The Use of Digital Cameras in Journalism

Abstract

This research paper is to explain the technological background of digital cameras and compare them to analogue cameras. The main focus of this paper lies however in the implementation of the technology with special regards to war reporting. Following an analysis of how digital cameras benefit the journalists in this specific field and how it has changed their work in comparison to analogue cameras, a diagram explains how the digital image finds its way to the newsroom and from there into the newspaper or on TV. Afterwards, I will take a closer look at historical war photography, more specifically the times of analogue cameras. Before giving an insight to the possible future of the digital camera, we will take a short detour over the financial and ethical aspects connected to the technological evolution.

Key Words: Digitalization, digital cameras, analogue cameras, film, war reporting, news, technological background, history, future

1. Introduction

1.1 Introduction to the topic

Every time a photographer releases the shutter, there is a whole series of processes that need to happen for an image to form. The light falls through the camera lens and reaches the sensor, which then transmits the information to a processor. Although technology has evolved a lot throughout the past two hundred years, the technique behind image formation has stayed the same. In modern digital cameras the technique behind it all is still the same as Nicephore Niepce used in 1816 to create the first photographs. Digital cameras are nowadays used in all kinds of fields such as autonomous driving for cars and image recognition at airports through artificial intelligence.

In this project paper I will explain the technological background of digital cameras and their use in Journalism. Specifically, I will talk about the importance of digital cameras in war reporting and how camera speed plays here an important role.

1.2 The value of the research paper to the public / Relevance

The technological evolution of cameras is remarkable. Not only have they become affordable for almost everyone but have also transformed to becoming smaller and smaller devices. For example, almost everyone has a Smartphone that has a small integrated digital camera. Today digital cameras are being used in many different

disciplines in almost every field of work. It is important to comprehend how they work in order to get an understanding of how they can be implemented in new areas and how they can be modified to fit any new application. Especially journalists rely on their cameras. A photo can be used as proof but also as a visual to emphasize the message a reporter wants to convey and underline a story.

1.3 Goals of this Research

In my research I will show how far the evolution of cameras has come from simple analogue cameras to digital cameras that can take a picture and send it around the world in a matter of seconds. My goal is to give the reader a deeper understanding of how the technology behind image formation works and what parts of a camera must come together to produce a clear image. Also, I will explain the importance of speed in the field of war reporting and how the future of digital cameras could look like.

2. Terms and Definitions

2.1 Digital camera vs. Analogue camera

A digital camera records images in a digital form (0s and 1s) on a memory card which receives an electronic signal from a sensor. An analogue camera records photos on a film through a chemical reaction initiated by contact with light. (cf. Striewisch, 2010)

2.1.1 DSLR (digital single lens reflex camera)

A DSLR is a digital single lens reflex camera. The technique of the SLR (single lens reflex) has been around much longer than digital cameras and has also been used in analogue cameras. It uses an “optical viewfinder to display the view through the camera lens. … a single lens serves both for taking photographs and for the viewfinder. The “reflex” portion refers to the reflection of light … through a mirror that guides light from the lens into the viewfinder by reflecting it upward, hence the term “reflex”. (Nikon Corporation, 2021)

2.1.2 DSLM (Mirrorless camera)

A DSLM (digital single lens mirrorless) is a digital camera that has no optical viewfinder and uses an electronic viewfinder (EVF) instead. (cf. Striewisch, 2010)

2.2 Camera lens

The camera lens is a kind of extension of the exposure opening that is being used to control how much light is being let through to the sensor or film. (cf. Striewisch, 2010)

2.3 Sensor vs. Film

A sensor is a “device that converts light into electronic signals” (Nikon Corporation, 2021). Film does almost the same thing as the sensor but relies on chemicals to form an image instead of digital signals. (cf. Duden Lernattack GmbH, 2022)

2.4 Image Processing

Image processing takes place through the sensor which uses the photoelectric effect to convert light in electricity. The electricity is being measured and then summarized into image data. (cf. Westphalen, 2011)

2.5 Memory card

A memory card is a small device where the digital information of an image is being stored. They can be bought in different sizes with different sized storage capacities and speed. (cf. Viswa, 2006)

