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Still Photography 
SYLLABUS 
 
Unit I: [Basics of Photography]
1. Photography: Definition, Meaning & Concept
2. Brief History of Photography
3. Types of Cameras: Digital vs Film
4. Types of Photography: Portrait, Wildlife, Nature, Advertising, Fashion, Night Photography

Unit II: [Camera Basics] 

1. Basic Parts of Digital Single Lens Reflex (DSLR) Camera: Lens, Sensor, Shutter, View Finder
2. Camera Control and Adjustment:
a. Exposure- Aperture, Shutter, ISO
b. Depth of Focus and Depth of Field
c. Measurement of light -Exposure Metering System
d. Composition and Perspective
3. Type of Lenses and Special Purpose Lenses
4. Camera Accessories

Unit III: [Lighting]

1. Sources of Light: Natural and Artificial
2. Nature and Physical Properties of Light
3. Three Point Lighting: Key, Fill and Back
4. Lighting Aesthetics: Controlling Contrast through Lighting

Unit IV: [Photo Journalism] 

1. Photo Journalism: Definition and Concept, Role and Importance
2. Photo Stories, Photo Features and Photo Essays
3. Photo Appreciation
4. Photo Editing Tools, Morphing
5. Legal and Ethical Issues

 
 

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UNIT 2  

TOPIC 1: Parts of DSLR 

 

1. Body​‐Made of high grade plastic or metal; holds all parts together; provides 
protection to the delicate internal parts of the camera.   
2. Lens‐​Lens Assembly is several layers of lenses of varying properties providing 
zoom, focusing, and distortion correction. The most important part of the camera   
3. Shutter Release Button​‐This is the "trigger" of the camera. Press this button to 
release the shutter.  
4. Mode Dial‐​Contains several symbols (differs by model), allows you to select a 
shooting mode, automatic or manual or one of the pre‐defined settings.   
5. Viewfinder–​Small window that shows the image the camera's imaging sensor 
sees. 
6. Mirror: L
​ ight entering through the lens is reflected from this mirror toward the 
viewfinder. The mirror is movable, and flips up immediately before a shot is 
taken. 
7. Aperture Ring​–Found on older SLR cameras; it is used to select an aperture 
opening. In modern lenses, the aperture is controlled electronically through the 
body.  
8. Focusing Ring​‐found around the lens of SLR and DSLR cameras; turn to manually 
focus the lens.  
9. LCD Display​‐In some compact cameras this acts as the viewfinder; small at the 
back of the camera used for framing or reviewing pictures   
10. Flash​‐Built‐in on the body of most compact and some DSLR cameras; can be 
fixed or flip type; provides an instantaneous burst of bright light to illuminate a 
poorly lit scene.   
11. Control Buttons‐​Usually includes a set of directional keys and a few other 
buttons to activate certain functions and menus, this is used to let users interact 
with the camera's computer system. 
12. ​Power Switch–​Turns the camera on or off.   

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13. Zoom Control‐​Usually marked with W and T, which stands for "Wide" and "Tele”; 
used to control the camera's lenses to zoom‐in or zoom‐out. For DSLR cameras, 
the zoom is usually controlled by a zoom ring in the lens.   
14. Battery Compartment‐​Holds the batteries; vary in size and shape by camera 
type/brand   
15. Memory Card Slot‐​where memory cards are inserted   
16. ​Flash Mount (Hot‐Shoe)‐​Standard holder with contact plates for optional flash 
accessory.   
17. Diopter ‐​ varies the focal length of the lens in the viewfinder to allow people 
wearing eyeglasses to see clearly through it even without the eyeglasses.   
18. Tripod Mount​ ‐where your standard tripod or monopod is attached for added 

TOPIC 2: Camera Control and Adjustment 

A. Exposure - Aperture, Shutter, ISO 

Exposure- It is the amount of light needed to produce an image. Total amount of light 
allowed to reach the light sensitive material during the formation of the image.To 
produce any image, correct exposure is essential. To record the correct amount of light, 
camera has three exposure controls to control the amount of light. 

A. Aperture (controls the amount of light) 

B. Shutter speed (controls time duration) 

C. ISO (controls brightness)  

1. Aperture -  
● Inside the lens, is a mechanism that opens to allow light to pass through the lens 
into the camera (and onto the sensor). The amount or size of the opening varies and 

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is referred to as an ‘f’ number, for example f2, f2.8, f4 etc. The range of apertures is: 
f1.4, f2, f2.8, f4, f5.6 f8, f11, f16, f22, f32. 

● Smaller the f number, the bigger the opening and the more light allowed in. 

● The aperture opening determines the ‘depth of field’ in a photograph. When you 
focus on a subject, a certain distance, both in front of the subject and behind the 
subject is also in focus. This area is called the depth of field. So, by controlling the 
aperture, you can determine how much of the picture is in focus and use it to be 
creative.  

