I never had the pleasure of meeting him, be even then, he was part of the San Jose State University family. And a man who helped make the photojournalism program at SJSU what it is and was.
I probably would not be a SJSU grad today if he hadn't been there to continue the work started by PJ program and School of Journalism founder Dwight Bentel.
According to Mack Lundstrom, a current SJSU professor and good friend, "He died Sunday night. Joe taught Steve Starr, Kim Komenich and Doug Parker, who individually or leading a staff have won four Pulitzers."
He clearly left his mark.
The Spartan Daily, my old college paper stomping grounds, published two stories on Swan. A Feb 20 interview with Swan shortly after he decided to take himself off kidney dialysis, a decision that he made knowing it would mean death. A second story, published today, announces his death at home Sunday.
At the time he said, "I just try to look at what's ahead as maybe an adventure." And why not, from reading the article, it looks like living for an adventure is how he ran his life.
The annual contest marking the best work coming out of college photographers announced their picks for 2008.
A lot of familiar names on there and a few really gripping images to.
Although some of the images left me scratching my head, I won't name names but how it is in one breath we denounce overdoing toning in photoshop (Patrick Schneider) and than at the same time applaud those who have obviously done the same with contrast ratios and levels?
And in some of the stories I can't see a narrative thread. Yes all the pictures are extraordinary and I'm better for seeing them, but where is the storytelling?
This is a touchy subject, and I'm trying to be very careful in what I say as not to appear bitter or elitist. Well, first I didn't enter so I can't be bitter and I'm a nobody so I have no reason to be an elitist. (So that's settled.)
All the folks that won are obviously talented and I'm very glad I clicked on the pictures, don't get it twisted, I'm just thinking out loud here.
On another note, it's nice to see some of the multimedia work coming out of schools these days. There is so much cool, moody, thoughtful, informative, intimate and at times inspiring work to check out. I haven't even got through it all yet (there's so much!) but I can see there are some really nice projects there.
I don't write about technology often, I know, this coming from the guy that posts about video-hosting websites, new cameras, RAW processing and Microsoft's table computer thing, but honest I don't do it often, check!
Anywho I was looking at the Natchway speech from the TED awards again, and I saw this other video on the site for a software application called Photosynth, which presents us with a new way of organizing, manipulating and viewing digital images.
(They were recently acquired by Microsoft as well... It looks like Microsoft is positioning itself as a major player in digital imaging?)
Pretty amazing right?
I think it's cool to think about organizing and being able to move stuff around and arrange your files in a GUI that's both slick and fast, not to mention the amazingly innovative and revolutionary idea of, as its creator Blaise Aguera y Arcas calls it "creating hyperlinks between images" based on the content of those pictures. Which is like the Google Maps new local pictures tab (which got into some trouble) but ten times cooler!
Still not getting it?
Imagine all the pictures on Flickr of the Golden Gate bridge being combined to create a mosic of images rendered into a 3-D space that you as the user are free to move around, zoom in and out off, click on any point to see a real picture of that point, from that point and from virtually every angle allowing for you to generally direct your own unique navigational experience though the collection.
This is revolutionary and can change the way we store and call up information.
It creates a "collective memory" of the real world space and archives it for anyone looking to see it.
Think of it as a visual wiki (btw, if that term catches on, I coined it!)
I've seen some baby steps made into this area in journalism with data based multimedia, most notably Andrew DeVigal is steering some really intertesting experiments in this area at the New York Times, but after seeing Photosynth in action, it only hints at the potential and challenges us to go much further.
What I find really interesting
Now this is all new and as you can see, quite fascinating (for me) and "from the world of tomorrow!", but what I find to be really the most interesting thing is what's found at 1:42 of the video.
The video goes on to show how this technology is so developed for image processing and delivery, that it can not only store entire novels, but also newspapers; that can be zoomed in and out of and navigated from pages within a section or other sections all together within seconds. (Look just watch the video, I'm never going to do it justice by trying to describe it.)
My pal Ryan's been talking about e-Paper for a while and how it's going to replace printed newspapers, well, as much as I'll miss the smell of ink (maybe they can sell it in a mist?) and tearing out interesting articles, pictures, comics and ads that I'll want to place in my sketchbook or research more about (maybe e-Paper can come with del.icio.us.) I can't deny it.
