep your hands clean and allow the medical personnel to set up
the subject or subjects.
4-2 SS0516
(1) When the danger of infection is high, you should be governed by
the advice of the medical staff regarding the use of masks, gowns, and
rubber gloves.
(2) As a general rule, you should always wear a gown to protect your
clothes from contamination and infectious organisms. Follow proper
procedures for disposal of these protective items after use.
c. Using a Tripod. No matter how good you are, a tripod is a must for
90% of the clinical medical photography you might be assigned to do.
3. Film and Filters.
a. Medical photography requires a wide range of film and filter

combinations. For gross specimen work, color negative and color slide film
is most often used. These will provide the truest rendition of the
condition of the specimens. Black and white panchromatic film, infrared
film, and orthochromatic films are used in special situations; in addition
to color films.
a. Infrared film, when used with a blue-green filter, can show blood
circulation and some dermatological conditions by enhancing the arterial
patterns under the skin not normally visible to the naked eye.
b. Color infrared film, when used with a yellow filter, can show the
same conditions as black and white infrared film.
c. Orthochromatic films are used to show skin conditions such as

rashes, lesions, etc., because they darken the pink or red blotches that
occur.
4. Lighting.
Proper lighting in clinical photography is important, not just for proper

exposure but to accurately record the nature of the clinical condition you
are photographing. Lighting for clinical photography falls into three basic
types: flat, contour, and texture.
a. Flat Lighting. Whether one light source or several is used to

illuminate the subject, the light falls on the subject from near the camera.
When using more than one unit, they must be of equal intensity, have the
same color balance, and be equally spaced on either side of the camera at
equal distance from the subject.
4-3 SS0516
b. Contour Lighting. This type of lighting is used to reveal the
volume and contour of forms and shapes.
(1) You change from flat to contour lighting by placing one light
(main light) a little to one side of the camera to produce shadows on the
subject.
(2) Place the second light (fill light) on the opposite side of the
camera and further away from the subject to fill in, but not eliminate the
shadows so detail is still visible. Light ratios from 2: 1 to 4: 1 are
desirable.
c. Texture Lighting. To achieve this lighting, move the main light

source away from the camera until the light glances across the surface being
photographed. The texture of the subject's surface will become readily
apparent. Adjust the light position to obtain the best rendition of
texture. Sometimes a fill light is used to maintain details in the shadows.
5. Background.
a. Importance of Background. Your choice of background in

clinical/medical photography is very important because it can contribute to
or detract from the clarity of the image.
(1) You should not have shelves, cupboards, wall hangings, or other
people in the picture area.
(2) The background should be plain without pattern or design.
(3) Attention must also be given to the color, tone, and texture, as
well as shadows that appear on the background, since they all affect the
scientific value of the picture.
b. Basic Categories of Backgrounds. Backgrounds fall into these basic

categories: colored, white, black, and gray.
(1) Colored backgrounds. You might think since most clinical

photography is shot on color film that color backgrounds would be suitable.
However, you must bear in mind that the background color and the specimen
colors mutually affect each other.
(a) Sometimes unattractive and disturbing color contrasts may

arise. Sometimes light reflected off the background onto the subject may
distort its true color.
(b) When choosing a colored background, choose one that is

complementary to the color of the specimen being
4-4 SS0516
photographed. Refer to figure 4-1 for appropriate background colors.
(2) White and black (achromatic) backgrounds. These backgrounds, do

indeed, retreat visually into the background. Their color does not compete
with the color of the specimen.
Figure 4-1. Complementary colors used for background
(a) Experience shows that a black background should generally be

used with light-colored specimens and a white background with dark-colored
specimens in order to achieve better definition of the contour and outline
of the subject.
(b) Paleness of the skin can be accentuated with a black

background while a white background with color film will emphasize jaundice.
(3) Neutral mid-gray background. This background presents the most

