Edward cotterill

May 21, 2012 § Leave a comment

The Interior as Exterior and Back Again, Recurring #1
2010, Cut Flowers, Glass Vase, Cityscape

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Arab spring leads surge in events captured on cameraphones

February 8, 2012 § Leave a comment

while reading an article from the guardian by David Batty titled “Arab spring leads surge in events captured on camera phones”

The article talks about what happens when the press and photojournalists and journalists can’t reach areas such as war and danger zones, because of all the new technologies we have today and the vast availability of it and social media that when news reportage can’t be attained there now is always a way to still get the story and find out what is going on, where in the past we have not know about such event we can know go on the web and see everything in the heat of a war, This is one area that social media is impacting on and really comes into its own.

Faris Couri, editor in chief of BBC Arabic, said they have seen a fourfold increase in the use of user generated images and video. The material led investigations, for example, when a tank appeared to fire on a school early in the Egyptian revolution. Journalists found there were escaped prisoners hiding in the building.

He said: “On the rare occasion journalists got access to Syria, they were accompanied by the authorities, so the unrestricted user content balanced the coverage. During the last year it became the norm, people realised the situation demands this and it’s impossible to rely on professionals.”

It’s not just the members of public using social media and smart phone but the journalists themselves now use the same methods to report, it’s has become easier to record and report using a small mobile device rather than having tones of equipment and it also means it is safer for them while in war zones, so the social media reportage is not always threatening the professional photojournalist but it is aiding them and this is part of the new business model and their way of adapting to technologies, if you can beat them join them.

Also propaganda can happen more with citizen journalism but it is also stopped by camera phone being around, the government can’t just leak certain bits of a news story because there is always someone around with a camera phone that could have the whole story that the government may or may not want you to see.

“An example is the horrible picture of the Egyptian female protester who was stripped on the floor by army soldiers as they brutally beat and humiliated her. While that was a Reuters picture, supporters of the Supreme Council of the Armed Forces claimed the picture was fake. Then an amateur video appeared leading Scaf to admit that it did indeed happen.”

On 18 December when there was a TV blackout of coverage of the occupation of the cabinet building in Cairo, Abdulla said the only footage came from a protester transmitting live online via his mobile phone.

“That signal was being watched by over 12,000 people at that time. “Gone are the days when governments will be able to hide their crimes by prohibiting TV stations and journalists from being on the scene. Everyone on the scene is a citizen journalist, and everyone is documenting while protesting.”

 

Citizen journalism

February 8, 2012 § Leave a comment

so i started looking more into the images submitted by camera phone users onto social media sites, citizen journalism has become a commenly used term when refuring to the images used off social media sites.

Citizen journalism (also known as “public”, “participatory”, “democratic”,[1] “guerrilla”[2] or “street journalism”[3]) is the concept of members of the public “playing an active role in the process of collecting, reporting, analyzing and disseminating news and information.”[4] Citizen journalism should not be confused with community journalism or civic journalism, which are practiced by professional journalists, or collaborative journalism, which is practiced by professional and non-professional journalists working together. Citizen journalism is a specific form of citizen media as well as user generated content.

New media technology, such as social networking and media-sharing websites, and the increasing prevalence of cellular phones have made citizen journalism more accessible to people all over the world, who can often report breaking news much faster than traditional journalistic organs. Notable examples of citizen journalism being used to report major world events include the Arab Spring and the Occupy movement. At the same time, the unregulated nature of citizen journalism has drawn criticism from professional journalists for being too subjective, amateurish, and haphazard in quality and coverage.

– Taken from wikipedia

Professional journalists have called citizen journalism subjective and amaterurish, this is where and why i believe that professional photojournalism  will survive and will not be replaced, proffesionals know what is required of them and the images they produce, there is more to taking the photos to tell a story.

Objectivity

Citizen journalists may also be activists within the communities they write about. This has drawn some criticism from traditional media institutions such as The New York Times, which have accused proponents of public journalism of abandoning the traditional goal of ‘objectivity’. Many traditional journalists view citizen journalism with some skepticism, believing that only trained journalists can understand the exactitude and ethics involved in reporting news. See, e.g., Nicholas Lemann, Vincent Maher, and Tom Grubisich.