E-paper is coming, assuming RSS and online delivery doesn't replace it as wi-fi comes to cell phones and everything from a PSP to TiVo to refrigerators with built-in screens (I've still got one on reserve Hanna ;) are starting to connect to the web and offer information everywhere anytime whenever.
I can see e-paper and something like photosynth combining and giving us the next newspaper, or newspaper 2.0 or whatever the techie marketers will call it.
What I find really-really interesting
Ok, that's what I find to be really fascinating, but what I find to be really-really fascinating is the new forms of multimedia we can produce with this technology on newspapers.
Yes folks, this is the most important part and the ideas that I think are relevent to our industry and to me as a photographer and new-media thinker.
Say we're sent out to cover another protest story (yes, another one) and we're looking for a new angle (just to challenge ourselves if nothing else) and of course if you're anything like me, you're thinking multimedia. So why not cover the protest and get all the killer pictures you always do (you're so good) and of course we'll get the ambient sounds and interviews (of course) but what about the presentation?
Many of us just throw it in soundslides or edit a video in Final Cut, Premier Pro or iMovie, but we never really think about presentation or what sort of interface the viewer will use to engage with our work.
Some of this can be caulked up to time constraints and impeding deadlines (I know every time I've done multimedia it's always been on my own time) but a larger reason is that everyone already at a paper is so busy trying to learn the new programs and tools used to make these new things that no one is thinking about how to show them off... because Flash is hard and many papers don't have multimedia editors (yet) to budget for these things.
So I'm looking at Photosynth and I'm thinking of that protest story and I'm getting excited thinking about all the possibilities.
Like rendering the photos into a 3-D environment and interviews could be mapped to the subjects with a picture of them where they were in the 3-D space when you spoke to them and then map the ambient sounds to their sources within the environment. Birds chirping in the tree, the plane flying over at the end of the street, the ding-dong of the cross walk sign, the wheels of the skateboard from that kid on the sidewalk...
This could allow letting people navigate their own way through the story and find interviews and story blocks and pictures in completely unique and innovative ways.
Copy from a story could show up in newspaper boxes, posters on walls could link to related stories, zooming out to a birds eye view could turn the scene into info graphics or other data-based multimedia).
And we can then take it one step further by inviting the public to submit their pictures from the event to further develop the archive of the collective memory.
How cool is that?
I know some folks on photo staffs will hear things like this and fear it, but I say embrace it. Embrace it before the kid fresh out of college (me) embraces it and comes into your newsroom.
NPPA Flying Short Course at San Jose State University
I can't make it unfortunately, darn this actually working and getting paid to take pictures thing, but we worked real hard at SJSU to pull this off so if you make it, let me know what you thought.
Also, check out the new site we created for the short course.
To keep the theme of new media and embracing the change of our industry we started brainstorming months ago about how we as a campus can push that envelope, one of the simplest ideas we had was to create a website and post Flickr feeds, videos, blogs, podcasts and slideshows to it.
Check it out and while there click on over to the local days events and national events links to get a run down of everything you can expect.
And if you feel like participating, (blog some? Flickr some? Video some?) be sure to hunt down Daniel Sato (he's the fellow in the video on the SJSU website) and he'll get you all set up.
Just moments ago, SJSU PJ Department head Dr. D. Michael Cheers, and this summers fellow at National Geographic, sent me an e-mail that our project, formerly under wraps, had a new national backer. National Geographic.
He asked me to pass the word, so, here we go: National Geographic has joined The San Jose Mercury News as the national and local partners, respectively, for a series of summer multimedia workshops over the next couple years.
From Cheers' e-mail:
National Geographic Magazine just agreed to be the national media partner on the three-year round the world student documentary multimedia expedition! That means that they will supply us with a photographer or editor for one week during the summer school course(s)....for the next three years beginning summer 2008.
Each year a select group of students and professionals will travel abroad and spend a week to two weeks producing stories employing every form of media under the sun.
Excited? You should be.
More details and formal applications will be coming soon, but if you really want to know more about it, ask us in person at the west coast stop of this years NPPA Flying Short course.
