npase course development primer

General Course Development Primer

There are several basic steps to developing a course. However, every step pivots on a single

item—the objective. You have to start by defining the course objective, and then begin breaking

the course down from there into smaller, manageable parts.

1) Develop a one-sentence course objective. This is the aim of the entire course and must

be stated in terms of skills that can be physically demonstrated and measured (for

convenience, it is recommend you state the number of training days as part of the course

objective):

a. Course Objective: Upon completing this five-day course, students will be able to

create basic photojournalistic products.

2) Once you have the course objective written, you need to decide your target audience.

WHO are you going to aim this level of training at? Again, you need to state this in one

sentence or as a short list:

a. Target Audience: U.S. Navy Reservists, non-Mass Communication Specialists,

and undesignated strikers to the MC rating.

3) Once you have these two items in place, you can start brain-storming about what are the

most important skills and knowledge that you must convey within the allotted training

time. This is a bullet-point list of topics that will be expanded shortly (the following

bullet points are an abbreviated list for sample purposes only):

a. Focus

b. Composition

c. Captioning

4) These bullet points will be come the Terminal Objectives, the objective for each lesson

plan. Again, the lesson plans will be indexed by a single sentence that describes a skill or

knowledge set that can be demonstrated and measured:

a. Terminal Objective: Upon completion of this lesson, students will be able to

demonstrate proper focus control

b. Terminal Objective: Upon completion of this lesson, students will be able to

demonstrate various types of photographic composition

c. Terminal Objective: Upon completion of this lesson, students will be able to write

basic photo captions according to AP Style

5) Once you have the Terminal Objectives listed out, you can build a course outline to show

exactly what material will be covered on what training day. This outline will be

combined with the Course Objective and Target Audience to create a baseline Training

Plan Index (TPI).

6) Once you have these Terminal Objectives, you will break each lesson plan down into the

Enabling Objectives that will reach that specific Terminal Objective. For example, we are

going to focus on photographic composition. As with the Course Objective and the

Terminal Objectives, each Enabling Objective will be written as a statement of skill or

knowledge that can be demonstrated or measured. Once you have these Enabling

Objectives in place, you have your lesson plan outline and can start building in the course

content you want:

a. Terminal Objective: Upon completion of this lesson, students will be able to

demonstrate various types of photographic composition.

i. Enabling Objective: Demonstrate Rule of Thirds

ii. Enabling Objective: Demonstrate Framing Techniques

iii. Enabling Objective: Demonstrate Leading Lines

iv. Enabling Objective: Discuss the different effect of high and low camera

angles on composition

b. Notice the word “Discuss.” This is a legitimate and measurable condition—just

as much as “Demonstrate” is. There are some cases in which the instructor needs

to ensure the student has theoretical knowledge before sending them out for

practical exercises. If the student can intelligently discuss the subject, then the

student has met the Enabling Objective.

7) As stated earlier, if each Terminal Objective is a single lesson plan; the Enabling

Objectives are the lesson plan’s sections. When writing the lesson plan, you need to give

clear directions to the instructor (the idea being an instructor not familiar with the topic

can still help students achieve stated objectives by having all necessary knowledge, data,

and directions in the lesson plan. Tell the instructor when to STATE information that

must be conveyed. Frequently direct them to ASK questions to gauge student

knowledge. The lesson plan should have clear indicators when supplemental materials

(PowerPoint slides, handouts, etc.) are to be used. However, remember this: THE

LESSON PLAN IS THE FOUNDATION OF THE COURSE DEVELOPMENT

PROCESS, NOT POWERPOINTS OR OTHER MATERIAL. All other material is

supplemental.

8) For every 50 minutes of instruction, a 10-minute break should be taken to ensure students

stay focused and alert. This break should be built into lesson plans that go more than one

hour so each instructor will consistently take the break at the same place.

9) Upon completion of the lesson plan, a “Final Review” of that lesson plan should be

conducted to ensure the students have gained an adequate theoretical knowledge before

sending them out to do any practical exercises, or moving on to the next lesson plan.

