Reportage shooting. Basics of reportage photography
A professional photographer who is about to shoot a reportage usually arrives at the scene of the event in advance. If possible, he will definitely familiarize himself with the plan of the event, note for himself what must be photographed, what is desirable, what most likely will not be captured. While there are few people on site, he quickly notes for himself good shooting points, the possibility of moving, takes pictures of objects to which access may be limited in the future, etc. A novice school reporter can follow approximately the same plan of action.
Generally speaking, if there is no predisposition to photography, you can do this simply: place your finger on the shutter button and press it from time to time. Out of 200 pictures, 20 can always be selected.
This method will suit everyone. Another way is to try to imagine a coherent story in your head and illustrate it
. The story must include an answer to the questions what, where, when. “The holiday was in such and such a year (exact date) in such and such a place. At first it was something like this. Then so-and-so spoke. Then there were blind man’s buffs.” And for each sentence, take a suitable photo, so that it cannot be confused: snow (which means winter), here we see the singing teacher, and here we see the blind man’s buff. The photograph should tell a prying eye everything itself, without words. However, small explanations will still be required when posting on the site: clarify the action, indicate last names, name of the game, etc. More on this in the final part; examples can be found.
All photography consists of three types of shooting: general plan, medium plan, close-up. You definitely need a preliminary photo that will show the general atmosphere and interior. You will also need a photograph that includes a small group of people - two or three, united by a common cause. And, of course, faces: if we are talking about a holiday, they should probably have a smile on them.
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It probably won't be possible to remove everything. It doesn’t matter: 20 is enough for a good report different photos. This is the optimal number to both tell a story and not let you get bored.
N.B.
Often some episodes of an event turn out to be so fleeting that it is not possible to capture them. And I want to talk about them. You can try to take a photo that goes beyond the time frame of the event. Didn't have time to shoot the firecracker? Shoot the confetti on the floor and include it in your photo story.
Photo report
Photojournalism - special shape journalism that uses photography as its primary means of expression. Photojournalism differs from related photography genres (such as documentary photography, street photography and celebrity photography) in the following ways:
- Time- pictures have meaning in the chronological context of the development of events.
- Objectivity- the situation assumes that the photographs will be honest and accurately reproduce the events recorded.
- Narrative- pictures in combination with other news elements inform and give the reader or viewer an idea of the essence of events.
Photojournalists must act, make decisions and carry photographic equipment in the same conditions as participants in events (fire, war, street riots), often subject to the same risks.
Photojournalism, as a descriptive term, often implies a certain gritty style or approach to creating images. The photojournalists' approach to candid photography is becoming a popular and distinct style of commercial photography. For example, today many wedding photographers shoot impartial chronicles of wedding events in a “reportage” style.
Origin of the term
Invention of the term photojournalism usually attributed to Cliff Edom (1907–1991), who taught in the journalism school at the University of Missouri for 29 years. There, Edom organized the first photojournalism group in the year. Others name the dean of the School of Photojournalism as Frank L. Mott.
Story
Start
Until 1880, printing equipment could not reproduce photographs correctly. Usually, the artist made an engraving from a photograph, from which the print was made. The first reportage photographs from the fields of the Crimean War (-), taken by British reporters such as William Simpson from Illustrated London News or Roger Fenton, were published in this way. Likewise, Matthew Brady's photographs of the American Civil War were used as engravings for publication in Harper's Weekly. Original images were usually shown at exhibitions or photographically copied in limited numbers.
Photojournalism in the modern sense emerged as a result of improvements in printing and photography between and. The first halftone reproduction of a news photograph was published on March 4 of the year in The Daily Graphic (NY) . Invented in magnesium flash Flash powder) allowed photographers like Jacob Riis to shoot indoors with ease. Starting from this year, it has become possible to reproduce halftone photographs on printing equipment.
Modern photojournalism became possible with the invention of the small camera and high-speed film. The advent of the 35mm Watering Can, which was created in 1914 and released in Germany in 1925, brought many significant changes to every area of photography. The new camera allowed photographers to see ordinary and familiar objects in new, bolder perspectives and expanded their ability to better see and appreciate their outlines and shapes in space.
