Gretchen Pressley
The first thing David LaBelle mentions as crucial for a photographer to have is curiosity. Later on, he mentions needing a story-telling ability. In this way, I think that all journalism is alike. You can’t be a good writer or reporter without being curious, or without wanting to share stories with the world. Whether it’s searching for the story by taking a picture or trying to answer questions by writing a story, journalism is about satisfying the curiosity of our audience. However, LaBelle goes on to compare photography to hunting – a semi-fathomable comparison since you should “stalk” your subjects in a way. However, I would hesitate to think of my subjects as victims, though I haven’t seen how much of a mess I, a writer not a photographer, could make of photographing someone.
I also liked LaBelle’s suggestion to stop and consider why we like the photographs that we do. Just as writers are encouraged to think about other’s stories and examine what made their articles so good, we should remember to look at photojournalism the same way. This can only improve what we take pictures of and the quality of those pictures. I only wish I’d been able to see the pictures he put in his article. They were kind of obscured and didn’t really copy very well. Luckily, we also got to browse through David Snider’s gallery.
Another point mentioned in the article was taking notes and jotting down when you have a story/photo idea. That’s a great way to preserve spur-of-the-moment creativity, but I also think that, as reporters, we need to begin building up our memory muscles as well. To write descriptive captions and stories, we need to be super observant and also clearly remember details that other probably would not.
Thursday, January 31, 2008
Picture Hunting
I noticed that some called David LaBelle's points seemingly obvious... I wouldn't necessarily agree with obvious; perhaps obvious in theory but in practice-profound. I just so happened to check out the camera today to take my pictures and literally all of his pointers I could have used in my excursion today. Unfortunately for me I hadn't read it. So... instead of being prepared as LaBelle states I somehow forgot/assumed that a memory card was going to be in the camera when I checked it out. Mistake 1. Which invariably made me just a tad late for the event I was supposed to be shooting today. Like LaBelle states, I thought I was blending, until two facilitators of the event came out and asked what the pictures were being used for because they were making some people uncomfortable. Mistake 2. LaBelle mentions patience... I failed most effectively at this one. Not to say that all my shots are crap, just a large majority. (Thank God we only have to choose 3.) Truer words have never been spoken than when he said it requires mental and physical energy. *Nods head slowly* Indeed. I also really liked what LaBelle said about making a tree, this would be great for any type of journalistic endeavor.
Everything I did wasn't all bad. Like LaBelle's pointers I made sure to capture human interactions in the two events I attended last night, not saying those pictures were fabulous and will definitely be included in my project- they just express something else that the others don't. And also being the journalist that I am I utilized my "need-to-know" gene, my curiosity and I was satisfied overall with what I found and documented.
Wordless
Photos are something I have always loved. Each one is unique and therefore important. While they are something I love to look at, I have to admit I am not that experienced with taking them. I think the article this week by David LaBelle gave quite a few great pointers about not just taking a picture, but really capturing a moment. After all how many times have we all heard the expression "Pictures speak louder than words."? I believe they truly are that powerful. I loved that LaBelle brought up the idea of blending in. This to me means that you are actually taking a picture of a genuine moment. If people are oblivious to the idea that you are photographing them, then I think you are more likely to end up with something really emotional. The emotion is what LaBelle says grabs people's attention, and I couldn't agree more. I would love to be able to take a picture that a person looks at and can actually feel what is going on at THAT moment and what is going on in THAT person's head. Reading this article I experienced two totally different feelings. First was anxiety. I started having all of these thoughts that I might not be able to get a great picture. I am not that experienced and what if my photos come across as dull? That feeling was later replaced with excitement. I am now excited to go out and shoot. The only way I am going to get experience is by doing it, and I believe that is the best way to learn. I think the article had some good advice, but nothing could be more motivating than David Snider's pictures. My favorite one was of the two elderly people in Orange, France, walking in the opposite direction of the arrow. It is priceless. Looking through those REALLY made me want to get out of bed at 11:30 at night and just shoot. I think photographs have the amazing ability to touch someone, and being able to capture that myself is one of my goals. I plan on putting all this advice into action and get a shot that can speak for itself.
A picture is worth a thousand words, this post probably isn't even worth half that much
Charles Austin
But I guess my infamiliarity with photography only goes to show how much I have to learn from these galleries and tips.
As a general rule throughout reading this assignment, I felt like there was a lot more to learn from the photos themselves than from the text that accompanied them. This did finally change almost 30 pages into LaBelle's document, when he did indeed throw in some pretty nifty (or "crunk" if you will) tips on ways to think up ideas for photos, which in reality were great ways to think up entire stories. Some seemed like they wouldn't pay off very often, such as eavesdropping, though the notion that I might one day overhear where someone hid a dead body or a pot of gold probably makes it worthwhile even if it pays off only once. The newsletter idea is increasingly antiquated as interest groups move online, but in actuality this only makes it even easier, as all you have to do is write your email address and click submit.
There was definitely at least one thing I could garner from each article. David Snider's photos were a great lesson in what to look for when doing (or attempting to do) a shoot, as they all had a clear focus and were pretty interesting. The scans made David LaBelle's photos look like a pair of jeans from Abercrombie that come pre-ruined at conception, (I really am not as good at these similes as he is) but the lessons contained in the second half of the document made it all worth the while.
Posers
Lyndey Brock
Reading about photography was actually very interesting. However, what I really enjoyed about the article was his final photo gallery he included. He included personanlity and depth in each photo, while still using a wide range of subjects. I loved how the other article compared photographers to hunters. It's so true, especially when you consider the paparazzi. It's as though people like Britney Spears is the only gazelle in a desert full of tigers. It's dangerous the amount of attention photographers, and journalists included, give to her. The point that the second article also made is to include follow ups in all your work. Good proof of this was seen in the photo of the sick woman, and then followed by a photo of her healthy and hugging her family member. I truly feel that photojournalists are an absolute necessity to every facet of journalism. Without them, our work would be blind.
Reading about photography was actually very interesting. However, what I really enjoyed about the article was his final photo gallery he included. He included personanlity and depth in each photo, while still using a wide range of subjects. I loved how the other article compared photographers to hunters. It's so true, especially when you consider the paparazzi. It's as though people like Britney Spears is the only gazelle in a desert full of tigers. It's dangerous the amount of attention photographers, and journalists included, give to her. The point that the second article also made is to include follow ups in all your work. Good proof of this was seen in the photo of the sick woman, and then followed by a photo of her healthy and hugging her family member. I truly feel that photojournalists are an absolute necessity to every facet of journalism. Without them, our work would be blind.
Anton Berkovich
But all I got is a photograph
I can see that I'm not the only one who thought that a number of LaBelle's tips were fairly obvious. Nevertheless, he did make a few unexpected suggestions that seemed to humanize and humble the role of the photojournalist. I appreciated his concession that subject matter is often enough to overshadow the formal qualities of a photograph, at least in terms of what grabs our attention and makes us like the picture. And while he occasionally pondered the differences between photographers and photojournalists, it was, perhaps above all, his emphasis on the responsibilities of and qualities in a good journalist that transcend medium.
Likewise, since I haven't been trained to formally appreciate photography on too sophisticated a level, I can't add much to the collective thoughts on David Snider's gallery. I was, though, reminded of the work of Art Shay, who similarly had a gift for capturing the simple joys of everyday life.
Likewise, since I haven't been trained to formally appreciate photography on too sophisticated a level, I can't add much to the collective thoughts on David Snider's gallery. I was, though, reminded of the work of Art Shay, who similarly had a gift for capturing the simple joys of everyday life.
Being prepared for almost everything
Sarah Steffen
For me, LaBelle’s most helpful advice was how he searches for good picture ideas. It definitely won’t hurt to check the classified ad section for interesting ideas for images. I also think the concept of eavesdropping might work, too. Other parts of his writing were rather trivial, such as that you need curiosity to be a good photographer.
