chapter

7

Pictures

• The Photo Editor

• Selection

• Cropping

• Digital Photography

• Pictures on the Web

• Ethics and Taste

• Outlines

• Exercises

 

Pictures are one of the most important parts of a publication. Pictures help editors and reporters to tell the stories they must tell. They inform and illustrate. They give the reader, who lives in a visual world, the visual messages they expect from the news media.

Many news editors believe pictures to be the most important design element with which they have to work. On a printed page full of type, the picture stands out. Of all the elements, pictures are the one most likely to catch readers’ eyes first and hold their attention the longest. A good picture can focus readers’ eye on the page and direct their attention to other parts of the page.

In addition to all of these characteristics there is something emotionally riveting about a good photograph. It stops us and makes us look. Even in an age of video and live broadcasts, a single still photograph has the power to arrest us and imbed itself as an icon of the time in which we live. Those who lived through World War II never forgot the photo of soldiers raising the American flag on the island of Iwo Jima, just as two generations later, the photo of New York City firefighters raising the flag at Ground Zero symbolized the tragedy that had occurred there on September 11, 2001. Indeed, the way we remember news events is rarely through words or video but through the still photographs that in a moment capture and tell an important part of the story.

The Photo Editor

 

Because of their physical and emotional qualities, pictures can make a vital contribution to the overall quality and credibility of a newspaper. Pictures should not be treated as an afterthought or merely as decorative matter to go along with the stories and break up the type. Editors should treat pictures as they treat any other of the paper’s elements, using them to help achieve the newspaper’s goal of accuracy in the telling of the day’s events.

The person who selects and directs pictures for publication is the picture editor. Only a few of the larger newspapers hire people solely for this purpose. More often, the picture editor’s position is combined with that of news editor, city editor, or chief photographer. A picture editor does not necessarily have to be a photographer. The skills that are required to be a good picture editor are quite different from those that are required to take a good photograph. The picture editor must be an expert in the three basic processes of putting photographs into a publication: selection, cropping, and scaling. Beyond that, however, the picture editor must demand high-quality photographs from photographers and must know how to reward creativity and enterprise. Proper handling and display of good pictures can inspire photographers to improve the quality of their work.

The picture editor has a variety of types of pictures to work with, including the following:

• News photos. These are pictures that are most likely used to illustrate a news story (although news photos may occasionally be included without reference to stories). These pictures are used to illustrate the action, drama, and humor of the day’s events and to draw the reader’s attention to a particular story.

• Feature pictures. These, too, may go with stories the paper prints, or they may stand by themselves. Those that go with stories are specifically tied to feature stories and may include staged or posed shots as well as action photos. Some feature pictures may stand alone; that is, they do illustrate a story but are used because the subject or photographic qualities brighten the page and catch the reader’s attention.

• Head or “mug” shots. These pictures are usually one column wide, though they are occasionally one-half or two columns, and they show only the face or head of the subject. These photos may be used because they contain an unusual facial expression or because an editor needs them to break up some body or headline type on a page.

• Community art. These pictures (used especially by smaller newspapers) show groups of people handing checks, awards, or papers to one another; looking at something in front of them; shaking hands; or staring at the camera. One of the pejorative terms for this kind of picture is “the grip ‘n’ grin shot.” Community art also includes many society page pictures, such as engagement and wedding pictures and photos of club parties and teas. With a little forethought regarding angle and composition, they can become interesting additions to the paper.

The photo editor for a publication or a web site has two major jobs in handling pictures: selection and cropping, which are discussed more fully in the next two sections. A third job is placement, which will be discussed in the chapter on design (Chapter 9).

Selection

 

What makes a good photograph? Why is a particular photograph selected for publication and another is not selected? What are the technical and aesthetic qualities that editors look for in selecting photographs for a newspaper? There are many answers to such questions. Many divergent factors go into an editor’s decision to use a photograph, and there are no definitive guidelines governing their selection. The three major purposes of publishing photographs are to capture the reader’s attention, to illustrate and supplement the editorial content, and to make pages look more presentable.