natural appearance. It should be your choice when documenting clinical
conditions such as abuse cases, "before" and "after" shots, or progress
records using either color or black and white films when the background will
be visible in the picture. In situations where the subject is an infant or
child and must be held by someone, use a neutral gray muslin cloth draped
over the adult.
4-5 SS0516
c. Shadows. Shadows can become a distraction in your pictures. One
way to eliminate them is to use a transilluminated background. This is a
transparent or translucent medium light from behind or from underneath,
similar to a light table. This type of background treatment produces
overall uniformity and softness. In addition, it eliminates undesirable
shadows. By varying the intensity and color of the transmitted light you
can easily produce any tone or color you desire.
6. Lenses.
a. Normal Angle Lens. Normal angle lens is the first choice in

clinical medical photography. This is because the normal angle lens
encompasses approximately the same field of view and produces an image in
which the relative size of objects appear the same as seen by the human eye.
b. Importance of Image Size. A second consideration in lens choice is

that you want the maximum usable image size on the film whether it be
negative films for prints or color slides for projection.
(1) In some situations, it may be better to use a medium focal length

telephoto lens (85mm to 135mm) or an extension tube. This choice allows you
to obtain that maximum image of small areas on the body without getting
uncomfortably close to the subject.
(2) By not using the longer lens, you will keep the camera far enough
away to allow room to properly light the subject.
PART B – AUTOPSIES
7. Photographing Autopsies.
a. Emotional Impact. Although you may be able to handle photographing

the clinical subject material we have covered so far, this is where many
photographers lose it--draw the line. The emotional impact can be
overwhelming. You must approach this assignment as a professional. The
same techniques apply here as in any other photo assignment. Research,
plan, photograph.
b. Importance of Autopsy Pictures. Autopsies are performed to

determine or confirm the cause of death. Your job is to record the evidence
as the medical examiner proceeds with the autopsy. The pictures you make
may be used in a court of law to help determine innocence or guilt of a
defendant. They will allow experts to have an opportunity to see the
pertinent evidence for themselves.
4-6 SS0516
c. Film Selection. Color negative and color slide films are more
commonly used than black and white. They will give the truest rendition of
the condition of the subject.
(1) You can use infrared film with different filters and light
sources to disclose details invisible to the naked eye or not recorded by
other types of film. Such items as bullet wounds on dark skin or gun powder
residue on dark clothing are vividly depicted with infrared film.
(2) Black and white film used with a green filter renders skin tones
more truthfully.
d. Photographing Procedure. Your shooting plan (script) should start

with full-face and profile of head and shoulders. Your next series of
pictures should be full-length pictures of the front, back, and both sides
of the subject.
(1) Shooting the side views are easy. In order to get good shots of
the front and back, you have to get above the table so your view is straight
down on the subject. Using an 8- to 10-foot step ladder should give you the
elevation necessary.
(2) Then proceed with the help of the medical examiner and photograph
all injuries, major and minor, and any other noteworthy features such as
marks, gags, knotted ropes, etc. It is a good technique to include a ruler
in these detail pictures to provide scale. Markers or pointers can be
included in your pictures to indicate important features.
e. Record Each Picture. As usual in investigative photography, keeping

notes on each picture you shoot is an important step. An effective way to
pinpoint the location of the closeups is to use one of the full-length views
and mark each spot A, B, C, etc., and put matching letters on the close-ups.
f. Follow Confidentiality Rules. In all investigative photography

jobs, you are being brought in as a professional. Conduct yourself as such
on and after the job. The information you are exposed to should be treated
as confidential.
PART C - PHOTOGRAPHING SURGICAL PROCEDURES
8. Surgical Procedures.
a. Preparation for Surgical Photography. Preparation to photograph a

surgical procedure is the same as any other assignment. Research, plan, and
prepare your equipment. However, your need to get the picture comes
secondary to the patient. The surgeon will usually be helpful and indicate
the photographs he needs.
4-7 SS0516
b. Personal Protection and Preparation. Prior to entering the
operating room (OR), clean all exterior surfaces of your equipment by wiping
with a cloth soaked with rubbing alcohol with the exception of the lens
which can be cleaned with lens cleaner. Next, suit yourself up in a scrub
suit, surgical cap, mask, and conductive overshoe. These items will be
provided by the surgical staff.
WARNING
With the presence of ether or oxygen, there is