We've been working on it behind the scenes for a while and couldn't really talk about it, but with the last issue of News Photographer, the cat was out of the bag, San Jose State University will be hosting the last leg of the one of NPPA's biggest events.
Oct 27, mark your calenders now! (If you have suggestions or ideas for things to do/ pitfalls to avoid, let me know. Please!)
In a couple weeks SJSU will also host Gordon Parks: Crossroads, a traveling exhibit of the late master's work.
A personal source of inspiration in my early development, I've long turned to his pictures, films and writing for that extra oomph when needed.
On display will be his work from Life magazine, personal projects and there are plans for a screening of "Shaft", his cop drama that introduced the blacksploitation sub-genre.
And if you think all we're doing is scoring events and putting on workshops, think again.
Of course Daniel, Lauren, Hanna, Fang, Felix, and Jordan (who am I forgetting?!) have or are just about ending their summer internships, but that's not all, the internship love continues as San Jose State University students continue to make new strides in the fall.
Lawrence has something cooking, Diana is in the midst of something big, Neal is going to Russia and Germany, and Kyle Hansen just scored himself the dream job with Rob Curley and company at Washingtonpost.Newsweek Interactive. (Yes, that Rob Curley.)
I was also up for it to for a while, I think I went through two, maybe three, rounds of interviews before I got the sad news (but it's cool, Curley still answers my calls).
I know what Kyle will be up to, having talked to so many people, but they always told me we can't talk about it (there's a lot of fear that other papers will catch wind of it), so all I'll say is, it's really really awesome, a lot simpler and useful then you might think, the thing that will prove newspapers will never die and I'm very very VERY jealous.
Kudos Kyle, it's going to be a great four months.
As for me, I've got a few things cooking, but more about that in another post, this one isn't about me.
Evening update: Well it appears the early bird gets the worm. I had started writing this post just before I forwarded Dr. Cheers' e-mail with the National Geographic news to the rest of the SJSU PJ crew, but had to cut and run when pre-internship errands proved more pressing. Well it looks like where I dropped the ball, Daniel and Ryan picked it up, I not so sure about the headline however... I almost doesn't make sense to post the same thing again, but well... I already started the post so... meh.
Sitting on the advice of giants... or knowledge bombs from people who are better than me
From time to time I get to talk to people who I genuinely admire and turn to for advice and debate the latest news with. Up till now, I've always said I'd post some of these talks to SLR, and they've always given me permission to, but I've just never gotten around to it.
That changes today (and hopefully it continues to be that way).
I've decided to launch a new series of columns that I'm calling "Sitting on the advice of giants," because thus far, that's what I've been doing with these nuggets of gold, but today I'm sharing some of the wisdom I've been imparted from Sol Neelman.
I only met Sol a few months ago, completely by chance come to think of it, but in the short time I've known him he's always been quick to lend an ear, look at my work, give feedback and just talk about anything whenever.
And when it comes to his advice, he's frank, honest, from the heart and a straight talker. Exactly the type of real speak you sometimes need.
On portfolios: I think putting together a portfolio is one of the greater challenges out there for a photographer. I'm lucky to have some talented friends help me - they make me look smarter than I really am! Don't ever make excuses about your work when showing it to someone else. Hold your head high and realize that not everyone is going to get or like what you're trying to say. But don't let that stop you.
When something strikes a cord of truth with you, embrace it.
On taking chances: The thing for me: experience is key, regardless of where it's at. You're not getting married, just moving for a few months. If you don't have anything else going on, jump on it.
Also, always follow your instincts. They usually hold the answers for you.
On internships:
Forget the idea that you need "big-name" internships. Anyone with half a brain will tell you that you'll get more out of the smaller market papers than a major metro, where you'll get lost in the shuffle.
On schmoozing: I'm not good at schmoozing, either. But after awhile, you realize we're all peers, only at different stages in our career. Everyone has been in your shoes. And if they can't remember that, then forget them!
On having fun with photo:
Just look at his piece from the 2007 a Photo a Day meet up and remember why we got into this field in the first place. It's a "fun, inspirational weekend - minus the egos and b.s." and the core of what photography is about when you take the pictures for yourself and only yourself.
That's it, the first installment is in the books, and I hope you've found Sol's advice as helpful as I have.