When he addresses the topic of preparation he also mentioned having extra cash available while shooting pictures in order to be “prepared for emergencies like coffee, phones, tips or bribes”. To my regret LaBelle didn’t describe in which situations he did bribe someone and when he would recommend to do so.
The short piece about composition was interesting. Especially when it comes to architecture, compelling patterns matter the most (to me).
The concept of blending is a nice idea, but I don’t know how this should work in real life. If a photographer takes a picture of a random person on the street, the true moment of his emotions will be gone after the person discovers that he/she has been photographed. All the following pictures will be somewhat posed. So blending might only work for the first picture.
I liked the street pictures of David Snider, especially the ones showing emotion or oddity. A picture catches my attention when I see faces that express something. When I have to think twice about a picture, it also gains in importance. The picture showing the old man in the suit sleeping on a park bench outside of a train station with his luggage – with his mouth open, he really seems to be sound asleep – is one of those pictures.
For me, LaBelle’s most helpful advice was how he searches for good picture ideas. It definitely won’t hurt to check the classified ad section for interesting ideas for images. I also think the concept of eavesdropping might work, too. Other parts of his writing were rather trivial, such as that you need curiosity to be a good photographer.
When he addresses the topic of preparation he also mentioned having extra cash available while shooting pictures in order to be “prepared for emergencies like coffee, phones, tips or bribes”. To my regret LaBelle didn’t describe in which situations he did bribe someone and when he would recommend to do so.
The short piece about composition was interesting. Especially when it comes to architecture, compelling patterns matter the most (to me).
The concept of blending is a nice idea, but I don’t know how this should work in real life. If a photographer takes a picture of a random person on the street, the true moment of his emotions will be gone after the person discovers that he/she has been photographed. All the following pictures will be somewhat posed. So blending might only work for the first picture.
I liked the street pictures of David Snider, especially the ones showing emotion or oddity. A picture catches my attention when I see faces that express something. When I have to think twice about a picture, it also gains in importance. The picture showing the old man in the suit sleeping on a park bench outside of a train station with his luggage – with his mouth open, he really seems to be sound asleep – is one of those pictures.
shooting - not just for licensed hunters anymore.
Tracy pfeiffer
I think that the main impression I got from LaBelle's piece is that photojournalism isn't just about having the best camera or knowing everything there is to know about the technicalities involved in taking pictures -- it's about being adventurous, active, and curious. In working for my city paper, I've seen teen staff photographers come back from shoots with better pictures than staff photographers with ten years' experience, and I think LaBelle's piece really helps explain how that can happen. His tips and advice sort of erase that idea some people have of photographers standing around waiting for something interesting to happen and replace it with the idea of a persistent, active, and maybe mud-covered photographer finding something interesting to shoot.
I also enjoyed the photos from David Snider. I think that they may not be life-changing or anything serious like that, but I can definitely see how his photos would help spark interest if placed next to a feature story. There's emotion in every picture that draws you closer and makes you wonder what else there is to know.
I think that the main impression I got from LaBelle's piece is that photojournalism isn't just about having the best camera or knowing everything there is to know about the technicalities involved in taking pictures -- it's about being adventurous, active, and curious. In working for my city paper, I've seen teen staff photographers come back from shoots with better pictures than staff photographers with ten years' experience, and I think LaBelle's piece really helps explain how that can happen. His tips and advice sort of erase that idea some people have of photographers standing around waiting for something interesting to happen and replace it with the idea of a persistent, active, and maybe mud-covered photographer finding something interesting to shoot.
I also enjoyed the photos from David Snider. I think that they may not be life-changing or anything serious like that, but I can definitely see how his photos would help spark interest if placed next to a feature story. There's emotion in every picture that draws you closer and makes you wonder what else there is to know.
1001 Things to Remember
Lukas Litzsinger
LaBelle had a lot of good advice in his book, but the thing that kept hitting me over the head was the absolute overload involved. I frankly have no idea how this guy could possibly accomplish all of the things he talks about in a 24-hour day. Amazing. The amount of notes/pictures/cruising/brainstorming involved is utterly mindblowing. However, I do think that most of the things he talks about fall under common sense: you just know when a picture is a good one without having to break down all of the reasons why. In addition, many times you just have to shoot and hope for the best, as the situation is out of your control.
As for Snider's pictures...well, they left me with 'meh.' I feel like they are technically sound, but most of them lack powerful emotion. Not a bad collection by any means, but hardly seem like the best of the best street collection to me. A couple are really good though: the beads and the kids in France stand out to me. Some of them just need more context to understand what is going on.
LaBelle had a lot of good advice in his book, but the thing that kept hitting me over the head was the absolute overload involved. I frankly have no idea how this guy could possibly accomplish all of the things he talks about in a 24-hour day. Amazing. The amount of notes/pictures/cruising/brainstorming involved is utterly mindblowing. However, I do think that most of the things he talks about fall under common sense: you just know when a picture is a good one without having to break down all of the reasons why. In addition, many times you just have to shoot and hope for the best, as the situation is out of your control.
As for Snider's pictures...well, they left me with 'meh.' I feel like they are technically sound, but most of them lack powerful emotion. Not a bad collection by any means, but hardly seem like the best of the best street collection to me. A couple are really good though: the beads and the kids in France stand out to me. Some of them just need more context to understand what is going on.
Wednesday, January 30, 2008
Pictures and Words
Valerie Chew
Having been a professional writer the past year, I have always felt that pictures make great accessories for words – I realize now that the reverse is also true. LaBelle certainly did a great job highlighting the different elements that make a good picture. And Snider has some really compelling works. However, I notice that most of Snider’s pictures have hardly any captions, except for the names of countries they were taken in. The picture of the elderly man in Cannes, France, for example, could illustrate a great vacation just as well as it could depict the ill effects of sun exposure. If reactions evoked from photographs were a reflection of the viewer’s biography, wouldn’t some words help anchor the meaning of a picture?
Blending
After taking some pictures for my story tonight, and reading LaBelle's article I think the most important piece of advice given was that of blending. In the past I've had difficulty with this task. I've felt awkward among my subjects, feeling like the sore thumb 'journalist' in the crowd simply there to get the story and bail. However, tonight I decided to blend in as an equal and found that my subjects were much more willing to cooperate with me. Acting as an equal or 'blending' makes your subjects feel as though you are their equal, or friend not some random journalist in need of a story. Blending can also help you feel more comfortable, so that you'll in turn have more patience and take more interesting photos.
I think blending is also important because if the people you are covering forget that you're there taking pictures, they will act more natural. This allows the photographer to be able to observe the subjects natural behaviors more closely than if he/she felt pressured to pose or do something interesting for the camera. However, I think blending takes a lot of patience (another aspect LaBelle pointed out as important). Your sources aren't going to trust you right away. Therefore, you have to establish good report with them first, introduce yourself, make small talk etc. and then step into the background.
Capturing Life
I appreciated the passion LaBelle exhibited in his Great Picture Hunt. It seemed like he really felt a calling for photojournalism, rather than seeing it as just a job. I felt his suggestions on how to seek out photo opportunities were good, particularly the one on eavesdropping. I've found that by spending time in "third places" watching and listening to people is a great way to get inspiration for both journalistic and personal pieces. Having learned about all of these techniques in previous journalism courses, it only makes sense that they would carry through all mediums.
I also liked Snider's photos. They showed how a picture of even the simplest of activities can draw a viewer into not only the frame, but into the subject's world. I realized that my reaction to the images showed that any kind of scene can tell a story, so long as there is someone there ready to take advantage of the opportunity to capture it.
I also liked Snider's photos. They showed how a picture of even the simplest of activities can draw a viewer into not only the frame, but into the subject's world. I realized that my reaction to the images showed that any kind of scene can tell a story, so long as there is someone there ready to take advantage of the opportunity to capture it.
Photo J
Samantha Liss
I think photojournalism is completely taken for granted. The photographs by Dave Snider are fantastic, you first look at them and think 'what are so great about these?' But that's just it, they're so good at capturing the exact moment and essence you underestimate the time and patience that went into getting such a great descriptive photo.
