Exercise - Design Theory and Published Layouts

In preparation for Assignment Three I will research the various page layout options available from contemporary practice, together with some of the theory of basic layout design. Examples from magazines are to be included to demonstrate the design principles.

Part One
 

Basic Layout Design.

Design, ordering and arranging elements into a scheme into a layout that gives the best outcome. This is not generally the work of a photographer (although probably more so with the ease of self publishing) and is more often the domain of an editor or artist in a production team. Following any predetermined rule is likely to result in static and uninteresting work but there are five basic principles of design that a photographer should be aware of.

1. Contrast
2. Balance
3. Proportion
4. Rhythm
5. Unity

Every good layout will incorporate in some part all of the above.

1: Contrast

Size.

Two equally sized images will detract from each other and cause confusion as to which one should the viewer look at first. When making a layout with two images a decision must be made which is the most important and make that the bigger one on the page.

 

 

Poor layout with two similar sized images

Two image layout with one dominant image

 

 

1. Shape

 

Repetition of the same shape for important compositional elements will tend to make for a monotonous layout and lack interest.

 

1.1 Tone

 

A page layout should have a pronounced tonal range. Through the tonal range of the photograph to the white of the paper and the grays of the typeface there should be a certain amount of black. The type of photograph will influence this decision. A high key image will benefit from a light typeface and an image with a lack of bold tones will be better served using a bold typeface.

 

1.2 Direction

 

Each unit of a design layout (unless they are equal) points in the direction of the longest dimension. A long vertical photograph points up and down and a large block of bold text will point in the direction of the largest unit. Some working in this field feel it is important to stop each design unit from pointing in a certain direction by using another unit at right angles, therefore carrying the eye to the next unit in a preconceived order.

The careful use of the white space (the area of white paper between the design units) brings together the shapes and perceived direction and order. It also plays an important role in the contrast of size, shape and tone.

 

 

 

Size Contrast but all Vertical (Poor)

 

 

 

Improved Directional Contrast (Better)

 

 

 

Units at Right Angles (Good)

 



2. Balance

 

The design units within the layout must appear to belong in the space they occupy, with a look of stable equilibrium. None of the design units, whether body, headlines, pictures or cut lines should struggle for position or look as if they are about to fall over or fall out of the page. There are no hard and fast rules which will determine a successful balanced layout. Experience with trial and error will eventually bring results although there are four factors which are a help to start with.

1. The Focal Centre
2. The Tone of the Units
3. The Size of the Units
4. The Shape of the Units

 

 

 

The Focal centre of balance in a layout is on the vertical centre line somewhere between the two horizontal lines dividing the layout into thirds and halves respectively. In the illustration above the mobile telephone is on the focal centre point.

Design units of similar size, tone and shape will form a perfect balance if they are placed equidistant from the focal centre.

3. Proportion

Proportion is the size relationship of the various component units to one another or to the complete layout. A pleasing layout has a great deal to do with how space is divided and obvious proportion is often considered as poor proportion. The more subtle the scheme the better, with ratios of 1 to 3, 2 to 5 and 3 to 5 offering better effect than say 1 to 1.

 

4. Rhythm

 

This is defined as a regular recurrence of design elements and is characterised by separation of form, development of a graduated tone, repetition of common tone and interrupted rhythm. Any of these techniques impart a feeling of movement or "flow" to a layout.

 

5. Unity

 

The units of layout must be assembled in such a way as to form a unit, or single impression. If the units are scattered around the page visual confusion will occur. The eye must move easily from one design element to another so that the various parts assimilate into a logical order.

 

Layout Styles

 

The five principles of layout (contrast, balance, proportion, rhythm and unity) are difficult to express equally in every piece of creative work. The layout artist should draw upon knowledge of each to add appeal to the page. There are three design concepts that most work will fall into. They are classical, editorial and modern.

 

Classical layout consists of two facing pages as in an open book with a narrow gutter dividing the type, wide margins, top sides and bottom.