In the process of selection an editor will be concerned with all three of these purposes, but at the beginning of the process of selection the first purpose (capturing the reader’s attention) will most likely be the major consideration. What kinds of photos do people look at? The following are some photographic elements that editors consider in the selection process:

• Drama. The pictures that tell a story are the ones most likely to be chosen by an editor for publication. Pictures that have high dramatic quality are those in which readers can clearly tell what is happening; in fact, several things might be happening, as in an accident scene with someone standing nearby wearing an anguished expression.

• Emotion. Like dramatic pictures, those with emotional qualities often tell a story. Yet they may also be the type that do not contain highly dramatic or storytelling qualities but rather evoke some emotion in the viewer. An old journalistic proverb says that readers will always look at pictures of children and animals. These are the kinds of pictures that make the readers feel something.

• Action. Editors and readers are most likely to be drawn to pictures that have some action or movement in them. Pictures that suggest movement will be seen and studied by readers more readily than will still-life pictures. Even though a photograph by itself cannot move, if its content indicates movement, the picture can serve as an extremely good attention-capturing device for the editor to use.

• Artistic or technical quality. Here we are talking about the good photograph, the one that has sharp, clear focus and good framing or that presents a subject in an unusual or pleasing manner. This kind of picture often appears in newspapers, especially with the change of seasons.

• Bizarre or unusual subjects. A picture of something unusual, something that readers are not likely to see in their everyday lives, makes a good candidate for publication. Unusual subjects may stem from the day’s news events, such as a fire or a wreck, or they may be simply something that a photographer has happened upon or heard about, such as a twelve-pound tomato or an old man’s wizened face.

• Prominence. Like the news value of the same name, prominence is a quality that editors often consider in selecting pictures. Pictures of famous people are always likely candidates for publication, even when they do not contain any of the qualities mentioned above. Readers will look at pictures of famous people; and editors will use such pictures for precisely that reason.

These elements are not a checklist of criteria for the selection of photographs; they are rather a list of things an editor may consider in deciding which pictures to publish. A good picture editor must have a feel for how to spot a good photograph, one that will capture the reader’s attention, illustrate the editorial content, and enhance the overall quality of the publication.

Cropping

 

After the selection process has taken place, or along with it, comes the process of cropping. Cropping means taking out parts of a picture. It has two purposes: eliminating unnecessary parts of a picture and emphasizing or enhancing parts of a picture.

• Eliminating unnecessary parts of a picture. Some elements of a picture might simply be unnecessary to the subject and purpose of the photograph, and they should be eliminated. Often these parts are not only wasteful but also distracting. An editor must use the space in the paper efficiently, and proper cropping of a photograph is one way to do this. Good, tight cropping of pictures is just as important as editing to eliminate unnecessary parts of a story.

• Emphasizing or enhancing parts of a picture. One photograph may contain many pictures within it. A good picture editor must have an eye for these pictures within pictures and must be able to see and choose the picture that best fits the intended purpose. Cropping is a way of bringing out the particular picture the editor wants to use, of emphasizing the part of the picture that readers should notice. A picture that seems ordinary at first glance can be made dramatic by good cropping.

Pictures that are published in newspapers are generally rectangular, and cropping must be done with straight lines along the side. Occasionally, pictures are not rectangular but follow the lines of the subject. These are called dropouts or cut-outs and may be used for dramatic effect.

In cropping a picture, an editor must keep in mind the necessities of scaling and proportionality. Scaling is the process of changing the size of a picture area by enlarging or reducing it while keeping the proportions of the original. Once an editor has selected and cropped a photograph for use in a publication, chances are that the picture will not be the exact size needed. Enlargement or reduction will probably be necessary to make the picture fit into the space allotted for it. When that reduction or enlargement is made, the editor will have to be able to calculate the new or reproduction size of the photo.

