Please record your responses on a Scantron and turn that in by class time next Monday, February 13th. .
1. Of the prime lenses listed below, which is the fastest?
1. Of the prime lenses listed below, which is the fastest?
A. 28mm f /2.0
B. 50mm f/1.7
C. 180mm f/4.0
D. 300mm f/2.8
2. SLR is an acronym for
A. Saucy Little Redhead
B. Shutter Lens Release
C. Single Lens Reflex
D. Salacious Libeled Rumors
3. If an exposure is calibrated at f 8 with a 1/125th shutter speed, opening the iris for a shallow depth of field to a 2.8 would result in s shutter speed of
A. 1/1000th
B. 1/500th
C. 1/60th
D. 1/15th
4. Of the primes lenses listed below, which is the widest?
A. 28mm f /2.0
B. 50mm f/1.7
C. 180mm f/4.0
D. 300mm f/2.8
5. Which f-stop would allow for the most shallow depth of field?
A. f /11
B. f/ 22
C. f/ 1.7
D. f /2.0
E. f /8
6. Which f-stop would allow for the most depth of field?
A. f/11
B. f/22
C. f/1.7
D. f/2.0
E. f/8
7. Which focal length would result in the most compression?
A. 28mm f/2.0
B. 50mm f/1.7
C. 180mm f/4.0
D. 300mm f/2.8
8. ASA/ISO is a standard for
A. focal length.
B. shutter speed.
C. depth of field.
D. film speed.
E. aperture opening.
9. SLR Digital cameras have an adjustable ASA/ISO setting.
A. True
B. False
10. The higher the ASA/ISO reference number the
A. more noise is induced into the image.
B. less sensitive the pick up device.
C. more light sensitive the emulsion.
D. less grain is present in the negative.
E. Both A and C.
11. The difference between 100 ASA and two hundred ASA is the same as
A. the difference between f/4.0 and f/5.6.
B. the difference between 1/60th of a second and 1/30th of a second.
C. the difference between f/8 and f/5.6.
D. the difference between 1/125th of a second and 1/250th of a second.
E. Both A and D.
12. The increase in the value of the f-stop reference of aperture relates to
A. the decrease in the diameter of the aperture.
B. the increase in the diameter of the aperture.
C. the increase in shutter speed.
D. the increase in depth of field.
E. Both A and D.
13. Steve Linsenmayer first heard the report of a nearby church fire from his
A. pager.
B. Blackberry.
C. emergency band scanner.
D. assignment editor.
14. Other sources for news include
A. NPR.
B. the Internet.
C. The PD's CIO.
D. The Daily Spectrum.
E. All the above, even D.
15. When covering a press conference, identify the main players and establish their nonverbal
A. baseline.
B. glances at each other.
C. cues.
D. language.
16. Clickers often work independent of scribblers when covering the same story.
A. True
B. False
17. To avoid the trap of being the last to know about important stories, Young suggests
A. hanging around the assignment desk.
B. taking a reporter to lunch.
C. using a scanner app.
D. researching current issues on your own.
E. Both C and D.
18. Bracketing allows
A. a range of exposure.
B. enough data to construct an HDR photo.
C. support for your camera.
D. basic algebra.
19. Young indicates the overall shot establishes
A. context.
B. proximity.
C. intimacy.
D. color.
20. The medium shot
A. captures peripheral information.
B. isn’t great, but isn’t terrible either.
C. adds drama to the story.
D. is captured with a medium format camera.
21. Drama is found in the details of the
A. psychological context.
B social context.
C. cultural context.
D. close-up.
22. Avoid the 5’ 7” syndrome. This means
A. avoiding average height subjects.
B. bringing along a step ladder.
C. avoiding taking all your shots at eye level.
D. if you’re short you should go into waiting tables.
E. B and C.
23. One photojournalist who avoids the 5’ 7” syndrome is
A. Karl Grob.
B. Scout Tufankjian.
C. Rebecca Ruth.
24. The social context of photojournalism establishes
A. relationships of subjects.
B. the time of day.
C. mores and values.
D. place.
25. Spencer Platt’s award-winning image of Lebanese 20-somethings in the red convertbile underscores both the ________ and the ____________ contexts of communication.