 

Editorial layout uses pictures, headlines, cutlines, copy and other design units grouped into a single continuous mass. The layout is characterised by two large units: a unit of pictures and display matter and a unit of text

 

Modern format is based on simple geometric arrangements of lines parallel and at right angles to each other, an internal framework holding the design units together.

 

 

Part Two

 

Examples of contemporary practice (limited to Editorial examples)

 

 

 

 

  © National Geographic Magazine Fig 1.

 

 

Fig 1. is a good example of the layout artist using the Focal Centre of the page to attract the viewer with bold headline text and one dominant photograph. On the left hand side the word "Chernobyl" is positioned on the vertical centre line and exactly within the one half and one third page division that form the Focal Centre. On the right hand side the photograph is on both centre lines although the main feature within the image (the long sweeping curve of lights) is within the Focal Centre zone.

 

Included in the above are good use of tonal contrast within the text. The text has varying size and font which provides a tonal range while the use of white space makes for an airy and light feel.  The greater area of white space above the layout is an inverse of the traditional architectural proportions ( 4 bottom, 12 main, 3 top) and works well in a story where the natural order was completely reversed after the explosion. Balance is achieved by utilising the Focal Centre within the text and photograph without further text on the right hand page.

 

 

 

© National Geographic Magazine Fig 2.

 

 



Fig 2.shows the skill of the layout artist with excellent use of space utilisation. The standard editorial four column arrangement has been broken by the inclusion of a photograph spanning two and a half columns. There is tasteful use of white space above column four and the area below the caption. The full bleed photograph on the left hand side and top introduces balance to the right angle text layout.

 

 

 

© Tatler Fig 3.

 

Fig 3 is a variation on the Classical layout and makes use of the shapes within the photograph to complement the text. The two page layout has balance and rhythm. The photographs have been carefully chosen and are the dominant design units. The text is well balanced with white space above and makes good use of the capital T (Not sure if that is a feature of Tatler or a coincidence). The caption on the left hand side is placed neatly within the steps and fits the space and is level with the end of the main text. The full bleed image on the right has the same boy as the left image and this provides more rhythm and balance. The image also has the correct composition of elements within it to keep the layout within the page. Dark areas of book case and the left facing chair make a suitable frame.

 

Conclusion:

 

Prior to this research I had not aware of the laid down rules of page layout and composition. I am now more aware of the intricacies of the layout artist/editor and fascinated by the use of rhythm and balance. Clearly there are occasions when the rules can be broken but for most editorial uses the pre determined standards seem to work. The techniques become obvious when there is an understanding and it is now difficult to look at any printed mater without being aware of the good and bad examples. As a photographer I am not likely to manage a layout but it is an interesting subject to continue with and develop a notional amount of skill.

 

 

References:

 

Kerns, Robert L: Photojournalism - Photography with a Purpose, Prentice Hall

 

National Geographic Magazine, December 2013

 

National Geographic, Greatest Parks of the World 2014

 

Tatler, August 2014

Photojournalism and the Tabloid Press

Photojournalism and the Tabloid Press

In this exercise we asked to look at Karen E. Becker's essay "Photojournalism and the Tabloid Press". An essay contained within the PWDP course reader "the photography reader" edited by Liz Wells.

Basic contention is that

Photography as a part of the world of journalism is considered by some to be a distraction from the intellectual application of the serious press and its use is to be limited within the industry. It is thought that the use of photography (in a trivial sense) is to gain popular appeal amongst tabloid newspapers which are seen as entertainment.

The conclusion is that

Photography in the elite press has attained a status of popular art by the use of well edited photo essays, with high quality imagery. However within the tabloid press the output is often heavily overworked with flat composition or haphazard candid shots by impulsive photographers consumed by events. Tabloid press photography is populist, is a vehicle for the news, and often supports and contradicts the standards of journalistic practice.

The Conclusion adds to the opening statement ?

Becker uses the conclusion to bring together the researched elements of the essay to justify her opening statement. Her thesis is that the tabloid press uses photography in a popular sense rather than through the intellectual discourse of the elite press. Her conclusion has clearly set out examples of how she believes this is taking place.