The concept of proportionality must be understood by those who work with the scaling process. For our purposes proportionality means that the width and depth of a picture must stay in the same proportion to each other whether the picture is enlarged or reduced. Let’s say that a cropped picture is 2 inches wide and 4 inches deep, that is, the depth is twice the width. Given these dimensions, it does not matter how much the picture is enlarged or reduced; the depth will always be twice the width. The proportion must remain the same. The only way it can be changed is to recrop the picture.

Two of the most common ways to scale a print are through the use of arithmetic and through the use of a mechanical device, such as a picture wheel or slide rule. The arithmetic method involves some simple multiplication and division, with substitution of the dimensions being used into the following formula:

Let’s say an editor has a cropped picture that is 4 inches wide by 6 inches deep and wants that photo to run as a three-column picture, which means that it should be about 6 inches wide. The editor will then have to find out how deep it will be by using the formula above. By substituting these dimensions into the formula, the editor will come up with the following:

The editor will then have to solve for the missing value by multiplying diagonally: 6 × 6 = 36 and 4 × X = 4X, then 4 X = 36. X would then equal 9. The reproduction depth of the picture is 9 inches.

The problem with the method of scaling is that it is frequently necessary to work with odd dimensions, such as 6 5/16 inches or 7 3/4 inches. Cross-multiplying these dimensions requires elaborate multiplication and allows more chance of error. One way of getting around this problem is to measure the picture in picas rather than in inches. By doing this, an editor is more likely to have whole numbers to work with than fractions.

An editor might not have to worry about the exact dimensions of a photograph if he or she is working with a page layout program such as Quark. With these programs, the editor simply has to draw a picture block on the electronic page and call the picture into that block. The picture can then be resized by using the tools available with the page layout program. (In Quark that involves changing the X and Y percentages.)

No matter what the medium, the circumstances, or the tools, the concept of proportionality must rule whenever an editor changes the size of a picture. That is, the width of the picture must change in relation to the depth and vice versa. An editor working in Quark, for instance, must change both the X and Y percentages to the same number. A picture whose width (X) must be changed from 100 to 80 percent should also have its depth (X) changed from 100 to 80 percent.

A picture that is not changed proportionally will be distorted and will reflect badly on a news organization. Modern photography simulates the eye in the way images are recorded. We expect photographs to look like what we would see if viewing the image ourselves. Changing a picture nonproportionally is an indication that an editor does not understand this simple concept, and a distorted picture is likely to be easily detected by the reader. If there is one rule that a photo editor should follow without exception, it is this:

Pictures should always be changed proportionally.

Digital Photography

 

Print publications underwent a revolutionary, two-stage change beginning in the 1960s, when writing and editing started to move from a manual to an electronic operation. Reporters scanned and later “entered” their stories onto computers rather than typing them on typewriters. Copy editors retired their copy pencils and pastepots and “called up” on their computer screens the stories the reporters had entered in order to correct them.

By the early 1980s that change had settled in, and the revolution migrated to its second stage: transforming the production operation of the publication. Computers were built (the Macintosh being foremost among them) that could show a page on a computer screen and could allow the operator to manipulate the objects (text, lines, and pictures) on the page without ever having them in a tangible paper form.

The process of journalism changed enormously because of this new technology. Editors took over the functions that had been reserved for the composing or paste-up room of the publication, giving editors more control over the publication but placing on them a much heavier production burden than they had ever known.

Through these three decades, photojournalism changed relatively little. Cameras became more sophisticated and easier to operate, film became more sensitive, and development because faster, but the essential processes of photojournalism stayed the same. What photographers had been doing for more than 150 years, they continued to do: exposing light to film and then developing film and making prints with chemicals and special paper. Many people predicted that photography would always be that.

