Photography as a statement of journalism - variety of genres

2019, Vol. 19, No. 1 (76) ISSN 2451-1617 Photography as a statement of journalism – variety of genres Joanna Szylko-Kwas University of Warsaw j.szylko@uw.edu.pl ORCID: 0000-0002-3011-3562 ABSTRACT The article describes photography as one of the genres of journalistic statements. Scientific objective: To build the theory of press photography as a journalistic statement. An integral part of the concept is the distinction of species varieties of photographic journalistic statements. An intermediate goal is to propose a taxonomy of genres of press photography based on the criterion of the purpose and function of the image, the place and manner of publication, the topic and the criteria of workshop and species. Research methods: Media content analysis. Results and conclusion: The classification of photographic species varieties with a comparison of the image function and the headline function of the press material, part of which is a photograph, is proposed. Cognitive value: The proposed typology can be one of the media tools for analysing journalistic photographic contents. KEYWORDS press photography, press photography genres, journalistic genres, headline, journalist statement 99 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres P hotography is not only a visual record of a selected fragment of reality or an illustration that supplements the text. It has the ability to create new knowledge (Pink, 2009, p. 24) and provide it to the recipient as a visual code. However, this code is not an independent language, because there is no universal and clearly defined system of signs (Sikora, 2004, p. 10, Bate, 2009, pp. 34-35) or significant symbols that will always be understood uniformly by the sender and recipient (Mamzer, 2006). In communication, with visual codes, the sender constructs a message, usually placing it in a certain context, trying to make the recipient interpret it in accordance with the assumed intention. Hence the necessity of using text, which, as part of the message, allows reading the content of the image. The coexistence of photography and words, however, directs to the assumed general meanings, by presence or, on the contrary, the lack of certain information that gives meaning to the visual statement. This relationship, together with the intentional action of the sender, occurs in all media that employ image as their materials. Journalistic photography If we assume that an image does not have a universal system of signs, and thus cannot be read homogeneously, can such a message be called a journalistic statement with the basic information and journalistic functions assigned to it? “Photography is the recording medium” (Potocka, 2010, p. 23), which “stops the action of reality in a chosen or accidentally captured moment” (p. 19). It can also be said that it is a “thin layer of space and time” that can be divided and presented as a fragment of reality or combined, creating new meanings (Sontag, 1986, p. 23). It is also worth emphasising that photography is an image of a photographer about the world encoded in the image (Flusser, 2015, p. 90), giving an illusory impression of direct observation of the presented events (Wolny-Zmorzyński, 2010, p. 41). These and other philosophical approaches to photography, which could be devoted to extensive scientific deliberations (and this is not the intention of this article), direct the attention to the combination of the image and the reality, not necessarily the real one, but the one seen by the photographer and selected in the presented passage. Regardless of the shown fragment of the world around us, photography carries information about a certain area by providing a picture of heroes and/or the world around them. The indicated information value of photography is particularly important in the case of journalistic photography, which should primarily be a visual journalistic message or otherwise a journalistic statement. Already in the middle of the last century, Roman Burzyński emphatically stressed that “photography is a press material in the same degree as the written word” (Burzyński, 1958, p. 70). The considerations present in the literature of the subject are based on the assertions that journalistic photography is an autonomous message (Barthes, 1977, p. 15) or a “statement that speaks on facts” (Piekot, 2006, p. 112). Starting from the definition of Zbigniew Treppa, who says that photography is “to a lesser or greater extent a kind of translation of reality into the language of the image” (2012, p. 24), journalistic photography can be said to be a kind of translation of a selected fragment of reality into language of the image, the purpose of which is to inform the audience about a given problem, event or person who is the protagonist of the journalistic message. The transmission of information in the visual form may be factual, referring to a person or event, or persuasive, where information has been supplemented with an emotional value by both the sender and the recipient. Photos in the press release also serve to increase the dynamics of the layout of a newspaper or journalistic online material, and the information contained therein is only an added value. The distinguished features correspond to the division of journalistic statements into information, journalistic and entertainment messages. Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 100 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres Journalistic photography functions as one of the types of images in the media. It should be distinguished from the numerous images represented, which are not a journalistic message, only the most often advertising one (even if they advertise cultural events), and their presence is justified mainly by economic considerations. This type of photo somehow rents space in a given medium and is not a message from the editorial office of a given title. Also stock photographs should be considered separately, as they do not constitute a journalistic message. They are a commercial product created as a universal (creative) visual content that can be used as an illustration in many messages, mainly in advertising and marketing (Bjarnestam, 1998; Ramamurthy, 2015), though more and more often traditional and digital press use the databases that offer stock photos. This type of image also appears as a visual element of journalistic materials, but it is not a press photo. Photography as a journalistic genre The basic question to be asked is: Can we talk about press photography in the context of journalistic genres with the species varieties assigned to them? Bearing in mind the literature on the subject (Wolny-Zmorzyński, 2007, 2010, 2011, 2015, 2016, Ruta 2009), this question should be answered positively. However, it is worth focusing on the precise determination of the reason of the presence of photography as a journalistic genre. A genre in the media area should be understood as a certain pattern of transmission, according to which individual media utterances are implemented or otherwise - as a set of rules according to which a given work is built. It can therefore be assumed that a genre is a certain theoretical model, scheme, convention, thanks to which the sender has tools to build a message, and the recipient has the ability to decode and understand it (cf. Maziarski, 1976, p. 89; Wojtak, 2004, p. 16; Silverblatt, 2007, p. 3; Bate, 2009, p. 5; Gajda, 2010, p. 255; Fras, 2012, p. 15; WolnyZmorzyński & Kozieł, 2013, p. 29; Furman, 2017, p. 209). A given message, in order to be understandable for the recipient, must refer to the knowledge and experience that the recipient already has, and embedding it in genological tradition allows referring to previous broadcasting and receiving practices and, in effect, reading the sender’s intentions. In the Polish literature on the subject, we find typologies of photography as a journalistic genre - here we should mention the classification of Stanisław Peters, Roman Burzyński and Kazimierz Wolny-Zmorzyński. Each of the named authors drew attention to various criteria for division. Peters (1960) based his typology on the subject and circumstances of creation and he distinguished one-time news photography, genre photography, reportage photography and sport photography. Burzyński (1964) divided photography due to the place and manner of their presentation, dividing it into a stand-alone photography, photography with press material, photographic reportage, photographic montage and cover photo. Wolny-Zmorzyński (2017), referring to the literary genocological tradition, distinguished information photographic genres, including press photography, portrait and photo-chronicle, and journalistic genres - photocolumn, photo-essay, cover photo, photo-montage, photographic reportage, pictorial, photocomic, photo-blog and photo-cast. Each of the indicated typologies refers to another criterion and tries to fill another genological area. From the perspective of the content of the journalistic message, the most universal one seems to be Peters’ proposal, which despite being the oldest, is invariably topical and fulfils the structural, pragmatic and cognitive aspect of the genre pattern in the fullest way. Of course, it should be remembered that also in this typology the boundaries are smooth, because a one-time photo can become generic or in combination with others - reportage photo, but still this displacement occurs between the indicated categories. Genre considerations referring to journalistic photography are also present in Englishlanguage literature. However, it is mainly in the context of practice, not theoretical considerations, Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 101 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres let alone scientific ones. This approach is divergent from the Polish tradition in which genre theories serve to conduct research analyses. On the other hand, practitioners rarely use genre terminology, and one can even say that they ignore it. A popular typology from the Englishspeaking circle is the proposal of Kenneth Kobré (2011, 2016), who distinguished information photography, genre photography, portrait photography, sports photography and photo-reportage. The author focused mainly on the preparation of a textbook for photojournalists and describes the types contained therein in the context of editorial tasks or assignments. Another textbook - or rather a guidebook - Guide to Photojournalism published by the Associated Press (Horton, 2001) identifies information photography, genre photography, sports photography and portrait. Similar criteria were adopted by the Melbourne Photographic Society operating in Melbourne, Australia, which distinguished documentary photography, street photography, celebrity photography and sports photography (“Photographic Genre”, b.d., acc. 12). Therefore, they are not extensive typologies, and the main criterion is the work of a photojournalist. Interestingly, the indicated propositions are the closest to the Peters’ theory, already mentioned twice, which confirms the universality of his classification. In building the typology, it seems particularly important to emphasise the already mentioned criterion, according to which the taxonomy of genres of journalistic photography is created. This avoids heterogeneous variables for one classification, which results in non-matching species varieties. Therefore, the indicated element became the basis for