Main part of the essay 

The early picture press

Becker takes us through the early history of illustrated publications stating that the earliest illustrated magazines were launched in the 1840's. They included The Illustrated London News, L'Illustration and Harpers Weekly to name a few. Although photography arrived in 1839 the techniques for reproduction in newsprint had not been invented and the method of illustration was from wood engravings up until 1873. Artists covered news events and a team of engravers would work through the night to meet the press deadline. Photography was being used for image capture although the cameras “likeness” was considered too stiff and the camera too much of a machine. The engraver often using a photograph as a referent with a note attached describing the process as being “from a photograph”. With the invention of the half-tone process for newsprint the immediacy of the photograph became prominent. Colliers Weekly employed English photographer James Hare as its primary correspondent during the Spanish American War (1898) and it was his success together with technical innovation that promoted growth and the potential for advertising in newspapers and magazines. Becker does however state with reference to Kahan 1986 and Hassner 1977 that there is little evidence that photography had increased magazine sales although advertising revenue had increased from 360 million to 542 million dollars during the period from 1890 to 1900. Becker does not state why the sales increased.

The tabloid = sensationalism=photography

In this section Becker describes a number of instances where the early tabloid press starts a trend of using photographs to deliver sensational coverage of news events that were to many outside of the established ethical practice.
It was in the 1920's when large sensational photographs first appeared featuring violence, sex, etc. which according to press historians in the US was a low point with loose morals and loss of ethical standards that could threaten public and private life with the New York Daily Times being the main culprit. At around this time with increasing sales figures it became clear that a divide existed between the elite and the tabloid press, the tabloids profiting from the trite, superficial and the tawdry through events and personalities. Ever on the lookout for news worthy events the tabloids looked at the world of the judiciary and legal bodies where photography was banned. Examples are given by Becker of a photomontage being made of a semi naked woman in court and the trial of Ruth Snyder in 1928 when a photographer smuggled a camera into the press area and photographed her execution. "DEAD" was the heading over the image in the Daily News extra edition which sold one million copies. Becker quotes William Taft in 1938 who believes that "the free use of photographs in picture newspapers and magazines has in measure defeated their own object, presumably that of disseminating news" His contention is that photographs are glanced at, the journal thumbed through then thrown away and that the pictorial press must address this if they are to command the respect of intelligent people.

The daily press 'supplements' the news.

Becker reiterates some of her previous text with a note that photographs were rare in daily newspapers in Europe and North America up until 1920 with the exception of the tabloid press.
The daily newspapers of the late nineteenth century had begun to print weekly supplements that were illustrated predominantly with photographs and the major New York newspapers all had a Sunday supplement printed on the rotogravure presses and were a response to the popularity of photography. An interesting comment is how the daily editions developed a format for their supplements to insulate them from being downgraded by the photograph.

The picture magazines' legacy

Although not a part of the history or study of the tabloid press Becker takes us through the history of the mass circulation picture magazine, discussing its photojournalistic discourse through practice and aesthetic values. Most notable (during the 1930's) they introduced the genre of the photo essay as a way of documenting both the ordinary and the extraordinary in the same light. Previous assumptions that 'high' culture was the home of the aesthetic were now challenged and the photography of these journals was accepted as popular art and became a subject for museum collections. The status of  photojournalism had reached unprecedented heights with rising circulation and the acceptance of the mass produced as popular art meant the photojournalist was considered an artist. This elevation of the genre had done nothing for the tabloid press whos work was still considered as 'low' culture.

The contemporary domain of the tabloid.

This short section looks at the elite and tabloid press, their 'look' and content and how the overlap is differently presented. The news stand is a common ground for selling the elite and the tabloid and it is here that they share a look. The front page in each is almost always a poster like format with a large photograph, a headline and a single story. The tabloid look will often be brash with typically a celebrity being revealed with a style associated with a tabloid. The broad categories for a front page are; ordinary people in a newsworthy incident, celebrities and an event and it is within the style of photography used to depict these that one can make an analysis of its value. The following three sections look at these categories in more detail.