I like that fact that both articles touch on the issue of fear. For those of you who have taken CCJ you know where I'm headed. I think that so often journalists let fear override their ability to really connect with a subject. I know that sometimes I let fear get the best of me. Journalism can be a little overwhelming at times, but for the most part we all love to tell stories and I think we let fear get in the way. I use to second guess myself about majoring in journalism, because at times when covering a story I would get nervous! I thought for sure if I had any sort of fear than this was not the major for me, but after CCJ, I realized that it's a common thing.
The lesson I will take away from these articles, when shooting this assignment, will be to toss aside all my doubts and just go with the flow. To not let fear consume me and let that hinder the relationship between my subjects and I, because when that happens it feels like a big fat elephant is sitting in the room!
I think photojournalism is completely taken for granted. The photographs by Dave Snider are fantastic, you first look at them and think 'what are so great about these?' But that's just it, they're so good at capturing the exact moment and essence you underestimate the time and patience that went into getting such a great descriptive photo.
I like that fact that both articles touch on the issue of fear. For those of you who have taken CCJ you know where I'm headed. I think that so often journalists let fear override their ability to really connect with a subject. I know that sometimes I let fear get the best of me. Journalism can be a little overwhelming at times, but for the most part we all love to tell stories and I think we let fear get in the way. I use to second guess myself about majoring in journalism, because at times when covering a story I would get nervous! I thought for sure if I had any sort of fear than this was not the major for me, but after CCJ, I realized that it's a common thing.
The lesson I will take away from these articles, when shooting this assignment, will be to toss aside all my doubts and just go with the flow. To not let fear consume me and let that hinder the relationship between my subjects and I, because when that happens it feels like a big fat elephant is sitting in the room!
On the photo prowl
I thought David Labelle's piece on taking enterprising feature photos was both helpful and cleverly written. That being said, did anyone else notice the advice he gave on bringing along extra money to photo shoots for "...emergencies like coffee, phones, tips, or bribes?" I can see how coffee can be an urgent necessity, but bribes? I am assuming this was a very obscure sarcastic remark, but it kind of threw me off! One of the most prominent pieces of advice I took from Labelle was his suggestion to capture humor in a photograph. In the Youtube age, I think we rely on constant stimulation and action in order to elicit some sort of humorous reaction. Being able to capture an entire moment of amusement without words or moving action is a tremendous task, and if done, such a photo has the power to be even more compelling than any dancing hampster Youtube could come up with. This will be my goal in my photo shoot.
While the introduction to David Snider's photos did not leave me with an incredible amount of inspiration, his images did. Perhaps that is the point. I could literally look at the picture of the calloused hand and dirty nails that hold a beautiful rosary for hours. It is so simple yet conveys so much: hardship, strife, faith, hope. Every wrinkle in the hand is discernable, and each crease portrays a million emotions and curiosities in its viewers. And, of course, the little old men in hats walking down narrow streets in France... those images are classically nostalgic, yet they never get old. I loved his portfolio!
While the introduction to David Snider's photos did not leave me with an incredible amount of inspiration, his images did. Perhaps that is the point. I could literally look at the picture of the calloused hand and dirty nails that hold a beautiful rosary for hours. It is so simple yet conveys so much: hardship, strife, faith, hope. Every wrinkle in the hand is discernable, and each crease portrays a million emotions and curiosities in its viewers. And, of course, the little old men in hats walking down narrow streets in France... those images are classically nostalgic, yet they never get old. I loved his portfolio!
Photojournalism
From: Lauren Foreman
What I found to be one of the most important qualities that David LaBelle mentioned is essential to photojournalism but to journalism in general- curiosity. To truly appreciate people and the spontaneity of life is what should make journalism exciting, in all of its varied forms. The energy that a great shot has is the same energy that the photographer has put into capturing that moment. I would agree with LaBelle that this does mean being prepared and capturing people in their natural environments. I look at photography as the art of freezing moments. It is visual and emotional. Pictures can tell amazing stories. And while I am a writer, the news would not be the same without a pictorial account because sometimes you just have to see it in order to feel it.
What I found to be one of the most important qualities that David LaBelle mentioned is essential to photojournalism but to journalism in general- curiosity. To truly appreciate people and the spontaneity of life is what should make journalism exciting, in all of its varied forms. The energy that a great shot has is the same energy that the photographer has put into capturing that moment. I would agree with LaBelle that this does mean being prepared and capturing people in their natural environments. I look at photography as the art of freezing moments. It is visual and emotional. Pictures can tell amazing stories. And while I am a writer, the news would not be the same without a pictorial account because sometimes you just have to see it in order to feel it.
Being a hunter
By Carla Schaffer
Out of all of the “hunter qualities”, the section of advice that stuck with me the most was the advice to stay curious. It is easy to just take a picture of whatever is around at the time, but the photo will be even better if the photographer does more exploring. It’s important to not take everything at face value. Looking beyond the small picture will create a more captivating image.
David Snider’s pictures were very inspiring. I loved how he admitted in the introduction his uneasiness with taking people’s pictures without asking. It’s a natural human need to want to please everyone, and handling confrontation is something that I know I want to avoid if possible. I found that encouraging that he flat out admitted his uncertainty, and described how he got past it.
Out of all of the “hunter qualities”, the section of advice that stuck with me the most was the advice to stay curious. It is easy to just take a picture of whatever is around at the time, but the photo will be even better if the photographer does more exploring. It’s important to not take everything at face value. Looking beyond the small picture will create a more captivating image.
David Snider’s pictures were very inspiring. I loved how he admitted in the introduction his uneasiness with taking people’s pictures without asking. It’s a natural human need to want to please everyone, and handling confrontation is something that I know I want to avoid if possible. I found that encouraging that he flat out admitted his uncertainty, and described how he got past it.
Photojournalism
I appreciate David LaBelle’s acknowledgement of curiosity as an important journalistic quality. When people hear I am studying journalism, they assume it is because I love to write. Well… I do. LaBelle outlines some other qualities that are just as essential to journalists. But the reason I’m not writing children’s books or bad romantic novels with Fabio on the cover is because I’m curious (not, however, curious in Fabio). I like to be well-informed—I’m seriously guilty of Googling almost everyone I meet. Comparing photography as a vehicle for curiosity is a great concept . In regards to another quality, eavesdropping, I'm pleased that someone finally affirms that eavesdropping can be a redeeming quality. To think of all the wonderful information that I've been deprived of because I was told to mind my own business as a child...what a shame. In all seriousness, LaBelle precisely illustrated the attributes that drive journalists to want to share information.
In regards to photojournalism, Snider's work exemplifies the components of a visually pleasing feature photograph. I'm currently studying photography in one of my art classes and I can't help but notice the many similarities. Snider embraces may elements of design, particularly in the first photograph of the skater on Rockefeller Plaza. And I've always been partial to black and white photographs, which makes these particularly dramatic. From a journalistic perspective, these photographs are excellent because the serve as visual stories (such as my favorite, the man sleeping on a bench in Tours, France).
In regards to photojournalism, Snider's work exemplifies the components of a visually pleasing feature photograph. I'm currently studying photography in one of my art classes and I can't help but notice the many similarities. Snider embraces may elements of design, particularly in the first photograph of the skater on Rockefeller Plaza. And I've always been partial to black and white photographs, which makes these particularly dramatic. From a journalistic perspective, these photographs are excellent because the serve as visual stories (such as my favorite, the man sleeping on a bench in Tours, France).
It's Photo Time
I learned a lot by reading David LaBelle's photography workbook. Having no previous experience in photography, I have a lot to learn. The most important thing I believe is the always be prepared. Now-a-days, we really don't have to worry about running out of film, but the extra batteries, blankets, map, etc. You never know what is going to happen. However, what I found the most intriguing the curiosity aspect of the essay. "Good photojournalists are not in love with photography, they are in love with people and life." Photojournalists, along with all other journalists, need come up with new ways and angles to show the important aspects of human life.