10) Each lesson plan should have a cover sheet that states the total amount of “Instructor

Hours” (time the instructor will be lecturing), “Practical Exercises” or “Tests” (time the

students will need to complete these tasks), and, if necessary, the amount of time for

“Peer Review” if you are going to have the class review each other’s work as a group.

11) Once all the lesson plans are completed, a copy of each plan’s cover page will be added

to the TPI. Once this is done a comprehensive list of supplemental training aids

(PowerPoint’s, handouts, etc.) will also be appended to the TPI. This will complete the

TPI and create a master, quick-reference file of that course’s training material.

12) A properly run training program will have a development group of subject matter experts

(SMEs) review the TPI and courses annually. These SMEs should ideally be composed

of members of your command AND members from your customer commands to ensure

you are providing relevant training.

13) A sample lesson plan is appended to this primer as an example of the finished product.

Mass Communication Specialist (“MC”) 101

Training Day 01

Photojournalism Ethics: It’s All Pixels

Instructor Hours: 2 Practical Exercises: 0 Peer Review: 0

Supplemental Material:

1) PowerPoint: “Day 01b – Ethics” 2) Handouts:

a. “Military Mistakes” 3) Videos:

a. Stephen Glass Interview

Training Day 1: Photojournalism Ethics - It’s All Pixels

Trainer Notes STATE: Welcome back! Everyone back have a good break? Ok, we’re going to take a look at ethics in photojournalism. This is perhaps one of the most critical areas to discuss because, in the world of pixels, ones and zeros, the only think you have backing up your work is your word. Without credibility in the bank, you will be useless as a photojournalist Handout: Army Mistakes STATE: Let’s look at this handout briefly. DIRECT: Have a student or two volunteer to read the handout. STATE: These two ethical failures of our sister service rebounded so badly that the Associated Press, one of the largest wire services in the world, refused to accept any imagery from any branch of the U.S. armed forces for over a year…in the middle of wartime. The AP didn’t see the just Army as being unethical photojournalists; they saw all of the DoD. Slide – Enabling objectives STATE: Our enabling objectives for this lesson are:

a) Review DODINST 5040.02 b) Review photojournalism terminology c) Discuss deception through the years d) Review techniques of manipulation e) Discuss the consequences of unethical behavior f) Photo challenge: spot the fake!

Related Instructor Activity: Ask the students if they have any sea stories regarding seeing unethical behavior and its consequences. Share any of your own.

Navy Public Affairs Support Element Expeditionary Skills Courses

Ethics: It’s All Pixels

Objectives

• Review DODINST 5040.02

• Review photojournalism terminology

• Discuss deception through the years

• Review techniques of manipulation

• Discuss the consequences of unethical behavior

• Photo challenge: spot the fake!


Trainer Notes Objective: Review DODINST 5040.02 Slide – DODINST 5040.02 STATE: The key paragraph to DODINST 5040.02 is on the board. Let’s examine it closely. Keep in mind the Army’s mistakes that we already looked at as we review this instruction.

STATE: In any federal government instruction, military or civilian, the words “shall not” indicate a legally binding order. If anyone, even your CO orders you to alter an image, this is the instruction you need to – RESPECTFULLY! – fall back on. STATE: Note there is an exception made for corrections, such as getting dust spots from the lens off the finished images. If you pry into the instruction, there are other exceptions made for OPSEC, “art projects” like recruiting posters, etc. It is incumbent upon every military photojournalist to know this instruction and abide by it. Two bad decisions by a small number of soldiers in the Army caused enough blow back that all of DoD was affected. The Army’s mistake torpedoed all of our credibility, and AP refused to trust any of us for over a year afterward. ASK: Now, if you have an officer come in for a roster photo that will go on their official bio, and they ask you to “Photoshop” out a scar on their forehead, can you do so? Answer: No; the scar is a permanently identifying feature and cannot be removed per this instruction. ASK: What if that same officer had a pimple on the tip of their nose. Can you digitally remove that? Answer: Yes; the pimple is not a permanent feature and will clear up on its own within weeks. This is a feature that can ethically be removed. STATE: Everything we do must be done in accordance with this instruction!