An academic paper by Vincent Maher, the head of the New Media Lab at Rhodes University, outlined several weaknesses in the claims made by citizen journalists, in terms of the “three deadly E’s”, referring to ethics, economics and epistemology. This paper has itself been criticized in the press and blogosphere.[24]

David Simon, a former Baltimore Sun reporter and writer/producer of the popular TV series, “The Wire,” criticized the concept of citizen journalism—claiming that unpaid bloggers who write as a hobby cannot replace trained, professional, seasoned journalists.

“I am offended to think that anyone, anywhere believes American institutions as insulated, self-preserving and self-justifying as police departments, school systems, legislatures and chief executives can be held to gathered facts by amateurs pursuing the task without compensation, training or for that matter, sufficient standing to make public officials even care to whom it is they are lying to.”
Again this touches upon the tools of the trade of professional photojournalism, maybe photojournalists don’t really need to change their business model too much, they have all these skill which make them stand above the citizen journalism, and this also makes me think of  the general purpose of the photos produces. The images created are used in newspapers and website and the whole point of reporting the news is it has to be truthful and creditable , so it is hugely important the images dont sway with a point of view or are non biased, trained professionals have learned to produce non biased images but citizen journalism comes from people who see something and react by taking a photo using a camera phone, because it is their personal reaction to something they are more likely have biased images, so alot of the time camera phone images can no be used.

 

 

How can photojournalism survive and thrive?

February 8, 2012 § Leave a comment

Has social media killed photojournalism? That was the question debated last week at an Online News Association(ONA UK) event at the offices of the Telegraph Media Group, and it sparked some lively exchanges.

The panellists who led the discussion were Turi Munthe, founder and CEO of photo news site Demotix, Paul Lowe, course director of the Masters programme in photojournalism and documentary photography at the London College of Communication, and Edmond Terakopian, an award-winning photojournalist.

We ranged over many issues, among them: is agency boss Neil Burgess correct that the profession of photojournalist no longer exists? Who or what is a photojournalist? What’s a picture worth and who sets the rate? How can photojournalists survive? What’s the business model? Are amateurs being exploited?

When you strip away emotional reactions, it’s technological change that is at the heart of these issues. The barrier to entry has been lowered; the kit is in the hands of millions of people; it’s easier to use than it’s ever been; and the ability to distribute images is open to all.

All the hand-wringing from professionals that amateurs are undermining their livelihoods isn’t going to alter the fact. As attendee Frank Wales pointed out, portrait painters had the same beef with the early practitioners of photography, but it didn’t make a blind bit of difference.-Paul Brannan

I have never thought of other issues such as when photography developed and the painters were threatened but i also don’t see this as the same argument because where as photography and painting are different mediums they also have different uses where as photo journalism and a member of public using a iphone camera i see as the same thing they both provide the same medium for the same purpose.

Advertisers no longer want to spend millions of dollars just to reach mass audiences. They want smarter spend, to pay only for the people their product is aimed at. And as the metrics get better spending will be squeezed still further.

spending will be squeezed further ? this could really mean trouble for photo journalists, if they don’t start to adapt and change then this could mean we could we wont been seeing the breath-taking and amazing photos we see in newspapers and on websites, the article i read then goes on to talk about the new business model and photo journalists starting to produce there work for different cause, so maybe there work will struggle to be used in news papers and websites because of social media but other areas like Pulitzer Center on Crisis Reporting They rely heavenly on photo journalist of high quality, they believe that it is vital that the photos taken of such crises are high quality and tell a very broad and clear story of event in and around world events, we need this to learn and reflect on the issues now and in the future.

 

Photojournalism in the Age of New Media

February 6, 2012 § Leave a comment

Social media have given photojournalists a million extra eyes in conflict zones. But if a picture can say a thousand words, the trick is finding the right one.

alaguribenghazi.jpg

An elderly woman kisses a riot soldier in the streets of Cairo. A building collapses in Tokyo. Bloodied bodies and dismembered limbs fill an infirmary in Benghazi. The images come to us through Twitter and Tumblr and Facebook, captured through mobile phones or Web-ready digital cameras. Far from the grit of revolutionary unrest or the tumult of a natural disaster, average people sit, transfixed.