Keeping it simple.
Though it might seem second-nature to the trained photographic eye, the reminder from Picture Hunt to keep the backgrounds and images simple was an important one for me. As Karen said in class, a picture that is easy yet interesting to view entices the reader to gaze down to the print story for further details; exactly the function of any good photojournalistic element that accompanies a news story. On the feature side of things, the guidelines seem much the same. The really good feature photographs can stand on their own and do the most important thing; capture moments. Following these principles, it is implied that a photojournalist's job is to capture moments and to keep their backgrounds simple. Lynda's point in class about keeping actual words and signs out of our photographs reinforces the notion of simplicity, but it is a simplicity that embraces capturing moments, rather than just static elements without a visual pulse. I think it's safe to say that we can tweak the old adage that "a picture speaks a thousand words." Rather, a picture should evoke a thousand words and leave the speaking to its caption.
Simply Photos
I think the best advice David LaBelle gives for me is to have patience. I was previously a photo minor (of how this came to be and subsequently ended involves a long story) and I was particularly jealous of this one guy who managed to capture lightning on film. He admitted that it took an entire 36 photo roll to get that one shot. My patience guilt tripped me the entire way back from that particular class. My pictures were always a hurried muddle of eclectic shots that fit the project concept but not each other. I never had the patience to sit around at any one place for too long, waiting for the three other photos of the four set project to evolve from the first and materialize into something wondrous. I usually don't have ADD tendencies until I had a camera in my hands and a deadline. Then I was just a mess. The saying goes that good things come to those who wait, and it is so proven by the amazing photography of the photojournalists included in the article.
Picture Time!
by Chelsea Williams
Eavesdropping. That was my favorite point made in the Handbook. I had never actually been encouraged to eavesdrop before in my life. However, the concept makes perfect sense, like David LaBelle says, because it would be a good way to learn of things you normally wouldn't, without having to get in people's faces and bombard them with questions. Something else I really took away from the article was the portion about making a tree. I can see how it would broaden the spectrum of ideas, while allowing you to identify important details at the same time, and keep them organized. I'm curious to try it out and see if it works for me. Also, I really felt the handbook served as a good guide for how to take feature photos--there is more to them than just snapping a picture. Patience, people, and context are key. Finding that "perfect" photo has the potential to take awhile, but that's all part of being in this crazy field of journalism.
Eavesdropping. That was my favorite point made in the Handbook. I had never actually been encouraged to eavesdrop before in my life. However, the concept makes perfect sense, like David LaBelle says, because it would be a good way to learn of things you normally wouldn't, without having to get in people's faces and bombard them with questions. Something else I really took away from the article was the portion about making a tree. I can see how it would broaden the spectrum of ideas, while allowing you to identify important details at the same time, and keep them organized. I'm curious to try it out and see if it works for me. Also, I really felt the handbook served as a good guide for how to take feature photos--there is more to them than just snapping a picture. Patience, people, and context are key. Finding that "perfect" photo has the potential to take awhile, but that's all part of being in this crazy field of journalism.
Picture this
"The Great Picture Hunt" and David Snider's gallery helped me understand how to take a good feature photo. From the reading, I realize that one must be patient, thorough and hardworking. Going to a site does not make it into a great feature photo. One must sit around and let their subjects become comfortable with the camera and let their guard down. This is important to get subjects as they really are. Thorough searching for a story in classifieds, cruising or networking are important because you must know where you cover. One must also be hardworking because they have to try many different angles and take many different photos over what could be several hours for just one or two photos.
Tuesday, January 29, 2008
"Picture Hunt" (Hayley Kaplan)
I found David Labelle’s “The Great Picture Hunt” very enlightening about photography and journalism in general. I think many elements of this “hunt” can be just as easily applied to any type of journalism as well as photography. Curiosity, preparation, patience, emotion, originality, technique, etc. can all be applied to all areas of journalism and what journalists should aim for when reporting. I found Labelle’s synthesis of what it takes to be a good feature photographer fascinating. Labelle is correct when he says that most people who see a picture don’t care about why they like it or what elements are important to them, they just see a picture and take interest in the story. So much of journalism is being passionate and caring about the subject matter, because if the journalist is passionate then the audience will also hopefully be passionate and care about what they are reading. Labelle’s reason for doing photojournalism, about not being interested in photography, but taking an interest in capturing moments in order to see further into a society was simply fascinating, and I think also true for other journalists. It’s not just about reporting, but about taking an interest in society and in a subject matter that matters, and then furthering the knowledge to help others.
The World In A Picture
I really enjoyed the article and found it very intriguing! I was a little nervous to just jump-start and head out to take pictures but this article was informative and I found myself jotting down notes. First, I LOVED the picture link. David Snider is now a link on my bookmark bar. His pictures were creative and provoking. The picture with the little boy running through the fountains was so touching. David really captured that moment of joy. The other picture that stuck out in my head was the empty street/buildings with the cat lounging. There was a kind of "stunning" thing about it- and even though there wasn't much going on in the picture, I found myself looking at it for a bit.
But back to the article, I like how he approached the art of picture taking in such a passionate way. He knows every little trick in the book like being prepared and having extra film, gas, cash, canned food- he portrays this profession of photojournalism as an adventure. Which is inspiring to say the least. His tips to blend in and be curious seem like "duh" kind of concepts, but when you think about it... that might be something novice photojournalists might completely look over. My first instinct was to go out take a fantastic picture and be done with it. But there are so many steps to getting that feature-worthy shot. Patience would most likely be my downfall... but it makes sense. There IS something interesting going on everyday, everywhere, but the chances of you being there to capture it might be slim. His analogy to being a hunter, stalking his prey was entertaining and easily applicable. I will definitely be keeping his 12 steps/tips in my notes to remind myself until I get past the amateur stage of photography.
Friday, January 25, 2008
legitimate concerns
I feel like both sides have legitimate points of view. I think all journalists would agree that quality should never be compromised because of money. Unfortunately the reality is that budgets do exist. There are times when a full news crew is needed, and there are also times when one talented journalist will do. The goal should be to find a happy medium and to know which stories require which type of journalism.
The Medium is the Message
I recognize that backpack journalism has its shortcomings, and that in many cases, specialization by many reporters is better than the “mush” of one. But I think that the skills of the backpack journalist are some that should be common in newsrooms across the country. The ability to see and create the “big picture” with multi-media is what is going to be important in the future. I agree with Adrian Phillips in “Mush of Mediocrity” that it is necessary to have reporters who think in the multi-media fashion. This doesn’t mean that every journalist needs to be a backpack journalist, but reporters, editors and designers need to see their stories as multi-faceted. Once newsrooms have a shared vision and understanding of the strengths and weaknesses of multi-media, they can best use its capabilities to serve the public.
Emiy Coppel
Emiy Coppel
The Superman Journalist
The idea of a "backpack journalist" could literally be taken out of a comic strip. You can almost visualize a sketch of a person with an overflow of technological luggage. They have their camera, or at times cameras, laptops, phones, cords, batteries, and the list can go on and on. It's an entertaining idea to witness a person then trying to cover a breaking news story, jumping through crowds, somersaulting through danger, while managing to capture that "perfect moment." While this has started out light-hearted, I believe the overall concept of a "backpack journalist" is groundbreaking. It's almost like Superwoman (or man). What news outlets wouldn't want to employ a person who can do it all? After all news is a business. If one person can deliver the same information a team of four does, it is significantly cheaper to go with the one-man show. There are some drawbacks to individual reporting. I know from personal experience that some of my best work has been motivated form feedback or combined ideas from teammates. I believe it is possible for one person to create and capture a quality story, but I do agree with the article by Martha Stone that it is important to have a management and productions team to not only support you, but also spread some of the work. The bottom-line is that not one person can be super at everything. With backing form media outlets, I believe multimedia sites could one day replace television broadcasts of news. While reading "Backpack Journalism is here to Stay" I began trying to think of how often I turn on my TV, not only to watch the news but shows in general. The number is much smaller than you would guess. The article referred to the idea that one day everything will be converted to the web. We are starting to see examples of that already. I now forgo the TV broadcast of shows and choose to watch them online, at my convenience with limited commercials. News is leading TV shows in the same path they have already begun exploring. Multimedia sites allow news-seekers to get their information when they need or want it. The most recent, up-to-date news is available at your fingertips. Not only is it accessible, but you can sift through and find relevant information and then even comment or add to it through chats and blogs. To me this almost sounds like ideal journalism. Of course nothing is perfect. "Backpack Journalism is a Mush of Mediocrity" brings up the idea through a one-man show quality can be lost. I believe this gives journalist a greater responsibility to be self-checkers and not only squeak by with mediocre work, but also finish with the best. This is another reason why support form management is important. They must be held accountable to provide quality and continuous training. Technology is always advancing, so we must continue to educate ourselves through our career fields. I believe "backpack journalists" and multimedia websites are a step in the right direction for the future of journalism. It will take awhile to perfect, just as the oldest forms of journalism are still tweaking and improving the way the public gets its information. Most importantly journalism itself is not a one-man show. We cannot be Superman or Wonder Woman, but we can strive towards perfection.