Plain pictures of ordinary people.

Very plain photographs that present ordinary people. I think Becker is referring to the working class but she does not elaborate on 'ordinary' only indirectly by reference to living room, taxi driver and woman losing job discrimination suit. However, Becker is making the point that when the extraordinary occurs to the ordinary person it is a news story and the type of photograph presented is often taken in their house, on a sofa or in the kitchen. People upset or happy by the event looking straight into the camera have a resonance with the viewer and establishes them as equals, assuming the viewer is a tabloid reader. These type of photographs dominate although we are reminded of the I.D photograph, often used when there is tragedy and loss, and the action image where the ordinary person is involved in an event, thus making them newsworthy.

Celebrities

The celebrity photograph is often a behind the scenes look at the ordinariness of these people, often taken in their home, in a manner that shows them happy and relaxed. Becker assumes that we know the person is famous, although we need not know who they are, which is a strange assumption. The view into a famous persons home is seen as a privilege, and again I am confused by this, as a view into anyone's home is a privalidge. The recognisable photograph is often one of them in performance as either an actor or sportsman and  places them in context. The tabloid press are interested in the candid image although it is often less candid than may appear, being semi staged to give this impression and the hope that they will be seen and photographed. True candid images are not generally used on the day by the tabloids, this being the market for the paparazzi who market their work to a wider audience (and income) in weekly publications. The true candid image is often poor technically, due its grabbed nature but fulfils the need to have that moment when the celebrity was off guard. Sekula (1984) states that there is ".....higher truth of the stolen image". The grabbed candid is used by the tabloids in the news event.

The news event.

News can be defined in many ways but our general perception (for national tabloids rather than the regional press which Becker does not mention) is the core national and international events that receive universal coverage. Photographs of the event as it happens will have people acting totally unaware of the photographer, although it is likely the photographer will have a strategy on how they will cover the event. Candid news photographs will often have the trait of being less than technically perfect, especially when looking at events of famine, natural disasters and war. In addition the photographs may be taken in poor light and bad weather, rendering them grainy and poor focus. In the tabloid this distinct "look" is part of the tabloid style.

Reframing the picture in words and layout.

Becker starts to bring together the elements of her essay in this section with the explanation of how the text and its relationship to the image is important especially when in the tabloid press. The text can be dramatic and often more so than the image, with sensationalism at its core. The text, often large with punctuation marks consists of one word as a statement of fact. The I.D. photograph, the source often being the police used in a news story connotes criminal activity is enhanced by text anchoring the meaning in an event. Text when used with the ordinary subject tells us of the reality of what is behind the image and eludes to the truth. Text associated with the celebrity is of a varied nature and has less of a pattern. The tabloid press often use text that is a direct quotation and this is seen as having an added nuance as it becomes a testimony if it is of the person in the image. The photographer can also become a part of the text, with quotes from them or description of how they worked under dangerous conditions to bring the images to the press. This however is at odds with the ideal role of the journalist as one who is completely detached from the event as the photojournalist becomes involved. The image we see on the page is not always that seen by the photographer. The rectangular frame is often changed to suit a page layout, arrows and circles added, text overlaid and the montage the most extreme of manipulation. It will after substantial modification no longer be a window looking out to form a natural representation. Most of these contradict what the reader will believe as unmediated and as such not a true representation of the facts. The tabloid press have no regard for the original image (and sometimes the truth) and persistently overturn this notion.

Conclusion.

Becker believes that "contemporary photojournalism has attained the status of popular art, outside the margins of the daily press", with the tabloid press inverting this cultural capital. Becker is looking for " cleanly edited photo essays" but instead finds "heavily worked layouts of overlapping headlines". She refers to the "decisive moment" (I assume as a HCB quote) with its idealised grace but instead finds flat, ordinary, haphazard and the awkward. The tabloid press therefore present us with photojournalism that is work of the serious and emotional while being against all the established standards and practices of the elite press.