I'll have some more coming in the future, just have to make sure I have permission to share publicly the private conversations I've had.
The last couple months I've been living and dying with my portfolio as I look through it over and over, change it up constantly and formulate game plans for future stories.
I've been thinking of what works and what doesn't. What editors will want to see and what they couldn't care less about. What will make me stand out and what will make me just another face in the crowd.
I'm still working on it, but I thought I'd share some of my tips and tricks.
Enter every contest there is Whether you think you have a great collection of work or not, entering contests is a great way to think like a professional. And quite bluntly, if this is to much work for you, then you will never make it, because in this business no one is going to hand you a job. I have meet some great photographers and I've got a few of these people's personal cell phone numbers to call at any time I choose, but that does not mean that The Mercury News, Michael Grecco, the AP or Golf Digest is going to hire me just because I happen to be a nice guy who they can have a conversation with. I need good solid work to even be considered, and one of the side effects of entering contests is that you start shooting for the contest and
Don't be afraid to ask for help You should have some like minded people in your circle of friends. Ask them to look at your stuff, listen to your ideas and generally help you sort things out. I often hit up my friends, mentors, teachers and even writers that I've met for advice and feedback on what I'm cooking up. If nothing else it gets me to think of stuff from another angle. Plus sometimes you need someone else to tell you that the picture that you love because it reminds you of a hard shoot or a that you had a great idea, is better forgotten.
Keep a best twelve wall One thing that I've started doing that I find helps is keeping a wall of my best twelve in my room every month.
This serves three purposes:
It forces me to re-examine my best work everyday and recognize where I need to improve.
It helps me recognize when I'm shooting similar styles and challenge myself to experiment.
I'll always know what my best twelve pictures are at any moment for contests.
Why twelve? Aside from that it looks nice, if I framed those 4x3 squares I could sell them as art, most regional and national contest are limited to two dozen singles. Devour greatness When I was younger, while my friends were looking at Nintendo Power and the latest version of an import tuner magazine, I was reading National Geographic at the library and grocery store just for the pictures. I was subscribing to Sports Illustrated mostly for the Leading Off pictures (and the NBA coverage... oh and Rick Reilly's column).
I was studying the great light painters of the Renaissance age. I turn to movies and study cinematography, and once flirted with the idea of pursing film editing. I've turned to music and music videos for editing tricks, storyboarding visual exercises (try closing your eyes and thinking of your video for a song next time you're in a quite place) and innovative camera work (plus, I believe half of multimedia is the audio experience and this helps reinforce the education).
I cruise the net for inspiration and using tools like Popurls, RSS feeds, and del.icio.us I am able to find much to keep me saying, "Damn, I gotta try that!" Plus today I'm having an easier time keeping up thanks be being surrounded by like-minded folks (what, connect with like-minded folks? That sounds like a tip).
Keep a journal Seriously try it, it works wonders. I've been keeping a sketchbook/idea book/journal since I was 15 and it's done wonders to help me develop my style and projects (and it's also resulted in waking up at 3 a.m. and jotting down many an incoherent note). I like the Moleskine because of it's small size and sturdiness, but the guy inside of me who remembers what it was like growing up poor won't actually let me write in one. Long story short, I have many blank Moleskines and many many more filled in cheepie notebooks.
And now, here's some advice from people who actually know what they're talking about
Jim McNay relayed the advice of Sports Illustrated editor Jimmy Colton and offers up:
"Less is more. Don't feel like you have to send 20 because that's the limit. says Colton." Send as many good, strong, solid, speak-for-themselves pictures that you have....UP TO 20... Remember the portfolio and personal statement you send should be from your heart. They should reveal who you are."
And the folks over at the San Jose Mercury News second that opinion. During a recent visit with Dai Sugano and Richard Koci Hernandez (who says SJSU and SFSU can't be friends?) they loved referencing a story about the intern that got in on the strength of only five pictures (they misread it as five clips for writers as also meaning five clips for photogs). It's uncommon, but the point is, if you edit down to the strongest work and don't leave them anything to nitpick at, you'll be a strong candidate.
