基于社会化媒体的手机新闻摄影传播分析——以Instagram为例

手机新闻摄影依托于自身的媒介特性,近年来在图片传播中扮演了越来越重要的角色。在社会化媒体飞速发展的趋势下,手机新闻摄影正改变着传统新闻摄影的传播模式,在社会化媒体平台上发布的手机新闻摄影图片有了更深远的传播力,不仅拓宽了图片传播的路径,同时使得信息发布者、受众的社交网络得以扩散,更大范围提升了影像传播的影响力。本文以Instagram为例,就社会化媒体时代的手机新闻摄影传播进行了探讨。     

社会化媒体下的手机新闻摄影传播分析

随着信息技术不断发展,社会大众传播手段日益多样化,大众的手机摄影对新闻信息传播发挥重要作用。手机新闻摄影依托于媒介特性,在图片传播中扮演着重要的角色。在社会化媒体背景下,手机新闻摄影改变传统新闻摄影传播模式,在社会媒体平台发布手机新闻摄影图片具有深远的传播力,使得信息发布者与受众社交网络扩散。手机新闻摄影在新闻摄影生态中扮演着重要的角色,手机新闻摄影影响力与参与性增强,但同时面临不少问题。本文对社会化媒体下手机新闻摄影传播进行探讨,分析手机摄影新闻传播的负效应,提出手机摄影应用建议,为手机摄影应用提供参考。     

论新闻图片的质量把控

随着图像数字化的普及,新闻摄影与网络、手机的联姻,使新闻图片的生产与传播都变得极为便利,当今摄影记者和大众传媒已不是新闻图片的唯一生产者和传播者,业余爱好者同样可以参与其中。摄影记者面对的竞争压力不仅源自业余爱好者队伍,由于媒介技     

试论手机媒体对新闻传播活动的影响

手机改变了新闻摄影与摄像,将大批受众纳入到新闻图片、影像采集者的行列中.手机给记者采访带来巨大的方便,对新闻制作提出新的要求.手机为受众带来新的媒介体验,使用户同传者的身份界限变得模糊,成为用户与新闻节目互动的工具.     

新闻业务研究的新扩展——评《新闻人物素描》

自从新闻学学科建立以来,在学科层面上主要分为新闻理论、新闻业务和新闻史,这构成了新闻学学科的基本体系.新闻业务如新闻采访、写作、编辑、评论和摄影等,是当代新闻工作者必备的基本技能.自从摄影被应用于新闻报道过程中,新闻图片基本上都由摄影记者采集,这是时代的进步,也是新闻对真实性、时效性的追求.一方面,新闻摄影图片能够真实反映新闻现场,还原新闻事件真相,增强新闻真实性.另一方面,对新闻摄影图片的使用能够使新闻报道更加便捷、迅速,符合新闻对时效性的追求.在摄影技术不断发展的今天,人们似乎已经忘记了有一种相对原始的新闻图片——素描图片.     

新媒体语境下手机摄影的传播特性与效果

当前,手机摄影已经被广泛应用,在网络话语空间中,“无图无真相”的视觉追求促使社交媒体用户更多地倾向于图片表达,用手机拍摄后上传图片.本文分析新媒体语境下手机摄影的传播特性和影响传播效果的因素. 手机摄影的“使用与满足” 手机摄影传播过程中,大众作为手机图片的拍摄者和发布者,占据的是控制地位.     

探究数字时代的新闻摄影

岁月的车轮已驶入了数字时代,数码相机和摄影手机"飞入寻常百姓家",这让摄影变得更加大众化。相比传统的胶片相机,数码相机有着无可比拟的优势:拍摄成本低、智能化高、传输方便等。然而,数字时代的到来,也悄然影响着新闻摄影。高智能化的相机让拍摄者少了思考,多了浮躁;图片处理软件的应用,让照片的后期加工更加方便,一些"假照片"见诸报端或网络,造成新闻失实。因此,在数字时代,摄影记者更应自觉恪守新闻职业规范,拍摄出真实、精彩的新闻图片,还原新闻事件,更好地发挥图片新闻的视觉优势。     