organising the existing classification and proposing own typology. Based on the observation of contemporary press photography, the author proposes to adopt the following criteria: purpose and function of the image, place and manner of publication, topic, and the workshop and genre criterion. Corresponding genre variations were assigned to each indicated determinant. In terms of the purpose and function of the image, we distinguish the following types of photography: • informative photography, in which the emphasis is put on providing information to the recipient, without focusing on emotions and with no intent of stimulating them; • persuasive photography, in which the emotional message is dominant, and the emotional reaction of the recipient appears first; • aesthetic photography, whose primary purpose is to make the message more attractive, and its content is neither informative nor persuasive. In terms of place and manner of publication, we distinguish: • cover photography, present on the first pages of weeklies, magazines, dominating the first column of the journal and the largest and first visible on the editorial office’s website; • multicolumn photography, occupying more than one column of a newspaper; • independent photography (also known as “lonely”), supplemented by a short verbal statement, usually a mention or an expanded announcement in the traditional press, and in online media with an extended title; • photography with the text, part of the press article; • photo-chronicle, a collection of photographs on various topics under a common title, showing events from a certain period, supplemented with basic information about the presented events; • photo-reportage, a story told through a few (a dozen or so) photos and showing the most important problem. In terms of topic, we distinguish: • political photography, • social photography, Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 102 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres • sports photography, • cultural photography, • scientific photography, • economic photography, • historical photography, • military photography, • environmental photography, • religious photography, etc. The indicated typology will not be fully exhaustive due to the multiplicity of topics present in the media. Closing it does not seem to be necessary, because with each analysis, the visual transcribers can build their own typology based on the criteria adopted in a given study. However, it is difficult to combine photos into general thematic groups in such a way as to build a closed whole. This could lead to gaps that hamper the analysis based on the visual message. In terms of workshop and genre criterion, the following variations of journalistic photography can be distinguished: • news photography, presenting a specific event and most often available to be used only on one topic; • feature photography, characterised by a universal way of presenting a problem or an event; • reportage photography, showing, often in an emotional way, an important problem with the help of one photo; • portrait photography, presenting a person without the context of an event, focused only on the protagonist; • landscape photography, presenting landscape, also urban; • photo-montage, or photographic image created from several photographs (although it seems controversial to recognise a photo-montage as a photograph per se, because it is a picture based on photography, which can be treated as a journalistic statement, often strongly persuasive, so it is a message on the border between journalistic photography and other image forms present in the media). Photography as a journalistic statement Talking about photography as a genre seems justified, but in the context of one of the genre varieties of photography in general. If, on the other hand, journalistic photography is to be considered a press genre, it is necessary to assume that the recipient treats it as visual content that can be read and understood. The picture itself is difficult to decode and requires good media education and the acquisition of the ability to „read“, interpret and understand information presented in visual form (visual literacy). A large group of recipients lack such skills (cf. WolnyZmorzyński, 2010, 2016; Szylko-Kwas, in print). Referring to the mentioned pilot study of the author of the article, in which an attempt was made to answer, among others to the questions: is the recipient aware of the journalistic content contained in the photography?; is the caption attached to the photography necessary to understand the message?, one must clearly emphasise the very low ability to read the image content. In fact, the text proved necessary to identify the sender’s intentions and to understand the message. Photography itself is ambiguous, and without a system of signs that is clear and understandable for the sender and receiver, it is difficult to precisely decode the photojournalist’s intentions. If, when writing about journalistic photography, it is necessary to talk about it in the presence and in relation to the neighbouring text, it seems that the picture together with the accompanying word it should consistently be treated as a full Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 103 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres journalistic statement. It is only in this combination that the message becomes meaningful to the recipient. Otherwise, a large part of the photography, regardless of its informational value, is mainly a decorative element for the layout of a newspaper or internet message. Of course, it can be assumed after Barthesem (2008) that every photo can be independent, without a verbal description, and reaches the viewer through a subjectively readable