danger of ignition by sparks from the capacitor in
electronic flash units. Never place any electrical
equipment on the floor, since the gases used in the
OR are heavier than air and normally are suspended
within 2 feet off the floor.
(1) Because the OR can be a dangerous place to use photographic

lighting equipment, check with the anesthesiologist about the lighting you
expect to use.
(2) Put your electrical equipment on carts or suspend it from light

stands. You will notice that all electrical outlets in an OR are installed
at eye level.
c. Sterile Fields. Part of your research should be to acquaint

yourself with the sterile fields that are established in the OR. Sterile
fields are broken into three classifications:
(1) STERILE.
(a) The surgeon.
(b) The surgical area around the patient.
(c) The instrument tray.
(d) Anyone in direct contact with the above.
(2) CONSIDERED STERILE. The space from the sterile areas to the
ceiling.
4-8 SS0516
(3) CONSIDERED CLEAN.
(a) The patient.
(b) The patient's table.
(c) The anesthesiologist and his equipment.
(d) Those who are not required to scrub.
(e) You, the photographer, and your equipment.
d. Precautions to Follow. You must take precautions at all times not

to touch, even accidentally, anyone or anything that is classified as
STERILE. If you do, then that person or object is reclassified as
CONSIDERED UNCLEAN, and the procedure has to stop until the sterile fields
are reestablished. Remember, you are there at the surgeon's request, so
follow his direction on what is to be photographed.
4-9 SS0516
4-10 SS0516
LESSON 4
PRACTICE EXERCISE
1. Which type of clinical photography is used to document the effects of

disease on internal organs?
A. Progress record
B. Surgical procedures
C. Gross specimen photography
D. Before and after treatment record
2. Which lighting technique should best show the shape of a subject?
A. Flat
B. Contour
C. Texture
D. Backlight
3. Which background is best for documenting "before" and "after," and

progress records?
A. Red
B. Black
C. Neutral mid-gray
D. Green hospital curtain
4. One way to illustrate scale in close-ups in autopsies is to include

what in the picture?
A. A ruler
B. Your hand
C. A film can
D. The doctor’s hand
5. How should you photograph a full-length view during an autopsy?
A. Stand the subject up

B. Lay the subject on the floor
C. Climb above the body on a stepladder
D. Have the doctor roll the subject on its side
4-11 SS0516
4-12 SS0516
6. How do you prepare your equipment for use in the OR?
A. Steam clean it
B. Sterilize it in an autoclave
C. Expose it to ultraviolet light for 1 hour
D. Wipe it down with a clothed soaked with alcohol
7. Once the operation begins, what happens if you touch the surgeon's
shoulder?
A. Nothing
B. You must be sterilized
C. You must stop and leave the OR
D. The surgeon must rescrub to a STERILE classification
8. Who should you check with on what lights you can use in the OR?
A. The surgeon
B. The head nurse
C. The anesthesiologist
D. The hospital administrator
4-13 SS0516
LESSON 4
PRACTICE EXERCISE
1. C. Gross specimen photography
Gross specimen photography is the photography of human tissue and

organs removed during surgery or an autopsy (page 2, para Id).
2. B. Contour.
Contour lighting is used to reveal volume, form, and the shape of

subjects (page 4, para 4b(2)).
3. C. Neutral mid-gray
Neutral mid-gray background presents the most natural appearance

and should be used when documenting abuse cases, before and after
shots, and progress records (page 5, para 5b(3)).
4. A. A ruler
It is a good technique to include a ruler in close-ups of cuts,

bruises, and other marks to provide scale (page 7, para 7d(2)).
5. C. Climb above the body on a step ladder
For front and rear full-length photos of the body you need an 8'
to 10' step ladder to gain the elevation necessary (page 7, para
7d(2)).
6. D. Wipe it down with a cloth soaked with alcohol
Prior to entering an OR, clean all exterior surfaces of your

equipment by wiping it down with a cloth soaked in alcohol (page
8, para 8b).
4-14 SS0516
7. D. The surgeon must rescrub to a STERILE classification
You must take precautions not to touch, even accidentally, anyone

