Link: PhotoShelter

In this live webinar on Tuesday, May 1st, Jamie will discuss:

What separates an average photo from a compelling one in the news industry, and examples of photo stories that have made it into the magazine.
How changes in the editorial industry have affected photographers and the business side of photojournalism.
How photographers can gain the confidence of photo editors and score assignments.
Plus, the best way to pitch your photos and story ideas to major news publications like Newsweek.

Link: Philadelphia Weekly

Back in the car, MacMillan is already iPhone-editing video he shot of pulling up to the scene. In a few days, he’ll post the video to GunCrisis.org, an “open-source journalism experiment” he launched last month that aims to explore the city’s homicide-by-gun epidemic and possible solutions while carefully, purposefully, avoiding slipping down the rabbit holes of the gun-policy debate.

Link: Conscientious

Photographs have enormous visual power, but on their own they have absolutely no meaning. The meaning of a photograph is a construct that involves a group of people operating against a specific background (news, art, …), subject to the group’s personal, cultural and political biases

Link: Sports Shooter Venue Guide – Lazy Elk High School

To avoid any unpleasantries make sure you check in with one of the assistant vice principals before you start shooting. In exchange for your drivers license they will give you a sideline pass. This pass must be worn around your neck and must remain visible at all times.

Next, the school police deputy will point out any players on the team that can’t be photographed, either because their parents haven’t signed a media release or because they’re facing felony charges.

Link: Poynter

Link: Poynter

Times Editor Davan Maharaj said, “After careful consideration, we decided that publishing a small but representative selection of the photos would fulfill our obligation to readers to report vigorously and impartially on all aspects of the American mission in Afghanistan, including the allegation that the images reflect a breakdown in unit discipline that was endangering U.S. troops.”

Link: Conscientious

We all like to think that the photographer’s intention inform the image and that when we look at a photograph we can see those intention. But if we ignore the simple fact that we have no way of knowing what the photographer’s intentions were (How would we know? All we have is a photograph), especially in a news context, we don’t just look at photographs, we look at them with our own sets of expectations (as Colin notes) and biases.

Link: Colin Pantall

The idea is that one should look a certain way in the face of tragedy, part of the simplistic narrative that is expected of people when they are part of a photograph – a simplistic narrative that does not have an equivalence in writing. Here it is easy to explain the contrast between the glorious sky and the casual dress, the trappings of the picnic and the relaxed poses. These are all allowed to happen, but when it comes to a photograph, God forbid if anybody is caught doing anything that lies outside a very narrow band of expected responses

Link: The Photo Society

TIME of course paid more. They always had more budget than Newsweek. As my friend Jimmy Colton, then an editor at NW and now at SI, was fond of saying, “TIME is a hospital. Newsweek’s a MASH unit.” Below is the first cover I shot for TIME, and if I recall, they paid about 3 grand. Other shooters, the real premier cover guys, got more dough, for sure. I was definitely not in that group. If I got a cover, it was either an accident or a last ditch phone call by a desperate editor.