4 Common Journalism Mistakes

When learning how to write like a journalist, many cadets are not taught basic
language rules. Although there are plenty of examples, here are just four common
mistakes that writers all over the world continue to make.

Dilemma

You see this kind of sentence quite often: “He faced a dilemma on
whether he should go to Harvard or Yale”. Wrong! I’ve also read dilemma being written
as synonymous with problems. Again, wrong. Dilemma is when you have only two
choices and both are undesirable. So, if you have a choice between jail and a big fine,
then you are in a dilemma. If you have a choice between a promotion at your current job
and more money in another job, then that is not a dilemma because both paths are
attractive.

Enormity

It appears the traditionalists may be losing the battle when it comes to
this word. Enormity, in its original meaning, does NOT mean huge. It is not the noun for
enormous, which is enormousness. Enormity actually means the quality of being
outrageous, or wickedness. However, it has been so commonly used to refer to great size,
it appears even dictionaries have given up because I’ve seen recent editions include both
meanings.

Alternative

This is another word to do with choices. However, alternative refers to only ONE other choice. If you are unhappy with your job but you have one offer from another company, then you have an “alternative”. If you have two other job offers, you have “other choices” or “options” but NOT “other alternatives”.

Refute

At one time, the newspaper I worked for banned this word because a
building full of so-called experienced journalists from Britain, United States, Canada,
Asia, Australia, New Zealand and South Africa were consistently getting it wrong. Refute
cannot be used as a synonym for deny. To deny something is to say you didn’t do it. To
refute is to prove you didn’t do it with evidence. In addition, don’t confuse refute with
rebut. Rebut means to argue to the contrary using evidence. To refute is to use that
evidence to prove and win your argument.

These are only four examples from many in news writing. While it is
understandable for amateurs or part-time writers to get it wrong, news writing
professionals should know better. Mind you, it happens to the best of us and it is simply a
case of learning as you go along.

ABOUT THE AUTHOR
Nazvi Careem is an experienced journalist, writer and writing coach who has
written for newspapers, magazines and global news agencies such as Reuters, Associated
Press and Agence France-Presse. To download a free chapter from his book on the secrets
to writing news, check out his website dedicated to news writing at

 

 

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MASENO UNIVERSITY

FUCULTY OF ARTS AND SOCIAL SCIENCES

DEPARTMENT OF MASS MEDIA AND COMMUNICATION TECHNOLOGY  

COURCE TITLE: PHOTOGRAPHY

NAME: ODHIAMBO VINCENT KELLY

TASK: Explain the following assignment regards to photojournalism

Photojournalism Assignments

1.      Introduction

Photography is the process of recording visual images by capturing light rays on a light-sensitive recording medium (e.g. film or digital CCD). It can be thought of as two pursuits: there are two types of photography.

1. Technical: The science of setting up the camera and the recording medium to take images in a controlled way.
2. Creative: The art of composing good images to capture.

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 usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism.

Assignment a task or piece of work allocated to someone as part of a job or course of study.

a. Dramatic angles. Shoot a film or so of people or scenes around campus from unusual angles. You might shoot down from the top of a stair. Or shoot up lying on your back. Or shoot someone framed by something else. Or really close in on something. Or shoot a seldom-seen view of something. Use your creativity, as long as: 1) it’s not the common viewpoint; 2) at least half your photos have people in them. Prepare for critique at least two unusual angles. I suppose I don’t need to tell you not to try anything dumb like lying on the railroad tracks or shooting down the campus smokestack? Hey, it’s been done.

b. Meeting folks. Shoot a film or so of people doing things on campus, preferably outside, but in well-lit buildings (window light recommended) if it’s too cold. Take candid (unposed) pictures of people you do not know. After taking their picture, approach at least two or three of these subjects. Explain that you are doing a class photojournalism assignment, and ask for their names, including proper spelling. Right down names on a notepad, numbered in sequence so you can later match your names to photos (you may wish to also describe surroundings to help you later match the name to the image). Prepare for critique at least two which you believe best show life on campus, and include cutline with indents.

Light fantastic. Photos relying on several common qualities of light. Include at least three different examples from these options:

• strong natural light, dramatic shadows and highlights. May be sunlight, strong window light.
• flash on camera, pointed directly at subject. If you don’t have a flash, try setting up a potlight or lamp.
• flash off camera, bounced off a ceiling or wall. If your flash won’t bounce, try a white hankie or Kleenex to diffuse the light.
• diffused light, cloudy day, classroom, filtered through window.
• colored light: incandescent, fluorescent, candle. NO FLASH--turn off flash, if automatic.