punctum, characteristic for a given photo, and a studium reflecting the socio-cultural context. However, it should be remembered that the studium requires knowledge and context, which cannot always be known without the accompanying word. Only settling the picture in context (cf. Moran & Tegano, 2005; Potocka, 2010; Becker, 2012; Müller, Kappas, & Olk, 2012) allows us to read and understand the message. In the case of journalistic photography, we can talk about several contexts to which one can relate the photo. First of all, it is the context of the medium in which the image was published. This is a general reference to understanding, or reading of the image is related to the selected photo publication channel and to the recipient who has chosen the medium in question. We may look differently at the same picture in the context of a general information journal or an opinion-forming weekly, differently in the tabloid, and quite differently in an album (photo book), gallery or in the context of a competition product, especially the awarded one. The same photograph, related to each of these places, can be interpreted differently due to the recipient’s different expectations towards a given medium, but also due to the sender’s otherwise perceived credibility. The context of the page, that is the place where photos are published within a given medium, is equally important. As is widely known, the position of a given element on a page of any press title or editorial website affects both the attractiveness of the message, as well as its informational and marketing effectiveness (cf. Holsanova, Rahm, & Holmqvist, 2006; Ambrose & Harris, 2007; Frost, 2012). Also the size of the photo emphasises its importance and, at the same time, the importance of the information it provides. Apart from the headlines, text excerpts, infographics and other graphically distinguished structures, this is the first element to which the recipient pays attention, so the recipient’s expectations towards a given title and press material are also focused on it. A smaller image, located in the lower parts of a newspaper or internet column, no longer arouses such interest, and its content does not attract attention and is often not subject to analysis and interpretation necessary to read its meaning. Another, particularly important context for journalistic photography is the accompanying text, in particular the headline and caption. Both elements are visually related to the image and recorded first by the recipient. They belong to the so-called strategic positions (Żydek-Bednarczuk, 2005, p. 171), which, deliberately prepared by the sender, are designed to attract the attention of the recipient. Such items, along with photographs and headlines, as Magdalena Ślawska claims, (2016) also include leads, subtitles and excerpts. All these elements order the layout of the press and web column, guiding the reader’s look between successive elements of the system, allowing him/her to become familiar with the proposed content and encouraging the reading of prepared journalistic materials. Returning, however, to the context of the headline and caption, it should be emphasised that these texts, physically closest to the image, impose the first interpretation of the picture. When the recipient cannot read the contents of the photograph by himself, the words suggest a way to understand the image. If the reader can decode the visual message by himself, the accompanying word can modify its understanding or strengthen the emotional reception. The same image in the context of another headline or caption may acquire new meaning. Of course, when talking about photography in general, we can argue over whether a verbal description is necessary (Van Leeuwen & Jewitt, 2004; Hariman & Lucaites, 2007; Freeman, 2011), but Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 104 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres referring to photography as a journalistic message and sender and his assumed objective of the message, verbal description becomes meaningful. Therefore, reading the content of photography as a journalistic message should take place in conjunction with these strategic elements for the image - the headline and the caption (Newton, 2001, Zelizer, 2004, 2005, Parry, 2010). In the relation between photography and text, the function of the caption has been described many times (cf. Marsh & White, 2003; Martinec & Salway, 2005; Garncarek, 2005; Krauz, 2017; Szylko-Kwas, 2017a; Zielińska, 2017), therefore the essence of the current analysis is the photo-headline relationship. This decision is also based on the assumption that these are the first two elements that attract the attention of the recipient and, at the same time, due to the graphic distinction, constitute a closed whole. The caption, usually written with clearly smaller font than in headline, is usually somewhat hidden and the recipient must put in more effort to read it. Therefore, it is usually not the first decoded element. The main postulate of the article is therefore a look at the photo that is part of a journalistic article which, together with the accompanying headline, becomes an independent journalistic statement and at the same time one of journalistic genres with a genre model assigned to it implementing structural, pragmatic, cognitive and structural aspects. Such a course of action is also visible in the works of Dorothy Economou (2010) and Helen Caple (2013), which also consider the need to treat the image, along with graphically distinguished verbal elements, as an independent journalistic genre. Types of photographic journalistic statements The function of images in media messages, selected and given by the sender, is a key element of journalistic