Category Archive: industry
It would seem that the biggest magazines with the most hiring power hire mostly male photographers. -Daniel Shea
In September, Daniel Shea provoked quite the conversation with a post on his tumblr called “On Sexism in Editorial Photography.” We reblogged the original post on our tumblr but due to travel and assignment work never got around to a roundup on the main blog here. One great result of the conversation is Women In Photo, which collects the online conversation about these issues and presents a list of American and international women photographers that any editor shouldn’t hesitate to hire for assignment work. It’s a work in progress, with a few names I like left out (Melissa Golden, Melissa Lyttle, Alixandra Fazzina, Vivian Sassen, Sandy Kim, Ariel Zambelich, Megan Spelman, Narelle Autio, Krisanne Johnson, Carolyn Drake, Nadia Shira Cohen, Sim Chi Yin, Anastasia Taylor Lind, Jessica Dimmock, Stephanie Sinclair, Lynsey Addario), but it’s a great resource so far.
Shea pointed out that the biggest magazines have mostly female editors and hire mostly male photographers and presented a few observations and thoughts about why this situations has arisen, none of which he claims to be exhaustive or anything more than his own experience: editors say they don’t know female photographers who fit their magazine’s style; men might be more aggressive in pursuing assignment work; collectives and loose organizations of photographers don’t do a good job of including women; men have an easier time assisting due to sexism and climbing the ranks that way. The whole post is worth a read. Another particularly troubling statistic that saw recently that likely has a profound affect: 64% of women journalists responding to a survey said they had experienced “intimidation, threats, or abuse” in the field or in the office. That study was conducted by the International Women’s Media Foundation.
Women In Photography also collects much of the rest of the conversation started by Shea and discussion about the conversation. There are responses by editors, photographers, and industry publications. Here’s a few I liked:
- Erin Patrice O’Brien had a great response stemming from a shoot with a mostly female crew which also includes a huuuuuggeee list of women photographers who are killing it (crossposted at APhotoEditor).
- Photo editor Jamie Goldenberg has a nice addition on the editing side of the conversation.
- Angie Smith took time to count the ratios of male photographers to women in issues from a bunch of magazines she had around, and the results were not good: 6:2, 9:1, 8:0, 11:3, 10:1, 12:0, 4:4, 8:1, 12:4, 5:4, 10:4.
- PDN has a nice roundup of thoughts on the issue.
- Also worth a read, Alexi Hobbs shares a short anecdote about how being mistaken for a woman caused an editor to contact him.
Firecracker does a great job finding and highlighting the work of European women photographers (featured on dvafoto previously), and offers an annual grant. There’s also the Women Photojournalists of Washington and their annual contest.
Buzzfeed also had a wonderful post a little while back: Women Are Covering The Hell Out Of The Syria War — So Why Haven’t You Noticed?
And check out the International Women’s Media Foundation.
While we’re on this subject, I imagine that we could have a very similar conversation about racial and ethnic diversity in the photo industry…
Charges dropped against Photography Is Not a Crime blogger for posting police media relations number onlineDec 6, 2013 by M. Scott Brauer No Comments »
This is a local story for me since it involves the Boston Police Department. I’m happy to see a positive resolution, though disappointed that it the situation even arose. At its essence, a blogger was charged with witness intimidation and faced 10 years in prison for posting the publicly-available media relations phone number and email address for the Boston Police Department in a post about police harassment of a man taking video of police activity (video above).
Carlos Miller is the very active blogger behind the Photography Is Not a Crime site, which catalogs instances of photographers and videographers being arrested, detained, harassed, or otherwise interfered with by authorities while taking pictures or video. The blog is a valuable resource in the fight against increased limitations placed on visual media, especially regarding police activity. Miller frequently writes about intimidation and harassment of photographers by police, and entreats readers to write to police departments and lawmakers to fight against these injustices. We’ve covered laws preventing recording police activity before, in addition to other parts of the war on cameras.