Thursday, January 24, 2008
Journalists in between?
Sarah Steffen
Some see backpack journalists as the doom of quality journalism, others believe they are the promised future generalists. Of course the arguments in the articles by Jane Stevens and Martha Stone are not new. Fears of an unexperienced, untrained journalist doing all the work of up to four good journalists at once – just at a lower quality level – have been around for a while. On the other hand people have been praising the new possibilities of the allrounders, too.
The question to ask is not if backpack journalism is to stay, because it already established itself pretty well. The question is rather under what circumstances it will succeed (even more). It is not enough to send people out there and to hand them a nice equipment; one has to train them to use it, too. I think it is crucial that backpack journalism is not just seen as a fancy way to cut costs, but to enlarge possibilities for good reporting.
Some see backpack journalists as the doom of quality journalism, others believe they are the promised future generalists. Of course the arguments in the articles by Jane Stevens and Martha Stone are not new. Fears of an unexperienced, untrained journalist doing all the work of up to four good journalists at once – just at a lower quality level – have been around for a while. On the other hand people have been praising the new possibilities of the allrounders, too.
The question to ask is not if backpack journalism is to stay, because it already established itself pretty well. The question is rather under what circumstances it will succeed (even more). It is not enough to send people out there and to hand them a nice equipment; one has to train them to use it, too. I think it is crucial that backpack journalism is not just seen as a fancy way to cut costs, but to enlarge possibilities for good reporting.
Backpack Journalism
Anton Berkovich
I think the concept of backpack journalism is an interesting one because it allows journalists to use the most appropriate tools to present their stories. It's now easier-and will keep getting easier-for someone to instantly upload their packages to the internet. I think as this becomes easier, it's important for journalists to not get overwhelmed with this technology. With easier publishing mediums, it also becomes easier to publish a story with less fact-checking, editing, and other professional practices. So while I think blogs are important resources for people to get their news, it's still important to stay professional. An example I've seen recently is with New York Times' reporting of actor Heath Ledger's death on their site's blog, which is updated constantly throughout the day. As the story unfolded, the blog posted throughout the day that Heath Ledger was in Mary Kate Olsen's apartment (later taken off) and that "drugs" were involved, implying illegal activities, though they were simply over-the-counter pills, and then that he was face down when found (which was also taken off). I think that a company like New York Times (which I usually highly respect) needs to get its facts straight before publishing what sells; that is, celebrity drug scandals and whatnot. So while technology and backpack journalism makes it easier to publish across mediums and technical formats, there is still no reason that the usual (ideally) practices of journalism are kept in place.
Boy, it sure would be obnoxious if someone used a long title for one of these things
Charles Austin
The whole "backpack journalist" thing seems to be a pretty clear-cut issue to me at this point, much more so than either of these articles would have you believe. That might have to do with the fact that they were both written more than half a decade ago, and in the time since a lot has happened to help push the newsroom in the direction of convergence. I feel like some of what was said at the beginning of the "Mush of Mediocrity" article was laughable in its skepticism of journalists' ability to perform, essentially, multiple jobs within the field.
The article made it seem so difficult to learn to shoot video or take pictures, but I think this is an interpretation of the current paradigm through the eyes of people who grew up in the previous paradigm. Our generation has grown up with digital cameras, with PhotoShop and with fairly inexpensive video cameras. These things are far less foreign to us than to previous generations who didn't necessarily have as much access to them at a young age. Because of this, we are a lot quicker to pick up on how to utilize technology than the people quoted in these articles, for example. I liked the ridiculous quote about how "the specialist journalist isn't going away when the cameras have more knobs than the dashboard of my car." Obviously the specialist journalist isn't going away, merely because people will naturally enjoy and excel in certain fields more than they do in others. But that's no reason to neglect learning many other aspects of telling a story. Even a specialist photographer should know how to write a decent story or shoot video footage.
That all seems pretty obvious to me, but hopefully I am wrong on every count and the journalism of the future consists entirely of scribbling on walls inside of caves, the way God intended.
Backpacking Across The Mountain of Journalism And Staying in J-Hostels
Tracy Pfeiffer
The concept of "backpack journalism" has its obvious appeals -- it's a timesaver, a moneysaver, and it frees up desk space in the bull pen. However, I believe that the essential problem with backpack journalism is summed up in a single sentence from the second article: Inevitably, most backpack journalists are a "Jack of all trades, and master of none." I think that it is important to have people who specialize in certain mediums not just so that they can produce high quality work in that field but also because they will be able to provide advice and suggestions to the "backpack journalists" who may have a question about their camera or webpage-building program. Those who specialize in a trade are more likely to keep up-to-date on technological advances; those who try to operate everything will have to work much harder and waste much more time looking up updates on every piece of equipment they have. So while I think that backpack journalism is here to stay, I think that the regular ol' boring specialized journalist has pretty good job security as well.
The concept of "backpack journalism" has its obvious appeals -- it's a timesaver, a moneysaver, and it frees up desk space in the bull pen. However, I believe that the essential problem with backpack journalism is summed up in a single sentence from the second article: Inevitably, most backpack journalists are a "Jack of all trades, and master of none." I think that it is important to have people who specialize in certain mediums not just so that they can produce high quality work in that field but also because they will be able to provide advice and suggestions to the "backpack journalists" who may have a question about their camera or webpage-building program. Those who specialize in a trade are more likely to keep up-to-date on technological advances; those who try to operate everything will have to work much harder and waste much more time looking up updates on every piece of equipment they have. So while I think that backpack journalism is here to stay, I think that the regular ol' boring specialized journalist has pretty good job security as well.
Backpack Journalism and the Multimedia Age
Elise Crawley
Backpack journalism is in itself a difficult question. There are certainly many advantages to it, including being able to cover more news more in-depth and more quickly. Still, there are many drawbacks, like a sacrifice of quality and possibly journalist’s jobs. In a multimedia age where most young people are consuming news online, backpack journalists are certainly going to be invaluable for their skills. Especially because professional journalists have to compete with citizen-journalists. However, every journalist is not likely to become a backpack journalist. There is always going to be a need for people who are highly specialized. Still, journalists will have to retain a multimedia background while being highly specialized because the nature of news is going to be such that every journalist is going to have to discern which media will be the best to craft a story.