For example, if you were taking a picture of a​ landscape​, you would want the depth 
of field to be ​as big as possible,​ so from close foreground to distant background is 
in focus. On the other hand, if you were taking a ​portrait of someone​ in a crowd, you 
might want to have a ​very shallow depth​ of field so your subject is isolated from 
everyone else around them. 

The thing to remember is that the smaller the f number, the shallower the depth of 
field.  

Small f number = big opening = shallow depth of field = less of the picture in 
focus  

Large f number = small opening = greater depth of field = more of the picture 
in focus  

2. Shutter 

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● Inside the camera is a shutter, which is a bit like a curtain and opens, usually for a 
split second and then closes. The sensor in the camera is exposed to the scene it 
sees through the lens and the detail is captured and saved as a picture on the card 
in the camera. The time the shutter is open is called the shutter speed and is 
normally stated in fractions of a second: 1/4 1/8 1/15 1/30 1/601/125 1/250 
1/500 1/1000 1/2000 1/4000  
● Shutter speed controls the ‘movement’ in a picture and there are two reasons why 
one needs it.   

Firstly, you have to try and hold the camera steady when you take a picture, 
otherwise your picture may be blurred. This is often referred to as ‘camera shake’, 
where the whole picture is blurred because the shutter speed wasn’t fast enough to 
counter slight movement the instant you took the photograph. It is generally 
accepted that a shutter speed of 60 or faster will avoid camera shake. Whilst this is 
a general rule, the longer the lens, the more susceptible you are to camera shake 
and the faster the shutter speed should be to avoid it. So for example, if you have a 
200mm lens on the camera, it is wise to have a faster shutter speed of say 200. The 
alternative to setting a relatively fast shutter speed, is to mount the camera onto a 
tripod to keep it steady.  

Secondly, you need to think about whether the subject itself is moving. If you are 
taking a portrait for example, there is no need to have a fast shutter speed. On the 
other hand, if you are taking a picture of a Formula 1 car, you may need a shutter 
speed of maybe 2000 to avoid it being a blur 

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1/500 ​sec 1/80 ​sec

3. ISO -  
● The ISO number refers to how sensitive the sensor (or film in the old days), reacts to 
light. So in bright, sunny conditions, an ISO setting of 100 or 200 would be sufficient. 
If the weather was not so good and it was a cloudy, dark day, then maybe 400 or 
800 ISO would be required. And if you were taking pictures in the evening (without a 
flash) or under floodlights at a sporting event for example, then much faster ISO 
settings would be required, in the range of 1600 to 6400. As with steps in Apertures 
and Shutter Speeds, steps in ISO settings react twice as fast or half as fast as each 
other. So for example, ISO 400 will react twice as fast to light as ISO 200, but half as 
much as ISO 800. 

Good lighting conditions = Low ISO speeds = 100 ISO or 200 ISO Overcast  

Cloudy conditions = Medium ISO speeds = 400 ISO or 800 ISO  

Poor light or flood light conditions = Fast ISO speeds = 1600 ISO to 6400 
ISO 

● The ISO should not be set at a higher under normal conditions because:  
1. The first reason is that the higher the ISO, the price you pay is in the quality of the 
picture. High ISO rated films produced prints which are ‘grainy’. The equivalent of 
grain in digital pictures is ‘noise’. 
2. The second reason is more of a practical one. The higher the ISO, the larger the 
file and the more memory it takes up on your card. It not only takes more 
memory but it takes longer to process within the camera and this in turn can 
restrict the rate at which you are able to shoot. So a camera with capability to 
shoot at 10 frames a second would shoot at something less than that with a high 
ISO setting.  

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You should also understand how one controls the depth of field (the Aperture), the 
second controls movement in the picture (Shutter Speed) and the third (ISO) the ‘noise’ 
the picture displays.  

B. Depth of Field and Depth of Focus 

 

1. Depth Of Field 
Depth-of-Field: When a lens focuses on a subject at a distance, all subjects at that 
distance are sharply focused. Subjects that are not at the same distance are out of 
focus and theoretically are not sharp. 

DOF is the distance between the nearest and furthest point from the camera within 
which the subject is in focus 

DOF area begins with the object closest to the lens that appears in focus, and ends with 
the most distant object in the scene that is still in focus 

DOF is zone of sharpness 

Factors affecting DOF: 

1. Focal length of the lens  
The depth of field is inversely proportional to the focal length of the lens; that is, 
the smaller the focal length number of the lens, the greater the depth of field. For 
example, a 28mm lens has the ability to capture more of the picture in sharp 
focus than a 100mm lens.  
 
2. Distance from the camera to the subject  
Depth of field is directly proportional to distance; i.e. a subject at a greater 
distance will have greater depth of field than a close-up subject. Therefore, you 
need not worry as much about a distant subject being out of focus. 
 
