number of photographs is the scope of the story. For example, the story of a Navy base will require more photographs than a story about one person attached to that base. 6.  WRITING  THE  TEXT  AND  CUTLINES. After  the  film  has  been  exposed,  processed,  and contact prints made, the next step is to begin writing the text and cutlines. Review your notes carefully. Look for quotes or other information that can be used as a lead. Check all statements and facts. Remember to double-check the spelling of names. Your first attempt at writing a story should be considered a rough draft only. This is the time to correct mistakes and to verify that you have complete and accurate information. Above all, remember that the text must support the photographs. When the text is written, writing the cutlines is a rather simple matter. Do not repeat  what  you  have  already  stated  in  the  text. Cutlines in a picture story should not be confused with  captions  for  a  single  picture.  Cutlines  for  a picture story are very brief. Sometimes they consist of no more than one word. The purpose of an cutline is to bridge the gap between the text and the pictures (fig. 1-5). PICTURE  ESSAY A picture essay, unlike a picture story, does not have to follow a logical order, have continuity, or be objective. A picture essay allows a photojournalist to present a subject from a personal point of view, For example,  how  does  the  flight  deck  of  an  aircraft carrier affect you emotionally? Does the vast size of it  overwhelm  you?  If  so,  you  may  photograph  it abstractly with a fisheye or extremely wide-angle lens to  emphasize  this  feeling.  Similarly,  you  may  be aroused by the hard and dangerous work on a flight deck, and your approach to the story may be from this direction. A picture essay differs from a picture story. In the picture essay, it is the photographer’s viewpoint on a given subject that is important. A picture essay is interpretive,  not  factual.  It  is  an  organization  of pictures around a central theme; it does not have a plot, and it does not have a well-defined beginning, middle, or ending. It is not objective; the requirement for a photographer to remain unbiased and factual is eliminated from the coverage. It is actually through the photographer’s point of view that the reader sees the subject. To  create  a  picture  essay,  you  must  organize several pictures on a single theme to give a deeper, fuller, more rounded, more intense view of the subject than  a  single  picture  could.  It  does  not  matter  what method you use to bind the photographs to the theme. This is the point where your creative talents can be used to explore people, events, and nature. As   with   any   photo   assignment,   research   is necessary. It is through research that you will decide just   how   subjective   you   can   be.   Will   a   broad interpretation say the same thing as a tightly knit, artistic   portrayal?   What   should   be   the   main technique? Is more than one subjective approach required? Here again, you must research your subject, and then plan your shooting and portrayal of the subject. Because a picture essay is subjective, you may choose  to  use  subjective  photographs  to  make  your point. Subjective photographs, as a rule, show the subjects in a form that makes them more interesting and  stimulating  than  usual.  This  is  because  they present the subject in a new light. Refer to figure 1-6, located at the end of this chapter, for an example of a picture essay. You   can   use   various   pictorial   interpretation techniques to produce different interpretations of an event. A few that you may want to consider are as follows: 1. MULTIPLE IMAGES. There are occasions when a single image is not adequate for showing an imaginative theme, mixed mental impressions of the busy world of today, or combinations of a certain background with the framing of the foreground. The technique  of  sandwiching  two  or  more  negatives together,  double  printing,  double  exposures,  and montages is used to this creative end. 2.  INFRARED.  Black-and-white  infrared  film can transform the landscape from a dull photograph to an image of beauty. The amount of infrared radiation absorbed  or  reflected  by  the  subject  renders  the subject  in  unnatural  tones  (foliage  and  grass  appear lighter  than  normal  because  they  strongly  reflect infrared  radiation). 3. MOTION. In still pictures, motion suggests action.   Motion   can   be   suggested   by   using   a slow-shutter speed or by panning with the subject. The 1-13