DODINST 5040.02

- Sets out policy governing all DoD activities regarding the

processing of images.

- Section 2, paragraph 4-f-3 states:

Official DoD imagery shall not be altered to misinform or

deceive. Anything that weakens or casts doubt on the

credibility of official DoD imagery in or outside the DoD

shall not be tolerated. Alteration of official DoD imagery is

prohibited with exception for corrections, modifications and

enhancements as specified.


Trainer Notes Objective: Review photojournalism terminology Slide – Terminology STATE: Before we go reviewing ethics, let’s makes sure we are all on the same page in regards to the terminology we use. The three terms we will be tossing around are enhancement, manipulation, and credibility. - Enhancement: Bringing out (“enhancing”) a news photo’s

natural qualities of beauty, clarity, and/or contrast in order to more clearly tell the story as it happened.

- Manipulation: Altering a news photo’s natural qualities, or actively adding/removing elements, in order to tell the story you want told, not the story as it actually happened.

- Credibility: The only “money in the bank” a photojournalist

has in a digital age to give the public a reason to trust him/her.

Objective: Discuss deception through the years



Deception Through the Years

Photo manipulation – faking out

the public – has been going on

since Hippolyte Bayard pretended

to be a suicide victim in 1830.

Bayard was unhappy Louis

Jacques-Mandé Daguerre got a

patent from the French

government, and not himself.

Even before digital technology

existed, ambitious story tellers

could completely alter

photographs by hand…

Slide: Hippolyte Bayard STATE: Photo manipulation – faking out the public – has been going on since Hippolyte Bayard pretended to be a suicide victim in 1830. Bayard was unhappy Louis Jacques-Mandé Daguerre got a patent from the French government, and not himself. Even before digital technology existed, ambitious story tellers could completely alter photographs by hand.



Terminology:

- Enhancement: Bringing out (“enhancing”) a news photo’s natural

qualities of beauty, clarity, and/or contrast in order to more clearly

tell the story as it happened.

- Manipulation: Altering a news photo’s natural qualities, or actively

adding/removing elements, in order to tell the story you want told,

not the story as it actually happened.

- Credibility: The only “money in the bank” a photojournalist has in

a digital age to give the public a reason to trust him/her.


Trainer Notes Slide – Gettysburg STATE: A famous photo from the American Civil War was taken by Alexander Gardner in 1863. It shows a dead rebel sharpshooter following the Battle of Gettysburg. Problem: the same dead guy can be seen at another location on the Gettysburg field in another of Gardner’s photos. Gardner dragged the poor stiff around to set up the dramatic shot he wanted. Photojournalism ethics as we know them had not started to develop yet (pardon the pun!) Slide – English fairies STATE: One of the most famous hoaxes of the last century are the fairies photographed by cousins Elsie Wright and Frances Griffiths. Photographed in 1917 around Cottingly, England, the girls claimed to have captured real fairies on film. The two maintained the hoax until 1983 when they finally admitted they had staged the images. Using cardboard cutouts of dancing fairies, they had set up the scenes over a total of five photographs. No less a person than Sir Arthur Conan Doyle was taken in by the fraud. STATE: In the days when most images were reproduced by half-tone printing (long before the high-definition monitors and TVs we use today), these images looked real. On a modern screen you can clearly see the fairies are cardboard cutout. However, if you look these up in older newspapers and books, the printing quality of that day caused this image to appear genuine, thus the hoax was able to last over 65 years.




A famous photo from the

American Civil War was

taken by Alexander Gardner

in 1863. It shows a dead

rebel sharpshooter following

the Battle of Gettysburg.

Problem: the same dead guy

can be seen at another

location on the Gettysburg

field in another of Gardner’s

photos. Gardner dragged the

poor stiff around to set up the

dramatic shot he wanted.