Aristide Briand points to a photographer who can even get into a secret meeting. Paris. 1931
Behind-the-scenes footage of famous international political figures at League of Nations conferences in the late 1920s was taken by an excellent multilingual lawyer, Erich Salomon, who was one of the first to use a small-sized camera for information purposes. This is what they meant when they said that “three conditions are necessary for holding a conference of the League of Nations: several foreign ministers, a table and Erich Salomon.” Newspaper and magazine photographers have since followed his style, shooting as events unfold without waiting for posing.
Although photography became part of the news in newspapers and magazines from 1897, until 1927 many sensational news stories were illustrated with engravings. The first wirephoto was transmitted by Western Union in 1927.
Recognition in the art world
Since the second half of the 1970s, photojournalism and documentary photography, side by side with fine art photography, have increasingly taken up space in art galleries.
Professional organizations
Some other organizations:
News organizations and journalism schools have created a wide variety of awards for photojournalists. Since then, the Pulitzer Prize has been awarded in the following photojournalism categories: Feature Photography, Spot News Photography, and Capture the Moment. Other awards: World Press Photo, Best of Photojournalism, and Photograph of the Year.
Photographers surrounded the star at the Cannes Film Festival.
Ethical and legal issues
Photojournalists work within the same limits of objectivity as other journalists. What to shoot, how to frame and how to edit are questions that a photojournalist constantly grapples with.
Often, an ethical conflict can be mitigated or intensified by the actions of the editor or photo editor, to whom the photographs are transferred as soon as they arrive at the editorial office. A photojournalist often has no say in how his photographs are used.
The US National Press Photographers Association and other organizations have created a Code of Ethics.
The main ethical aspects fit into the general legislation. Laws related to photography can vary greatly from state to state. The situation becomes much more complicated when a photo report taken in one country is then published in many others.
Photojournalism crisis
Since the 90s of the 20th century, television, which had large budgets thanks to advertising, has developed rapidly, changing the presentation of news - instead of an announcer in the studio reading from a piece of paper, live broadcasts from the scene of events came into use, and television companies did not skimp on expensive, high-quality reports. As a result, circulations of printed publications and color illustrated magazines, unable to compete in efficiency with television, began to fall. The economic crisis has hit most of the world's photojournalism agencies. This was followed by a partial loss of copyright and a reduction in photographers' rates. Three of the world's major news agencies, previously focused primarily on text information - Associated Press, Agence France Press and Reuters, hired professional photographers for a fixed salary high class, thereby sharply improving the quality of their news photographic products, which newspapers and magazines began to willingly buy for an inexpensive annual subscription. As a result, most small and medium-sized and even large agencies, which did not have the opportunity to offer such dumping conditions, were forced out of the market. The crisis was aggravated by the arrival of new technologies, in particular the appearance on the market of Royalty-free photographs for which you do not have to pay. In Russia at the beginning of the 21st century, neglect of the copyright of photographers and the theft of photographs from the Internet for the purpose of publication on the pages of print media became the norm. Many reportage photographers had to go into commercial photography in order to survive...
Impact of new technologies
Small, lightweight cameras have greatly expanded the role of photojournalism. Since the 1960s, built-in motors, electric flash, autofocus, high-quality lenses and other improvements in cameras have made photography easier. New digital cameras have removed the limit on the number of frames on film; hundreds and thousands of frames can fit on a microdisk or memory card of a camera.
Content is the most important part of photojournalism, but the ability to quickly capture and edit images has brought significant changes. Some 15 years ago, scanning and transmitting one color photograph from the scene to the editorial office took about 30 minutes. Today a photojournalist, armed digital camera, mobile phone and laptop, can transmit a high-quality photo to the editor in a matter of minutes after the frame was taken. Camera phones and portable satellite communication devices have provided previously unimaginable opportunities mobile transmission images from almost anywhere in the world.
In our time, any person who does not strive for a career as a professional photographer, who accidentally found himself in the center of events with a camera, and then posted (often completely free) photographs on the Internet, can call himself a photojournalist. There are cases when amateur footage published on the Internet became a sensation. Since the beginning of the 21st century, the blogosphere has become a medium for the dissemination of information and photographs. There are numerous specialized photojournalism blogs on different languages peace. In Russian this is Photopolygon.
By the end of the first decade of the 21st century, traditional photojournalism began to be actively replaced by the so-called “Citizen Journalism”, which appeared in Europe and the USA. People of various professions, who, as a rule, do not have financial problems and, unlike media professionals, are not constrained by any obligations to their editorial offices, engage in journalism, including photojournalism, as a hobby.