In August 2013, Miller published a blog post about a video in which a Boston Police sergeant shoved and harassed a man taking video of police action on a public sidewalk. At the end of that post, Miller told readers to call the Boston Police Department and listed the Public Service Desk customer service number available on BPD’s own website. One reader did just that, recording a short conversation with Boston police spokeswoman Angelene Richardson, who found the recording online and filed a charge against Taylor Hardy for illegal wiretapping (Hardy maintains that permission was granted to record the call; the charge was later dropped). In a post discussing these wiretapping charges, Miller again asked readers to call a publicly available number to ask that charges be dropped. In a later post, Miller said he posted the number to “[allow] readers to contact them to show [BPD] we are paying attention.” After numerous readers called in about the charges, Boston Police Detective Nick Moore filed witness intimidation charges against Carlos Miller and threatened similar charges for anyone who called in.
Miller launched an indiegogo campaign to help with legal fees, ultimately raising $4300 to hire a lawyer. Readers continued to call in to the Boston Police Department, the lawyer mounted legal challenges to the charges, and the case started to draw some media attention. The Boston Police Department eventually folded and agreed to drop all charges against Miller and Hardy. You can read other summaries of the case by PBS and the Committee to Protect Journalists.
Of particular note related to the BPD’s actions that started this whole chain of events, in 2011 a federal appeals court ruled against (pdf) Boston police arresting a man for using his cell phone to record police activity in public without permission. The court noted that “changes in technology and society have made the lines between private citizen and journalist exceedingly difficult to draw.”
“Upworthy rankles some journalists partly because, even as it innocently coos Web readers with tender headlines, the repetitiveness of its style suggests a rather cynical ploy to lasso cheap attention rather than fully engage an audience hunting anything more than a dopamine rush.” -The Atlantic, Upworthy: I Thought This Website Was Crazy, but What Happened Next Changed Everything
For the past year, Upworthy-hosted videos and Buzzfeed listicles have been taking over my facebook feed. It’s been interesting to watch how these sites, and others like them, have come to dominate our news culture. Their headlines are manipulative, almost guaranteed to make you click, but rarely are the informative. You already know the style, and it’s creeping into other news outlets. Here are a few examples from a USA Today story about the emotionally charged headlines employed by Upworthy, Huffington Post, and Buzzfeed:
Coming from journalism, I hate these headlines, and so do others. They editorialize, tell the reader very little about what I’m about to see, and make the reader feel guilty if one doesn’t click them. But it’s been enormously successful for these companies. Upworthy is the fastest growing news site in history, with 30 million unique viewers in May 2013. While at first glance, the site seems like it only repackages videos hosted and created elsewhere, it’s making money through sponsored content and partnerships with organizations such as the Gates Foundation.
Marketing companies now offer advice on how to apply this viral-style headline writing to your small business. And it’s invading the internet. There are a ton of sites trying to clone Upworthy and Buzzfeed’s success, such as ViralNova. They use focus groups and a/b headline testing to find the most clickable headlines. There’s Godvine, a Christian site with headlines such as “See Why These Dogs Are Singing… It’s Way More Important Than You Think” and “He Has Strength, Faith in Jesus and Cerebral Palsy – This Video Will Make You Cry.”
Mainstream news outlets are taking note. The Atlantic recently published “The Case Against Cars in 1 Utterly Entrancing GIF“; Time, always one for Top # lists, has a Viral section with stories such as “The Absolute Grossest Way to Have Your Fortune Read;” Slate’s headlines are starting to change into writing like “This Awesome Ad, Set to the Beastie Boys, Is How to Get Girls to Become Engineers.”
Buzzfeed has been able to do the same thing with photos and gifs. Slate interviewed Buzzfeed founder (and Huffington Post co-founder) Jonah Peretti about how they make photos go viral. As of this writing, “21 Pictures That Will Restore Your Faith In Humanity.” And while not every post there is a hit–”84 Things That Aren’t On An Everything Bagel” didn’t post quite the same numbers (~41,000 as of this writing)–the site has figured a way to reliably draw traffic to photography. Of course, it’s not the sort of photography that we often write about at dvafoto. But just as Kony2012 showed that it’s possible to get the public interested obscure international issues, there might be something for the photojournalism community to learn from Buzzfeed.