My former instructor Dennis Dunleavy gets a little more analytical with the process and focuses on the whole package, not to mention he drops in his trademark three-I's along the way:
"Although we tend to think of a resume in terms of words, we can also extend the idea to images in a portfolio as well. Your portfolio, in fact, is a visual resume. Every image that weakens a portfolio through poor technique, composition or ambiguous content sends a message to the viewer... The words and images that work in the resume or portfolio are those that shows not tell the viewer about your strengths, attributes and qualities. For me, the power of an image is in its ability to communicate universal human meaning with immediacy, intensity and intimacy."
Lastly here is some advice that has deeply resonated with me. Sol Neelman of the Oregonian offered me this in a recent e-mail:
"I think putting together a portfolio is one of the greater challenges out there for a photographer. I'm lucky to have some talented friends help me... Don't ever make excuses about your work when showing it to someone else. Hold your head high and realize that not everyone is going to get or like what you're trying to say. But don't let that stop you. When something strikes a cord of truth with you, embrace it."
Fox News apparently decided that the world was showering Kurt Vonnegut's memory with too much admiration and respect-- you know with all the ticker tape parades, national day of mourning and panicked children rocking back and forth in corners of rooms the world over. Clearly someone needed to step in and take Kurt down a peg. (A whole peg!)
Published the day after Kurt's death, the piece is anything but journalism.
One of the first rules of journalism is to keep your bias out of the story. The idea, the fundamental idea of journalism, let me qualify that, modern journalism is to let the reader/viewer/consumer make up their own mind. It is our job to gather the news and report it, not pass judgment on it.
There is an exception. The editorial and opinion segments, and if you're confused by what is Op-Ed and what is News:
Andy Rooney at the end of 60min - Op-Ed A word from the station director on the local news - Op-Ed The preacher that stands on a box in front of the school water fountain - Op-Ed
Jim Lehrer's News Hour - News BBC Radio - News New York Times front page - News
Since when do we behave like this?
What has happened is that as the news has become a corporate investment, it's become less and less a news product and more and more a consumer product. Fox News is a product that gives a certain audience the news of the day with a slant that agrees with their pre-conceived notions and beliefs.
The news channel understands that they can make more money (a built in audience means reliable ratings and advertising rates that can be counted on for quarterly growth) by taking advantage of human nature. We like it when others agree with us, it makes I feel good, empowered and smart. Fox panders to this and gives us the news from a view that matches our views. Naturally those that watch it feel that Fox is telling them the truth and others are "liberal" outlets that lie.
They aren't doing anything wrong really, it's cable TV and the public has no say over it, but I do take issue in what they have done to journalism. If Fox News called itself a news magazine like Dateline, Inside Edition or Access Hollywood then I would have no problem with them. That transparent title and image would make it obvious what they are selling, but as it is now, they're ruining journalism in the public conscious and painting pictures of liberal and conservative journalism.
Journalism is not and should not have a political affiliation. The history of journalism tells us that early newspapers were fronts for political campaigns, we've since then evolved into taking on the watch dog role and broke stories on local and national news of importance.
Stories that society has benefited from knowing. Stories like Watergate, the Iran-Contra affair, Walter Reed hospital and the Vietnam War coverage.
Do we really want to go back to political mud slinging and erode the trust we've built?
This is pretty disgusting behavior coming from anyone. When Ronald Reagan, widely regarded as the Republican poster child and constantly sub noted by the right as an ideal to aspire to (who if Mel Brooks was still makes movies I'm convinced would use his picture as a prop in every preppy high schoolers room as 80s movies used posters of Farah Fawcett... okay I'm tangential again!) passed away I didn't see CNN or MSNBC or any of the big four running smear pieces. What is this?
This is propaganda, and I am pretty sure even the talking heads at Fox News don't want to be thought of or seen as shilling propaganda.
Kurt isn't on the scale of Regan, but my point is, Fox is trying to make this a political piece. And in watching the piece it almost seems like Fox is celebrating this man's death. What gives? Regardless of my political slant, I would be appalled at this behavior, and if I was part of the audience Fox targets (I don't have cable) I would be insulted if they assume I would rejoice in a man's death. What's next, book burnings? (OK, cheap shot.)