or anything that is classified as STERILE. If you do, then the
procedure has to stop until the STERILE FIELDS are reestablished
(page 9, para 8d).
8. C. The anesthesiologist
With the presence of ether or oxygen, there is the danger of

ignition by sparks from the capacitor in flash units. Check with
the anesthesiologists about the lighting you expect to use (page
8, para 8b(2)).
4-15 SS0516
4-16 SS0516
LESSON 5
ARCHITECTURAL PHOTOGRAPHY
Critical Task: 113-578-1005
OVERVIEW
LESSON DESCRIPTION:
In this lesson you will learn the major use of architectural photography and
the equipment and techniques used to produce it. You also will learn how to
operate the view camera, utilizing its controls to obtain proper
perspective, and correction of distortion for architectural photography.
TERMINAL LEARNING OBJECTIVES:
ACTIONS: a. Identify the four major types of architectural

photography.
b. Identify the equipment and lighting used.
c. Determine the best composition, angle, and perspective.
d. Describe the various parts of a view camera.
e. Identify the movements of the controls of the view

camera.
f. Identify the perspective controls to correct distortion

in photographing buildings.
CONDITION: You will be given information from STP 11-25S13-SM-TG and

Photographer's Mate Series NAVEDTRA 373-02-45-83, MOD 2.
STANDARD: Techniques for photographing architectural structures and

operating the view camera will be in accordance with STP 11-
25S13-SM-TG and Photographer's Mate Series NAVEDTRA 373-02-45-
83, MOD 2.
following publications: STP 11-25S13-SM-TG and Photographer's
Mate Series NAVEDTRA 373-02-45-83, MOD 2.
5-1 SS0516
INTRODUCTION
With today's modern, small format, high-tech cameras that take all the worry
out of the mechanical aspects of photography, many photographers, even
professional photographers, are inclined to use their standard or "regular"
camera for every assignment. Most of these cameras do not have adjustments
that allow correction of vertical or horizontal distortions caused when you
tilt or swing from a 90-degree angle of the subject. This inflexibility
presents the subject with unnatural appearance because of excessive vertical
or horizontal convergence. The view camera is the only camera that will
give you the maximum control needed to produce images of a three-dimensional
subject without this distortion on a single plane (the photograph).
The understanding of the different types of architectural photography and

the use of the view camera will enable you to produce distortion-free
photographs of large and small structures that will be pleasing to view.
PART A - TYPES OF ARCHITECTURAL PHOTOGRAPHY
1. Exterior Photography.
a. Uses of Architectural Photography. Architectural photography is the

making of pictures of man-made structures, usually buildings. Your pictures
will be used for many purposes. The four major uses are: planning,
construction progress, illustrative purposes, and inspection or survey.
(1) Planning. This may involve a photograph of a new construction

site, a photo of an existing building for which modifications are to be
made, or to provide the architect a general concept of how a new building
should look. Some photographs may require you to show other buildings
already in place which may be included in the proposal for construction.
(2) Construction progress. These pictures become a record or proof

of construction progress as the job proceeds.
(a) They can show whether the contractor did or did not follow
specifications and meet deadlines set out in the contract.
(b) They will serve as a record of the use of material.
(c) Some of your photos may be of historical value. They could

become important elements of periodic reports to higher echelons, including
Congressional Armed Services Committees.
5-2 SS0516
(d) A complete construction record will require pictures taken at
regular intervals, beginning with groundbreaking to the final landscaping.
You should expect to take pictures every 7 to 14 days. You may be tasked to
take pictures more often; at the beginning or end of significant steps in
the construction, or to document specific construction details. Stay in
touch with the requestor to determine and schedule this additional coverage.
(3) Illustrative purposes. You may be requested to photograph a

building just to "show off" its best features. It may be a simple photo to
be included in a report, or it may be a picture of brigade headquarters for
the commander's wall. It could be photos for inclusion in the post welcome
packet.
(a) All these photos are considered to be illustrative and should

be made to show the building to best advantage.
(b) When you take this type of photograph, you should take extra
effort to eliminate all distractions in the field of view. Be sure the
foreground and background are clean, that all windows and doors are either
open or closed, and that all blinds or window shades are adjusted the same.
This presents a clean image of the subject building.
(4) Inspection or survey. Your pictures of building exteriors will