Gretchen Pressley
It's hard to really get the most important pieces out of these two articles since they were written so long ago. However, I think it's safe to say that aspects of the backpack journalist, that is, the ability to do many different types of journalistic production, is becoming very important in virtually all media outlets today. And that's a good thing. Video, audio, blogs, etc all add to the way that we, as journalists, can get the news across to our audience. That doesn't mean that amateurish production is going to be tolerated. We still need to be able to master each of the mediums that we attempt, or we aren't going to be able to adequately engage our audiences with any news. Luckily for us, our generation grew up using the internet and has embraced what the new technology can do for the news. Since we are all in a convergence class, I think it's safe to assume that we all think these skills are going to be worthwhile in the job market someday. However, the idea of one journalist who is able to take pictures, write a story, get audio, get video and still put together a decent package, like some of the first article's examples, is unrealistic. One person in a million would be able to do a good job at so many tasks at once. To be professional journalists, we have to take the time to learn how to correctly use each medium and then concentrate on deciding what stories work best with what medium. If it's a story big enough to warrant all that a backpack journalist could do, it's big enough to warrant using a group of people to do a more professional job. While it's helpful to be able to switch back and forth, no one person can do everything all the time.
It's hard to really get the most important pieces out of these two articles since they were written so long ago. However, I think it's safe to say that aspects of the backpack journalist, that is, the ability to do many different types of journalistic production, is becoming very important in virtually all media outlets today. And that's a good thing. Video, audio, blogs, etc all add to the way that we, as journalists, can get the news across to our audience. That doesn't mean that amateurish production is going to be tolerated. We still need to be able to master each of the mediums that we attempt, or we aren't going to be able to adequately engage our audiences with any news. Luckily for us, our generation grew up using the internet and has embraced what the new technology can do for the news. Since we are all in a convergence class, I think it's safe to assume that we all think these skills are going to be worthwhile in the job market someday. However, the idea of one journalist who is able to take pictures, write a story, get audio, get video and still put together a decent package, like some of the first article's examples, is unrealistic. One person in a million would be able to do a good job at so many tasks at once. To be professional journalists, we have to take the time to learn how to correctly use each medium and then concentrate on deciding what stories work best with what medium. If it's a story big enough to warrant all that a backpack journalist could do, it's big enough to warrant using a group of people to do a more professional job. While it's helpful to be able to switch back and forth, no one person can do everything all the time.
These two pieces provided every selling point and detractor for convergence that we've probably heard in the last couple of years. To me, the point is moot. Although it may take off as a mainstream movement for the first time, I think we must remember that perhaps nothing other than nomenclature for this 'mélange approach' to news media is entirely new. There's a magazine professor here who told me that, to earn his master's at Columbia in the 70s, he had to do everything from reporting and writing copy to putting together a documentary. Will economics dictate that all journalists must have multimedia skills, or will upper-level management value 'real news' more than ever-increasing profits? Only time will tell, but ultimately I think that it can only be a benefit to acquire such versatility, so as to prepare us for as much as possible in the world of journalism. On a side note, I do agree that most multimedia projects would work best on long-term stories; for breaking news, not only would the feasibility be questionable at best, the quality would most likely be shoddy. It's not in print news' best interest to replicate the inundation effect of broadcast's 24-hour news cycle. Is 'backpack journalism' here to stay? I don't know, but thankfully it's looking like backpack rap may have a future here.
Why can't journalists be successful in all areas of the profession?
Erika Adams
First of all, I wish to state that I am a true believer in the success of the backpack journalist. While I understand the main argument contained in, “The Backpack Journalist is A “Mush of Mediocrity,” that backpack journalists are not specialized enough in one area of journalism, I do not think this is true. The ideas presented in this article were interesting points that got me thinking about why I am so interested in backpack journalism/converged media.
Like all professions, we learn best by doing things hands on in journalism. Stone suggests in her article that a back pack journalist may not catch a smudge on the lens, or any other mistake because they are either not trained well enough in that area or do not have enough experience. But, there is always the possibility that a photographer new to the field who received specialized training may make the same mistake (although obviously much less likely).
So, with more training, experience and trial and error, I feel that talented journalist can come close to having just as developed skills in several areas in the journalism field as those specially trained journalists. When I think about the reasons that I have a passion for converged journalism I think about how I have a wide range of interests. Whether it comes to writing, stand-ups, editing, I hope to develop professional grade skills in all of these areas. What is stopping us from knowing and being able to carry out professional journalism through several forms of media.
First of all, I wish to state that I am a true believer in the success of the backpack journalist. While I understand the main argument contained in, “The Backpack Journalist is A “Mush of Mediocrity,” that backpack journalists are not specialized enough in one area of journalism, I do not think this is true. The ideas presented in this article were interesting points that got me thinking about why I am so interested in backpack journalism/converged media.
Like all professions, we learn best by doing things hands on in journalism. Stone suggests in her article that a back pack journalist may not catch a smudge on the lens, or any other mistake because they are either not trained well enough in that area or do not have enough experience. But, there is always the possibility that a photographer new to the field who received specialized training may make the same mistake (although obviously much less likely).
So, with more training, experience and trial and error, I feel that talented journalist can come close to having just as developed skills in several areas in the journalism field as those specially trained journalists. When I think about the reasons that I have a passion for converged journalism I think about how I have a wide range of interests. Whether it comes to writing, stand-ups, editing, I hope to develop professional grade skills in all of these areas. What is stopping us from knowing and being able to carry out professional journalism through several forms of media.
Backpack Journalists
Chelsea Williams
It was quite an adventure to read about my potential future career as a "backpack journalist." I first heard the term mentioned last semester when a friend of mine, who is also in Convergence, explained the concept to me. It was news to me then, but now I am much more comfortable with the idea. I feel fortunate to have the opportunity to be a part of this evolutionary movement in Journalism while it is still in its early stages. It was both refreshing and informative to read two reporters' specific accounts of their experiences in convergence. While I experience some concern that some places lean towards backpack journalists simply to cut costs, I have reached the conclusion that I am okay with being "that person," because it means that I possess the knowledge not only to report and write a story, but to record, film, design, load... and whatever other cool things I learn through my experiences at Mizzou and in the outside world. This will indeed make me a jack of all trades, according to Martha Stone, but if I work really hard, a master of something!
It was quite an adventure to read about my potential future career as a "backpack journalist." I first heard the term mentioned last semester when a friend of mine, who is also in Convergence, explained the concept to me. It was news to me then, but now I am much more comfortable with the idea. I feel fortunate to have the opportunity to be a part of this evolutionary movement in Journalism while it is still in its early stages. It was both refreshing and informative to read two reporters' specific accounts of their experiences in convergence. While I experience some concern that some places lean towards backpack journalists simply to cut costs, I have reached the conclusion that I am okay with being "that person," because it means that I possess the knowledge not only to report and write a story, but to record, film, design, load... and whatever other cool things I learn through my experiences at Mizzou and in the outside world. This will indeed make me a jack of all trades, according to Martha Stone, but if I work really hard, a master of something!
Backpacking - Another "New Fad" Freak out
While the stories about backpack journalism by Jane Stevens and Martha Stone were amusing and thought-provoking, I was not convinced that backpacking is a concept that will eventually die out. In fact, I think that backpack journalism is the future of journalism; that, eventually, all journalists will be held to some degree of backpacking, and that the more you know, the better off you are.
When I read Stevens, "Backpack Journalism Is Here to Stay," I really agreed with the point she made regarding the non-redundancy of backpack journalism's nonlinear format. "It's a two-way communications system: People can search for information. They send their own text, photos, graphics, video clips and audio on stories or provide additional information." We live in a world in which people demand to know everything at every minute of every day. Shouldn't our methods of producing excellent journalism reflect that? If a house burns in Brookly, and Channel XYZ sends a live reporter and a camera crew, the public will only get a live shot that will eventually turn into a 30-second sound bite with video. If Channel LMNOP sends a backpack journalists, the story then becomes a multimedia parade of text, sound, video, still images, possibly complete with an info graphic telling readers how to prevent house fires and whom to call in such a situation. Backpack journalism is more information, with more insight, in a small amount of time.
Of course, there are those who claim that backpack journalists are, "Jack of all trades; masters of none." I'm definitely not disputing this fact. However, just like the telephone, the cellphone and the iPhone, everything has to evolve. Give backpack journalists time, and soon, media hounds will reap its benefits.
Just like when Harry Potter was first published and people claimed it taught young children witchcraft; to me, backpacking is just another "new fad" freak out.