And just how many times did they use the word "liberal" in that piece? And is "mumbo jumbo" a technical term? And the cliff notes version is "I was born"... as if that is all that matters? I don't want to jump to conclusions, but could Kurt's anti-war leanings be among the sources of their irk?
It seemes like Fox is celebrating the death of this liberal science-fiction novelist. Hey that's alright Rupert I rather have someone that has something to say and comes up with new ideas than someone who just complains and bitches and moans about everything and never has anything constructive to say.
BONUS/DELETED SCENE/UNRATED/EASTER EGG CUT
Unpublished SHAdays: *Newspapers will allege that you did something, TV News will want to to know what you had for breakfast, who you slept with last night and when your last rectal exam was. ... Oh, and they want to know why you did it
*Sometimes when I want less melodrama and spectacle in my life, I turn off the TV News and turn on the soaps. (zing!)
The last couple of days I've been shooting a lot of high school baseball and softball games and I'm afraid I may like baseball now.
I always said I didn't like baseball because it was boring and slow and I hated sitting still and watching grown men spit and scratch and stretch and stand for hours on end. Whenever I tried to watch a game it often devolved into shouting at the TV, "stop stepping out of the box and swing!" "Why are the commentators talking about the weather!!?" "He's not going to steal second, just pitch already!" "Oh no no, not another commercial, no!!!"
Yes, I always said I couldn't watch a baseball game or bother to get into the game.
Well not always, did I say always? I lied.
There was a time when I was a loyal Giants fan, taking in the sport when it preempted afternoon cartoons after school and lamenting the results to my friends and opposing A's fans the next day.
During the Will Clark and Matt Williams and then later during the early Barry Bonds years I was into baseball, and I remember sitting on my sofa anticipating the start of the Giant's/A's 1989 World Series when we were hit by a 6.9 earthquake, but then something happened.
I lost interest, maybe I was growing up or getting bored or couldn't sit still or become more interested in soccer, street hockey and basketball to slowdown for baseball, whatever it was, I lost interest.
These last couple days I've become interested in baseball again, and for the first time since forever I caught myself thinking that maybe it was time I went to a game. Could it be the bug is back?
Shooting the high schools games juiced me up and I was having a blast just shooting. What a job, I (theoretically speaking) get paid to do something I love, sweet! I started to walk around the field and explore every angle, getting high and low and then shooting with both eyes open and finally anticipating the plays and running from one side of the field to the other just in case that player that stole third last time around tries it again. And the whole time I was having a blast, and I'm thinking, "I can't wait to do this in a professional game." Where the fields (the newer ones anyway) are built with photographers in mind and we're afforded the nicest spots.
Me? Having fun with baseball? I guess so.
I also learned that even at the high school level, it's all about the field in terms of how fun a game is to shoot. I've been on very camera friendly fields of dreams where every angle is begging for a Sports Illustrated Leading Off picture and I've been on fields that say this is a game that is played in a caged zoo and no one must get to good of a look or they'll turn to stone.
I wonder what thrills await me on the professional field. If it's anything like Nhat Meyers, Jeff Chiu and Marcio Sanchez say it is in the conversations we've had, I can't wait.
I had thought about chiming in on Allan Detrich's firing from the Toledo Blade after it was discovered that he turned in some altered images as the genuine article, but there was nothing I felt I could add to the debate that hadn't already been said.
And besides, you've got Detrich himself speaking about the incident to Jim Merithew of the San Francisco Chronicle. Why do you need to hear from anyone else?
Word spread fast in the photojournalism community and within mere hours of the news I had already been e-mailed by colleagues with articles and his portfolio.
It's a shame, clearly the man was talented, but I guess the temptation to push it just a little bit was to much. (I've got ideas for ways to avoid the temptation, but that's a topic for another post.)
So why am I bringing it up today? Well, today once again I am reminded that in my career field of choosing, the real world doesn't always live up to the ideals we that we learn and debate in academia.
The entries for the 2006 Katie Awards apparently never went before judges, and competitions from 2004 and 2005 also are under investigation, said club President Tom Stewart.
The Press Club has a nearly 50 year history of honoring journalist and photographers in Arkansas, Oklahoma, Colorado, Texas, Louisiana and New Mexico. It's a shame to see this happen and for the pattern of fraud, lies and deceit to continue.