be used by different people for different reasons. The fire marshal may use
them to illustrate fire hazards and train firefighters in evacuation
measures. The post police may use them in planning security efforts. They
can be used by the public works department to keep track of a building's
condition or "health," and use them in planning maintenance actions.
b. Lighting is a Special Concern. Remember, every type of photographic

assignment we have discussed in this subcourse requires research and
planning to produce effective quality pictures. This is just as important,
if not more so, in architectural photography. In most instances, buildings
have to be photographed where they sit. When photographing people, you can
change their pose, facial expressions, and most of the time arrange the
lighting as you want it. You can not do any of that with a building.
(1) The main controls you have over the picture are the viewpoint and
the lighting. At best, your control of the light is a tenuous thing. You
are limited to the time of the day at which you feel the lighting is best
for what you are trying to photograph.
5-3 SS0516
(a) When shooting exteriors of buildings, your light source is
that which mother nature provides. It is constantly changing, shifting its
position, changing the shadows, and appearance of texture as it filters
through clouds.
(b) There is only one way to select the best lighting for a
building. You must study the building from different angles and viewpoints
at different times of the day and on sunny and overcast days. Make notes on
the effects you observe and choose the combination that best suits the
subject.
(2) A building should always be depicted so that the viewer

experiences its volume and materials.
(a) Bright, sunny cloudless days create shadows that emphasize

strong lines rendering some buildings in a majestic pose.
(b) If you wait for a slightly overcast sky, the contrast will be
less and may provide the right light for depicting the building material
texture. The light's direction governs the building's form and may help you
bring out it's characteristic features.
(c) Generally, a building photographs better in direct, angled

sunlight from a cloudless sky. This slightly overcast sky diffuses the
light reducing the contrast in the materials just enough to create a good
balance of highlights and shadow detail.
(d) The worst kind of lighting is extremely overcast weather. It

destroys the building's form by reducing the contrast ratio too much.
2. Interior Photography.
a. Types of Interiors. There is another aspect to architectural

photography and that is photographs of building interiors. These pictures
are grouped under one of three headings: public interiors, residential
interiors, and details of interiors.
b. Obtaining Correct Lighting.
(1) Public interiors are often characterized by size, dominance,

scale, and measurements. The inclusion of people can illustrate the scale
and draw interest to unique features in the photograph. Lighting such
interiors becomes a key element that needs your professional attention.
5-4 SS0516
(a) The presence of fluorescent tubes in public places means color
balance must be corrected in order to render proper color in your finished
pictures. Mixing of light sources compounds the problem. Refer to the data
sheet packed with your film to determine the correct film, lighting, and
filter combination that will render correct color.
(b) The most common problem with fluorescent lights is the

creation of a green tint on color film. You can compensate by using a
magenta filter.
(2) Another important concern whether photographing public or

residential interiors is the balance between outdoor light and the
artificial illumination indoors. When lighting is mixed this way, it is
better to delay shooting until the daylight is too weak to overwhelm the
interior lighting.
(a) Shooting your pictures near sunset or early morning when

daylight is not dominant will give the best results.
(b) Do not shoot so late or early that the sky seen through
windows in the picture shows completely black.
(c) Office and residential interior can be enhanced by turning on

existing tungsten room lights. This gives warm color to the picture.
3. Controlling Perspective.
Your key to perspective control for both outside and inside architectural
photography is the camera position in relationship to the subject. The view
camera with its many adjustments permits complete perspective control
without the need to move the camera from one position to another. Also,
with these controls you can prevent, moderate, or exaggerate distortion, and
extend sharpness in depth of field.
a. Need for Use of View Camera. When you photograph a building, you
usually aim the camera up to include the top. However, when you do, the
perspective appears distorted in the print. All the vertical lines appear
to be converging and no longer look parallel. This distortion is not
acceptable in architectural photography. Correct use of the view camera
will eliminate this problem.
b. Additional Equipment Needed. The view camera, therefore, is the