When I read Stevens, "Backpack Journalism Is Here to Stay," I really agreed with the point she made regarding the non-redundancy of backpack journalism's nonlinear format. "It's a two-way communications system: People can search for information. They send their own text, photos, graphics, video clips and audio on stories or provide additional information." We live in a world in which people demand to know everything at every minute of every day. Shouldn't our methods of producing excellent journalism reflect that? If a house burns in Brookly, and Channel XYZ sends a live reporter and a camera crew, the public will only get a live shot that will eventually turn into a 30-second sound bite with video. If Channel LMNOP sends a backpack journalists, the story then becomes a multimedia parade of text, sound, video, still images, possibly complete with an info graphic telling readers how to prevent house fires and whom to call in such a situation. Backpack journalism is more information, with more insight, in a small amount of time.
Of course, there are those who claim that backpack journalists are, "Jack of all trades; masters of none." I'm definitely not disputing this fact. However, just like the telephone, the cellphone and the iPhone, everything has to evolve. Give backpack journalists time, and soon, media hounds will reap its benefits.
Just like when Harry Potter was first published and people claimed it taught young children witchcraft; to me, backpacking is just another "new fad" freak out.
Wednesday, January 23, 2008
A balanced backpack
Ben Paul
I found myself siding with the cautionary tone taken in “Mush of Mediocrity.” The thing I like about the idea of “backpacking” is that it allows for the story to be told in the most compelling way possible. If a reporter is familiar with all the possible mediums, he or she will be able to chose between them to produce a coherent piece and/or package, which is a particularly valuable ability in cases of breaking news where there may not be sufficient time or resources to get a reporter specializing in each medium. However, this should by no means become a crutch for executives: both authors were straightforward in their acknowledgment that specialists will naturally produce a higher quality product. I also agree with Stone’s assertion that convergence ultimately will not work without top-down reforms of the news-gathering process.
I found myself siding with the cautionary tone taken in “Mush of Mediocrity.” The thing I like about the idea of “backpacking” is that it allows for the story to be told in the most compelling way possible. If a reporter is familiar with all the possible mediums, he or she will be able to chose between them to produce a coherent piece and/or package, which is a particularly valuable ability in cases of breaking news where there may not be sufficient time or resources to get a reporter specializing in each medium. However, this should by no means become a crutch for executives: both authors were straightforward in their acknowledgment that specialists will naturally produce a higher quality product. I also agree with Stone’s assertion that convergence ultimately will not work without top-down reforms of the news-gathering process.
Journalism in all forms
Samantha Liss
Considering the new age of mass information, I agree with Jane Stevens and her attempt to be a multimedia journalist. Stevens seeks to compile everything from video to words to tell a compelling story.
Journalists today are entrapped to convey the news in a specific format and are quite frankly numbing viewers and hindering the next batch of journalists. Journalists need to pull away from this old age journalism to reverse the stagnate growth.
Up and coming journalists should start telling stories in more creative ways and leave behind the old methods.
As for the second reading, I think Martha Stone completely underestimates the rising generation of journalists. Most of our generation knows the basic uses of multimedia and with a little direction could successfully relay multimedia stories. I maybe naïve in thinking this, but our generation pretty much grew up on technology, so I don’t think it’s anything we all couldn’t learn to do well.
I can understand her point, but to her generation it may seem like rocket science but for us it’s almost second hand. I think that it’s up to the journalists to change this apathetic nation into caring about real issues and the only way to do that is to create comprehensive stories that are compelling for everyone.
Considering the new age of mass information, I agree with Jane Stevens and her attempt to be a multimedia journalist. Stevens seeks to compile everything from video to words to tell a compelling story.
Journalists today are entrapped to convey the news in a specific format and are quite frankly numbing viewers and hindering the next batch of journalists. Journalists need to pull away from this old age journalism to reverse the stagnate growth.
Up and coming journalists should start telling stories in more creative ways and leave behind the old methods.
As for the second reading, I think Martha Stone completely underestimates the rising generation of journalists. Most of our generation knows the basic uses of multimedia and with a little direction could successfully relay multimedia stories. I maybe naïve in thinking this, but our generation pretty much grew up on technology, so I don’t think it’s anything we all couldn’t learn to do well.
I can understand her point, but to her generation it may seem like rocket science but for us it’s almost second hand. I think that it’s up to the journalists to change this apathetic nation into caring about real issues and the only way to do that is to create comprehensive stories that are compelling for everyone.
BPJ
I am devoting my hard-earned, 4 year (OK, 5 year) degree to convergence journalism, so for sanity’s sake, I am going to have to side with the argument that “Backpack Journalism is here to Stay.” I think the most valuable piece of information in both of these articles is the date in which they were written: 2002. Geez, I was like a high school freshman then! Both articles made predictions about the successfulness and staying power of multimedia journalism, and I do not think anybody is expecting any of our online news sources to become “server not found” pages soon. These past 6 years have already proven that there is power in being able to tell a story through various mediums that can provide a more comprehensive and complete news report to the public. Having the news so easily accessible and even entertaining is what people want and what we are now technologically able to provide them.
I strongly dispute the argument that most multimedia journalists are unable to provide true quality or that putting together a story with varying medias is simply not feasible. The fact that such capable journalists are “few and far between” only makes me more ambitious to become one of the few; and to avoid running around the world with a video recorder on my shoulder, camera in hand, and notebook… somewhere, I will simply have to have had enough training to recognize the best medium in which to tell certain stories. I believe we can tell accurate stories in innovative ways, and that’s why I’m here!
I strongly dispute the argument that most multimedia journalists are unable to provide true quality or that putting together a story with varying medias is simply not feasible. The fact that such capable journalists are “few and far between” only makes me more ambitious to become one of the few; and to avoid running around the world with a video recorder on my shoulder, camera in hand, and notebook… somewhere, I will simply have to have had enough training to recognize the best medium in which to tell certain stories. I believe we can tell accurate stories in innovative ways, and that’s why I’m here!
Backpack Journalism
Valerie Chew
If we could learn to speak with mouths, write with hands and run with legs, wouldn’t we? I appreciate Stone’s point about how not everyone is good at multi-tasking, but nonetheless, it is something that all of us do. How well we do it, or how much better we are at some things than we are at others, depends on the training and as Stevens has pointed out, the experience we have. If I could learn to write, make audio clips and take videos, I would do all of them. But, I would also like to discover which one I do best and depending on the context, use that to propel myself beyond mediocrity.
BackPack J
Lukas Litzsinger
I completely disagree with the slippery slope that Martha Stone paints in her article on backpacking journalists. She makes the assumption that individual journalists will be assigned to breaking news stories, and in the rush and madness of the moment do a poor job in comparison to a collaborative effort from a team of journalists. However, the primary function of a do-it-all journalist is not to cover hard, time-sensitive news. Even with the top-down reforms that Stone cites, the vast majority of news organizations will send a team to cover the type of stories she uses to critique backpack journalists. Later in her article, she presents examples (as exceptions) of passable backpack journalists, and guess what? None of them covered hard news. They were sent on assignments where features/impressions were the focus of the stories, and it is in this area that a backpack journalist can excel. Whenever there is a tight deadline, a team is required, for many hands make the work light. But when the deadline is not as tight, well, two hands can be sufficient.
The other article does a good job of describing different situations that call for different approaches: producer vs. reporter driven stories. The latter is the area where backpack journalism will be most useful, for again, these stories usually involve more flexibility with regards to specific deadlines. It also talks about how multi-media journalists will eventually become standard as more and more news shifts to the Internet. One benefit of multi-media stories is the ability to convey context, which I had not considered before. There is also more media available at a pace defined by the viewer/reader/listener.
Backpack Journalism
Jane Steven’s differences between multimedia and traditional media outlets are where backpack journalism shows the most potential for longevity in our society. Multimedia offers readers a more engaged approach to getting their news and when journalists embrace this “backpacking” they can better inform their readers and create an active environment for discussion. Steven appropriately defines it as a “two-way communications system.” It is indeed a new method of storytelling—one where the readers not only create the news, but have the opportunity to respond to it.