3. Technological research

3.1 Technological background

3.1.1 Rough description of the technological details of DSLRs

Photography is a technical method for image generation and the camera is the most important tool of a photojournalist. (cf. Ebert, 2015) To understand how a digital camera works, we need to go back in time to the first camera, which was only a pinhole camera called the “camera obscura”. Over the course of time our black box has undergone a massive transformation. Today, instead of the pinhole we use a lens that allows us to focus on the object and control the incoming light. This works the same way on analogue cameras. The incoming light falls onto the sensor, which converts image information from the lens into a digital image. After processing this information, the image will be digitally stored on internal memory cards. Now the pictures can be directly transferred or post-processed in applications like Photoshop etc. (cf. Vision Campus Basler, 2022)

3.1.3 The ability of taking photos and videos

For journalists taking both videos and photos has become more and more important, especially when it comes to moving objects and special situations (e.g. political protests). Due to high frame rates and fast image processing, latest digital cameras can be easily switched from photo to video mode. Another big advantage to older cameras is audio recording. Todays digital cameras have the advantage to be smaller than camcorders and are more versatile in regards of interchangable lenses. Moreover, it can easily be switched from video mode to photo mode, or even stills can be taken during video recording.

3.1.4 Digital image processing

“An image can be defined as a two dimensional signal, analogue or digital, that contains intensity or color information. […] A digital image is composed of a finite number of elements, each of which has a particular location and value. These elements are referred to as pels. Pixels, picture elements or image elements. […] Each pixel is represented by a numerical value. In general, the pixel value is related to the brightness or color that we will see when the digital image is converted into an analogue image for display and viewing.” (Shakhawat, 2015)

Once the image is leaving the sensor it will be processed by the camera’s internal processor in JPEG (Joint Photographic Experts Group) or RAW format. JPEGs are limited to 8 bit and 256 brightness levels, RAW images are taken with 12 bit and 4096 brightness levels. While JPEGs are a finished converted image, RAWs need to be postprocessed in applications like Photoshop but offer a wider dynamic range and much more image information. (cf. Obermayr, 2007) The post processing defines brightness, sharpness, denoise and a lot more.

3.1.5 Frame rate and shutter speed

The frame rate and shutter speed is very important for photojournalists to catch every single moment of an exciting situation. In former days the frame rate was limited by mechanical components, such as flipping the mirror in DSLR cameras. Therefore a maximum frame rate of about 10 frames per second is history. Nowadays we are talking about a frame rate of 20 plus. This can only be achieved with the new mirrorless cameras. Now the limiting factor is the shutter speed which can be compensated through high lightsensitivity of the sensor. (cf. Zajac, 2022)

With frame rates higher than 20 frames per second enable photojournalists to pick the very best picture out of a series.

3.1.6 Memory cards

Since the introduction of digital cameras in the 1990s (cf. Ebert, 2015) memory cards have become an essential part for photographers. Before, photos were made durable on photographic film. But this had a downside: One film could only record 36 photos. While resolution and frame rates are constantly growing, cameras require more and more faster and bigger memory cards. Not only space and speed is the decisive factor, as well as secure storage of the photographic material.

Compared to analogue film, memory cards are much smaller and saver especially for travelling by airplane since they are resistant against baggage scanning. Moreover, pictures can be automatically duplicated in cameras with two memory slots. Also, memory cards can be read from any computer or smartphone to send the photographic material around the world instantly.

3.2 Implementation of the technology

3.2.1 Use of digital cameras in war reporting

"Kriegsfotografie ist ein gefährliches Geschäft. Im Dezember 1969 wird Horst Faas nahe der kambodschanischen Grenze durch Granatsplitter schwer verwundet. Das Leben retten ihm seine Leica und das 400-mm-Schnellschusstele von Novoflex, das die größten Splitter abfängt." (Ebert & Bauernschmitt, 2015)

"War photography is a dangerous business. In December 1969, Horst Faas was seriously wounded by a shrapnel close to the Cambodian Border. His life-saver was his Leica and the 400mm Novoflex telephoto lens, which caught most of the shrapnel."