choice for architectural photography. Additional equipment you will need
includes a sturdy tripod, a hand-held light meter, a gray card, and a
shutter cable release to minimize camera jiggle while taking an exposure.
5-5 SS0516
PART B - VIEW CAMERA OPERATION AND PERSPECTIVE CONTROL
Many photographers shy away from use of the view camera because of its bulk
and many confusing adjustments. The best way for you to become proficient
with the view camera is through practice before shooting official
photographs.
4. Components of the View Camera.
View cameras have changed little since the early days of photography. All
view cameras in use throughout the Army are basically the same. They may
differ somewhat from model to model so it would be wise for you read the
operator's manual for each of the various views you may use. However, all
view cameras have the following standard parts:
a. A monorail or bed which serves as the base of support to hold all

the other components.
b. A front lens standard mounted on the monorail. This standard

usually has a “U” shaped frame which allows the lens to be locked into any
position on the monorail. It also permits swings and tilts and rising and
falling adjustments.
c. A rear standard, where the film is loaded, is the same as the front
standard except that on some models it may not have a rising and falling
adjustment.
d. A bellows between the front and rear standards which allows them to
be moved together or apart for focusing, and to accommodate various focal
length lenses. The bellows also maintains light-tight integrity between the
front and rear standards. It also allows extension for 1:1 and larger
images.
e. A tripod head which holds the monorail to a tripod.
f. A lens which is mounted in a lens board which is in turn mounted

into the front standard.
g. A ground glass for focusing, viewing, and composing the image.
h. Other parts which make up the whole view camera include various
locking and adjusting knobs, focusing hood, lens shade, spirit levels, and
springs and clips to secure film holders and dark cloths.
5. View Camera Adjustments.
There are only four basic movements or adjustments with a view camera. They
are as follows:
5-6 SS0516
a. Horizontal or Lateral Swing. Both the front and rear standards
swing horizontally.
(1) Using the swing back. The swing back is used to correct
distortion or perspective in the horizontal plane. When photographing
subjects from an angle, the horizontal lines have the appearance of
excessive convergence. To correct this distortion, the camera back is swung
to a position more nearly parallel to the horizontal plane of the subject.
(2) Using the swing front. The front standards swing allows the lens
to be pivoted horizontally around its optical axis. The swing front is used
to focus and increase depth of field when the swing back is swung off
center. When the swing back is off center, the film is not in the same
plane as the image produced by the lens. Thus by swinging the lens, the
image can be brought onto the same plane as the film.
b. Tilt. The front and rear standards tilt forward and backward.
(1) Using the tilt back. The tilt back is used to correct distortion
or perspective in the vertical plane. Tilting the camera up results in
convergence of vertical lines of the subject image on the ground glass.
This is quite apparent when photographing a tall building. If no correction
is used, the building looks smaller at the top (bottom of the ground glass).
To correct this distortion, the tilt back is tilted so that it is more
parallel to the vertical plane of the subject.
(2) Using the tilt front. The tilt front is used to focus and
increase depth of field when the tilt back is off-center. When the tilt
back is tilted away from the center, the film plane is not parallel to the
image produced by the lens. Thus by tilting the lens, the image can be
brought into the same plane as the film.
c. Shifts. The front and rear standards shift from side to side.
(1) Shifting front standards. The shifting front standard is used to

center the image on the ground glass when the subject is not directly in
front of the lens. If after setting the camera up on a tripod the subject
image is not centered on the film plane, use the shift front to center the
image instead of moving the tripod.
(2) Shifting rear standards. If enough correction is not obtained by

shifting the front standard alone, it is
5-7 SS0516
possible to increase the correction by shifting the rear standard in the
opposite direction.
(3) Adding more correction. If this still does not provide enough
correction, aim the entire camera in the same direction as the front
standard. Use the horizontal swing (front and rear) and front and rear
shift to center the image.
d. Rising and Falling Front. As the shift front was used to center the
image horizontally, the rising and falling front is used to center the image
vertically on the ground glass.
(1) The front standard is moved up or down to center the image on the
ground glass.
(2) If enough correction can not be obtained with this method, you
can correct this by tilting the entire camera up or down and using the
tilting front or back to keep the image on the same plane as the subject.
Figure 5-1 illustrates control movements of both front and rear standards.
6. Working With the View Camera.
a. Possible Positions. All of these adjustments have an infinite