But the electronic revolution was not finished. By the 1990s the adjective “digital” was appearing in front of “camera,” and scanning, converting a print to a digital file, was becoming a common practice. Digital cameras did not need the space or the chemicals that film cameras required, and scanning negatives (if a photographer insisted on using a film camera or the publication could not afford to convert) eliminated expensive photographic paper. Many photographers resisted these changes. Some argued, with good reason, that digital cameras could not deliver the quality of photograph that film cameras could. Others simply did not want to change they way they and their professional ancestors had operated.

Neither of those attitudes could stand up to publishers and editors who viewed the digital revolution in photography as a chance to save large amounts of money and time. “Change,” they said. “Quality will follow, and process is just process.”

Now, in the early twenty-first century, the revolution is almost complete. Even though great technical improvements have been made in digital cameras, many photographers are dissatisfied with the quality of the pictures they produce. A few even miss the hours in the darkroom with their hands in developing chemicals, believing that they have lost a valuable part of the process of photography. But a new generation of photojournalists, who have never touched a film roller or turned on a safe light, is coming of age, and they are completely comfortable with digital photography.

The digital revolution not only changed the economics of photojournalism, essentially making it less expensive, but changed the process as well. Photo journalists always need to adjust to their equipment, and digital cameras have presented them with a set of options. What kind of storage media (in place of film) does the camera use? How are pictures to be uploaded and transmitted? What size settings does the camera have, and what is appropriate for a particular shooting assignment?

The major change that the digital revolution has brought in the process of photojournalism involves speed. With digital cameras pictures are produced instantly, and the only delay is getting them from the camera to a computer. What this has meant is that photographers can take more pictures and stay on the scene longer. They can transmit photographs from the scene of the action. They can even edit what they shoot at the scene before transmitting the photos. Consequently, a working photojournalist may be called upon to do many more tasks than were once expected.

Another major change has come with editing photographs. The dodging and burning techniques that went into developing a print in the darkroom are now about as useful as the nineteenth century skills of chiseling line drawings into wood blocks. Enhancing a photo now means calling a file up with Adobe Photoshop, the premier software program for this purpose, and performing an almost automatic set of tasks such as lightening, sharpening, and adjusting the color.

Photoshop allows the editor to go beyond working with the internal content of the photo. An editor can combine two or more photos into a collage or lay type over a photo or cast a shadow under it. Operations that once took years of practice and hours of work can now be completed in just a few seconds.

Not only has the digital revolution changed photo editing, but it has also changed photo editors. In the film and chemical days photographers kept control of the process because they were the ones who had learned the darkroom techniques. Few nonphotographer editors or reporters could go into a darkroom and operate with any skill or efficiency. In this digital age, picture taking and photo editing have become two separate skills that are not necessarily connected. People who have never picked up a camera professionally can learn Photoshop and become highly skilled editors.

Not only has photo editing slipped away from the exclusive grip of the photojournalist, but photography itself has become more egalitarian. As digital cameras become lighter and easier to operate, more reporters are taking cameras on their assignments. Freed from many of the technical considerations of camera operation, they are learning about lighting, value, focus, composition, and the decisive moment. They, too, are having to gather the information necessary to write appropriate cutlines.

The digital revolution has made photojournalism more economical and more democratic. It has sparked a miniconvergence in the newsroom; while photojournalism remains very different from the journalism of the written word, journalists themselves are finding it easier to practice both forms.

Pictures on the Web

 

News web sites offer opportunities that photojournalism has not known since the golden age of picture magazines in the 1940s and 1950s. During that period, Life, Look, and many other publications encouraged photojournalists with adventurous assignments, liberal expense accounts, and plenty of space to display their work. That era faded in the 1960s, and by the mid-1970s most of the big picture magazines were no longer being published. Photojournalists found themselves confined to the shrinking space of newspapers and the smaller formats of news magazines.

The Web contains an infinite capacity for presenting pictures (and just about anything else), and the editor of a news web site no longer faces the untenable choice of having to select the very best photo from among several that are outstanding. A photographer who comes back from an assignment with a dozen good photographs can have a dozen photographs posted.