My Conclusion on Becker's essay.

Becker has written a well thought through and realised essay. Her research backs up her claims and at no point is she entering into the unsubstantiated. My concern is that her collective use of the "press" has tried to encompass all daily, weekly and monthly printed output into one category, referencing the standards of the elite and the lack of acceptance by the tabloids. Her argument is seen from within the press industry with its standards but seldom does she refer to the commercial pressure being exerted on the tabloid press to sell copies and increase revenue and make a profit for the shareholder. Owners will be influencing the editorial content to achieve this and that influence is outside of a tabloid versus elite context and not referred to by Becker. In her defence on this issue it has to be noted that the essay was published in 1990 and was researched in the 1970's. Twenty four years separates Becker's essay and contemporary thinking/practices and this has resulted in my analysis being aligned to a contemporary view of the tabloid press.

Test

6x6 Kodak Portra 400.

 

I have recently been experimenting with film based workflow using a 6x6 Mamiya 6 and Kodak Portra 400, rated at 320 ISO. The negatives are processed by Peak Imaging and then scanned on my Epson V750 flatbed scanner. The negatives are held in place with a BetterScanning adjustable glass plate and wet scanned using Kami fluid and photographic grade Mylar. Software is Silverfast 8 Studio. The workflow within the scanning is still being developed and further tests are planned before I am convinced the best image quality is being achieved. The test frame above is here to check colour and tonality when displayed via the web. For the most part the workflow is designed for a printed output and the web versions are for general viewing and explanation.

Assignment 3. Second shoot - rejected (maybe)

The need for colour and the exploration of how this will work within the concept of an editorial on the world of a carer led to a second shoot with the Leica M9P and a 35mm lens. Once again the images needed to be complete fact with little manipulation and that is sometimes difficult as the success of my execution will depend on the photography being intimate and without intervention. My worldly confines have become a New (New) Topographics, there is no grand vista only the everyday and the mundane from a rather ordinary  interior landscape. It is therefore a study of how I live within this tiny space (compared to the world which was my previous space) and how I interact with it.

 

Side Window (Where stuff gets put)

 

 

I have at this late stage introduced a new criteria. There will be no pictures of my mother. At the outset I considered this but upon reflection there is no need and as a result her privacy will be retained. There will be images that show her presence in the house by inference and space.

 

 



Chair in kitchen near window

 

 

 

Front door and wheelchair





Chair and paraphernalia

Shoes and boots behind tumble drier

The images being considered (a selection above) are of ordinary subjects but they are not ordinary enough within themselves. This may prove to be difficult to achieve but the next shoot will be with the 6x6 film camera when I intend to make a set of images not too dissimilar to the above. The viewpoint is of concern as I believe I am trying to investigate too much at the moment and I need the camera to be an impartial witness not an advocate for the perfect photograph.

 

Assignment 3. First shoot - rejected.

I mentioned in the last posting that there has been a lengthy evolution in the making of the images for this assignment. My life as a carer has reduced my world into a small place and the images that I want to show are that intimate world of everyday banality using unconstructed photographs. The four below are part of the first shoot. The intention was monochrome (so I used the MM) to enhance the simplicity but I am not sure they worked for me. Monochrome could work but it is in itself semi abstract and I need to be true with the images and make them ordinary at every level. These were too graphic, I had used some tone grading techniques and felt I had over processed them. That's not to say they wont have a role one day, not right for here (assuming I know what right is).

Fridge Door
 

 Chair
 

 Kitchen Door
 

Utility Room



Assignment 3 - An editorial feature.

This is an inward looking story of the banality of my life. Due to circumstances that I dont need to share my lifestyle has changed considerably over the past year. From my own business as a consultant in the construction industry with work all over the UK and parts of Europe I am now a carer for an elderly disabled parent, a task which is mine to complete until times takes it course. My world is now within a third of an acre that is home, with the once a week visit to the supermarket, peppered with occasional visits for car servicing and the doctor. It is repetitious and banal.