Not all is well at Buzzfeed, though. The provenance of many of Buzzfeed’s images is often a bit questionable. They frequently lift images or whole lists from other sites without attribution or concern for copyright. The 21 Images That Will Restore Your Faith in Humanity came from a combination of Ned Hardy posts and Reddit. The site often steals images without asking for permission, particularly troubling when the copyright infringement is used in a sponsored story. One photographer fired back at Buzzfeed, and got them to pay $500 to a charity of his choice, for stealing his photo: “10 Good Reasons BuzzFeed Is Going to Pay My Invoice for Copyright Theft“.
While Upworthy’s sole positive is drawing eyeballs to some worthy stories (here’s a story from my hometown which aired on Rock Center, which I wouldn’t have seen had it not been for Upworthy), I have been impressed by Buzzfeed’s longform journalism section, BuzzReads. Though the headlines can be sensational, the content is good and original. Here are a few stories which have caught my eye recently: I Was Drugged By A Stranger, William Suess Thought He Was An American Until The Day He Was Deported, Was An American College Student Kidnapped By North Korea?, Wildcatting: A Stripper’s Guide to the Modern American Boomtown. Poynter has a nice article about what Buzzfeed’s push into longform reporting might mean.
“What would a Snopes for ViralNova or Upworthy even look like? It could question the sources of the stories and the details of the anecdotes, or provide context for their claims. But could it correct sentiments like, ‘man is fundamentally good’ or ‘we should do better?’ A site specific to this purpose would be more un-viral than anti-viral. Correcting a post like this is like fact checking Chicken Soup for the Soul, or refuting a prayer.” -Buzzfeed, “How Internet Chain Letters Took Over The Media“
Buzzfeed itself has one of the best pieces on how and why this emotionally-charged or nostalgia-infused content is taking over Facebook and the rest of the web. The article argues Upworthy, Buzzfeed, and their ilk substantially resemble chain letters and email forwards (what one MetaFilter commenter called “‘Jesus and kittens love you’ fwd-mails for twentysomething liberals.”).
Snopes.com arose to fact-check viral chain letters, but that doesn’t quite work with Upworthy and the like. Their posts are factual but packaged and reframed in an inspirational or otherwise emotional way. One can’t correct the sentiments in Upworthy headlines such as ‘man is fundamentally good’ or ‘person is brave for confront adversity.’ The best you can do is satirize the style, and thankfully a few people have:
By the way, here are two fantastic satirical exploitations of the Buzzfeed style on Buzzfeed itself: 22 Amazing Things Only a 90s Kid Would Understand, and 7 Fantastic Ways To Distinguish Between Sense And Nonsense. The first was created by what seems to be a Buzzfeed performance artist under the name Spacedog Escargot.
Also, if you use chrome, you can install an extension called Rather to filter Upworthy links, baby pictures, tv spoilers, and anything else you don’t want to see.
Maybe our own M. Scott Brauer, recently returned from a hunting trip in Montana, can give us some better advice than this guy, who just sort of hung out with an Elk while he was trying to take pictures. The video is awkward and asks a lot of questions.
Scott, did this guy do good? Should he have run away screaming? Or stood up and scared the Elk off? (Which was what I was rooting for). Or. better yet, gone for a close-up? Strange video.
A Pew Research Center study shows that photographers have been hit hardest by US newspaper layoffs since 2000. There has been a 32% reduction in writing staff (from ~25,500 to ~17,500 writers), but newspaper photographers’ numbers have decreased about 42% (from 6,171 to 3,493). Newspapers frequently cite changing technologies or ease of training writers to take photos or video as they report the news. Over at Sun-Times/Dark Times we’ve seen just how bad that can get through comparisons between Tribune and Sun-Times coverage after the Sun-Times laid off its entire photography staff.
I always find it curious that newspapers are quick to train writers to serve as photographers in these situations, and that almost never goes the other way.
