A picture sequence is a series of photographs dealing with one subject. It may tell a story, present an event, describe a scene, reveal a person, or show how to do something. A common use for a picture sequence is depicting a person during an interview. The most successful picture sequences create several visual images that contain emphasis and action.

When you are producing a picture sequence, remember, film is a relatively cheap commodity. It is foolish for you to feel restrained by the amount of film you use. A virtue of the 35mm camera is that a series of 36 exposures can be made in rapid succession to record many expressions that may be edited later.

Picture sequences are categorized according to their method of production as follows:

1. FIXED CAMERA AND SUBJECT. An example of this type of sequence is the photographic interview where the cameraperson and the subject remain in their respective positions throughout the picture session.

The use of a long lens is almost a necessity for this type of sequence. A long lens permits you to be far enough away that you will not disturb the subject; yet it can produce large images (usually head and shoulders) or close-ups.

2. FIXED CAMERA, SUBJECT MOVES. Picture sequences of this type are often used in sports photography where the action moves up and down the field of play while you are confined to your seat. This type of sequence is also used for photographing events, such as a parade, as it passes by. You may be in the reviewing stand or even on the roof of a nearby building.

3. SUBJECT FIXED, CAMERA MOVES. This approach to sequence photography often presents the subject in a more interesting way. It is used to show different aspects of the subject, such as several angles of an aircraft or a building. It adds variety and interest to the series.

4. CAMERA AND SUBJECT MOVE. This is the most dramatic sequence and allows you to use your imagination to the fullest extent. But it also requires you to follow the action physically. For example, this type of sequence may be used to show a pilot being rescued from his burning aircraft by a crash crew. The first picture shows the crash crew getting into their fire fighting turn-out gear. Picture number two shows the fire trucks approaching the burning plane. The third picture shows one of the fire fighters freeing the pilot from the wreckage. The fourth picture shows first aid being administered to the injured pilot. The final picture in the sequence shows a doctor treating the pilot in an emergency room. In producing this sequence, you must shoot many exposures and then edit them down to those that are most effective.

Finally, a picture sequence requires continuity that may be created by subject action, by photographic technique, or by an event figure 1-4 .

PICTURE STORY

The production of a picture story is one of the most exciting and challenging assignments in photography. It is an effective method of telling a story about events that are happening in the Navy. However, a picture story does not just happen; it starts with an idea. This idea forms the foundation upon which a story is built. When the idea is sound and you provide good photography, there is an excellent chance of developing a professional picture story.

Regrettably, the development of a picture story is a major stumbling block for many photographers. All too frequently you hear the comment, "There is nothing in my command to do a picture story on." This is an unfortunate attitude. Navy men and women are surrounded by a wealth of picture-story material; look around! The sea, ships, and ships' crews have fascinated people for years. Unfortunately, most Navy people take their environment for granted.

To the non-photojournalist, a picture sequence is sometimes confused with a picture story. A picture sequence is a group of loosely related photographs that provide the reader with only a few miscellaneous impressions of an event. The picture story, on the other hand, is a complete unit that has been planned, researched, and supported by written text and captions. It is the account of an interesting and significant event, personality, idea, or other aspect of contemporary life. In a picture story, the photographs and text support each other. There are several types

of picture stories, but the two most often used are the Illustrated Text and the Picture-Text Combination. With the Illustrated Text, emphasis is placed on the text with photographs used to support the words. In the Picture-Text Combination, the story is told primarily through pictures and the words support the pictures.

Planning is essential in the production of a picture story. You should plan your photographic coverage so the finished story shows the professional news touch. When you want this quality in your picture story, coverage techniques should include the following: researching the subject and establishing a good relationship; selecting equipment (camera, lens(s), lighting, film) that is best suited for the job; anticipating the improbable and having an alternate plan available; keeping your pictures from looking posed; moving in on the subject and making your pictures show the desired action; using a shooting script; having self-confidence; ensuring complete coverage by shooting both left- and right-facing photographs, long shots, medium shots, and close-ups, as well as both vertical and horizontal views. Picture stories do not appear in print by accident. They are the result of careful planning, thorough research, and execution. The development of a picture story is carried out in six well-defined steps as follows:

1. DEVELOPING THE IDEA. All picture stories begin with an idea. Whenever you cannot find picture-story material, you are admitting that you are not very alert, observant, or curious. Wherever you go, there are more story ideas than you could possibly find the time to do. You can get ideas for picture stories by subjecting yourself to stimulating experiences, talking to other people, and observing situations- both your own and those related to you by others.

2. RESEARCHING THE SUBJECT. After developing an idea for a picture story, you are ready to research the subject. Research is one of the most important parts of doing a picture story. Before you start shooting, you need to learn as much as possible about the place, situation, object, and people involved. The more complicated the story, the more research you need to perform. No matter what form the research takes, remember one very important thing-YOU CANNOT PERFORM ALL YOUR RESEARCH SITTING AT A DESK. You must leave the shop, talk to people, see the subject. While no two people perform research in exactly the same manner, the following guidelines are recommended:

a. Contact the person in charge of whatever or whomever you intend to do the story on, and explain your story idea.

b. Obtain the name and phone number, work schedule, and background information on each person involved in your story.

c. Observe the operation without interfering and make notes on picture possibilities.

d. Stay with the subject(s) until you are fully satisfied that you can anticipate their next move or work step; watch the subject(s) for facial expressions, gestures, and observe them during coffee breaks, and so on.

e. Anticipate a sudden departure from the usual and be prepared to cope with it.

f. Conduct interviews with the subject(s), their peers, subordinates, and seniors. Whenever possible, shoot the photographs at one session and conduct the interview at another.