Successful reportage shooting is a complex, energy-intensive and high-tech type of photography. If you look at services for finding photographers to shoot a report, you can often find ads like “advise good photographer to film an event,” but I’ll try to tell you in this article how your first reportage shoot can become a creative and professional reportage: .
Introduction.
What equipment should a photographer have?
Shooting a reportage is demanding on equipment - it is advisable to have a camera with a full-frame sensor for taking frames in low light and high ISO. I usually take photographs in RAW or NEF format, uncompressed images, just like shooting on full frame needed for high-quality subsequent processing of the material. The camera's rate of fire should be at least 5 frames per second, so as not to miss something important. The number of megapixels, mind you, is completely unimportant. Most semi-professional and professional DSLR cameras are suitable here.
Practical advice: When entering a room, I set ISO 800 - 3200 units in advance, depending on the lighting.
But the requirements for lenses when shooting a report are more serious. It is desirable that the lenses have a zoom and good aperture. To understand what lenses and focal lengths are needed for effective reporting, look towards Nikon’s “gold” series or Canon’s professional “L” series.
What do we see there?
It follows from this that successful a requires almost all popular focal lengths, aperture ratio 2.8 and for televisions VR (image stabilizer) is desirable. Of course, there are those who like to shoot only with prime lenses, and there are wonderful photo reports shot only with a fifty-kopeck lens, but if opportunities allow and you have the desire to carry such a heavy weight, use the miracle Japanese technology and have fun. Expensive pro-“lenses” give a soft and sharp picture in difficult conditions, and with universal light plastic zooms, such as 18-200 mm, you will be disappointed in your talents.
Practical advice: My camera settings are usually set to “M” mode. I set the ISO depending on the lighting, the shutter speed is 1/200, and the aperture on the lens is very often open to 2.8 - 5.6. In difficult shooting conditions, focus in advance on a bright object next to the subject; the camera's autofocus may become dull.
In dark rooms or when shooting a report at night, photographing with an open aperture does not help, and you cannot do without external flash with reflector"petal" or "mini-soft box" type. Reflectors allow you to slightly diffuse the harsh directional light of the flash. I almost never use other attachments or multi-colored filters due to lack of time. The only exception is the warm filter included with the flash for shooting indoors with incandescent lamps. 
What should you do if the room is dark and you can’t use a flash? A monopod or tripod will help you, the main thing is that you don’t have to run around with it a lot for the main things actors. A tripod can also be useful for shooting “with wires”; this technique is often used to add additional dynamics to the plot.
Practical advice: I often use an off-camera flash with a soft box, synchronized with the camera via a radio transmitter for close-ups, the only exceptions being very dynamic events, or when I use long lenses.
Batteries, memory cards, flash batteries, all this must be taken in a double and sometimes triple set. Do the math for yourself, on average I take 100 high-quality photographs per hour, with a twelve-hour shoot I will need several 32 gig memory cards to accommodate thousands of RAW files, plus 2-3 batteries or a battery grip for the camera, plus 2-3 sets of batteries for the flash, charging. Here's to carrying weights again;)
For easy to carry With this heavy mountain of photographic equipment, you may need a convenient photographic bag and unloading (vest), but I prefer a photographic backpack. And I hang a couple of lenses in separate bags so that I can quickly change the lens or camera.
How to conduct your first reportage shoot?
And now your “finest hour” has come: the doors open, the rooms are filled with guests and your colleagues, now everyone is busy and no one has time, security guards are only vigilantly watching you, I suggest you watch carefully too. What to do and where to start?
All you need is to make a compact story about what is happening, show all the most interesting things, your vision of events, using photographs instead of words, they are your photographic language. The specificity of reportage photography is that all actions will take place independently of you. The photographer is only required to predict, be in the right place in advance and react quickly. If the event is public for the press, then be prepared that you will have a lot of competitors and will have to show a little perseverance. And if you find yourself in the front row, don’t forget to sit down or step aside after taking a few shots to let your colleagues and video operators film your report.
By the way a second photographer is sometimes really necessary. From my own experience, I can say that you can comprehensively cover a corporate event alone if the number of participants does not exceed 150 people. For larger events, don’t hesitate to recommend that organizers hire a second or third photographer.
When shooting long marathon events take breaks, in order to restore strength, not lose concentration, check equipment settings, footage, replace an almost empty flash drive and simply give guests a break from your hectic photo activity. Such small pauses can be made when guests have sat down to eat or when the speaker is giving a long speech and only boredom can be seen on the faces of the listeners.