Include people in at least half your photos. Prepare at least three examples; include written cutlines describing the light.

2. Pictures Story Assignment
Compose yourself. Identify elements of photo composition, and compose them in a way you believe produces a more dynamic photograph. Try to emphasize a single element you think dominates more than any other. Shoot a few frames you know to be considered “composition mistakes,” to compare differences. At least half your photos must include people. Prepare at least four examples, including cutlines describing the compositional element emphasized, or the “compositional mistake.”

Requirements: from now on we will abide by minimum professional expectations in photojournalism:

• Photos each carefully adjusted in Photoshop for cropping, levels/curves, color correction, sharpness, and whatever else might be necessary. Grades will suffer if it's clear you didn't run your photos through this process.
• Complete cutlines, written as noted in a class lecture. If people are easily identifiable, they must be identified with both first and last names. If I catch you making up a name, zero for the assignment! (People have tried this, believe me. It's called "lying.")
• Number of images specified (no more than number required, please), saved as jpgs, and attached to email. Write your cutlines in the email message.

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          3. Features Assignments
Special topic, news and features. Choose a newsy event to cover: a speech, a press conference, a meeting, a protest, a concert, bad weather, an accident, etc. Shoot at least 20-30 pictures, trying to emphasize unusual angles, getting in close, interesting lighting, etc. Photos must contain people, and include idents, unless people are part of crowds or too far away for easy identification. Submit at least three photos with photojournalism-style cutlines for critique.

Note: Try to avoid unattractive flash on camera. Try bouncing flash using cardboard, the walls, or the ceiling. Or natural lighting, of course.

Note: If you must use flash, soften the effect using the Photoshop technique from Lesson Two. Don't forget to go through Photoshop to crop, adjust for exposure, adjust to correct color, sharpen, and improve whatever else you think necessary. Don't hand in photos directly from the camera!

  Travel photography. Take an opportunity over spring break to offer a “sense of place” through a photo story. Prepare at least four photos, including:

• One long or medium photo to establish the scene.
• One photo of a significant detail.
• One informal portrait of a person doing something.
• Other photo you think helps tell the story, emphasizing people.

All photos must include cutlines, although you don’t have to get idents for this travel feature. Also include a paragraph or two of copy describing the place in journalism style. By the way, snaps of your friends at the beach or in the bar don’t constitute a “sense of place” for this assignment. If you’re not going anywhere, use your home town or even Fargo as a travel project.

4. Portraits Assignment
personality portraits. Shoot at least 20-30 pictures emphasizing personality portraits: people doing things that help to tell a story of their character. You may rely on friends or relatives as subjects, but they CANNOT 1) just stand or sit there looking directly into the camera (formal mugshot); 2) be talking on the telephone, sitting at an office desk, shaking someone’s hand, typing at a computer or reading a book, unless you can find a radically new and different approach. Submit at least three photos; all photos must be of people, no more than one, two or three together, with full idents and standard cutlines. Avoid lighting with flash on camera. Try bounce flash, or preferably, natural lighting, looking for direction of light that resembles styles we discussed in class, such as "Rembrandt," "butterfly," back-lighting, or even texture (side) lighting for an interesting craggy cowboy look.

5. Sports Assignment
In sports assignments, Choose any sport you like, and shoot at least 20-30 pictures of dynamic action shots emphasizing the excitement of the sport. Recommended are daytime outdoor sports, as these offer most forgiving light needed to stop fast action. Try to get as close as you can to the action; some sports are difficult to photograph without telephoto lenses. Parlor games (a chess tournament, for instance) probably don’t count for this assignment, but if you can convince me with great photos, okay. Indoor sports action photos may be taken with flash on camera, although I discourage it. Try higher ISO and available light instead.

 

Journalistic ethics that associates with above assignment

 

 

Accuracy and standards for factual reporting

·         Reporters are expected to be as accurate as possible given the time allotted to story preparation and the space available, and to seek reliable sources.

·         Events with a single eyewitness are reported with attribution. Events with two or more independent eyewitnesses may be reported as fact. Controversial facts are reported with attribution.

·         Independent fact-checking by another employee of the publisher is desirable

·         Corrections are published when errors are discovered

·         Defendants at trial are treated only as having "allegedly" committed crimes, until conviction, when their crimes are generally reported as fact (unless, that is, there is serious controversy about wrongful conviction).

·         Opinion surveys and statistical information deserve special treatment to communicate in precise terms any conclusions, to contextualize the results, and to specify accuracy, including estimated error and methodological criticism or flaws.

Seek Truth and   Report It

Journalists should be honest, fair and courageous in gathering, reporting and interpreting information.