手机摄影为报纸提供新闻照片的可行性研究

本文讨论了手机摄影为报纸提供新闻照片的可行性以及运用过程中可能出现的问题及其解决方法,以期手机摄影能成为为报纸等媒体提供新闻图片的重要来源。     

全媒体时代新闻摄影记者的应对

全媒体时代,新闻摄影的主体、技术质量的保障、技能技法的应用和图片传播的方式向多元化、数字化、小型化、大众化方向发展,尤其是手机的智能化使摄影迎来空前繁荣,影像呈现爆炸式增长,人人皆可拍摄、分享、编辑和点评图片成为现实,摄影不再是专业摄影记者的专利,新闻摄影记者的生存空间受到     

数码时代与新闻摄影

随着数字化技术的不断普及,摄影数字化和网络的便捷性在新闻采编工作中的作用已充分体现出来,数字时代对新闻摄影的影响已不仅仅停留在新闻照片的物理形态改变和传输手段的先进上,且正迅速改变着新闻摄影的一切要素：从摄影手段到图片质量,从记者采访到发稿时间,乃至新闻摄影所能胜任的环境和题材,[第一段]     

Back to the 1990s? Comparing the Discourses of 20th- and 21st-Century Digital Image Ethics Debates

In 2010, New York Times photographer Damon Winter sparked controversy when he used an iPhone equipped with the Hipstamatic application to produce heavily filtered, Polaroid-style front-page photographs of U.S. troops in Afghanistan. The debate over whether such images were photojournalism, or merely photographs, was reignited the next year as some of his images were honored in one of the country's most prestigious photojournalism competitions, and the practice of using filter-friendly apps for journalism spread. This article compares professional discourses around such journalistic use of smartphone apps with discourses that developed earlier in the digital era around digital image manipulation in Photoshop, with the goal of proposing ways to interrogate imaging technology controversies yet to come.     

THE REALITY OF A FAKE IMAGE News norms,photojournalistic craft,and Brian Walski's fabricated photograph

A few weeks into the start of the Iraq War in 2003, the front page of the Los Angeles Times featured a large photograph depicting a dramatic scene in which a British soldier motions to Iraqi civilians to stay down while a father carrying a child creeps across the dirt. The image ran in several US newspapers before it was discovered to be a composite of two different images cobbled together by the veteran photographer, Brian Walski, on his laptop in Basra. The Los Angeles Times immediately fired Walski and, along with other journalists, commented publicly on the wrongness of his actions while reasserting the soundness of their reporting. In keeping with paradigm repair, many in the US journalistic community eschewed questions surrounding the complex practices of photojournalism to instead insist on the principle of objectivity as a guiding news norm. This view omits much, including the importance of craft and the role of aesthetic criteria in photojournalism. Especially in war, journalism privileges the dramatic image to communicate conflict. From this perspective the Walski incident raised issues related to the proliferation of digital photography and editing software, the visual representation of war, and the uneasy relationship between images and reality.     

政治文化视阈下的民众动员——《真相画报》及其社会影响

新闻事业和社会运动之间的互动关系,是中国新闻事业史上的典型现象。创办于1912年的《真相画报》是中国近代史上著名的美术刊物和大型新闻摄影类革命画刊,其艺术革命的政治文化追求如何实施了社会的民众动员?画报的传播共同体如何在一个报刊的公共舆论空间表达政治文化认同和价值共识?民主革命思想的表达和社会动员的独特机制是什么?文章试图从政治文化视阈,探究《真相画报》在传播宗旨、传播共同体地缘和学缘的精神交往等方面生发报刊的民众动员效应和社会影响的建构性意义。     

The Future of Professional Photojournalism

The work practices of the professional photojournalist are currently undergoing rapid change in the digital era. New technologies, new platforms and new methods of visual storytelling are exerting a range of pressures and influences that require photojournalists to adapt and respond in different ways. The changes provoke a number of questions that are critical to the future of professional photojournalism: What are the new risks being faced by photojournalists? How are the transformations in the media economy affecting photojournalists’ employment? What does this mean for image quality? How do photojournalists think about the manipulation of images or the staging of events? Given the rise of citizen journalism, digital technology and social media, will there even be professional photojournalists in the future? This paper presents some of the results and new analysis from the first international study into the current state and future of professional photojournalism, with a specific focus on risk and on perceptions of risk among photographers. The results indicate a high degree of risk is experienced among professional photographers with a very strong correlation to the country in which they are based.     