statements. Photographs in the press play three basic functions: informational, persuasive and illustrative (Szylko-Kwas, 2017b). In the first case, the picture shows the event and/or people who are part of this event or the main protagonist of the text. The photographs above all extend the scope of information contained in the journalistic material. The emotional message, if it exists, is secondary. In photographs, in which the persuasive function predominates, the image primarily stimulates the emotions of the recipient. Through close shots, shown details, sentimental themes, a photograph evokes mainly emotional reaction, while the information is in the background. The illustration function, occurring together with the aesthetic one, is most often performed by images that neither bring new information nor stimulate emotions, but are mainly a decorative element that is thematically related to the text and is a visual supplement or only a reference to the content of the article. The second component of the analysed message is the headline function. It can be said that the role of the title is the announcement of the content of journalistic material and provoking reader’s interest in it. However, focusing on the detailed functions of the headline, one can speak of its descriptive function - that is, information describing the content of the article, expressive function - emphasising the emotions of the sender, directive function - suggesting action (cf. Dor, 2003; Tiono, 2003; Wojtak, 2004; Sadowska, 2007; Ifantidou, 2009). The first function is implemented by sentences declaring existing facts, the course of events, etc., without using emotional vocabulary, and focuses on giving information without intention to influence the behaviour and attitudes of recipients. The second - on the contrary - uses expressions that show the emotional value of the message and the affective attitude of the sender, which also affects the feelings of the recipient, evoking his/her emotional reaction. The text, by the headline’s directive function, encourages to act, alerts or even gives orders, or announces the need for taking action and the obviousness of views that should be adopted by the recipient. It is necessary here to underline the fact that these functions do not have unambiguous indicators on the basis of which one could determine one proper function of the image and the Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 105 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres headline. The recipient, having different knowledge, experience, beliefs, values, attitudes, etc., evaluates messages differently. We also cannot say that persuasive picture carries no information, and vice versa. Therefore, the key is to identify the dominance of one function, or factors that indicate that the sender focused on paying attention (on example on naming), informing (for example by using neutral vocabulary and wide frames), without focusing on details. On the other hand, when the persuasive function dominates, emotions are invoked by using an impressive language or emotional shots that first affect the feelings of the recipient, although they also inform about the events or their protagonists. The functions of press photography and headlines, juxtaposed together, can complement each other, reinforcing the unified goal of the statement, but they can also be divergent, building a new type of message. These relations are best seen in the daily press, both general and tabloid, as well as in internet journalistic messages. On their basis, the author proposes the following typology of visual-verbal journalistic statements due to the purpose and function of the message. Table 1. Genre varieties of photographic journalistic statements Genre variety Function of the photo Function of the headline descriptive photoinformation informational photoexpression informational expressive or directive photo-news persuasive descriptive photopersuasion persuasive expressive Characteristics The image is most often a one-off, combined with the word, complementing and explaining visual content. This variant also represent portraits of the protagonists of press materials. The intention of the picture is to visually inform of fact, event or person, but not about the problem (photo 1 and the remaining ones are at the end of the article). Informational photography is complemented with persuasive headline that modifies the photo content. The title and subtitle broaden the thematic range of the photo, they make meaning by calling the emotions that may be absent in the image. In this case, it is easy to manipulate, or consciously and deliberately influence the views and attitudes of recipients, in order to achieve objectives hidden from the recipients (phot. 2). Form mainly used to provide information about important, “hot” and often sudden events associated with catastrophes or conflicts. The picture shows the horror of an event or a tragedy of a person, and the headline informs about the event, giving the necessary facts (phot. 3). Form used in a very emotional messages, usually showing a problem or consequences of events. The image is most often reporting in nature, enhanced with emotional headline. Both elements reinforce the persuasive intention of the message, stimulate recipient’s emotions, engage him.her in the matter (phot. 4). Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 106 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres photo-order persuasive directive photoillustration illustrative expressive photodecoration illustrative descriptive Characteristic for the press clearly sympathising politically or ideologically. Persuasive photographs with directive title that imposes an attitude and way of thinking, are assigned to the journalistic statements clearly presenting the position of the journalist and the editorial office. This type of message imposes beliefs on the recipient and suggests specific behaviour. Both elements combined in one message do not leave the possibility of independent decision, but dictate one view. Rhetorical questions are often employed here (phot. 5). The form characteristic for the tabloid press, though present in all types of newspapers. Photos of a universal nature, often portraits of ordinary people (or celebrities) are complemented with emotionally marked title. It can be both positive and negative, and its goal is to build a tensions through words, while the picture of only attracts the attention of the recipient and does not carry important informational content (phot. 6). Characteristic for less important notes, mentions, and sometimes also press news and internet messages, regardless of the degree of importance. Universal and generic photographies are combined with informational title. The characteristic procedure is to use the same pictures many times, which is associated with a low cost of obtaining the image. The photograph is sometimes used as an element that dynamises the system or organises it - in the case of Internet newsrooms (phot. 7). Source: own study The basic and the most common correlations of the functions of photography and headlines related to it are described in this article and provided with appropriate examples. It must be emphasised, however, that the proposed typology is open and may, and even should, be supplemented with new relations noticed and regularly present in constantly changing newspapers, as well as in weekly and thematic magazines. Summary Considerations of photography as a journalistic statement lead in two different directions. On the one hand, the power of the picture, its universality and necessity are constantly stressed out. Journalistic materials, especially the most important ones, must be accompanied by a specific “proof” in the form of a visual document of a given event, problem or image of the person in question. Different genre varieties of press photography allow the presentation of a given topic in a chosen way, emphasising the function of the image or subject, the way of publication or the criterion of the workshop. It gives the opportunity to build statements of any content in such a form and in accordance with the purpose chosen by the sender (journalist, photojournalist, publisher or owner of a given medium). On the other hand, it seems that the number of photographs from the press is decreasing, and some titles, such as “Dziennik Gazeta Prawna”, limit their number to the necessary minimum. It turns out that the ability to read the visual message by the recipients Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 107 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres is not enough to speak about its common understanding. That is why it became necessary to combine it even more closely with the word. This relationship went beyond the photo-signature link, and in the layouts of contemporary newspapers, as well as on editorial internet portals, the photography-header relation gained a special meaning. This combination allowed to build an independent journalistic statement, which is the first content read by the recipient even before delving into the body of journalistic material. The presence of two, theoretically independent, elements allowed to build different genre connections, which depending on the function for each of them, chosen by the sender, have a different purpose and, consequently, changing content and emotional value. Observation of the daily press, both traditional and digital, made it possible to distinguish seven genres of photographic journalistic statements. They enable the arrangement of the indicated messages, referring to the image function and the headline text function. This criterion seems particularly important due to the form of the message chosen by the sender and the context in which the message is realized and various forms of manipulation over the content of the statement that may follow. The same photo with different headlines can have different content and play different role. Therefore, it seems that it is worth reading these functions and looking at the visual-verbal statements as a whole, the reading of which is influenced by two elements of the message. Examples of photographies: Phot. 1. www.rp.pl (2019, 14 January), https://www.rp.pl/Spoleczenstwo/190119722-PrezydentGdanska-Pawel-Adamowicz-zyje-ale-jest-w-stanie-bardzo-ciezkim.html Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 108 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres Phot. 2. Gazeta Wyborcza (2018, 10 January), p. 1 Phot. 3. Rzeczpospolita (2018, 3 October), p. A1 Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 109 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres Phot. 4. Gazeta Wyborcza (2018, 9 April), p. 1 Phot. 5. Gazeta Polska Codziennie (2015, 17 September), p. 1 Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 110 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres Phot. 6. Fakt, 4 December 2018, p. 17, no. 282 (4593) Phot. 7. www. gazetaprawna.pl (2019, 9 January) – portal headline Studia Medioznawcze 2019, Vol. 19, No. 1 (76), pp. 98–114 https://mediastudies.eu 111 Joanna Szylko-Kwas • Photography as a statement of journalism – variety of genres References Ambrose, G., & Harris, P. (2007). Twórcze projektowanie [Creative design]. Warszawa: Wydawnictwo Naukowe PWN. Barthes, R. (1977). Image Music Text. London: Fontana Press. Barthes, R. (2008). Światło obrazu. Uwagi o fotografii [Light of the image. 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