One of the most famous hoaxes

of the last century are the fairies

photographed by cousins Elsie

Wright and Frances Griffiths.

Photographed in 1917 around

Cottingly, England, the girls

claimed to have captured real

fairies on film.

The two maintained the hoax

until 1983 when they finally

admitted they had staged the images. Using cardboard cutouts of dancing

fairies, they had set up the scenes over a total of five photographs. No less

a person than Sir Arthur Conan Doyle was taken in by the fraud.


Trainer Notes Slide – Stalin’s vanishing commissar STATE: Josef Stalin’s brutal regime in the Soviet Union was replete with photos manipulated so he could alter history. One famous example is the “vanishing commissar.” In the photo above, Nikolai Yezhov, commissar of water transportation, is shown with Stalin and others strolling along the Moscow-Volga Canal. Stalin had Yezhov shot in 1940. The photo was then retouched to eliminate Yezhoz, allowing Stalin to write his own history. Notice has seamless these deceptions were accomplished, and this was done decades before “Photoshop” was even dreamed of. If unaltered versions of these had not existed to be discovered, it is likely these deceptions would not have been uncovered. Slide – Kent State STATE: This image by John Filo shows Mary Ann Vecchio kneeling over the body of student Jeffrey Miller at Kent State University. The photo was taken immediately following the National Guard firing during a violent anti-war protest May 1, 1970. This shot won Filo a Pulitzer Prize. However, later in 1970 an unknown editor removed the “distracting” fence post coming out of Vecchio’s head. “Life” magazine and others published the altered version unknowingly. ASK: Why is it such a big deal that once lousy fence post was removed? Compositionally speaking, that post is a distracting element, so what’s wrong with taking it out of the image? Answer: As soon as you remove one element, the question is asked: “If you did this, what else have you changed?” This is a “slippery slope;” one ethical breach like this undermines trust in everything you have done.




Josef Stalin’s brutal regime in the Soviet

Union was replete with photos

manipulated so he could alter history.

One famous example is the “vanishing

commissar.” In the photo above, Nikolai

Yezhov, commissar of water trans-

portation, is shown with Stalin and others

strolling along the Moscow-Volga Canal.

Stalin had Yezhov shot in 1940. The

photo was then retouched to eliminate

Yezhoz, allowing Stalin to write his own

history.




This image, shot by John Filo, shows

Mary Ann Vecchio screaming as she

kneels over the body of student Jeffrey

Miller at Kent State University. The

photo was taken immediately following

the National Guard opening fire during

an anti-war protest May 1, 1970. This

shot won Filo a Pulitzer Prize.

However, later in 1970 an unknown

editor removed the “distracting” fence

post coming out of Vecchio’s head.

“Life” magazine and others published the

altered version unknowingly.


Trainer Notes Slide – National Geographic STATE: “National Geographic” is still paying for this altered cover dating from February 1982. It’s a small thing, but the pyramids were moved slightly closer together to fit the vertical format of the cover. Tom Kennedy, who became the director of photography at National Geographic after the cover was manipulated, stated that “We regarded that afterwards as a mistake, and we wouldn’t repeat that mistake today.” ASK: What is the easiest way to avoid this pitfall? Answer: Simply get a vertically formatted image of that scene, or choose a different shot altogether that fits your layout.




“National Geographic” is still paying for

this altered cover dating from February

1982. It’s a small thing, but the pyramids

were moved slightly closer together to fit

the vertical format of the cover.

Tom Kennedy, who became the director

of photography at National Geographic

after the cover was manipulated, stated

that “We regarded that afterwards as a

mistake, and we wouldn’t repeat that

mistake today.”