3. The size of the aperture or the setting of the f-stop  
Large apertures (smaller f-stop number) give shallow DOF while small apertures 
(larger f-stop number) give greater DOF 

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Small f number = big opening = shallow depth of field = less of the picture in 
focus  

Large f number = small opening = greater depth of field = more of the picture 
in focus  

2. Depth Of Focus 
 

C. Measurement Of Light- Exposure Metering System 

A mechanism to regulate the appropriate intake of light coming through the 
combination of shutter speed and aperture. It is also synchronized with film 
speed.Proper exposure is essential to taking good pictures, and is determined by 
accurate measurement of the light falling on or reflected by the subject, using a light 
meter, also known as an exposure meter. 

For this most cameras have several metering options. Each option works by assigning 
a relative weighting to different light regions; regions with a higher weighting are 
considered more reliable, and thus contribute more to the final exposure calculation. In 
DSLR we use three metering system : center weighted, Matrix and spot or partial 
metering system 

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1. Center-Weighted Metering 

This is the most basic of the metering modes. It takes a reading from the whole image, 
but the exposure is biased towards the center of the frame. This helps prevent the 
exposure being affected by any dark or light areas in the foreground or background.  

Center-weighted metering was once a very common default setting in cameras because 
it coped well with a bright sky above a darker landscape. Nowadays, it has more or less 
been surpassed in flexibility by evaluative and matrix, and in specificity by partial and 
spot metering. On the other hand, the results produced by center-weighted metering are 
very predictable, whereas matrix and evaluative metering modes have complicated 
algorithms which are harder to predict. For this reason some still prefer to use 
center-weighted as the default metering mode. 

2. Matrix Metering System  

This is the default metering mode on most DSLRs, but is one of the most sophisticated. 
It works by dividing the image into equally weighted segments of about the same size, 
and taking a separate reading from each segments. These separate readings are then 
electronically analyzed by the camera to arrive at the final overall exposure. This 
analysis is where the clever bit comes in, as it allows the camera to try to automatically 
compensate for any specific bright or dark areas of the scene, darkening them down 
and brightening them up respectively, thus giving more usable results across a wide 
range of different lighting conditions. 

3. Spot or Partial Metering System  

Unlike the other two metering modes, this only takes the reading from a small parts of 
the frame-normally the center, though some DSLRs can take a spot reading from focus 
point you’re using. The difference between spot and partial metering is the size of area 
the assess-spot meters normally use around 1-5% of the frame, while partial meter use 
larger area, 10-15%.  

Partial and spot metering give the photographer far more control over the exposure than 
any of the other settings, but this also means that these are more difficult to use — at 
least initially. They are useful when there is a relatively small object within your scene 
which you need to be perfectly exposed 

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D. Composition and Perspective 

Composition is an art of arranging objects and forms in a harmonious way within the 
four walls of the picture area to create an impact. 

Art of arranging primary subject, secondary subject, surroundings, foreground and 

background is called composition. 

Art of putting all visual elements within frame is known as composition.Composition is 
a process in which we compose a frame and put the subject (s) at desired and 
attractive place. 

Types of Composition 

1. Symmetrical Composition 

Symmetrical compositions are said to signify solidity, stability, and strength; they are 
also effective for organizing images containing elaborate detail. 

2.​ Radial Composition 

Radial Compositions are those in which key elements spread outward from the middle 
of the frame. This imparts a lively feeling, even if subjects are static. 

3. Diagonal Composition 

In such composition, diagonal lines lead the eye from one part of an image to another 
and impart more energy than horizontals. 

4. Overlapping Composition 

In such composition, overlapping subject elements not only indicate increasing depth 
perspective, they also invite the viewer to observe subject contrast. 

5. Portrait Format 

In this composition we compose our frame vertically. It emphasize subject strength and 
always used to show heights. 

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6. Landscape Format 

In this frame we compose our frame to emphasize width. It is mainly used to compose 
subjects with surroundings. 

Other factors to keep in perspective: 

1. Rule of Thirds 
According to this rule the focus of interest must be placed at the intersection of lines 
that divide the frame into thirds from top to bottom and from left to right. 

2. Rule of Space 
In portrait, leave more space towards the side in which the sitter is looking.Keep more 
space in the direction of subject’s movement. 

3. Rule of Odds 
The rule of odds states that images are more visually appealing when there is an odd 
number of subjects. For example, if you are going to place more than one person in a 
photograph, don't use two, use 3 or 5 or 7, etc.  

4. Leading Lines 
Leading lines are used to draw the viewer's eye through a photograph. They are 
intentional or unintentional, natural lines created in the space of the photograph and are 
used to create a visual narrative in the composition 

5. Balance 
Generally, informal balance is considered more pleasing in a photograph than 
symmetric (formal) balance. In other words, placing the main subject off-center and 
balancing the "weight" with other objects (smaller or lower impact) will be more 
effective than placing the subject in the center.  