This story is a familiar one. As new media tools and social networks have become more widely utilized, the powerful images of the world’s crises are delivered directly to the laptops and smartphones of people around the globe. Since Iranian citizens filled the streets of Tehran in 2009 in defiance of President Mahmoud Ahmadinejad’s regime, social media has allowed even the least tech-savvy people around the world to become bystanders to history.

While new media’s value as an organizational tool during global crises has been much debated since the Iranian election protests in 2009, its role in the process of narrative storytelling is palpable. In places like Libya where journalists are outlawed — or disaster zones like post-quake Haiti where regular means of communication are interrupted —  the linkages of social networks can be turned into a means of observing (or, in the case of a tech-savvy dictatorship, surveilling) the origins of political unrest or the makings of a world historical moment. But new media also comes with challenges for photojournalists: while a single snapshot may tell a thousand-word story, the trick is to get that story right.

The technical benefits of new media to photojournalists in crisis zones are equivalent to unrefined digital omniscience. A whole universe of photojournalists, both amateur and professional, is made available to the public through social networks, allowing news organizations to ferret out important stories using tools beyond their existing technical capabilities.

“With regards to Twitter, it’s a very useful tool in order to point journalistic organizations towrads potential leads and potential developments in stories,” said Santiago Lyon, director of photography for the Associated Press. The AP, alongside Reuters and Getty Images, provides the vast majority of editorial photos used by American news organizations. “When there’s a breaking story, whether it’s an ongoing crisis or a spot development — like a plane down in the Hudson — we’re very actively trolling social media sites for imagery: performing searches, scraping Twitter and Facebook, soliciting information. There’s a fairly robust mechanism within the AP to identify and capture citizen journalism … once we find something of interest, then it’s incumbent on a specialist to take care of it. Content goes through a specific department for vetting. We look, apply, crosscheck, reference.”

Since the camera phone has essentially turned any casual observor into a potential photojournalist, an extra pair of eyeballs in Libya could eventually become a temporary appendage of a larger news collecting organization. Lyon provides the example of Alaguri, a Benghazi resident who become the AP’s sole set of eyes in Libya in mid-February as Western journalists were just entering the country. “We found a guy in Benghazi in Libya who had posted some pictures onto the Internet,” Lyon said. “We tracked him down through his Facebook account. We made contact, had a conversation, asked relevant questions, ascertained that he was who he said he was, got permissions for his photos and retained him for a couple days of work. Because of that, we were able to have an exclusive look into the vents in Benghazi last weekend when there was no other imagery coming out of Libya. Our customers were using that. It was a great journalistic scoop on the strength of good, virtual, shoeleather reporting and verification.”

If the original source of a photograph cannot be verified, the value of content is called into question. “We have to look at these things on a case-by-case basis. There’s no general blanket approach other than ‘they must be sure’ that the content is what is says to be and the person is in a position to deal with it (the owner, or a proxy),” said Lyon. “Everything is assessed on its value … we see this at times when the material is superseded or overshadowed by our staff material (not as good so we don’t need it), or it’s stuff that we absolutely need because we don’t have it or it’s from a hard-to-get-to location or whatever that may be.”

The Agence France-Presse and Getty Images found themselves in hot water over copyright infringement shortly after the 2010 earthquake in Haiti. Photographer Daniel Morel managed to post exclusive post-quake images from the devastation in Port-Au-Prince on his Flickr and Twitter accounts. The images were stolen and re-distributed on Twitpic by a Dominican named Lisandro Suero. AFP and Getty licensed and distributed the photos with attribution to Suero to major news organizations — the New York Times, Time Inc, the Washington Post. In December 2010, Morel won a pre-trial victory in federal court against AFP and Getty for copyright infringement. “A news organization didn’t do due diligence,” said Lyon. “It’s absolutely critical. No matter how compelling the content is, we always make sure to deal with the copyright owner.”

