This thesis examined the utility of using seven characteristics of newspapers--specifically 46 Indiana newspapers--to predict how these newspapers use photographs.To this end, a composite index of picture use was developed from multiple measures of the source, content and play of newspaper photographs appearing during a composite week representing March 1985. This index, used as a criterion variable, was regressed on seven specific characteristics of the sample newspapers. These characteristics were: (1) newspaper circulation; (2) editorial and (3) photography staff size; (4) use of a photography editor; (5) the experience of the person primarily responsible for the use of photographs; and the (6) age and (7) time of publication of a newspaper.It was concluded: The size of the photography staff (beta = -0.33) and the use of a photography editor (beta = 0.38) were both practical and significant predictors of picture use by the sampled newspapers (R2 = 0.24, p <_0.05). It was also concluded: Circulation, editorial staff size, time of publication, the experience of the person primarily responsible for the use of photographs, and the age of a newspaper were neither practical nor significant predictors of picture use by the sampled newspapers.Two profiles were developed in the course of this thesis. The first profile describes the typical daily Indiana newspaper based on data collected from 46 of 65 Indiana newspapers. In this profile, the typical Indiana newspaper is described as: A morning newspaper that has been published for approximately 107 years and which employs 16 editorial staff members and two photographers in the production of a newspaper with an approximate daily circulation of 17,400 copies.The second profile describes how Indiana newspapers typically used photographs during the sample period. In this profile it was reported that newspapers used an average of one photograph on each page of the newspaper--pages devoted either mostly (greater than 50 percent) or solely to editorial copy--and that the mean size of these photographs was approximately 18.5 square inches. A little more than 64 percent of all of the photographs appearing in the sample newspapers were taken by an in-house photography staff. Of these locally produced photographs, 43.5 percent were classified as news photographs while an additional 23 percent were considered to be feature photographs. / Department of Journalism

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaf 28).

Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 133-140).

What newspaper readers see of an event is detennined by what photographs are seley ted and how they are presented. This thesis attempts to deconstruct the decision-making process around selection and presentation of photographs, with the aim of detennining what factors are taken into account in that process. It is based on the hypothesis that there must be a number of factors involved in decisions about news photographs, although these factors may not necessarily be consciously acknowledged in the decision-making process. The study involves a comparison of how five case studies of incidents of political violence, which occurred between 1990 and 1994 in South Africa, were used'in lrinewspapers. The focus on images of political violence is based on the assumption that politically and visually controversial images will give rise to situations in which gatekeepers will be caned upon to question their decisions. The research is based on qualitative research interviews with the decision-makers involved in the case studies. The analysis of the decision-making procedures is based on the theory of gatekeeping. The interviews are analysed in terms of Lewin's theory offqrces, which suggests that, depending on the context, some factors will manifest themselves as positive forces working in favour of the photograph being selected or well presented, while others will take the form of negative forces. The analysis sets out to determine what factors were taken into account in the decision::making process, what detennined their relative degrees of importance and how those relative degrees of importance determined the final outcome. Following an introduction to the practical case study research, dealing with general issues such as picture policy in newspapers and decision-making procedures, each case study is dealt with in turn. After an outline of the context in which the event occurred, the kinds of pictures that were available to the newspapers are described. Then the decisions taken about which to choose and how to use them are analysed in terms of dominant themes. These are themes such as newsworthiness, gruesomeness of content and concern abo!Jt what other media were using. The analysis examines the way the news context and the decision-making context determine the relative importance of the various factors present. Finally the study looks at the conclusions that can be drawn from the five case studies. The conclusion supports the initial hypothesis in finding that these decisions can be shown to have their basis in a fairly limited set of factors. The different results, from study to study and from newspaper to newspaper within a study, are determined by the changing news context and the decisi~n-making context.

Digital technology has now become pervasive at most publications in South Africa and in America. Pictures are routinely digitised by publications for ease of handling in the layout process, and this makes it relatively easy to alter or manipulate the pictures using computer software programmes. This thesis attempts to gauge the views of South African photojournalists about the digital manipulation of news photographs, and compare these to the views of American photojournalists. It is based on the hypothesis that South African and American photojournalists have different views of what is acceptable manipulation of news photographs, and that their reasons for this will also be different. This thesis also suggests that the manipulation of news photographs is ethically problematic and can damage the credibility of both the photojournalist and the publication in which the photographs appear. The study involves a comparison of the results from a questionnaire given to South African photojournalists and a similar questionnaire given to American photojournalists. The questionnaires were then supplemented by interviews with six South African photojournalists. The thesis then draws conclusions from the responses to the questionnaires and interviews. These conclusions partially support the initial hypothesis, in that there are some differences between the views of South African and American photojournalists, but, on the whole, these are remarkably similar. Photojournalists do seem to find the manipulation of news photographs to be ethically problematic, but they may find the manipulation of other kinds of images (eg fashion or soft news) to be acceptable. South African photographers also find the manipulation of images by other means (eg different lenses or darkroom techniques) to be more acceptable than Americans do. Although the underlying reasons for these views may differ, maintaining the credibility of the photographer and the publication does seem to be the major issue for avoiding digital manipulation. South African photographers seemed to think that if the photographer had done his or her job well, there would be no need for manipulation, and both groups (but especially the Americans) felt that manipulation could often be equated to lying to the reader, and that this might damage their reputation, and that of their publications.