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TOPIC 3: Types of lenses and Special Purpose Lenses  

Lens is basically an assembly of different elements which help focus light onto the film 
and remove any aberrations. You can attain decent exposure using a simple pinhole 
camera, but it will not be of high quality. In fact, it’ll appear blurry. Although such 
imagery has its own quaint charm, it is not what’s always desired. Plus, you can’t 
increase the size of the hole to get a coherent image. In its simplest form, a lens places 
a glass convex lens where the pinhole is so the aperture can be opened wide to let more 
light in and make faster exposures. Through the lens, the light can still be properly 
focused to get a sharp image. But it’s really not that simple, lens assemblies are 
complex and have various other glass elements that help fine tune the quality of the 
image further. The main factors that are used to define lenses are focal length and 
aperture, which control the angle of view and amount of light respectively. Various 
lenses play with these two elements to help produce quality photographs. Focal 
Length In simple words, focal length is the distance between the optical center and the 
film plane. The optical plane is the point where multiple rays of light from the object 
entering the camera converge or cross over. You might ask why this matters. Well, this 
distance is what determines your angle of view, as well as the magnification of the 
image.  

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Types of Lenses 
Here’s a brief list of the main types of lenses:   

1. ​Prime Lenses 

Prime lenses have a fixed focal length, which means you cannot zoom in and out. Prime 
lenses are considered to be of a much higher quality than zoom lenses and are easier 
on the wallet. You also have the advantage of higher maximum apertures which means 
they perform really well in low light settings.   

2. Normal or Standard Camera Lens 

Lenses with a focal length of about 40mm to 60mm are considered “normal” lenses 
because they tend to replicate most accurately what the naked human eye sees. They 
do not have as much distortion as wide-angle lenses, but they are still wide enough to 
replicate the peripheral vision of the human eye. Because of these qualities, normal 
lenses are great for photographing portraits, creating precise compositions, street 
photography, and documentary photography projects. This is a very useful and flexible 
lens. When asked which single lens they would choose if they could only have one, 
many professional photographers answer “my normal lens.” 

3. Wide Angle Lenses 

A regular wide-angle lens is defined as anything shorter than 35mm. These can capture 
wide scenes, and have a much larger depth of field (more will be in focus, from the 
foreground to the background). This, added to their expansive angle of view, make them 
the ideal choice for sprawling landscapes, as well as tight interiors. 

Wide-angle lenses are most commonly used for photographing landscapes and 
architecture, although they are often also used for photographing large groups of 
people.   

4. Zoom Lenses 

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Zoom lenses offer a range of focal lengths, for example 24 – 200 mm. The obvious 
benefit is more control and flexibility in terms of perspective and composition, but you 
should know having a zoom lens does not mean you can shoot pictures while moving 
around. Zoom lenses are useful when you want a tighter shot or want to move in close 
without cropping the subject, but they should not be an excuse for a lazy shot. It is still 
recommended you use your legs more than the zoom. With zoom lenses you have to 
compromise on quality, however, the various extra elements available mean you have 
limited aperture settings and lesser light to work with.  

5. Telephoto Lenses 

Telephoto lenses have a longer focal length, ranging from 100 to up to 800 mm. These 
lenses can see great distances and provide a shallower depth of field. The field of view 
here is also much narrower and they tend to compress the perspective and make things 
appear closer to each other. All of this makes them ideal for wildlife, sports, and portrait 
photography. Again, these can be prime as well as zoom lenses.   

6. Macro Lenses 

Macro lenses are used mainly for close-up or macro photography. They allow for sharp 
focus at very close distances while objects further off would be completely out of focus. 
Their focal length ranges from 50 to 200 mm, and they are used to photograph tiny 
objects with extreme 

Macro lenses are used to create extreme close-up images, typically of very small 
objects, such as flowers and insects. A macro lens can produce a life-size or even 
larger-than-life size scale image of tiny subjects. They also allow you to get much 
closer to your subject than a typical lens while still retaining sharp focus. If you’re 
interested in photographing nature, or perhaps cataloguing your coin or stamp 
collection, a macro lens will prove extremely useful. There are some downsides to 
macro lenses, however. Because you are so close to your subject, you need to keep 
your camera extra steady, so you may need to use a tripod. Macro lenses also tend to 
produce images with a very blurry background, so you must be very careful and precise 
when you focus the lens. 

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Special Purpose Lenses 

1. A fisheye lens 

is an ultra wide-angle lens--any lens with a focal length less than 15mm. These types 
of lenses tend to have about a 180-degree field of vision. The effect you achieve with 
this lens makes it seem like you are seeing the world from inside a fishbowl--hence they 
name, “fisheye.” Everything along the edges of your photo becomes extremely 
distorted, and your subject will seem much larger than normal. Some common uses of 
fisheye lenses are for photographing action sports, landscapes, and to capture unusual 
perspectives. These lenses are great for getting creative--but be warned, their novelty 
tends to wear off pretty quickly! 