War reporters have one of the most dangerous and challenging professions of all. Digital cameras have not only changed the world of war photography by being lighter, more compact and easier to handle but have also made it quicker to spread images without delay. But that can also have some negative impacts. Especially from an ethical point of view. Which I will explain in a later chapter (3.2.6 Ethical aspects of digital war reporting and distribution of the photographic material). Nonetheless, they have contributed to a more accurate portrait of war and other areas of conflict. 

But what does a war reporter have to say about digitalization in his line of work?

Gerd Ludwig is a photographer for “National Geographic” and has earned multiple prizes like the “Lucie Award” for the photographer of the year. Among other fields he is an active war reporter. In an interview he describes how the digitalization has affected his work.  He says, he started using digital cameras in the year of 2005, which was concerning the technological process, quite late. The reason was, that the quality of the images weren’t good enough for “National Geographic”. Since then, a lot has changed. According to Ludwig the casual meeting of other photographers, which always took place at the editorial office in Washington, when discussing the photos with the editor in chief, has become less common. Nowadays it’s more of a remote editing where everyone sits at their own desk miles away from each other and discusses the material in an online meeting. Other than that, he states that there are also changes affecting photojournalism as a whole. Back, when there was no easy way of recording videos (way too much equipment needed), it was the photographers’ job to provide the latest visuals. But now it’s usually the videos that take up this role. He says that photographers must keep up with the current changes and find their own way to deal with the changing circumstances. Today any amateur with a smartphone can offer and distribute images. Professional photographers have to search for complex subjects and tell the kind of stories the quick and superficial snapshooters can’t convey (like war reporting). Just pressing the release isn’t enough anymore, photojournalists must become more divers in their skills (like digital image processing) to sustain in this new digital world, but they also gain more freedom in choosing and execution of their projects.

(From an interview with Gerd Ludwig, conducted by Lars Bauernschmitt)

That way, he provides less target surface than a large camera team and convoy with equipment. Today a single person can record footage, which weren’t possible when they were spotted as a professional film team right away. Especially the embedment of single journalists in a group of soldiers offers new possibilities. The potential of digital cameras today seems endless in comparison to the analogue choices back in the day. Nowadays with the opportunity to record audio footage alongside video material, a specialized sound engineer and equipment is no longer needed.

Being an embedded journalist within a group of soldiers, the reporter will be fitted with appropriate safety gear like a helmet and bulletproof vest. Which is important for their own safety but means also additional weight. As someone (possibly in a hot environment) working in heavy safety gear, no one wants to carry unnecessary extra weight in form of a tripod or other large camera equipment.

For example, the “MSNBC gave each reporter technology tested on the Iraqi battlefields: a small video camera, a tripod and a powerful laptop for editing footage. The reporters were on person operations, sending their reports to MSNBC over any available high speed internet connection. Often this was from the nearest Starbucks coffee shop.” (Com & Berenger, 2006)

German journalists in war areas

Up to a few years ago, war reportage has not been a German domain. Until the late 1990s, Germany mostly bought their war photographs from large foreign agencies. The reporters were usually American, French or British. Only a few German reporters, almost all from the German magazine “Stern”, took up the important, fascinating but also dangerous photographic challenge. In 1992 the “NGO Committee to Protect Journalists” took stock of the numerous victims and found that over time, 373 media representatives have lost their lives while reporting and documenting the war. While in the past journalists often died through landmines, grenade shrapnel, plane crashes or other accidents, today they are often a preferred target for the fighting parties. The change in warfare also shows their consequences in this field. It is to apprehend that the dangerous situation for reporters will intensify even more in the following years. As a freelance photographer it is strongly advised against to travel to a warzone because appropriate infrastructure like special safety vehicles (Hardcars), bodyguards, guides and translators is only available to large news agencies. This is presumably one of the many reasons Germany does not have many war reporters of their own. They don’t have the needed resources to support these kinds of operations. (Ebert & Bauernschmitt, 2015)

3.2.2 How does an image end up in the newspaper or on TV

While in times of analogue photography the image material had a long and complex way from the development of photos to the newsroom or editorial office, today photographers are able to send an image in a nearly direct way to the viewers.

Below you can see a sequence plan: 

Digital processing in the editorial office in detail:

The task for the editors is to decide which images and videos will be published in the newspaper or broadcasted on TV. On the one hand its nice to have a lot of image material to select from, on the other hand it can be a torture to be spoiled for choice. In general, it’s always better to have rather too much than nothing. With digital cameras the chance of having at least one good shot is likely higher. Since analogue cameras are limited to a certain number of pictures on the film, in the digital era there is almost no limit.