Martha Stone’s apprehensive look into backpack journalism is interesting from an economic standpoint. While it seems like backpack journalism is a cost-effective option of media outlets, I don’t believe it is a legitimate excuse to shrink newsrooms. It shouldn’t be economically beneficial because it will require less reporters; it should be beneficial because it could substantially improve the quality of their product and make it available to a larger audience.
The skepticism of whether “do-it-all” journalists can provide quality work should further encourage them to pursue excellence. Convergence journalism requires a skill set that should run as deep as it runs wide. And although the first article emphasized the excitement and satisfaction of being able to independently produce a multimedia package, not all convergence journalists necessarily resign to independent work. Steven’s scenario about the team of journalists sent out with digital video cameras illustrates that, in the long run, it improves the quality of journalism by increasing the pool from which footage is chosen.
Martha Stone’s apprehensive look into backpack journalism is interesting from an economic standpoint. While it seems like backpack journalism is a cost-effective option of media outlets, I don’t believe it is a legitimate excuse to shrink newsrooms. It shouldn’t be economically beneficial because it will require less reporters; it should be beneficial because it could substantially improve the quality of their product and make it available to a larger audience.
The skepticism of whether “do-it-all” journalists can provide quality work should further encourage them to pursue excellence. Convergence journalism requires a skill set that should run as deep as it runs wide. And although the first article emphasized the excitement and satisfaction of being able to independently produce a multimedia package, not all convergence journalists necessarily resign to independent work. Steven’s scenario about the team of journalists sent out with digital video cameras illustrates that, in the long run, it improves the quality of journalism by increasing the pool from which footage is chosen.
Backpack Journalism
Both of the articles concerning backpack journalism made valid points but I tended to lean toward the arguments made in the first rather than the second. The first article detailed the inability of television and print mediums to dedicate enough attention to important stories which I agreed with. The second article seemed to repeat the argument that because multimedia reporting was becoming more and more prevalent, people would no longer specialize. I find that hard to believe, not only because people, audiences and producers still value quality news stories, but also simple human nature dictates that people would play to their strengths. The first article mentioned the use of and necessity for training while the second article seemed to gloss over it, as if none would occur. The second article also neglected to mention the aspect of teamwork, which is vital to any multimedia project/publication. With teamwork, comes increased experience and most likely specialization, ultimately resulting in projects exceeding mediocrity.
Backpack Journalism
Carla Schaffer
As a student wanting to be a part of convergence, my opinions sided mostly with the first article, the positive look at the backpack journalist. But the second article was the one that caught my attention the most. Maybe it held my interest because it’s an article with opposing views, and we like to defend what we believe in. I love the idea of the backpack journalist, and I resented the phrase, “ Jack of all trades, and master of none”. By being skilled in so many different areas, the journalist is more valuable to the station or company that they’re employed at. The backpack journalist demonstrate a flexibility that is hard to find, and will continue to change and advance as our technology and programs change in the future.
As a student wanting to be a part of convergence, my opinions sided mostly with the first article, the positive look at the backpack journalist. But the second article was the one that caught my attention the most. Maybe it held my interest because it’s an article with opposing views, and we like to defend what we believe in. I love the idea of the backpack journalist, and I resented the phrase, “ Jack of all trades, and master of none”. By being skilled in so many different areas, the journalist is more valuable to the station or company that they’re employed at. The backpack journalist demonstrate a flexibility that is hard to find, and will continue to change and advance as our technology and programs change in the future.
Backpack Journalism
Reading the articles about experiences and criticisms of convergence journalism helped strengthen my belief in the idea. I believe that it would benefit a company to send a single reporter to cover an event. Then the company could cover a broader scope of stories, and give several different angles at them. International coverage could be greatly expanded, take for example the situation in Afghanistan. But like the criticisms said, convergence reporting is not for everyone. However, I disagree with some of the criticisms because I feel that convergence is the future of journalism and should be planned for in the some time future.
Backpack Journalism
As a future convergence journalist, I enjoy the criticism the second article had to offer. If someone calls me mediocre, it's only normal that I work to exceed their highest expectations. I think the idea of a backpack journalist is thrilling, actually. Doing a story and making it completely mine by taking the pictures, shooting the video and creating its text only gives it more of an opportunity to be a whole, succinctly developed story. Yes, 2, 3 and 4 heads is better than 1... but sometimes I feel like that's writing an essay with 4 different inputs. You have a better chance of it flowing because of the one train of thought it's coming from. The post-editing though- still necessary. As a college student, I enjoy my independence- and I think I will continue to enjoy that as an adult... who wouldn't love that in your career? Heading off to another country solo to create your own masterpiece would encourage my creativity. But, like I learned in my previous Cross-Cultural class... the diverse newsroom is there for a reason...to utilize as a sounding board to catch things I might have missed. This resource, I wouldn't neglect to use.
So, bring on the foes and woes of future convergence journalists... but it's here to stay.
Backpack Journalism
For better or for worse, backpack journalism is here to stay. If it is possible for one person to do the job of four, then it would be nearly unthinkable to believe that the industry would not take advantage of this. Additionally, this type of journalism could be superior to the typical style when used effectively. The producer-driven method seems better because it gets more reporters in more places so as to get more perspectives on the situation. The coverage would be broader, with more reporters with more equipment in more places.
Backpack Journalism (Hayley Kaplan)
As seen in these two articles, opinions about where journalism is headed in the future means many different things to different people. Journalism is a profession that will always constantly change because the world constantly changes, and I believe that this adjustment to convergence and backpack journalism is something that must be gradually integrated into newsrooms everywhere. Newsrooms are not going to instantly turn towards having all backpack journalists because the people who still specialize in one area of journalism are still vital in newsrooms. But I believe backpack journalists should be incorporated into newsrooms in an effort to make newsrooms more diverse and help complete the ultimate goal of accurate, important news getting out into the world somewhat quickly. Without individual special talents, the important stories will not get told, so in my opinion newsrooms need all types of people. Diversity is a key essential in newsrooms, even if that means people who are diverse in their knowledge of reporting. All these talents can and should be thrown together in order for all of us to succeed as journalists.
backpack journalism
I like the idea of the backpack journalist. There is a very Indiana Jones feel to it, not so much the pariah (and a mediocre pariah at that) that Stone imagines. Seeing as I wish to do international reporting someday, could I at least be a super-talented Lone Ranger?
There is indeed the efficiency idea of this one trekker out in space. Financing bureaus in even one international location is always described as a migraine. Unlike Gary Kebbel (editorial director at American Online and quoted in Stone's article) though, I do not this this is a method to eliminate jobs. Even with only one backpacker in even half the countries in the world, that would still amount to a lot of journalists. I refuse to believe that American newspapers even begin to get at the news of any country besides our own, thus backpack journalists offer a method at covering more of the world events.
There is indeed the efficiency idea of this one trekker out in space. Financing bureaus in even one international location is always described as a migraine. Unlike Gary Kebbel (editorial director at American Online and quoted in Stone's article) though, I do not this this is a method to eliminate jobs. Even with only one backpacker in even half the countries in the world, that would still amount to a lot of journalists. I refuse to believe that American newspapers even begin to get at the news of any country besides our own, thus backpack journalists offer a method at covering more of the world events.
Tuesday, January 22, 2008
Backpacking IS Here to Stay
Kelsey Proud
After reading each perspective on the issue of backpack journalism, I tend to side with the ideology of Jane Stevens in "Backpacking Journalism is Here to Stay." I believe that although we will be trained on many different types of media, our concentrations will allow us to be an "expert" in a specific area. This will allow us to jump right into the role of a team member that can execute one element exceptionally well, or any needed element effectively. Moreover, unlike the older generation of professionals working in the industry today, we will already have much of the training that they are trying to acquire. Arguably, this could make our roles even more flexible and less costly to our employers.
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