3. PLANNING THE TREATMENT. The "treatment" is an arrangement of facts you have collected; this includes the type of pictures you require to convey the theme or purpose you have in mind adequately. Plan your pictorial coverage. Decide what elements of the story should be presented verbally, and what elements should be presented visually.

Because each picture story is somewhat different, you cannot follow the same pattern for each assignment. There are, however, certain planning criteria upon which all picture stories are based. The planning criteria is as follows:

a. INTEREST. The readers must gain something from the story or they are not going to read it.

b. PICTURE IMPACT. It must appeal to the eye, create curiosity, and hold the viewer's attention.

c. SCOPE. The picture story of a ship is possible but difficult; a department within the ship is a little less difficult; a division within the department is even less difficult; one person within the division is comparatively simple. By narrowing the scope and focusing on one person, you can still tell the story of the ship, the department, and the division.

d. FOCUSING ON PEOPLE. Whatever the story, chances are it can be made better and more interesting when it is told in terms of people doing something. Of course, it is possible to focus on an inanimate object, such as an airplane, but readership tests indicate that people are interested in people.

e. UNIVERSAL APPEAL. Before your picture story can appear in a newspaper or magazine, it must appeal to a large number of people.

4. PREPARING THE SHOOTING SCRIPT. To begin shooting a picture story without an idea of what you are trying to accomplish is a real gamble. The shooting script is a record of your ideas-a blueprint from which you build the story. But remember, your shooting script is a guide only, and it should be flexible to some degree.

A shooting script should answer the following questions regarding a picture story:

WHO: The name of the individual or subject to be photographed. His or her job title and duty responsibilities should be included.

WHAT: The exact nature of what subject action is to be performed in support of the overall theme of the picture story.

WHEN: The time and date when the subject is to be photographed. Ensure the subject is available at the time specified.

WHERE: The exact location(s) where the photography is to take place.

WHY: The reason(s) why this story should appeal to a given audience.

HOW: List the shots you plan to make-Actions, such as loading the gun, rolling the fire hose, and so on. This includes long shots, medium shots, close-ups, high angle of view, low angle of view; point of focus; and any unusual lighting conditions.

Remember, the shooting script is used as a guide; that is its only purpose. It is intended to keep you on the right track. The shooting script permits you to begin a picture-story assignment with confidence. The time spent in preparing a shooting script is compensated for by the time and confusion you save at the scene when the pictures are made.

5. SHOOTING PHOTOGRAPHS. The actual shooting of photographs for a picture story does not present a problem for a competent photographer. Since you have a shooting script, the decisions you must make at the job location involve only exposure calculations and camera operations. There is one problem worth mentioning; it is not always possible to capture the abstract qualities in a picture. Visual interpretation of an abstract idea is difficult, if not impossible, to achieve at times. Emotions and moods are recorded on film only through skill, perseverance, and cooperation between the subject and the photographer. Sometimes the emotion or mood may linger for only a fraction of a second. You must be prepared to trip the shutter at the precise moment the action takes place.

A picture story must have a beginning, a middle (body), and an ending. A picture story begins with a LEAD PHOTOGRAPH. The lead photograph is the most important picture in the story. This photograph should identify the subject matter, relate the subject matter to the slant or desired approach of the story, and create an impact. The attention-getting lead photograph should create the desire to know more about the subject.

The picture story should proceed in logical order without undue repetition or too great a step in photograph progression. Each successive photograph should contribute something significant to the development of the story and provide smooth continuity. The photographs that comprise the BODY of the story should have long shots, medium shots, close-ups, and be made from various points of view.

The second most important photograph is the LAST or ENDING photograph. This photograph should present the feeling of finality. It can also help the viewer to arrive at a conclusion. Although it has the ability to sway the reader's mind, a picture story should be presented objectively.

The number of photographs in a picture story is a matter of judgment on your part. Too few photographs are as distracting as too many photographs. The factor that should govern the number of photographs is the scope of the story. For example, the story of a Navy base will require more photographs than a story about one person attached to that base.

6. WRITING THE TEXT AND CUTLINES. After the film has been exposed, processed, and contact prints made, the next step is to begin writing the text and cutlines. Review your notes carefully. Look for quotes or other information that can be used as a lead. Check all statements and facts. Remember to double-check the spelling of names. Your first attempt at writing a story should be considered a rough draft only. This is the time to correct mistakes and to verify that you have complete and accurate information. Above all, remember that the text must support the photographs. When the text is written, writing the cutlines is a rather simple matter. Do not repeat what you have already stated in the text. Cutlines in a picture story should not be confused with captions for a single picture. Cutlines for a picture story are very brief. Sometimes they consist of no more than one word. The purpose of an cutline is to bridge the gap between the text and the pictures fig 1-5.