2. Soft-focus​ lenses which give a soft, but not out-of-focus, image and have an 
imperfection-removing effect popular among portrait and fashion photographers. 
3. Infrared lenses 
4. Ultraviolet lenses 
5. Swivel lenses​ rotate while attached to a camera body to give unique 
perspectives and camera angles. 

TOPIC 4: Camera Accessories 

Accessories for cameras are mainly for care, protection, special effects and functions.  

1. Lens hood​: used on the end of a lens to block the sun or other light 
source in order to prevent glare and lens flare. 
2. ​Lens cover:​ covers and protects the lens during storage  
3. Lens adapter:​ sometimes called a step-ring adapts the lens to other size filters  
4. Lens extension tubes ​allow close focus in macro photography 
5. Flash equipment:​ including light diffuser, mount and stand, reflector, soft box, 
trigger and cord  
6. Care and protection:​ including camera case and cover, maintenance tools, and 
screen protector  

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7. Tripod:-​ it is a device which is also known as spreader or triangle. This 
apparatus secures the three tripod legs, preventing them from splaying 
outward, sliding or otherwise moving during a shot.  
8. ​Monopod:-​ It is like a tripod stand but it consist one leg. It is also use as a stand 
during the camera recording where we have lack of space.  
9. Filters:-​ Filters are like camera lens which are fitted in front of the camera to 
provide a particular feature. There are different types of filters like- (a) UV Filter 
(b) Polarizing Filter (c) Star Filter (d) Diffused Filter  

UNIT 3  

TOPIC 1: Sources of Light: Natural and Artificial  

 

Light sources can be either natural or artificial. Sun is the primary source of natural light, 
and light bulbs or lamps are the artificial sources. Light is a form of electromagnetic 
energy that, in the case of natural light, comes from the sun as the source and, in case 
of artificial light, illuminates via energy from another source. No matter what the 
source, light has an impact on life on earth as a whole.  

Properties of Natural Light  

1. Natural light is self-generated and comes in a spectrum of colors --- the visible 
colors of the rays we experience. The color spectrum contains light with shorter 
wavelengths near the violet on one end and light with higher wavelength near the red. 
Called ultraviolet and infrared rays respectively, these rays are not visible to us.  

The complete spectrum of light from the natural source is ideal for plant and animal 
life on earth. Plants and animals thrive on natural light. The darkness that 
follows photo activity in organisms helps rejuvenate and repair life forms at the 
cellular level. A moderate amount of exposure to the healthy sunlight benefits 
humans, as it increases one's energy and metabolism, boosts the immune system and 
helps build vitamin D --- all of which are essential for the body.  

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Overexposure, on the other hand, has detrimental effects on living organism. The 
harmful ultraviolet rays can cause conditions such as skin cancer and cataracts while 
also damaging the texture of the skin. For plants, the need for light and dark periods 
helps balance the cell activity in terms of growth and repair. Sunlight is also harmful 
since we cannot alter or control it to suit our condition.  

Properties of Artificial Light  

2. Artificial light is man-made light generated from another energy source. Most 
of our activities would come to a halt if we didn't have an alternate source of light. 
The advantage with this light lies in the fact that we can control it at our own will. We 
can monitor the intensity, quantity and quality of light to suit each situation. 
Artificial light does not have as broad a spectrum of colors and wavelengths as 
natural light; hence, it is not as beneficial. Since the light has comparatively poorer 
quality, its effect on plant and animal life is also not as beneficial. Plants and animals 
exposed for prolonged periods to artificial light tend to yield poorer quality of life forms 
in plants and cause cellular degeneration or death in living beings. 

TOPIC 2: Natural and Physical Properties of Light 

 

INTRODUCTION 
The subject of light as a form of radiant energy has been theorized upon, experimented 
with, and studied by many physicists and scientists. Until about three centuries 
ago, in Europe no one had developed a reasonable theory of the nature of light. 
Then Max Planck, a physicist, published a theory in which light was supposed to 
consist of a stream of high-speed particles. This then was known as the quantum 
theory. About the same time other physicists, Christiann Huygens and Thomas Young, 
introduced a theory called the wave motion theory. The wave motion theory is used to 
explain reflection, refraction, diffraction and polarization. In wave motion theory, 
light, speed, wavelength, and frequency are important characteristics, and they are 
interrelated.   

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Any photographer who wishes to reach their full creative potential should, likewise, 
make it a point to understand the vital characteristics of light. 

Light has three main properties that are of particular interest to a photographer: 

1. QUANTITY 

When entering into any environment where you intend to make a photograph, the first 
characteristic of light — whether natural or artificial — to pay attention to is intensity. 
The amount of light available will determine the exposure and vibe of the photo. 