Trainer Notes Slide – Brian Walksi STATE: Former “Los Angeles Times” photographer Brian Walski lost his job after combining two photos he shot of British troops directing civilians during the opening days of the 2003 Iraq War. Walski, who had won the California Press Photographers Association's Photographer of the Year award in 2001, said he was just trying to create a more dramatic shot. ASK: Walski did not fabricate a story; he merely used digital technology to create a more pleasing image. Why, then, would this violate DODINST 5040.02 if this was done by a military photojournalist: Answer: This sort of behavior “weakens or casts doubt on the credibility of official DoD imagery” because, again, if you change one thing, what else are you going to change? Slide – Adnan Haj STATE: “Reutersgate” still haunts Reuters after they ran photos from Lebanese photographer Adnan Haj. Haj had used the Clone Stamp in “Photoshop” to make a 2006 Israeli strike on Beirut look more violent. Reuters yanked all of Haj’s images once the forgery was discovered. STATE: This particular example of a spectacular ethical breach bears a number of clues that will send up red flags to an alert reader. Let’s take a closer look at it.




Former “Los Angeles Times”

photographer Brian Walski lost

his job after combining two

photos he shot of British troops

directing civilians during the

opening days of the 2003 Iraq

War.

Walski, who had won the

California Press Photographers

Association's Photographer of the

Year award in 2001, said he was

just trying to create a more

dramatic shot.




“Reutersgate” still haunts Reuters after they ran photos from Lebanese

photographer Adnan Haj. Haj had used the Clone Stamp in “PhotoShop” to

make a 2006 Israeli strike on Beruit look more violent. Reuters yanked all

of Haj’s images once the forgery was discovered.


Trainer Notes Slide – Haj’s doctored photo (Note—the highlighted circles come up sequentially when the mouse or key board is manually clicked) STATE: Haj’s work in doctoring the photo was very amateur. The repeating “cotton ball” pattern and entire buildings replicated are proof of manipulation through the use of Photoshop’s “Clone Stamp” tool. Slide – Fake bin Laden photo STATE: After Osama bin Laden was killed by US forces May 2, 2011, a photo reported to be his body was shown on Pakistani TV and published in the British newspapers “Mail,” “Times,” “Telegraph,” “Sun,” and “Mirror.” The photo is a fake. The lower portion is Bin Laden, the top is someone else.

Slide – Iran’s stealthy fake STATE: Our final example is from 2013. Iranian defense officials released a photo purporting to show their new stealth fighter. The aircraft is viewed at the same angle and with the same reflections as the photos from the hangar. Strong evidence this aircraft never flew!




Haj’s work in doctoring the photo was very amateur. The repeating “cotton

ball” pattern and entire buildings replicated are proof of manipulation.




After Osama bin Laden was killed by US forces May 2, 2011, a photo

reported to be his body was shown on Pakistani TV and published in the

British newspapers “Mail,” “Times,” “Telegraph,” “Sun,” and “Mirror.” The

photo is a fake. The lower portion is Bin Laden, the top is someone else.




Iranian defense officials released a

photo purporting to show their

stealth fighter jet in February of

2013. Earlier, aviation experts had

claimed that the jet in the hangar

was a model not capable of flying.

The aircraft is viewed at the same

angle and with the same

reflections as the photos from the

hangar. Also, the mountain is

identical to one from a stock

image site.


Trainer Notes *** STATE: Ok, let’s take a ten-minute break and pick back up at [insert appropriate time here]

Objective: Review techniques of manipulation Slide – Techniques of manipulation STATE: Everyone have a good break? Ok, let’s get back at it. The only tools generally regarded as “ethical” in photojournalism (with one exception) are those that were used in the old dark rooms. Some of these include:

a) Contrast b) Color Balance c) Cutting-and-pasting d) Cropping e) Flopping

However, dark room or digital, these can be taken to an extreme that alters a photo’s meaning. ASK: One of these techniques is ALWAYS considered manipulation. Does anyone happen to know which one and why? Answer: Flopping because it does nothing BUT alter everything about an image all at once.

Related Instructor Activity: Remind the students about the master clock and reiterate that it is the timepiece everything is timed off.