Journalists should:

·         — Test the accuracy of information from all sources and exercise care to avoid inadvertent error. Deliberate distortion is never permissible.
— Diligently seek out subjects of news stories to give them the opportunity to respond to allegations of wrongdoing.
— identify sources whenever feasible. The public is entitled to as much information as possible on sources' reliability.
— Always question sources’ motives before promising anonymity. Clarify conditions attached to any promise made in exchange for information. Keep promises.
— Make certain that headlines, news teases and promotional material, photos, video, audio, graphics, sound bites and quotations do not misrepresent. They should not oversimplify or highlight incidents out of context.
— Never distort the content of news photos or video. Image enhancement for technical clarity is always permissible. Label montages and photo illustrations.
— Avoid misleading re-enactments or staged news events. If re-enactment is necessary to tell a story, label it.
— Avoid undercover or other surreptitious methods of gathering information except when traditional open methods will not yield information vital to the public. Use of such methods should be explained as part of the story
— never plagiarize.
— tell the story of the diversity and magnitude of the human experience boldly, even when it is unpopular to do so.
— Examine their own cultural values and avoid imposing those values on others.
— Avoid stereotyping by race, gender, age, religion, ethnicity, geography, sexual orientation, disability, physical appearance or social status.
— Support the open exchange of views, even views they find repugnant.
— Give voice to the voiceless; official and unofficial sources of information can be equally valid.
— distinguish between advocacy and news reporting. Analysis and commentary should be labeled and not misrepresent fact or context.
— Distinguish news from advertising and shun hybrids that blur the lines between the two.
— Recognize a special obligation to ensure that the public's business is conducted in the open and that government records are open to inspection.

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Minimize Harm

Ethical journalists treat sources, subjects and colleagues as human beings deserving of respect.

Journalists should:

·         — Show compassion for those who may be affected adversely by news coverage. Use special sensitivity when dealing with children and inexperienced sources or subjects.
— Be sensitive when seeking or using interviews or photographs of those affected by tragedy or grief.
— Recognize that gathering and reporting information may cause harm or discomfort. Pursuit of the news is not a license for arrogance.
— Recognize that private people have a greater right to control information about themselves than do public officials and others who seek power, influence or attention. Only an overriding public need can justify intrusion into anyone’s privacy.
— Show good taste. Avoid pandering to lurid curiosity.
— Be cautious about identifying juvenile suspects or victims of sex crimes.
— Be judicious about naming criminal suspects before the formal filing of charges.
— Balance a criminal suspect’s fair trial rights with the public’s right to be informed.

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Act of  Independently

Journalists should be free of obligation to any interest other than the public's right to know.

Journalists should:

·         —Avoid conflicts of interest, real or perceived.
— Remain free of associations and activities that may compromise integrity or damage credibility.
— Refuse gifts, favors, fees, free travel and special treatment, and shun secondary employment, political involvement, public office and service in community organizations if they compromise journalistic integrity.
— Disclose unavoidable conflicts.
— Be vigilant and courageous about holding those with power accountable.
— Deny favored treatment to advertisers and special interests and resist their pressure to influence news coverage.
— Be wary of sources offering information for favors or money; avoid bidding for news.

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Be Accountable

Journalists are accountable to their readers, listeners, viewers and each other.

Journalists should:

·         — Clarify and explain news coverage and invite dialogue with the public over journalistic conduct.
— Encourage the public to voice grievances against the news media.
— Admit mistakes and correct them promptly.
— Expose unethical practices of journalists and the news media.
— Abide by the same high standards to which they hold others.

For above support and reference from the authors book which are;

 

 

REFERENCE

 

 oxford

Butterworth - Heinemann 1995

Bemont Wadsmorth/Thormas learning 2001 Journalism College

BAGDIKIAN,BEN,  The Media Monopoly, 4th ed.  Boston: Beacon Press, 1992.

 

FALUDI,SUSAN,  Backlash: The Undeclared War Against American Women. 

New York: Crown Publishers, Inc., 1991.

KATZ,JON,  Virtuous Reality.  New York: Random House, 1997.

KELLNER,DOUGLAS.  Media Culture: Cultural Studies, Identity and Politics Between the Modern and Postmodern.  New York: Routledge, 1995.

MONTGOMERY,KATHRYN C.,  Target Prime Time: Advocacy Groups and the Struggle Over Entertainment Television.  New York: Oxford University Press,  1989.

POSTMAN,NEIL,  Amusing Ourselves to Death.   New York: Penguin.  1985.SCHILLER,HERBERT I.,  Culture Inc.  The Corporate Takeover of Public Expression.  New York: Oxford University Press, 1989.