One can simply change the settings for your camera’s aperture, shutter speed, and ISO 
level (the exposure triangle) to control intensity. 

For Example, If you’re shooting a scene in the bright sunlight your ISO will be lower than 
if you’re shooting that same scene at night. Likewise, with that intense daylight 
sunshine, you’ll want a high shutter speed or a low aperture to go along with your low 
ISO, which will ensure that the quantity of light doesn’t give you a blown out image. 

2. QUALITY 

This refers to the type of light that will produce a definite level of contrast and depth. 
This is of extreme importance when doing portraiture. 

Soft light is non-directional and typically comes from a diffused source. When you’re 
using flash and you aim the flash into a white umbrella, for example, you are diffusing 
the light and softening it. Soft light helps creates smooth, gradual transitions from light 
to dark without causing strong shadows to appear. 

Hard light is harsh, directional, and casts strong shadows and bright highlights. If you’ve 
ever attempted to take a portrait of someone under the midday sun, you likely noticed 
your subject’s facial features — particularly the eyes, nose, and neck — cast or were 
beset by harsh shadows. This is a typical trait of hard light. 

3. DIRECTION 

The direction from which the light is hitting your model determines the overall 
appearance of the person or subject being photographed. 

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It is important to note that these properties are present both in natural and artificial 
types of light. 

n a studio setting, you have the power to move your light into your desired position — 
further helping you get the shot you want. How does the light look as it reflects in the 
blue of your subject’s eyes? What does the light do to their features, such as their 
straight nose, their high cheek bones or their defined jaw line? 

Experimenting with the direction of light in a studio setting helps to fine-tune the 
appearance of your subject and bring your unique vision to life. If you’re shooting 
outdoors, things are a bit trickier. When sun is your main light source, you can’t exactly 
pick it up and move it as you can with artificial lighting indoors. You can, however, move 
your subject around until you get the look you desire. 

TOPIC 3: Three Point Lighting: Key, Fill and Back  

 

A three-point lighting setup point is a standard method used in visual media such 
as, video, film, still photography and computer generated Imagery. By using three 
separate positions, the photographer can illuminate the shot's subject (such as a 
person) however desired, while also controlling (or eliminating entirely) the shading and 
shadows produced by direct lighting. 

Key Light 
★ The most common way to achieve proper three-point lighting is by using three different 
spot lights in the scene. Setting up each light the correct way will allow the subject to be 
illuminated without deep shadows and be seen properly in the camera view.  

★ The first and most important light is the key light. Like the name suggests, this light is 
vital when establishing the overall lighting for the scene. It should have the most 

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intensity out of the three lights and should highlight the form and dimension of the 
subject.  

★ The key light is typically set up to the right of the camera at a ​45 degree angle.  

★ In indoor shots, the key is commonly a specialized lamp, or a camera's flash. In outdoor 
daytime shots, the Sun often serves as the key light. 

★ Once the key light has been properly set up, then the fill light should be created.  

Fill Light 
★ The fill light’s purpose is to fill in the deep shadows that are inevitably cast onto the 
subject by the key light. The fill light is usually set up opposite of the key light.  

★ The position of the fill light depends on where the shadows are being cast from the key 
light. It should be placed in a spot where it can illuminate those dark spots on the 
subject.  

★ It’s important to remember that the fill light should not be as bright as the key light. A 
common mistake is having the intensity much too high. This can cause the subject to 
get blown out.  

★ Not using a fill at all can result in stark contrasts (due to shadows) across the subject's 
surface, depending upon the key light's harshness. 

Back Light 
★ The last spot light used is the rim light (sometimes referred to as the back light). This 
has the least illumination effects to the subject because it is typically placed directly 
behind the subject, facing the camera.  

★ It gives the subject a rim of light, serving to separate the subject from the background 
and highlighting contours.  

TOPIC 4: Lighting Aesthetics: Controlling Contrast 

through Lighting 
 

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UNIT 4  

TOPIC 1: Photojournalism: Definition and Concept, Role 

and Importance  

Definition and Concept 

Photojournalism is a particular form of journalism (the collecting, editing, and 
presenting of news material for publication or broadcast) that employs images in order 
to tell a news story. It is now usuallypp understood to refer only to still images, but in 
some cases the term also refers to video used in broadcast journalism. 
Photojournalism is distinguished from other close branches of photography (e.g., 
documentary photography, social documentary photography, street photography or 
celebrity photography) by complying with a rigid ethical framework which demands that 
the work be both honest and impartial whilst telling the story in strictly journalistic 
terms. Photojournalists create pictures that contribute to the news media, and help 
communities connect with one other. Photojournalists must be well informed and 
knowledgeable about events happening right outside their door. They deliver news in a 
creative format that is not only informative, but also entertaining. 