The only tools generally regarded as “ethical” in photojournalism (with

one exception) are those that were used in the old dark rooms. Some of

these include:

-Contrast

-Color Balance

-Cutting-and-pasting

-Cropping

-Flopping

However, dark room or digital, these can be taken to an extreme that

alters a photo’s meaning.


Trainer Notes Slide – Contrast STATE: Contrast is the degree of difference between the highlights and shadows in an image. Contrast can be heightened to cut through haze and/or make a “flat” photo look more three-dimensional. However, as “Time” magazine showed in June 1994, it can be used to alter the meaning of even a mug shot. ASK: What do you think any reasonable person would conclude about OJ Simpson from the image “Time” ran? Answer: Despite “Time’s” protests about just trying to create unique cover, it appears they are declaring Simpson guilty long before he ever went to trial. This is clearly not in keeping with photojournalistic ethics. ASK: If “Time” really was serious about trying to create a unique cover, then what other options might they have used instead of manipulating a publicly accessible mug shot? Possible answers: Use a different photo; create a digital illustration, or run a cover with no photo but bold text. Slide – Color balance STATE: Color Balance should be used only to make sure colors are presented as close to the original scene as possible. This is especially important in creating an accurate rendering of skins tones. Misuse of color balance can make a midday photo appear to have been shot in the evening.



Contrast is the degree of difference between the highlights and shadows

in an image. Contrast can be heightened to cut through haze and/or make a

“flat” photo look more three dimensional. However, as “Time” magazine

showed in June 1994, it can be used to alter the meaning of even a mug shot.



Color Balance should be used only to make sure colors are presented as

close to the original scene as possible. This is especially important in

creating an accurate rendering of skins tones. Misuse of color balance can

make a midday photo appear to have been shot in the evening. (Apr. 12, 2013.

U.S. Navy photo by Paul Farley)


Trainer Notes Slide – Clone stamp and cutting-and-pasting STATE: The Clone Stamp and/or Cutting and Pasting can be ethically used to remove camera artifacts from an image (such as dust spots brought about by a dirty lens). These tools can be misused, however. The extra helo was cut-and-pasted in. The extra pallet was Clone Stamped in. STATE: The Clone Stamp tool is perhaps the most commonly abused tool in your digital toolbox. Think about Adnan Haj’s photo of Beirut; it was “Photoshopped” beyond all get out. However, whether you are trying to create a legitimate piece of artwork, or manipulating an image, you have to use this tool carefully. Otherwise, you work will appear amateurish. IF you ARE going engage in unethical behavior and risk your entire career, at least have the professional pride to do a good job! Slide – Cropping STATE: Cropping is the physical cutting-down of the overall frame. This can enhance a photo by eliminating distractions and getting your reader closer to the action. However, if not used carefully, it can completely alter a photo. This is perhaps the least abused tool, but it can be abused. ASK: Using the example shown, how could cropping out the enlisted Sailor be unethical? Possible answer: If this event was specifically a joint enlisted/officer ceremony, removing the enlisted Sailor from the image alters the story.



The Clone Stamp and/or Cutting and Pasting can be ethically used to

remove camera artifacts from an image (such as dust spots brought about by a

dirty lens). These tools can be misused, however. The extra helo was cut-

and-pasted in. The extra pallet was Clone Stamped in.

Ap

r. 12, 2

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Cropping is the physical cutting-down of the overall frame. This can

enhance a photo by eliminating distractions and getting your reader closer to

the action. However, if not used carefully, it can completely alter a photo.

Ap

r. 15

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3. U

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Jean

Baker


Trainer Notes Slide – Flopping STATE: Flopping refers to the complete reversal of a photo. Although this might be useful in creating special effects or digital illustrations, flopping is always considered unethical in photojournalism! STATE: Clues to look for include backwards text and numbers, ribbons and name tags on the wrong side of a uniform, and shadows falling the wrong way if you are looking at a series of photos from an event. ASK: Let’s review for a moment. What is normally the most abused tool in Photoshop when it comes to unethical behavior? Answer: The clone stamp tool. ASK: How can color balance be used to manipulate an image? Possible answers: Taking color balance too far can alter the apparent time of day, or change the apparent lighting used on a scene. ASK: Based on DODINST 5040.02, what could use the techniques of cutting-and-pasting for while remaining within ethical bounds? Possible answers: Repairing dust stops on images or covering up scratches on the lens that distorted a part of an image.



