News photographs often shape the reader's perception of an event. The photographer is adding a message and saying this is how I saw it. Whilst pictures may not have the nuances of the written word, they have more of an immediacy. The reader is there, the scene or part of the scene is presented without being filtered through the vocabulary of various writers and editors.

With a news event the message is usually obvious. The photographer must show the scene and as much of the action as possible. Selection and editing comes later. But there are many occasions when the photojournalist needs to look a little closer, examine the situation, the personal attitudes and social conditions of the event. What has gone before and what is likely to come after may be important and need to be taken into account when deciding how to photograph a situation. The photojournalist is usually a more thoughtful person than the popular image implies. Quietly selecting a position, waiting, observing, looking for emotions, body language, relationship to background, effect of lighting, or lack of it - then pressing the shutter and moving on to the next opportunity. Photojournalism must say something, inform and enhance the reader's perception of something they have not seen themselves.

No time for Roger Bamber to think of composition at the scene of a London bomb blast. The blood stained appearance of the victim and the urgent expressions of his helpers emphasise the rush to the ambulance. Spotting the situation and being ready to shoot the picture is a skill that is not quite so simple as it seems.

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This man is at Dunkirk celebrating an anniversary of the WW2 evacuation. His upright bearing and bowler hat show that he was once a proud soldier. Frank Martin had to find a single picture for The Guardian that illustrated the anniversary visit to the French port, he chose this ex-Sergeant Major, remembering on the sands.