The Tyranny of the Empty Frame

This study explores the notion of the “tyranny of the empty frame” within the online departments of the two leading Slovenian newspapers, Delo and Dnevnik, where online journalists—newsworkers with little or no training or experience in photojournalism—are required to provide each news item with at least one photograph. By adopting newsroom observation and in-depth interviews with online journalists working for Delo and Dnevnik, we investigate paradoxes associated with this imperative. Despite often being faced with a desperate search for “any image,” online journalists at both institutions are reluctant to use citizen-produced photographs—their use appears to be an aberration rather than a norm. Instead, they frequently resort to using what they refer to as a “symbolic photograph” to overcome the lack of visual material originating from the reported event. This move from indexical–iconic nexus to metaphoric visual communication signals challenges to the dominant paradigm of press photography. At the same time, we suggest that we should not view the phenomena of citizen photojournalism as a radical break with the past but as the latest development in a series of interrelated processes, intellectual projects of modernity, such as ocularcentrism, journalism, capitalism and the nation state.     

作为报道工具的新闻摄影：从荷赛数字叙事竞赛(2011-2018)看新闻摄影的变革

新闻业在数字转型过程中不断更迭自我定位,新闻摄影亦于其中寻求自身突破,其专业和规范都在变革之中发展完善。透过荷赛数字叙事类竞赛所建构的专业话语可观察到,内容形态的跨媒介表达和团队职能的多重分工是评审端和表达端站在各自功能主义立场对"数字叙事"这一概念作出的解读;清晰而有节奏感的故事脉络与各类媒介元素的有机结合已构成优秀数字叙事作品的必要条件;技术、创意与成本投入等方面的剧变并不能掩盖视觉故事与静态影像的恒久价值。     

“Really Social Photojournalism” and a Photojournalistic Changing of the Guard: Observations and Insights

In a changing technological ecosystem where photojournalists are attempting to reach larger audiences, they are forced to serve multiple masters and social media platforms. The tools and terminologies that these visual storytellers and communicators are using are also changing, which forces many of them to grapple with their roles and how best to contribute their craft within a market that is drastically different than two decades ago. This study asked 104 photojournalism practitioners, academicians, and administrators to define and explain the term “Really Social Photojournalism” and if it might rise past the level of jargon in a changing vocation? The findings reveal there are many complexities with this new term. But there are also opportunities for RSP to evolve in the photojournalism ecosystems with the appropriate support of its various stakeholders.     

‘Real Pictures of Current Events’

Objectivity has been regarded as a central ideal of American journalism in the early twentieth century. The concurrent emergence of photography in the press is rarely associated with this development. The article explores the photographic legacy of journalistic objectivity by discussing a crucial phase in the development of reproduction media for images, the transition from wood engravings to halftones. The former was the dominant mode of ‘illustrated journalism’, the latter became the dominant mode of reproducing photojournalism in print in the twentieth century. The halftone process introduced an equivalence between photographs and their reproductions, obliterating the mediation that had taken place in a code of reproduction that was almost imperceptible. In the contested adoption of the halftone process, it is argued, a shifting valuation of photographs can be observed that prefigures the formulation of objectivity as a transparent code of mediation in journalism.     

数字时代视觉表征的变化——对“我们:数码相机记录的影像生活”摄影比赛作品的内容分析

数字时代的新闻摄影深陷信任危机,目前对新闻摄影真实性的论述往往从职业道德和规范建立的角度出发展开研讨。本文使用内容分析的研究方法,对“我们:数码相机记录的影像生活”摄影比赛94名大学生的摄影作品进行统计分析,通过研究数字时代视觉表征的变化,分析新闻摄影在数字时代面临的新的视觉文化环境。     

图书馆与书店合作移动外借服务流程及其信息交换探索

[目的/意义]研究应用智能手机实现图书馆读者在书店借书的外借服务流程及其信息交换。[方法/过程]借鉴国外图书馆读者决策采购(PDA)的基本原理和具体实践,运用手机图书馆技术实现读者、图书馆、书店三者之间的信息交换和互操作,从而实现图书馆与书店合作开展移动外借服务。读者在书店看到想借阅的图书,可以用手机扫描该书的ISBN条形码获取图书的基本信息,手机应用程序将此信息与图书馆的馆藏目录和征订目录进行比对,以决定读者是否可以在实体书店借阅该图书,或者将该图书推荐到图书馆的荐购目录中。[结果/结论]读者、图书馆、书店三者之间的信息交换和互操作是实现图书馆与书店合作开展移动外借服务的关键技术环节。