number of possible positions from the center or “0” position to their
maximum shift left or right, tilt up or down, tilt forward or back, and
swing left or right. Keep this in mind when using the view camera.
(1) Whenever you set up the view camera, always start with all
adjustments in the neutral or "0" position.
(2) Realize also that every time you change the position or adjust
any of the controls, you must adjust the focus and image position on the
ground glass.
(3) Focusing a view camera is done by moving the front or rear

standards along the monorail. If the rear standards are moved to get a
sharp image, the image size will change due to the movement of the film
plane. If the correct image size has already been obtained, focus with the
front standard.
b. Depth of Field. Greater depth of field can be obtained in

horizontal, vertical, and intermediate planes by use of the front swings and
tilts, and selecting a larger f/stop. Refer to figure 5-2.
5-8 SS0516
Figure 5-1. Control movements
Figure 5-2. Control of depth of field with front swings
(1) Additional depth of field can be gained by using the rear

standard swings and tilts also (see figure 5-3).
(2) By tilting the camera back (AB to CB), the lack of parallelism
between the film plane and the subject plane is increased. This increases
the depth of field. Remember to refocus with the front standard.
5-9 SS0516
Figure 5-3. Increasing depth of field with the swing back
c. Summary. The whole objective of the use of the various adjustments

on the view camera is to control perspective in order to produce an image of
a three-dimensional object without excessive convergence or distortion. The
following illustrations in figures 5-4 and 5-5 will enable you to visualize
the image as it appears on the ground glass as you employ the various
controls of the view camera.
The view camera is the only correct camera to use for architectural
photography. Don't let it scare you. With practice, you will learn to
produce pictures of which you will be proud.
5-10 SS0516
Figure 5-4. Visual review of perspective control
5-11 SS0516
Figure 5-5. Visual review of perspective control
(horizontal image placement)
5-12 SS0516
LESSON 5
PRACTICE EXERCISE
1. You are assigned to photograph a building site each week for 21 weeks.
Which type of architectural photography is this?
A. Planning
B. Illustrative
C. Construction
D. Inspection/survey
2. Which elements can you control when photographing a building?
A. Position and lighting

B. Camera viewpoint and lighting
C. Time of day to shoot and the pose
D. Direction building faces and lighting
3. Which is the poorest kind of light in which to photograph a building?
A. Cloudy, bright day

B. Sunny, cloudless day
C. Slightly overcast day
D. Extremely overcast day
4. How do you illustrate scale when shooting the interior of a large

public building?
A. Include people
B. Print picture with a scale
C. Include a yard stick in the picture
D. Include a 12” ruler in the lower left corner
5. The monorail on a view camera serves what purpose?
A. Holds lens board

B. Clamps onto the tripod
C. Supports all other components
D. Allows you to move ground glass to compose image
5-13 SS0516
5-14 SS0516
6. When you try to center the image on the ground glass by shifting the
front standard and cannot obtain enough correction, how can you obtain
more?
A. Move the tripod

B. Tilt the monorail
C. Use the rear horizontal swing
D. Shift the rear standard in the opposite direction
7. How do you eliminate the appearance of vertical converging lines?
A. Tilt front standard back

B. Swing front standard to the left
C. Shift front standard to the right
D. Place the tilt back parallel to the vertical plane of the subject
5-15 SS0516
LESSON 5
PRACTICE EXERCISE
1. C. Construction
These pictures are a record of construction progress as the job

proceeds. They can be used for reports and to show if deadlines
and specifications are being met (page 2, para 1a(2)(c)).
2. B. Camera viewpoint and lighting
The main controls you have over taking a picture of a building

are the point of view and the time of day you choose because the
lighting is best in your opinion (page 4, para 1b(1)(b)).
3. D. Extremely overcast day
Extremely overcast weather is the worst kind of lighting. It

destroys the building's form by reducing the contrast ratio too
much (page 4, para 1b(2)(d)).
4. A. Include people
The inclusion of people in the picture can give a feeling of size