In addition, even if the focus or the exposure isn’t right, this can be adjusted afterwards. Therefore, they must decide whether they have to postprocess the images or if they need to cut the videos to show the desired scenes. Possible image developments are: e.g., exposure, lighten dark areas, convert to black and white, resize, denoise etc.

The most common applications are Photoshop and Final Cut.

3.2.5 Financial aspects of digital camera use

Analogue cameras and conventional video cameras use disposable film material which is high in cost and not exactly environmentally sustainable. Especially when it comes to a large number of exposures. That involves a lot of money compared to almost endless usable memory cards. The invest for a large capacity memory card (128 GB or 256 GB SD card) is less than $60 (see bhphotovideo.com).

256 GB 256 000 MB

Image size (with a resolution of 25 megapixels) = 13 MB in JPEG format

256 000 MB / 13 MB = 19 600 images possible

19 600 images / 36 exposures on film = approx. 540 rolls of analogue film needed

1 analogue film = approx. $6 (Kodak color film)

Development of one roll of film = approx. $6,50

$13 per roll of film = $7020 for 19 600 images (like on the SD memory card)

Not to forget that film requires a lot of chemicals to develop, and the disposal of the chemicals are not environmentally friendly. 

3.2.6 Ethical aspects of digital war reporting and distribution of the photographic material

Photographing war and crisis is always connected to victims, cruelty and often death. It is obvious that families and other related persons might not want any pictures taken displaying or commercializing their suffering. Especially when children are involved. With the digitalization, many new opportunities have opened up for professional reporters but also for amateurs with their smartphones. With digital photography and video production images can be shared almost instantaneously and this reduces the chances to object to the use of this material. So, reporters must have certain moral standards of their own to decide what to depict and what not.

But it is not just about what to portray and where to stop exploiting other peoples’ pain and suffering. It’s also about faking certain images by cutting out some important parts, taking it out of context or doubling certain features in terms of making the photos seem more dramatic. This has become even more common since the digitalization has enabled even amateurs to do realistic image processing.

3.2.7 The Future of digital cameras in journalism

This year world’s biggest technology show, the CES 2022 in Las Vegas, shows the latest trends in of Canon, Sony, Panasonic and Samsung (see https://www.ces.tech/). Since camera sensors can be built smaller with higher resolution, still improving image quality, will make smartphones even more popular for everyone. Slowly but surely, they will push the consumer cameras out of the market. Therefore, the gap between consumer and professional cameras is constantly growing. Professional cameras offer now up to 8K videos and a resolution beyond 60 megapixels. Also, the medium-format-cameras with up to 100 megapixels are advancing fast. On the negative side we see fast rising prices for professional equipment. Which makes it unaffordable for many journalists who do not earn money solely with photography. Another fast-advancing market is 3D/360° videotaping. While recording 360° videos the editor can decide in the post-processing which scenes or which view, he wants to see. That makes it easy for journalists because they do not have to concentrate on the camera while they are filming. This is a lot safer in critical situations.

4. Conclusion

The essence of this research is that the technological evolution has changed the work of journalists all around the globe. It has never been so easy to publish and to distribute news, pictures and videos as today. Journalists can send their information and image material live or almost instantly to any newsroom or editorial office. With light equipment, flexibility and mobility is one of the major benefits. This is a substantial factor in war reporting. Especially in regards of safety.

Concerning the financial aspects, the use of digital technology is a huge win. Developing analogue film costs around 100 times more than digital photographing with memory cards, which must be purchased only once. Also, it is environmentally friendly, hence the chemicals.

The downside of digital technology is the fact that the material can simply be manipulated and reach the wrong people, like opposite parties and other countries.

The future technology will make journalism faster but also more difficult because photography is now accessible to any amateur who possesses a smartphone. This brings journalists into a competitive situation with snapshooters, and they must find new ways to separate themselves from them. While snapshooters send their images to social networks (often out of the actual context), reporters have a hard time selling their photos to the news agencies. Also. on social networks, these amateur photographers often do not obey ethical rules.