Photojournalism is one of the most difficult and powerful branch of the 

profession, because it requires competence as well as specialisation in two 
fields—Photography and Journalism. Moreover, one must have the knowledge and flair 
for story telling as well as editing. It is a challenge to the photographers having 
journalistic background and aptitude. An expert photographer having mastery over 
his art may not be successful Photojournalist for lack of sheer ignorance of basic 
rule for creating and maintaining interest in the subject. He has to be very active and 
imaginative while selecting subject for his picture story and act firstly than others to 
present it to the press / periodicals etc. 

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Role and Importance of Photojournalism 

Today newspapers are as dependent on photographs as they are on news stories, 
features, columns, interviews and editorials, etc. Photograph not only supplement text, 
but also enhance and extend it by highlighting and pressing upon the readers important 
points and make it easier for the reader to build up a picture of what he or she is reading 
about. Another important function of pictures in newspaper is to attract readers 
attention towards a particular information for achieving a special effect. 

The invention of television has considerably affected the print media because television 
has obvious advantages in many respects over newspapers and magazines. But arrival 
of colour pictures in print media has somewhat balanced the superiority of television. 
The enhanced interest in photographic communication has opened new avenues for 
making business in newspapers and magazines. Photographers now contribute 
pictures in the development of photographic essays and interpretative picture stories. 
Friday magazines of newspapers are feature oriented rather than news oriented which 
publish mostly colour photographs for articles, fashion essays etc. This trend has 
attracted freelance photographers to do business. 

PRINCIPLES OF PHOTO JOURNALISM 

A skilfully made photograph can communicate the essence of factual experience. It can 
be controlled to represent a subject in various perspectives determined by photographer 
as he or she selects a particular lens and the camera-subject relationship for the 
picture. Thus the photographer’s technical’ skin and mental attitude influence the 
picture that is taken” 

Grouping and position of people and main object in the picture form a pleasing shape. It 
is to be the most eye-catching picture but it is of no use if such picture is not balance 
with news stories. There must be sufficient contrast in tone between dark and light for a 
picture to reproduce properly. Lack of tonal values can produce a gray effect on 
printing. 

​Characteristics of Photojournalism 

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Pictures in newspapers have not only added to the get up of a newspaper but they have 
also increased the readership. The combination of picture with words has enabled the 
journalists to present all facts in a clearer and effective way. 

Following are the characteristics of photo journalism. 

1. Accuracy and impact ​ ‘ 

Picture can explain a situation or event accurately with greater impact whereas words 
lack this characteristic. For example, a news story of bomb blast in Egyption Embassy 
killing 20 people, might not create that much impact as it can if the same story is 
explained with pictures of the incident. 

2. Immediate Understanding 

Readers can understand maximum details of an event through a picture in a minimum 

time as compared to a wordy news story. 

3. Clarity and Completeness 

An image with added words becomes a package that assures clear communication. 

4. Makes newspaper more interesting 

Although headlines, layout and make-up techniques in newspapers are used for 
eye-catching but when these are added with pictures, they make the newspaper more 
interesting for the readers. 

5. Pictures are Entertaining 

Newspapers publish pictures on a variety of subjects for the gratification of all 

segments of society. So publication of pictures on weather change, unusual events, 
women, fashion, etc. becomes a source of entertainment for the readers. 

Anyone can take a photo at any point in their quotidian life. The internet has allowed us 
all to document existence as it happens, but are we documentarians? 

Maybe, to an extent. We document the facts of our own lives, through our 
perspective — the smartphones we use are an extension of ourselves, a third eye. We’re 
all amateur photojournalists, visualizing our autobiographies. 

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But the role of the professional photojournalist is more crucial than ever; they must go 
beyond their own life, and capture what a human eye can’t — or neglects to — see. While 
personal technology enables us to find a comfort zone, photojournalists step into the 
unknown to allow us to discover new worlds, rather than the ordinary, almost repetitive 
world seen in Instagram feeds and Snapchat stories. 

TOPIC 2: Photo Stories, Photo Features and Photo 

Essays 

Photo Story 
Each type of story requires the same thing: A thread that holds them together. The 
thread can, and should, vary widely from one story or essay to the next. You could make 
pictures of a thousand guys with beards but not have a cohesive body of work unless 
something other than beards makes the images relate to each other, for instance. Or 
you could follow one person’s life for years and still not have a set of pictures that tell a 
story if you’ve not had a narrative in mind.  

A way of saying this is that you could make a bunch of threads and work very hard to do 
so. But that doesn’t mean those threads make a tapestry. Why is it important to work 
on both stories and essays? On the one hand, having both in your portfolio makes you a 
more attractive hire. On another, each requires a different set of skills and mind set. 
Together they push what you can achieve, they help you reach a potential you might not 
otherwise. Working on picture stories tends to require immense personal skills. Being 
able to stay in a setting for great lengths of time isn’t easy.  