No description available.

In both Mexico and the U.S., abortion rights protests have been taking place in recent years, but while Mexico is moving forward with the legalization of abortion, the U.S. is going in the opposite direction with the overturning of Roe v. Wade. Through framing, journalists select salient information, shaping audiences' understandings of social movements. The protest paradigm suggests that due to journalistic norms and routines, journalists tend to focus on disruptive acts, which can stigmatize the protest. Additionally, scholars have stated that men and women photojournalists have different approaches to covering certain topics. This cross-national research combined a content analysis of photographs in U.S. and Mexican media with in-depth interviews with photojournalists to determine if photojournalists in each country are reproducing the protest paradigm and if there are gendered differences in how they photograph abortion rights protests. The results revealed that women and men photograph differently, with women capturing more intimate photos; however, photojournalists' gendered experiences are also influenced by how protesters perceive them. Furthermore, the study suggests that photojournalists from both countries are questioning objectivity and are attempting to move away from the protest paradigm. This research provides valuable insights into visual framing theory, protest news coverage, and gendered norms in photojournalism.

This dissertation analyzes Life’s early coverage of the Cold War (1945-1954) in order to explicate this publication’s creation and reinforcement of prescriptive attitudes about this ideological engagement through photographically illustrated news. By uncovering Life’s editorial approach this project proposes a new diagnostic for evaluating documentary images by re-configuring Hayden White’s incisive theory of emplotment—the process of engendering historical narratives with meaning— through semiotic models proposed by Louis Hjelmslev and Roland Barthes, thereby offering a useful tool for future scholars to re-examine modern media’s transition towards prizing visual immediacy over critical engagement. Life’s editors’ link narrative devices and rhetoric with photographs to make these images appear as first-hand experience and function as objective conclusions. Life characterizes the Cold War as an epic moral struggle between the US and USSR, and its 1943 special issue on Russia acts as the comedic prologue to this narrative by distinguishing these ideologically disparate wartime allies. After post-war agreements fail, this congenial atmosphere swiftly transitions into another battle between democracy and tyranny, defined through literary conventions. Life employs synecdoche and allegory to encode photographs of individuals as icons of valorous populations (Americans and Eastern Europeans) and to symbolize concepts (democracy and charity). Metonymy and irony transform photographs into direct signs of Communism and visual evidence of its degeneracy. Life’s comic presentation of Marshal Josip Tito contrasts with its satiric coverage of Senator Joseph McCarthy to direct readers’ attention towards the best and worst possible courses of action regarding the Communist menace, at home and abroad.

The diploma thesis Medium in the process of change: photography from smartphones and other mobile devices in the context of professional photojournalism analyzes the use of smartphones and smartphone photography in current professional photojournalism. In the first part of the thesis, the main focus is mainly on theory. It describes the pictorial turn, current trend in vizualizing information and the retreat from text n behalf of visual information. The second part is devoted to the description of the historical approaches to photography and the ganges of the photography from analog to digital to smartphone photography. The third part of the thesis focuses on description of smartphones and tablets and it also focuses on the description on smartphone and tablet applications for editing and sparing of pictures. The fourth part analyzes the use of smartphones and smartphone photography in media by media professionals. It focuses on the use of smartphone photography by war photographers and by other professional photographers in distant countries, natural disasters or at sporting events. The last part is devoted to detailed interviews with professional photojournalists Tomáš Tesař and Milan Jaroš who have professional experiences with smartphone photography.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Laurence A. Clement, Jr. / Advancements in technology, architecture, landscape, planning and design, and education are being pursued in the 21st century. Unfortunately, the campuses of higher education institutions, which promote such advancements, do not reflect the vision of innovation and creativity. Rather, the exterior environments on college campuses portray a 19th century gardenesque landscape aesthetic, which emphasizes a “park-like” appearance and discounts ecological functions. The Kansas State University campus evidences a gardenesque aesthetic that arguably is not performing socially or ecologically to its fullest potential. This Master’s Project and Report uses an open space on K-State’s campus, Coffman Commons, to challenge its aesthetic performance. Campus landscape aesthetic performance can be improved by designing a community amenity that celebrates ecological processes, especially regarding stormwater, and involves the campus community in the design process. A conceptual framework, rooted in the Vitruvian Triad, directs the project’s methodology. Methods of photojournalism and design are conducted. Photojournalism is used to collect aesthetic responses of Coffman Commons from K-State students, faculty, and staff. Their photographic and textual responses inform the design process. The photography method allows each participant to confer importance to aspects of the landscape that moved them. Through photographic coding and content analysis, commonalities are discovered in the landscape with which each person identifies. The participants’ written descriptions further inform an understanding of expectations and hopes for Coffman Commons. Influenced by the photographic research and guided by set goals and objectives, the design method allows the innovation of a contextually specific and personable design solution for Coffman Commons. The design exhibits two community amenities which invite social activity to Coffman Commons. The amenities incorporate visible water systems (rain gardens and dry swales) - increasing the ecological performance of the Commons, and provide research opportunities for piezoelectric technology. The design also features inscriptions which honor Dr. Coffman and K-State Distinguished Faculty. This Master’s Project and Report transforms a gardensque campus landscape into a high-performance landscape that responsibly manages stormwater and enriches user experience.