And after a quick visit to Wikipedia it doesn't look like it's anything new or that it's going to end anytime soon.
Just a few off hand:
-1980's Pulitzer Prize winning story on an 8-year-old heroin addict turned out to be a web by lies spun by Janet Cooke of the Washington Post.
-In 1992 The Oregonian admitted to ignoring allegations of sexual harassment charges against Oregon Republican Sen. Robert Packwood, even keeping hush after knowing of his behavior with one of their female reporters
-2006 hit Wired Magazine hard when freelance writer Philip Chien's articals couldn't be varified and it was discovered that he had even tried to mislead fact checkers with planted e-mails.
-Recently it was revealed that one of Katie Couric's online columns had been plagiarized from a Wall Street Journal article (seriously, like no one reads the WSJ!??) Couric survived the discretion unscathed mostly because she doesn't actually write the online columns, just signs her name to them and pretends they are her words.
And of course we all know about Jayson Blair, Stephen Glass, Brian Walski and the Lebanon smoke pictures.
I guess as long as jobs are scare and the pressure to rise to the top is great, some people will give in to the temptation and begin their very public fall from grace.
With the news of what happened, why it happened, who to blame and my own circle of friends wondering why the media has latched onto the shooters immigrant status (is this relevant in anyway? That's like saying he liked hats.), it's easy to see how some angles of the story have been overlooked.
Thanks to Ryan for bringing my attention to this story on the Virginia Tech student paper and the editors, writers and photographers that put aside their grief and stepped up like professionals to do the job they set out to do.
It reminds me of my own experience as Executive Editor of my college paper in 2001. We had only been in school 2 weeks and our first issue was to come out soon when we woke up to the news that two planes had crashed into the World Trade Center.
We scrapped our finalized paper and scrambled our staff about the campus to get the story out and overnight came up with the completely reworked edition. When the issue was in the boxes around campus a funny thing happened. Many of us started to feel the pain and hurt that everyone else was already feeling. It was as if we had all put it aside and became focused on our task. I imagine the students at Virginia Tech's student paper are experiencing much of the same.
Bravo to The Roanoke Times for digging up an angle on the story that no one else is seeing (and if you are reading this Roanoke Times, take a look at Not Just a Number and The Crossing and make it happen on your website). And I applaud these student journalists for having the fortitude, commitment and willpower to keep going.
I've been meaning to post this for a while, but someone cruel once decided that humans need sleep.
If you're like me you're always looking for inspiration and one of the places I've found it was in looking over the winners of Multimedia Shooter's first anything-goes contest held last March.
There's a couple of really good pieces, some just off the wall (and just my type of humor), one very short Mark II envy-inducing clip (Canon are you listening?) and even one from some friends to the north.
Enjoy!
Here's hoping Richard has a chance to thrown another one of these. I'd love to see what my peers and "photo gods" are cooking up.
After nearly six weeks at the internship in lovely Santa Cruz, I finally made it to the beach, which if you know me is flabbergasting.
I'm the guy my friends know as the one who takes off for the beach when he's bored or wants to clear his head or needs a destination to drive to at 3 a.m. Heck I've surprised myself at how long it's taken me to finally take a trip to the sandy shores. It's almost like I'm a local, just without the six-figure salary or pants with an inordinate amount of zippers running up and down the side.
On Monday I was given an assignment that called for a little trek to a residential coastline in Aptos. There had been a report of tar like balls washing ashore and Wildlife, Fish and Game had been investigating over the previous weekend.
I was sent out to find some art to go with the story. I walked up and down the secluded beach in search of the black gooey orbs, but to no avail. After asking every jogger, dog walker, pebble skipper and one life guard, nearly 20 people in all, I concluded that I better think of another angle.
Of course there were no tar balls on the beach that anyone had seen, but regardless I still had a story to file.
So I went back to the basics and tried to compose a visually appealing image, and got to stalk a few birds and watch the sunset in the process.
Often times the equation in daily work becomes a balancing act of technique and subject. If the subject is lacking then you better spice it up with technique. If your subject is excellent, don't overdo it in style.
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I never had the pleasure of meeting him, be even then, he was part of the San Jose State University family. And a man who helped make the photojournalism program at SJSU what it is and was.
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