Practical advice. Filming conditions can sometimes be very difficult, imagine a dark, huge room with a high ceiling and a brightly lit scene, what should you do? Since it becomes impossible to use flash light reflected from the ceiling, I place off-camera flashes on a raised platform and shoot only part of the hall, then transfer the light to illuminate an adjacent area, sometimes remembering to quickly switch to shoot a well-lit scene.
What to shoot at any corporate event?
How to quickly and efficiently process reportage photographs?
Hooray! Finally, the shooting of the reportage is over, you can exhale, but you shouldn’t relax, because photo processing awaits you ahead. As a result, I end up with several thousand raw photos taken in RAW, how can I quickly process them?
Batch processing of photographs in Adobe Photoshop or Adobe Lightroom (any graphics program with similar capabilities) comes to the aid of the photographer. I’m used to using Photoshop, so I’ll write about my algorithm for batch processing of reportage.
1) Copy all photos from flash drives into one folder and sort them in Adobe Bridge.
2) The most important stage processing, when we with all the courage remove duplicates, closed eyes, blurry, unsuccessful shots. This stage is very important, but remember that a report is a compact story about the most important thing. The goal is to reduce the number of frames by 10 times! From thousands, there should be hundreds. If it didn’t work out the first time, drink some tea and gain strength. What separates a professional from an amateur is their ruthlessness towards their mistakes. Believe me, in most cases it is better for your clients not to see a bad photo at all than to think badly about your direct hands.
3) It's done! We open our best photos from the event in the Adobe Camera RAW converter. It allows you to select a series of photos with approximately the same lighting and set general settings. I’m sharing a secret on the Camera RAW converter settings for batch processing: auto white balance, auto brightness, contrast +10%, clarity +10%, vibrancy +10%, saturation -6%. After this stage, quickly look through the entire archive of photos and manually correct exposure errors. Save the result.
4) Final stage for me, before going to bed, run a simple, fully automatic batch that allows you to open a photo, reduce noise, slightly extend shadows, add richness, saturation, convert to the desired size, increase sharpness, convert to 8 bits, change AdobeRGB space to sRGB, save as JPG and specify the attributes of the photo (author, copyright, title and date of the event). When I wake up in the morning, cute photos will be waiting for me, ready to be sent to file hosting.
5) Clients often ask for photographs to be provided in two formats at once, full-size and for the Internet, when the size of the picture does not exceed 900 pixels on one side. For those familiar with batch processing and using actions, this operation takes a couple of minutes. And viewing and sending such photos by mail is much more convenient.
How to shoot video for reporting?
People always ask me: Is it possible to shoot a report and at the same time a short video?
I answer: The video should be shot by an operator, and the photographs should be taken by a photographer, that is, you need two different people.
Given that the equipment used for video and photography is now the same: you need a professional full-matrix DSLR camera (made by Nikon, Canon or Sony) that supports HD video. For video shooting, good optics, a tripod, an external microphone, an external constant light, and so on are also important.
Conclusion.
Successful shooting of a reportage is a constant practice, training your gaze, perception of light, reaction speed, patterns of events, understanding of people's facial expressions and framing accuracy. Therefore, I am always happy to shoot non-commercial reports. This could be passers-by on a city street, a jazz concert, an unauthorized rally, a flash mob, or photography of dances.
I wish you success in such an interesting and difficult task of filming a report. I hope mine practical advice will help you take truly professional and successful shots.
What is a photo report? This is filming an event in which the photographer himself takes part, expressing his view of everything that is happening around him.
Reports with photographs taken by different photographers about the same events will always be different, even if executed equally professionally. Photographing the most important event by a master photographer is the key to careful storage of photographs both in a personal archive and among friends. The desire to preserve your memory of the past is the task of a true photographer and the main difference between a professional and an amateur. It’s like a blacklist of employers: you can always understand where your conditions and wishes will be fulfilled efficiently. It is worth noting that the photo report is fascinating and very interesting view photography.
There is an opinion all over the world that even a beginner-level photographer is capable of making a high-quality report of any event. But if you want to get a high-quality report, then you shouldn’t take risks. In this case, reviews of work are the main trump card! Yes, and events are different. What is there to obscure: the people taking part in these events also differ in character. In reportage photography, in addition to the photographer’s personal attitude to the event at hand, the task of photographing set by the customer is also very important. Of course, the photographer’s personal opinion is very important; this is usually the reason for inviting Peter, for example, to conduct a photo report, and not Ivan. But any process of this nature relies on the customer’s idea, his wishes or plans.