Flopping refers to the complete

reversal of a photo. Although this

might be useful in creating special

effects or digital illustrations,

flopping is always considered

unethical in photojournalism!

Clues to look for include backwards

text and numbers, ribbons and name

tags on the wrong side of a uniform,

and shadows falling the wrong way if

you are looking at a series of photos

from an event.

Jan

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. U.S

. Na

vy ph

oto

by M

C1

Martin

Cu

aro

n


Trainer Notes

Objective: Discuss the consequences of unethical behavior Slide - Consequences STATE: There are a number of consequences for both military and civilian photojournalists. The first and most obvious is the loss of credibility. Without your credibility, you are useless as a photojournalist and will probably never be trusted to work in this field again. ASK: Looking at these two lists, what is the most striking difference in possible consequences between the civilian side and the military side? Answer: In theory, a military member could be court-martialed and sent to prison. Failure to adhere to DODINST 5040.02 can be prosecuted under UCMJ Article 92: Failure to obey and order or regulation.

Objective: Photo challenge: spot the fake! Slide – Spot the fake title STATE: If it was possible in the days of negatives and airbrushes to fake an image so good it’s all but undetectable, then it’s even easier in the digital age when images are only ones and zeros. Let’s take a photo challenge and see if, just by looking at them, which of the follow photos have been enhanced, and which manipulated…if any!



Consequences

For civilian photographers:

- Lose your job

- Never work as a photog again

- Be held to ridicule

- Be used as an example of

what not to do in photo

classes.

For military photographers:

- Be relieved of duty

- Be prosecuted under the

Uniform Code of Military

Justice

- Be used as an example of

what not to do in photo

classes.



Spot the Fake

All photos shown are by

MC1(AW/SW) Nathanael Miller


Trainer Notes Slides – Spot the fake series



Manipulated or Enhanced?























Trainer Notes Slide – Manipulated or enhanced? STATE: In a world of pixels, images can be faked and no one can tell. In a digital world, the only thing you have to maintain your reputation and usefulness as a photojournalist is your CREDIBILITY!

Final Review ASK: What is the difference between enhancement and manipulation? Possible answer: Enhancement makes it easier to see the story that actually happened; manipulation is telling the story your want to tell. ASK: What is the most commonly abused tool in Photoshop? Answer: The clone stamp tool. ASK: Does DODINST 5040.02 prohibit manipulation at all times? Answer: No. Artistic projects, such as recruiting posters, are allowed.

Objective: Restate enabling objectives Slide: Objectives STATE: Our enabling objectives for this lesson are:

a) Review DODINST 5040.02 b) Review photojournalism terminology c) Discuss deception through the years d) Review techniques of manipulation e) Discuss the consequences of unethical behavior f) Photo challenge: spot the fake!




In a world of pixels, images can be

faked and no one can tell. In a

digital world, the only thing you

have to maintain your reputation

and usefulness as a photojournalist

is your CREDIBILITY!


Objectives

• Review DODINST 5040.02

• Review photojournalism terminology

• Discuss deception through the years

• Review techniques of manipulation

• Discuss the consequences of unethical behavior

• Photo challenge: spot the fake!



Trainer Notes STATE: As members of the DoD, we are bound by DODINST 5040.02. If you are ever directed to do something unethical, you need to fall back on this instruction. STATE: Before we take a break, let’s watch a short video interview with Stephen Glass. Glass was a journalist who lost his career in a highly publicized forgery case. Video: Stephen Glass interview STATE: Ok, take 10 minutes and be back at [insert time here] Related Instructor Activity: Remind the class which time piece is the “master clock.”

npase course development primer

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