“In Illinois, if a person dies without a will, their property goes to their closest living relatives. But if they literally have no living kin anywhere in the world, then the decedent’s property will ‘escheat’ to the State of Illinois. That rarely happens, though, because the law is written so that the property will go to the decedent’s relatives, even if they are very distant.” – Steven Dawson, a trusts and estates lawyer with Bryan Cave LLP, speaking to Gapers Block
We’ve written about Vivian Maier before (first all the way back in 2009), and you’ve probably read or seen much more. I just saw one of the traveling exhibitions of her work at Brandeis University outside Boston, and it’s well worth going to see her work in person, if you can. There’s a recently-released documentary (trailer above, IMDB) that seeks to get the bottom of just who this woman was. There may be a biopic in the works. There have been exhibitions and publications of her work all around the world. Two books have anthologized her photos: Vivian Maier: Street Photographer and Vivian Maier: Out of the Shadows.
All of these books and movies and exhibitions stem from three separate collections of Maier’s work bought at auction after her death. The larger and more well-known collection is John Maloof’s, but Jeffery Goldstein also controls a substantial number of images (here’s a piece on Lens about that collection. A third man, Ron Slattery, bought a smaller collection of negatives and prints in 2007, before Maier’s death, though I can’t find a link that collection. A forthcoming book, Vivian Maier’s Fractured Archive, tries to make sense of all of these different collections and the woman herself.
The question remains, however, of just who owns the copyright to these photos. Ordinarily, copyright of unpublished works with a known author stays in place for 70 years after the death of the creator. Maier died in 2009, which means her copyright belongs to her heirs until at least 2079. But because Maier left no will and had no known heirs, the ownership likely goes to the state of Illinois, where Maier died. As Chicago-area web publication Gapers Block reports, “First, the state could do nothing, which would allow the owners of her work to continue with their ventures. Second, if the state decides it is the rightful owner of Maier’s work, cease and desist letters will be sent to the current owners explaining the laws of succession, how the state is now the main beneficiary, and that any selling of her work needs to stop and all profits made would need to be paid to the state.”
Maier’s photographic legacy now is worth thousands, if not millions, of dollars, so the state and the stewards of the various Maier collections have a compelling interest to maintain and exercise their ownership of these materials. It will be interesting to see how this legal situation plays out over the coming years.
New York Times staff photographer Tyler Hicks was nearby to the Westgate mall in Nairobi, Kenya on Saturday when he heard about gunmen opening fire inside the popular shopping center. He immediately went to the site of the attack and entered the building, photographing as security forces and police attempted to find the gunmen and rescue hostages. He was interviewed by James Estrin of the New York Times’ Lens Blog about what he saw and they published a gallery of the terrific and harrowing photographs that Hicks took inside of the Westgate mall yesterday.
We managed to find an entrance where people who were hiding inside the mall were coming out. We ran into that service entrance and we hooked up with some police who let us stay with them as they did security sweeps clearing different stores — very much like what you see when the military enters a village. Shop to shop and aisle to aisle, looking for the shooters who were still inside. – Tyler Hicks on the New York Times Lens Blog
As of the time of posting the siege at the mall is ongoing and the New York Times is reporting that 59 people have been killed in the attack and more than 175 wounded, including family of the President of Kenya. Foreign Policy Magazine’s Passport blog is also covering the story with analysis about the attackers and the broader situation in Kenya.
Update (9/23): Scott pointed out this gallery of images on Buzzfeed about the attack a few minutes after I published this post. It shows the work of other photographers from inside the Westgate mall and the scene outside. They are also harrowing and gruesome, and also notable for their quality. It is interesting to note that so many professional conflict photographers, like Reuters’ Goran Tomasevic, were present when this breaking news happened. More on that later.
Also worth reading is BagNewsNotes’ analysis of the images in Michael Shaw’s post “Things to be Concerned About in the Mall Attack Photos from Nairobi”, which as usual is thought provoking.