A photo report is a kind of narration about a certain ongoing event, as if simultaneously from the inside, but at the same time as if from the outside. Asking participants to pose means ruining the whole mystery, but shooting with only profiles or from the back is also not an option. But simply by hiding and observing what is happening from the side, you can create a huge number of unexpected and at the same time wonderful shots.
An excellent way to create an exciting photo report is to work with a partner. Undoubtedly, the teamwork of partners is extremely important here. This, in fact, is the difference between any professional filming and amateur filming.
Photo coverage of major events, in which several photographers take part, is best done from an unusual angle so that the resulting images are significantly different from those of competitors. For example, several photographers photographed the Victory Parade dedicated to the 60th anniversary of the victory from the top of the Spasskaya Tower and was unique! Feedback from employees of many companies was full of scathing statements about the dexterity and thinking of these professionals.
With the advent of photography, that is, since the creation of the camera, nothing has changed - light falls in the same way through the lens, which consists of a whole set of lenses. But evolution did occur: film devices were replaced by a CCD with a matrix on which the image is processed, read and recorded on digital media. The lens has an integrated aperture with a drive and a zoom mechanism. The shutter speed in this case is carried out due to the difference in the change in the speed of reading from the matrix. There are single-spot and multi-spot light meters that determine light and exposure levels and also adjust flash duration. All of the above together allows professionals to create unique photo reports that are sent to the best archives and stored for centuries. If you want someone to capture most important event your life - do not skimp, use the services of professional photographers.
We can confidently note the fact that in “written” journalism, the reporting genre is one of the most popular and most widespread. However, it is not only print journalism that has taken a liking to this genre. It is actively used in photojournalistic practice. A huge number of photo publications created in a reportage version adorn the pages of both online publications and paper media. However, often photographers, especially at the regional level (according to my observations), do not always have a sufficiently accurate idea of what constitutes a photo report. Below I have collected the basic rules for creating and features of a photo report, highlighting its key points and features.
Translated from French, “report” means “to report” (http://dic.academic.ru/dic.nsf/bse/127230/%D0%A0%D0%B5%D0%BF%D0%BE%D1% 80%D1%82%D0%B0%D0%B6), and the Big Encyclopedic Dictionary defines the genre of reporting as “a genre of journalism that promptly reports for the press, radio, television about any event in which the correspondent is an eyewitness or participant.”( http://slovar.cc/enc/bolshoy/2115114.html)
In our version, another root is added to the word report - photo, i.e. The journalist will express his thoughts not with the help of a deft pen, but with the help of photography.
From this we can conclude that the main task and distinctive feature photo report (based on the terminological interpretation of the genre in the dictionary), is its documentary nature, i.e. Construction of photographic material on facts with real place events.
Sometimes it happens that a photographer is unable to capture a particular event in one photo. This is where the photo report genre comes to the rescue.
By studying all the features and nuances of a photo report, photographers learned not only to connect photocells in order, but also to express their attitude towards them.
Reporting finds its first attempts to realize itself on the pages of magazines, although the origins of photo reporting date back to the 19th century.
Decisive role The Russo-Japanese War played a role in the development of photo reporting; I came across this conclusion in K. V. Chibisov’s book “Essays on the History of Photography” (Article 93). The author says that the circulation of newspapers increased during the war, and more and more photographs from the battlefield appeared on their pages.
Over the years of its existence, the photo report has undergone many changes in its structure. The creative position of photojournalists, trying to move away from the protocol presentation in photographs of events, develops the possibility of a more creative and informative presentation of material. The journalistic element is being strengthened.(
“Despite the fact that photo reporting belongs to the system of information genres, one should not understand that its essence lies only in recording reality. It, like many other genres, contains the possibility of authorial self-expression.” (raven st. 50)
Now, a modern photo report is a unification of space and time in a photograph. The increase in psychological load in images, the desire to depict not only the actions but also the emotions of the characters, the spiritual formation of a person has already become a trend.
We find out what's important distinctive feature photo report is that it allows you to give more complete information about the subject of shooting. In a photo report, unlike a photo note, we highlight not only the content of the event, but also its plot.