The opportunities that the Web offers to photojournalism, however, have yet to be fully realized. The Web has problems as a medium that journalists have not been able to solve. The most obvious one is size. News web sites are confined to the size of a computer screen. Photos, of course, must be displayed in a smaller size than that, and photos are often simply too small to be viewed well. Web site designers and editors have generally not been sympathetic to the arguments that pictures need more space.

Another problem is that content management systems—the software that powers many professional web sites—set up highly formatted web pages. These formatted pages, in turn, demand that pictures be a single size, and it is difficult for the managers of these systems to deviate from the format. Consequently, pictures on web sites often appear to be crammed into spaces that are not suitable for them.

Editors of news web sites face an additional question about how pictures should be displayed. Should they be presented with articles, or should they be placed in photo galleries that require readers to view them separately (and to make an extra click to get there)? Many news web sites have chosen the photo gallery as the format that can best display a series of pictures. Designing these galleries so that they can display pictures in a variety of shapes and sizes and so that they can also display cutline text and navigation tools is not an easy task. No standard design has yet evolved for a photo gallery, but it is possible that a standard design will emerge as the Web continues to develop.

The photo gallery presents another problem for the photo editor of a news web site: sequencing. In what order should a series of pictures be presented? With some set of pictures, order might not matter. With others, however, the sequence in which a viewer sees the photos can be highly important to the viewer’s understanding of the story that the pictures are meant to tell. This is particularly important when the chronology of a story will add to its meaning. An editor should give sequencing a good deal of thought in setting up photo galleries.

Finally, photo galleries on the Web have spawned a format that has never before been available to photojournalists: the audio photo gallery. This is a gallery that plays an audio description of the picture as it is being displayed. These descriptions are usually recorded by the photographer, and they are meant to add some color and information to the photograph. The New York Times has pioneered the use of the audio photo gallery on its news web site. These galleries are not easy to produce, of course, but they give photojournalists a powerful new tool to use in telling their stories.

Ethics and Taste

 

Consider the following situations:

• A local man who is nationally prominent dies. Many people from all parts of the country attend his funeral. The family has opened the funeral to the public but has said that no cameras should be used in the church or at the grave site. Thousands of people attend the funeral and burial. Your photographer comes back to the office with some dramatic photographs of the family leaving the grave site along with some highly prominent people.

• The president dozes off while listening to a visiting head of state speak to the White House press corps. The wire services send several photos of the president with his head down and eyes closed sitting behind the speaker.

• A movie star is decapitated in a car crash. The wire services send several pictures of the accident scene, including one of the actress’ head placed on the car.

• Pictures of people jumping from the World Trade Center towers on September 11, 2001, show up on an editor’s desk on the afternoon of the tragedy. The people cannot be identified; they are little more than dark dots on the photograph. Yet they depict real people jumping to certain death. The editor has to decide whether they should be printed in the publication or posted on the web site.

Pictures present editors with special problems of taste and ethics. These problems do not occur every day, fortunately, but they happen often enough that every editor eventually must make some decision for which he or she will be criticized. Some newspapers have tried to produce guidelines for handling certain kinds of pictures, but these guidelines do not cover all situations and sometimes do not provide the editor with sufficient guidance in making a decision. The following is not a set of guidelines but a list of things an editor should consider in deciding whether to run a photograph. None of these considerations is primary in every case; they should all be part of an editor’s decision-making process.

• Editors should remember that their business is to cover the news and inform their readers. A newspaper is supposed to give a full and accurate account of the day’s news. Sometimes it takes a photograph to accomplish this mission. Generally, editors should avoid making agreements before covering an event that would restrict its photo coverage.

• Editors should be sensitive to their readers. There are subjects that will offend readers or that parents will want to keep from their children. An editor should be aware of these subjects and the sensibilities of the readers. The editor should try to avoid publishing pictures that are unnecessarily offensive.