To portray this through photography was it seemed an easy task. For the first week of shooting I used the Leica MM, a dedicated monochrome range finder, assuming that monochrome was the medium and that with its ability to make high quality images at 2500 ISO I would hand hold the camera. Images were OK but there was an element of artistry, especially when in dark rooms I used wide apertures and a resulting shallow depth of field. It simply didnt look banal, it looked interesting. Moving on I used the MM again with a tripod and shot at f16 with long shutter speeds. Less arty (in the defined sense) but for once for me monochrome was not working and I needed colour, albeit the subdued colours of and ordinary home. Another set (maybe 50 or so) were then shot on the Leica M9P using a 50mm lens at f16. The choice all along to use ragefinder type cameras I felt gave me the necessary feel of shooting something private, indoors. The Nikon DSLR equipment seems too commercial and not right, but thats difficult to explain. Once again though I was being overly creative, perhaps too virtuoso in my need to make work that is different. At one stage I was using a table top tripod on the floor and shooting from a height of 6 inches. This produced images that were interesting but for the wrong reasons. They may well be suitable for something later on and offer a different viewpoint if nothing else. Again I had to consider what it was I am trying to say. It should be banal, thats my life, so it needed to be simpler. The final shoot happened yesterday and it was simple, maybe being completed in 12 frames. I loaded the 6x6 with Portra 400 (rated at 320) fitted the 75mm standard lens, put the tripod at full height so the camera was at normal viewing height and took the photographs of my world. No special lighting so simple incident readings were taken, f16/22 as we see naturally a large depth of field and moved around the house on a journey visiting all the places of interest. The kitchen sink, the bathroom, the comode etc, thinking how different it would be to perhaps going the the Lake District and doing a feature on sheep farming or the North Norfolk Coast to photograph the crab fishermen. Those cliched routes are of course valuable as an editorial feature, as many people will never have seen those subjects and together with the overt scenery, interesting characters and possibilities to manipulate the images with increased contrast etc, their appeal is commercial if nothing else.Those opportunities will come back to me one day but not right now. My images will require the viewer to engage with the subject matter on a different level, to see metaphors and become engaged in my world via the photographs. The objects within the images will be familiar to an extent that they are passed by every day, but I am offering a chance to stop and look deeper, to consider the cups, the plates, knives forks, etc as objects of design. In a few days the negs will come back and I will scan and PP them, hopefully retaining the simplistic approach adopted so far.

I have been influenced to some extent by the work of Nigel Shafran (b.1964) although it was quite a surprise when I researched his work how similar it was to my own. This due in some extent to looking for others after I had made my own images, which is probably not the normal routine of research, plan, shoot. It is now clearer that the banal and the mundane do need to be photographed in an understated style with ambient light and long exposures. He resists the urge to construct scenes and I have also found it more real to not tinker with props, condemning the image with untidy composition which is after all how we are most of the time.

On reflection it may be asking too much that one roll of 12 frames will fill the brief (having made more than 100 or so digitally) but I will have to see.

Note Book

The Note Book

Because this learning journal is public, meant to be written in an academic style (that didn't bother me previously on Landscape) and visible to my tutor I am finding myself with thoughts and reflection that are not getting written here, due to lack of cogent thinking. For instance, I am fascinated by the poetry of Dylan Thomas and recently watched a TV programme about his life and major works. It didn't focus too much on "Under Milk Wood" (because thats not really a poem) but did look at some other work that interested me. The notes I made are in the note book, scribbled as I watched and have some extremely sketchy bullet point ideas about using poetry alongside photography in a slide show piece of work. To reproduce it here would lose the essence of what I am thinking because of the formalised natured of the keyboard generated text. The notebook will therefore be submitted for assessment alongside this more structured journal. It comes with caveats and warnings that the readers will find it often contradicts what I later write here and in some cases it will be flawed, bigoted and contain some unsustainable thinking.