Newsweek Autopsy: a conversation with James Wellford about photography and the death of the magazineAug 20, 2013 by M. Scott Brauer No Comments »
“The management backed off; they gave all the money to high profile writers, abolished all the contract photographers, names, personalities and creativity. Certainly, in the world of journalism, photography took a back seat to some of the more infamous portrait photographers who shoot celebrities and power. They still get paid. But it was depressing for me as I am interested in news. It was possible for me to take one assignment for a portrait photographer, then cut it in four ways. This would enable me to support stories in other parts of the world very easily. I always believed in that and I could not ever accept or understand why they simply rejected it, hook, line and sinker. In the end it was terribly disappointing.” -James Wellford, speaking to Emaho Magazine
If you’re following dvafoto on tumblr, you’ve already seen our link to Emaho Magazine‘s interview with former Newsweek Senior Photo Editor James Wellford about the death of the magazine and how he tried to curate photography for the publication. Wellford talks about the types of photography he tried to support through his helm at the magazine and how that ultimately ran counter to what the publication’s management had in mind for Newsweek. It’s definitely worth a read.
Conflict reporting is a dangerous undertaking increasingly dominated by the work of freelance journalists (as high as 80% of journalists working in Syria are freelancers), most of whom lack the legal, financial, and security resources of large news organizations while working in risky environments. Vaughan Smith, of London’s Frontline Club, and a group of freelance photographers and other journalists have organized the Frontline Freelance Register to address the issue of freelancers putting themselves at risk without the institutional backing of large news organizations (two French freelancers freelancers were just abducted in Syria; James Foley has been missing for 204 days as of the writing of this post). The FFR is billed as “a representative body for freelance journalists exposed to risk while gathering news” and will work to establish and promote industry-wide safety standards and best practices for journalists working abroad in difficult and dangerous circumstances.
If you work in dangerous environments, you can apply to join the FFR here.
Related: RISC trains freelance conflict journalists to treat life-threatening injuries in the battlefield.
“Being in the room with John White when we got laid off was a highlight of my career. About 30 of us got the axe. As soon as [Sun-Times editor] Jim Kirk said they were going to have the reporters produce multimedia for their rapidly changing platforms, I just had to walk out.” -Rob Hart, former Sun-Times Media photojournalist, speaking to News Photographer
We’ve covered lay-offs before (the Paper Cuts website is a good primer on recent history), but this week the Chicago Sun-Times took the unprecedented move of laying off their entire photo staff. Twenty-eight full-time staffers, including photographers and photo editors, were given the ax, and now there’s a major metro newspaper in the US without a photo staff. Among those laid off was the great John H. White, 1982 Pulitzer Prize winner and elder statesman of news photography, who’d worked at the paper for 44 years. Read Scott Strazzante’s ode to the photographer, The Great John H. White. Now, here’s a photo of White and others receiving their walking papers.
The Sun-Times says the reason for the lay-offs was a general move toward video and multimedia, and that still photo needs would be filled by freelancers and reporters who will be trained in “iPhone photography basics.” I always find it curious that newspapers expect reporters to fill the roles of photographers and newspapers after lay-offs; I’ve never heard of photographers being asked to take on the writers’ roles after a round of cuts. Here’s a May 30 story published by the Sun-Times featuring an awful photo taken by the writer of the article to give you an idea of what the paper’s visual coverage might look like going forward.
Here are a few reactions to the news that are well worth a read:
- Poynter: John White on Sun-Times layoffs: ‘It was as if they pushed a button and deleted a whole culture’
- Alex Garcia: The Idiocy of Eliminating a Photo Staff
- Vincent Laforet: How to ensure your extinction: look at what newspapers are doing
- Jeff Jarvis: To the Dauntless Lensmen
- Allen Murabayashi: How the Internet Killed Photojournalism
- Black Chicago in the 1970s, through the lens of John H. White
- An open letter to the Sun-Times owners, by Jerry Burnes, news editor at the Williston Herald
- New York Times: Do Newspapers Need Photographers?
- Fake craigslist soliciting iReporters for the Sun-Times (mirror)
- some photos of Sun-Times photo staffers after receiving the news
And for anyone who’s been laid-off (in news local to me, Boston University just laid-off their entire photo staff), know that things will get better. Here are resources from the NPPA for laid-off visual journalists. And here’s Chip Litherland’s open letter to newspaper photographers.