While verification can be a technical or legal obstacle for photojournalists utilizing new media as a newsgathering resource, it lies at the heart of the ethical and aesthetic issues of photojournalism and crisis reporting. The sudden influx of raw images from areas ravaged by political conflict and natural disasters may be a wealth of information, and news organizations with limited budgets may be more inclined to rely on citizen journalists on the ground, but they do not necessarily constitute the narrative storytelling at the heart of valuable photojournalism.

This is one piece that i found quite interesting, looking at copy right and or complications that could with mixing social media and photojournalism or just relying on social media to provide the images for a news story. so although we like to think that social media is a good thing and that we can all get news story thought images, news companys that seem to be using social media more than ever are also effecting the photo journalist .

This has always been the propblem with the interent anythink submitted online can be taken or used by anyone, even though there are copy right laws in place, peoplesee and take using images and social media so light hearted that when issues do arise everyone is shocked, it’s the same as going into a darkroom and stealing someones negatives printing them up yourself and selling them.

 

 

Technology Advances in Journalism

February 6, 2012 § Leave a comment

While looking over this project and conducting research i have also become aware of the advances in technology that is and has already had an effect of photojournalism, take for example auto focus, slr cameras becoming cheaper, even the digital camera in general, all these factors has effected and changed how photo journalism works and is used today.

“Journalism has been going through several major technological changes during the past few decades. The pace of these changes is quickening now, altering the practice of the profession as never before. These changes, which encompass a wide range of activities from news gathering to dissemination, are bringing many benefits. At the same time, the profession faces some negative impacts too” Roy Mathew, Special Correspondent, The Hindu, Thiruvananthapuram 695008, Kerala, India

When reading thought Roy Mathews piece on technology advances in journalism it has become clear that it is not just social media that is threatening journalism as a profession but there are so many other elements, for example printing methods, the camera,a journalists tools of the trade, the way we transport our news into stories for the world and also how the masses gather now to get the story, not forgetting the internet it’s self. I have found when conducting my research for this project that the more up to date pieces of text are a lot more useful because technology has already advanced and is advancing so quickly that a piece of text written last year on journalism has already because dated because it is such a fast-moving and developing profession.

http://cyberjournalist.org.in/advance.html

 

Is social media threatening tabloid photojournalism?

February 6, 2012 § Leave a comment

from the blog

Is social media threatening tabloid photojournalism?

May 24th, 2007 by Wendy McAuliffe

The BBC’s ‘A Tabloid is Born’ focused last night on Alfred Harmsworth’s Daily Mail.

The word “tabloid” was invented by Harmsworth, the trademark name of a pill, to describe something highly condensed and easily swallowed. A description that many would still argue is still applicable to the tabloids we know today – but is it?

A chunk of the programme focused on the importance of photojournalism in tabloid history. The example was cited of the Mirror publishing a photograph of King Edward VII on his deathbed, which sold two million copies of the paper that day. No complaint came from the Palace because Queen Alexandra consented to the picture being published on the basis that the Daily Mirror was her favourite paper. The example highlighted the level of impact a still photo can have on a nation, and consequently newspaper readership.

Within the programme Piers Morgan also referenced the photographs of Princess Diana’s death which he was offered at 5am on the morning of her death, but declined. He claims he advised the paparazzi responsible to withdraw the photos and leave the country, which he reportedly did.

This got me thinking – would either of these incidents have happened today in the world of social media?

Arguably the photo of Kind Edward VII would have circulated on the Internet before any newspaper could get hold of it, and without doubt the video of Princess Diana’s death would have leaked onto YouTube within minutes. The recent Virginia Tech shootings were a prime example of how quickly high-impact photographic footage can spread through social media networks.

It seems a shame to me that we may be losing our nation’s photojournalism roots. A three minute video on YouTube is undeniably a great source of news information, but equally I wouldn’t want to say goodbye to those great front page photo exclusives.

 

I have started to look into how photojournalism and social media can find the balance, when one one hand having social media and everyone capturring photos and posting on news events, it comes in very handy being able to share news with the world in seconds but this all has a knock on effect because those hudreds of images are replacing where once would of been a photojournalists job to quickly get to the event and snap the high quality images.

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