As noted above, a photo report belongs to the group of informative genres, therefore, we draw a line under one more conclusion - it, a photo report, must provide answers to the questions “what?” “Where?”, “When?”, these are the questions that are given priority in information genres of journalism in any form). “But the main question that a photo report should answer is “how?”” (Raven Art. 53). Presentation of photographs from chronological order the formation of this or that event allows us, as readers, to trace its entire history. Equally important is the presence of text under photographs. In our understanding, the text complements and carries out the content load, creating the effect of the author’s presence at the scene of the event.
I would like to note that a photo report does not imply one photo, but a whole photo series. This conclusion is logical, since the main goal of a photo report is to fully inform the consumer about the event. And it’s quite difficult to express the fullness of the action in one photo. “A photo report is characterized by the relationship between plot and plot. The plot is set by reality, but the plot is built by the author. Correspondence to the actual course of the event, as it were, dissolves it in the plot. But since the “piece” of life recorded in development in a publication of this genre appears to one degree or another as a completed action (filming, say, a sports match, a photojournalist will trace all its stages and show its denouement), then a photo report, as a rule, has plot ending. “- this is how Raven argues when talking about the specifics of the genre in terms of reflecting reality on the books (Voron st52).
Analyzing photographs of this genre, we can say with confidence that photo reporting finds its application in various fields human activity, be it sports (Vladimir Vyatkin “Sport” https://vk.com/album57929179_98818079), a social topic (Ian Dago “African Children” http://www.rosphoto.com/reportage_photography/54_reportazhnyh_fotografa-2426) and many others. In other words, a photo report in choosing a topic is not limited by any framework. It is thanks to this feature that we can talk about creative approach and the development of a photojournalist.
If we talk about the methods of shooting a photo report, then, for example, Ya.D. Feldman distinguishes two types: reportage (the photographer does not try to influence the course of events, I record what is truly happening) and staged (consists in the preliminary organization of the plot for the purpose of photography. A pre-prepared episode is recorded.) (Feldman Art. 178)
This method of shooting allows you to make pictures more artistic, which is not often possible when working with a camera in the “field” conditions, when there simply may not be enough time for artistry. Feldman justifies the second method of filming by saying that “Elements of professional organization of the event being filmed do not mean its falsification - it is only a device for filming and obtaining the best expressive results. A genuine event can be chronicled or prepared to some extent, which, in general, will not violate its authenticity.” Below I present the most full classification types of reportage photography, developed by A.I. Lapin (Lapin art. 169) So it is customary to distinguish the following types of genre:
1. Chronicle photo report (greater detail of actions, a broader picture of what is happening)
2. Interpretive report (consistent depiction of actions, the author’s judgment constitutes an essential part of the content)
3.Event photo report.
An event photo acts as evidence of some large-scale event. A clean, artistically unorganized frame. Its importance and value lies in the fact that it represents valuable documentary evidence, living and impartial, truthful testimony. No author's assessment required here. All that is required of a photographer is the ability to quickly react to what is happening, the ability to assess the non-standard nature of a situation. (Lapin st)
4. situational photography.
Situational photography differs from event photography in significant content despite the outward insignificance of what is happening. We can assume that the most important thing in this type is not the simple recording of an event in one fragment or another, but its comprehension. Comprehension an important part analytical activity, it follows that we can call situational photography analytical.
Such photography becomes analytical, sometimes even carrying a philosophical, poetic understanding of life. Having analyzed this conclusion, we understand that the photographs acquire a subjective image, because the author does not primarily strive to convey what is happening, he is looking for hidden meaning in minor details, random manifestations of life.
5. Photograph of the moment
the photographer here acts as a kind of prophet. He doesn’t know exactly what will happen next, but he must predict how his shot will turn out, given the rapid development of actions at a particular event.
6.detail photo
In this case, any detail, particularity becomes much more important and meaningful in meaning than the main object. However, it should be remembered that not every detail can “sound” in the image. Any image can contain an endless mass of details. In this case, it is necessary to find and emphasize one that could have subtext or meaning.
7. Fine photography.
The next type of reportage photography is fine art photography. The photographer’s main attention in this kind of photographs is paid directly to the organization of the image itself. It doesn’t matter what will be in the picture, be it important detail, a fragment of an event, an expressive moment, it is still the construction of the image that carries great significance. The main thing that a photographer should be guided by is maximum image sharpness, accurate rendering of the textures of objects, great attention is paid to printing a photograph on paper, and elaboration of the smallest details.