and scale to the viewer (page 5, para 2b(1)).
5. C. Supports all other components
The monorail serves as the base on which all the other components
are mounted (page 6, para 4a).
6. D. Shift the rear standard in the opposite direction
If enough correction is not obtained by shifting the front

standard alone, it is possible to increase the correction by
shifting the rear standard in the opposite direction (page 7,
para 5c(2)).
5-16 SS0516
7. D. Place the tilt back parallel to the vertical plane of the

subject
The tilt back is used to correct distortion in the vertical

plane. This is readily apparent when photographing a tall
building. To correct this distortion, tilt the back parallel to
the vertical plane of the subject (page 7, para 5b(1)).
5-17 SS0516
5-18 SS0516

US Army Photography Course SS0516-A - Introduction To Special Photographic Assignments

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US Army Photography Course SS0516-A - Introduction To Special Photographic Assignments

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SUBCOURSE EDITION

INTRODUCTION TO SPECIAL PHOTOGRAPHIC ASSIGNMENTS

EDITION DATE: SEPTEMBER 1994

United States Army Signal Center and School

Edition Date: September 1994

This subcourse presents you with information on how to accomplish special

There are no prerequisites for this subcourse.

Unless otherwise stated, the masculine gender of singular pronouns is used

TERMINAL LEARNING OBJECTIVE

ACTION: You will identify and describe procedures for photographing

CONDITION: You will be given information from TM 11-401-2, STP 11-25S13-

STANDARD: To demonstrate competency of this task, you must achieve a

Subcourse Overview .................................................. i

Lesson 1: Introduction to Photojournalism ........................... 1-1

Part A: News/Sports Photography ........................ 1-2

Part B: Picture Story ................................. 1-12

Part C: Photo Essay ................................... 1-22

Part D: Basic Photojournalistic Techniques ............ l-26

Part E: Photo Layout/Captions ......................... 1-37

Practice Exercise......................................... 1-47

Answer Key and Feedback .................................. 1-50

Lesson 2: Group and Awards Photography............................... 2-1

Part A: Formal and Informal Group Photography .......... 2-2

Part B: Recognition Photographs......................... 2-5

Practice Exercise ........................................ 2-15

Answer Key and Feedback................................... 2-18

Lesson 3: Investigative Photography.................................. 3-1

Part A: Aircraft/Vehicle Accidents ..................... 3-2

Part B: Criminal Investigations ........................ 3-5

Part C: Fire and Arson Investigations .................. 3-8

Practice Exercise ........................................ 3-11

Answer Key and Feedback................................... 3-13

Lesson 4: Clinical/Medical Photography............................... 4-1

Part A: Types of Clinical/Medical Photography........... 4-1

Part B: Autopsies ...................................... 4-6

Part C: Photographing Surgical Procedures .............. 4-7

Practice Exercise ........................................ 4-11

Answer Key and Feedback .................................. 4-14

Lesson 5: Architectural Photography ................................. 5-1

Part A: Types of Architectural Photography ............. 5-2

Part B: View Camera Operation and Perspective

Practice Exercise......................................... 5-13

Answer Key and Feedback................................... 5-16

Appendix: List of Acronyms........................................... A-l

Critical Tasks: 113-578-1005

TERMINAL LEARNING OBJECTIVES:

ACTIONS: a. Describe the qualities which define an event as

b. Explain various methods which can be employed to obtain

c. Identify lens selection for sporting events and various

d. Identify the relationship of individual pictures to the

e. Describe the four elements of layout composition and

CONDITION: You will be given information from TM 11-401-2, STP 11-25S13-

STANDARD: Photojournalistic techniques and development of a picture

Intangibles such as these mentioned are not learned in a short time.

Technical competence is necessary. The foremost requirement to be a

PART A - NEWS/SPORTS PHOTOGRAPHY

a. Qualities of a News Item. To consider an event or subject as news

(1) Immediacy (timeliness). This is why news is NEWS. People are

(2) Proximity. People are interested in what is going on in their

(4) Prominence. Relates to the greatness or notable recognition of

(5) Oddity. An unusual event that is inherently newsworthy. “Man

(7) Human Interest. An event or subject that has emotional elements