The subject has to want you there and getting to that point isn’t a clear path. The story 
changes, life gets complicated, you have to adjust and reinterpret - it’s like knitting a 
sweater for someone while you’re in a boxing match. And it’s not like that at all. Essays, 
on the other hand, require a clarity of seeing. You define the point of view entirely, often 
by connecting seemingly unrelated objects, occurrences or times. They require 
diligence and persistence that is different from a story. Then there are topics that 
require both approaches. You can do individual picture stories that combine like an 
essay to deal with a larger topic than one person or place might reveal. Eugene 
Richards' Americans We and others he has done come to mind as some of the best 

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examples of this approach. In the end, both forms tell a story. You’ve just gotten there 
by different paths. The more paths we follow in this photographic life, the richer we 
become.  

Photo Feature 
In your job as a photojournalist, you may find yourself spending a lot of your time 
shooting photos for various feature stories or putting together a feature photo spread. A 
feature picture contains strong human interest and is designed to entertain or inform 
the reader. The subject of a feature picture may be an individual or an event, and its 
content is timeless. Types of feature pictures include news, sports and personality.  

- A news feature concentrates on a human or unique aspect of a news event, giving the 
photograph a timeless interest.   

- Sports feature pictures emphasize the event and continue to interest the reader after 
the event has passed.  

- A personality feature captures a subject’s personality rather than just a person’s 

image.  

– An environmental portrait is of an individual in his natural surroundings. The subject 

is performing no action and is looking at the photographer as the photo is taken. 
Elements The essential elements of a feature picture are identification and action.   

- Identification of the subject is achieved by shooting your subject so that you can 
clearly see who he/she is. This requires showing either full face or three fourths (3⁄4) 
face. You must see both of your subject’s eyes. Avoid profiles and back shots. - 
Subjects should be actively involved in performing some function. They also must be 
looking at whatever action they are performing. Use of props will add visual information 
about the person and provide a context.   

Photo Essay 
A photo-essay is a set or series of photographs that are made to create series of 
emotions in the viewer. A photo essay will often show pictures in deep emotional 
stages. Photo essays range from purely photographic works to photographs with 

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captions or small comments to full text essays illustrated with photographs. Examples 
of photo essays include: 

• An article in a publication, sometimes a full page or a two-page spread 

• A book or other complete publication.  

• A web page or portion of a web site.  

• A single montage or collage of photographic images, with text or other additions, 

intended to be viewed both as a whole and as individual photographs. Such a work may 
also fall in the category of mixed media.  

• An art show which is staged at a particular time and location. Some such shows also 
fall into other categories category.  

• In fashion publishing especially, a photo-editorial – an editorial-style article dominated 

by or entirely consisting of a series of thematic photographs  

Photographers known for their photo-essays include: W. Eugene Smith [1]Ansel Adams 

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TOPIC 5: Legal and Ethical Issues 

 
Plagiarism ​ is when a photographer copies the work of another photographer without 
any reworking or difference and without giving credit to the original photographer.  

This could include copying an exact viewpoint of a building or landscape and at 
the same time of day when it was first taken by another photographer. Passing off is 
seen a photographer misrepresenting their own work by taking advantage of the 
work of another photographer.  

An example of this could be the placing of another photographer's work in their 

own portfolio and passing it off as their own. Both plagiarism and passing off are rife 
within the photographic industry. It has become so easy with the ability to copy off the 
Internet and manipulate within digital manipulation software, such as Photoshop. 
Both have to be seen as unethical and fraudulent.   

Defamation​ of a person by either intentional/accidental means can take place 

when someone is wrongly identified as someone else and then associated with a 
discreditable act. This can be seen as libellous. Similarly, if a representation of a 
person is manipulated to such an extent that it becomes a caricature, or to create a 
false image and open the person to ridicule, could lead to a court action.  

Copyright​ gives the photographer exclusive rights to use and reproduce their work. 
According to Wikipedia, "Photography tends to be protected by law through 
copyright and moral rights". This definition looks at the protection offered to the 
photographed from the photographer. It argues that photography is restricted by 
privacy laws, interests of public morality and protection of children.  

Right To Privacy 

Most people expect the right to privacy and are offended by any physical 
intrusion into their private space. People are therefore entitled to an expectation of 
seclusion with a reasonable expectation that others will not interfere with that 
privacy. Actions by investigators and photographers, which might violate this 
principle, include trespassing, use of covert cameras and fraudulent entry. 
Therefore, in a public space the photographer can photograph anything to be 

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seen, except for harassing people or creating a disturbance. However, there is an 
increasing privatisation of public space with more restrictions being placed on 
photographers by the police's use of anti-terrorism legislation.  

Photographers can't use long telephoto lens to intrude into someone's private 
space. This was shown by the recent controversy over the topless photographs of 
Kate Middleton, taken by an unknown 'lurking paparazzi' photographer and the 
royal family's multinational battle to stop the spread of the images.  

  
 

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