A. physical, temproal
B. economic, theological
C. social, cultural
D. palistinian, jewish
26. Oded Balilty’s award-winning photograph, “Defending the Barricade,” estalbished _____________ contextual influences within the drama of the story.
A. cultural
B. Palistinian
C. psychological
D. social
E. All but B.
27. The psychological context of Akintunde Akinleye’s “Hell from Heaven” photograph depicting a man washing ash off his face after losing his sawmill to a gas explosion
A. works in the juxtaposition of the beauty and horror of the composition.
B. is represented by the subject’s placement in proximity to the destruction.
C. is difficult to establish because the time of day cannot be established.
D. establishes social rules.
E. Both A and B.
28. Photojournalist Carol Guzy takes so many images on an assignment that her work
A. looks like a movie.
B. looks like a documentary.
C. is easy to edit.
D. looks like an infomercial.
29. For photojournalists, the term “the take” means
A. the loot.
B. the booty.
C. the bounty.
D. the proofs.
30. Shooting wide can establish the tone for the story, but it can also bring bias to it.
A. True
B. False
31. In spot news, remember to
A. shoot wide.
B. shoot lots.
C. shoot different angles.
D. shoot tight.
E. save the last frame, or at least a little room on your card.
32. Aniticipation and timing are key to
A. shooting candids.
B. shooting portraits.
C. shooting wide.
D. saving the last frame.
33. The arsenal of the “Big Game Hunter” includes
A. a tripod.
B. a fast telephoto lens.
C. a fast long zoom.
D. buckshot.
34. A fast lens is determined by its
A. smallest aperture.
B. ASA.
C. ISO.
D. largest aperture
E. relation to shutter speed.
A. Visa card.
B. 500mm f/4 lens and body.
C. 20-35mm zoom and body.
D. 80-200mm zoom and body.
E. certainly B, C, and D and perhaps even A.
36. MacMillan’s short zoom is his
A. 20-35mm.
B. 500mm.
C. 80-200mm.
D. He doesn’t have a short zoom.
37. The advantage of MacMillan’s 500mm f/4 is its
A. weight.
B. depth of field.
C. speed.
D. ability to impress other photographers.
38. Photographers have more rights than the general public when it comes to access to crime, accident, or disaster scenes.
A. True
B. False
39. The single most influential historical event that has resulted in imposed restrictions on photojournalists was
A. the assassination of JFK.
B. the War in Viet Nam.
C. 9/11.
D. the Paris terror attacks.
40. Shooting a demolished bicycle in the road instead of the covered body is a method of shooting spot news
A. litterally.
B. contextually.
C. symbolically.
D. intellectually.
41. Photographing wet pavement at the scene of an accident can establish the important story element of
A. impact.
B. tragedy.
C. cause.
D. effetct.
42. While shooting officials it best to
A. wear comfortable shoes that don’t squeek.
B. watch but don’t talk.
C. stay two paces behind.
D. look out for the guys talking into their sleeves.
43. Working in official contexts it's best practice to
A. forward sensitive information to tabloids.
B. plug your ears and blather, “La, la, la…” while super secrets are being told.
C. always watch wild Bill.
D. zip your lips.
44. To accomplish unobtrusive photography, photographers rely on ___________ and ______________.
A. ski masks, hush puppies
B. strobes, motordrives
C. blimps, barneys
D. fast lenses, high ASA/ISO
45. Leica makes a high quality 35mm range finder camera, a device that eliminates the clicking of the mirror of a single lens reflex camera, making the Leica ideal for shooting in unobtrusive contexts.
A. True
B. False
46. Meetings and press conferences challenge the photographer’s creativity. To capture the drama in these contexts, photographers may
A. capture expressive faces.
B. photograph tension in hands.
C. look for non-verbal indications.
D. direct the seating of the officials.
E. All but D.
47. Carol Guzy says, “I tend to shoot the fringe as opposed to the mainstream stuff.”
A. True
B. False
48. Shooting a house fire is considered
A. feature news.
B. hard news.
C. general news.
D. spot news.
49. Among the issues of Guzy’s porfolio are
A. pictures from a strange and ordinary land.
B. Living Testimony, stories from Sierra Leone.
C. Crack: The Next Generation.
D. Haitian Street Justice.
50. When Dorothea Lang asked if she could photograph the migrant mother, the woman conceded on the grounds that the photograph would tell others of her plight.
A. True
B. False