• Editors should be aware of the feelings of the people in the pictures. Even people who are photographed a great deal and who are highly visible have feelings that need consideration. Pictures can put people in a bad light or in embarrassing situations even when editors print those pictures with the most innocent of motives. One example may serve to illustrate this point. A newspaper in a medium-sized town decided to publish a special section on home furnishings. In putting this section together, the editors looked in their files and found a picture of one of the town’s prominent women in her living room. The picture was about a year old but fit perfectly with the theme of the section. The editors were all set to run the photo until they learned that in the year since the picture had been taken, she had lost nearly 100 pounds. The editors decided not to run the picture.

• Editors must remember that some photographs can get them into legal trouble. Even though a picture is taken in public and is coverage of a newsworthy event, it can constitute libel or an invasion of privacy. When there is any question about a photograph, editors should be extremely careful. The wrong decision in this regard could cost them and their newspaper thousands of dollars.

Decisions about pictures are often among the most difficult decisions an editor must make. Pictures are dramatic and powerful. They have an impact on readers, on their subjects, and on the newspaper itself. The watchwords for an editor in handling pictures are caution and sensitivity.

Cutlines

 

Cutlines are explanatory and descriptive copy that accompanies pictures. They range widely in style and length, from the one-line identifier called the “skel line” to the full “story” line. Cutlines are necessary to practically all pictures because of the functions they serve: identification, description, explanation, and elaboration.

A well-written cutline answers all of a reader’s questions about a picture. What is this picture about? What is its relationship to the story it accompanies? Who are the people in it? Where are the events taking place and when? What does the picture mean? The cutline should answer these and other questions in such a manner that material found in any accompanying story is not repeated verbatim but is reinforced, amplified, or highlighted.

Every newspaper has its own particular standards for cutline writing and display. For example, a newspaper may use one typeface for “story cutlines” (cutlines for pictures without accompanying stories) and another for cutlines on pictures that are accompanied by a story. What is important is that each publication be consistent in its use of cutlines. An established style should exist for each particular type of cutline so that the reader will know what to expect from the publication and so that cutline writers experience a minimum of difficulty in deciding how to present information.

Cutlines are one of the most neglected parts of the newspaper. They are often written as an afterthought when all other parts of a story are finished. Sometimes reporters are assigned to write cutlines; other times it is the job of copy editors; and sometimes the photographers themselves have to write the cutlines. Whoever does the writing should remember that cutlines are as important as any other part of the paper and should be treated with care. The following are some general guidelines for writing cutlines.

• Use the present tense to describe what is in the picture.

• Always double-check identifications in a cutline. This rule cannot be stressed too much. Many newspapers have gotten themselves into deep trouble through misidentification of people in a cutline, so cut-line writers should take great care.

• Be as specific as possible in cutlines. Add to the reader’s knowledge, and go beyond what the reader can see in the picture. A cutline is useless if it simply tells the reader what can be seen already.

• Try to avoid cutline clichés. “Looking on,” “is pictured,” and other such expressions are trite and usually avoidable.

Because cutlines differ from other kinds of information the newspaper has to present, they should be displayed differently. The following are some commonly used guidelines that many newspapers use in displaying cutlines.

Cutlines should contrast with the publication’s body type to make for easier reading. Using boldface or type that is one point size larger than body type can accomplish this.

Cutlines should be set at different widths than most body type. For instance, if a picture is three or four columns wide, a cutline should be set in two stacks of type under the picture. Cutlines should also take up all or most of the allotted space.

Catchlines (headlines above the cutlines) look best in 18- or 24-point type and are generally centered above the cutline.

Two general principles should govern an editor’s use of cutlines. One is that every picture should have some kind of a cutline. The words that are used in the cutline may be few, but they can add enormously to the reader’s understanding of the picture and the story the editor is trying to tell. The second principle is that everyone in a picture should be identified. Nameless people are not very interesting, and their presence indicates a lack of interest on the part of the editor in doing a thorough job.

Cutlines are important because of the information they contain and because of the way in which they enhance the appearance of the paper. Cutlines should be simply and clearly written and displayed, and they should be given the same attention by the editors that other parts of the paper receive.

chapter

7
Exercises

Exercise 7.1: Cropping and Sizing Pictures

Crop the accompanying picture. You will need to decide (or your instructor may tell you) what the reproduction width of the picture should be. (You may also be using this picture in a layout exercise in Chapter 9.) Calculate the dimensions and the percentage of reproduction for the picture. Write a cutline for the picture based on the following information.

Cutline Information

Small group of dissident union workers; about 15; they defied union leaders yesterday; picketed Aces Mining Company in south Ticonderoga County; union leaders say these are not authorized picketers.

Exercise 7.2: Cropping and Sizing Pictures

Crop the accompanying picture. You will need to decide (or your instructor may tell you) what the reproduction width of the picture should be. (You may also be using this picture in a layout exercise in Chapter 9.) Calculate the dimensions and the percentage of reproduction for the picture. Write a cutline for the picture based on the following information.

Cutline Information

Lincoln Park Road overpass over I-75; driver, Joseph Coda, Cuba, Missouri; driver killed; police don’t know why truck overturned; they’re investigating; impact separated cab from the trailer; accident blocked traffic on interstate roadway going south for more than four hours; truck carried various automobile parts for nearby auto plant.

Exercise 7.3: Cropping and Sizing Pictures

Crop the accompanying picture. You will need to decide (or your instructor may tell you) what the reproduction width of the picture should be. (You may also be using this picture in a layout exercise in Chapter 9.) Calculate the dimensions and the percentage of reproduction for the picture. Write a cutline for the picture based on the following information.

Cutline Information

Tornado in western portion of county; struck yesterday about 5:40 P.M.; no warning from anybody; Carpenter Road subdivision; damaged at least ten mobile homes there; this one in the picture belongs to Velma Haskiel; completely destroyed it; that’s Velma right there in the picture; she’s going to have to live with her sister until she figures something out.

Exercise 7.4: Cropping and Sizing Pictures

Crop the accompanying picture. You will need to decide (or your instructor may tell you) what the reproduction width of the picture should be. (You may also be using this picture in a layout exercise in Chapter 9.) Calculate the dimensions and the percentage of reproduction for the picture. Write a cutline for the picture based on the following information.

Cutline Information

Molly the girafe; Flash the zebra; two of the favorites at the local zoo; they’re getting new home; zoo has built a new facility for large mammals; the two and others got to move in yesterday; new facility costs $1.3 million, raised by private donations; Old Town Park zoo.

Exercise 7.5: Cropping and Sizing Pictures

Crop the accompanying picture. You will need to decide (or your instructor may tell you) what the reproduction width of the picture should be. (You may also be using this picture in a layout exercise in Chapter 9.) Calculate the dimensions and the percentage of reproduction for the picture. Write a cutline for the picture based on the following information.

Cutline Information

Two kids on bikes; one of them is in the picture; he’s Marshall Grey; riding on Fifth Street about 8 o’clock last night with buddy, Sanders Ferry; car pulled in front of them; Marshall not hurt, but Sanders taken to the hospital with broken leg; guy driving the car was Abraham Remington; police charged him with drunk driving.

Exercise 7.6: Cropping and Sizing Pictures

Crop the accompanying picture. You will need to decide (or your instructor may tell you) what the reproduction width of the picture should be. (You may also be using this picture in a layout exercise in Chapter 9.) Calculate the dimensions and the percentage of reproduction for the picture. Write a cutline for the picture based on the following information.

Cutline Information

Warm day in February yesterday; first time kids have been able to play outside in two months; temperature got up to 70, pretty unusual for this time of year; these kids go to school at Medford Middle School. Eighth-graders Mindy Webster and Brandi Aquinas; Brandi on the left.