a small voice

2011: The year in pictures ... and more

noreply@blogger.com (Scott Bryant) — Wed, 04 Jan 2012 07:25:37 PST

I haven't been much of a blogger for a while, but I still wanted to post my year-end retrospective. No clicky-click slideshow here. I've done narrated looks back for the past four years. This year, I wanted to explain how photographs can create connections between people and help us see ourselves in others. And that I am a biased journalist. What's my bias? You'll have to watch to find out ...

Private Presidential Pathways: last chance for "transparency?"

noreply@blogger.com (Scott Bryant) — Wed, 11 May 2011 06:58:33 PDT

Of his famous photo of President John F. Kennedy, Tames said ""I wanted the blackness,
the mood that I saw with my eye."

Interested in seeing honest, revealing photographs of your American President on the job? You know – candid, un-choreographed visual records which give us glimpses of the human being occupying the most powerful office in the world?

If those kind of images might appeal to you, then run! As fast as you can, to the Averitt Center for the Arts in Downtown Statesboro. Don't delay, because this may be the last opportunity to see photographs like this.

The Averitt Center's main gallery will be featuring an exhibit titled "Private Presidential Pathways," displaying photographs by former New York Times photographer George Tames. While he covered many aspects of Washington, D.C. for nearly half-a-century, Tames developed a reputation for capturing unguarded, honest moments of Presidents with his camera.

What made Tames different were his instincts and persistence for finding something visually profound – his refusal to settle for the "herd" mentality that still often plagues news photography. Tames had an ability and desire to develop easy and informal access to powerful politicians, including – especially – the President.

Since Tames' death in 1994, both photography and politics have changed. The implementation of digital photography in reporting the news has accelerated the notion of being the first and the fastest, over all else. George Tames, on the other hand, emphasized thoroughness and familiarity to create his images. Tames was often the last to produce an image because he stayed later and shot longer than those clinging to the "herd."

And politicians have learned a lesson – all too well. Image is everything.

It started, perhaps, with Ronald Reagan. Tames daughter, Stephanie (who lives here in Statesboro), told me Wednesday that her father got frustrated with Reagan, who first made his mark as an actor in Hollywood and was quite comfortable with the traditional method of producing moving pictures, whether film or video. Television producers, editors, and their ilk seemed all-to-willing to produce multiple takes and get things "right."

A posed-but-spontaneous photo of Harry S. Truman.

Reagan was surprisingly uncomfortable with still photography, however. Once the photographer clicked the shutter, the record was made. Period. No re-takes. The image could be published. Or not. The President and his staff had no control over that.

Stephanie Tames related a story about an image her father made of Reagan. It was an exercise in frustration. The newly-elected President invited photographers into the Oval Office. Tames wanted a picture of Reagan at work. Reagan simply wouldn't stop posing. Tames stayed longer than every one else. Finally fed up, he started packing up his gear. That's when the President picked up his papers and got back to work. And that's when Tames was able to rattle off a frame or two to get the real picture.

Today, in 2011, getting even that picture is practically impossible. Not saying that most Presidents haven't been concerned with their image, but each one since Reagan has become exponentially more guarded, especially when it comes to photography.

Much has been made of the news media's alleged infatuation with Barack Obama. It's been vilified by some. Parodied by others. However, I can tell you about one group of journalists that is not enamored with our sitting President - the pool of White House press photographers representing dozens of publications from all over the world.

It's ironic that a President who's election platform included a commitment to government "transparency" has become so elusive to those assigned to cover him.

The previous administration became frustratingly adept at limiting public appearances to simple, choreographed "photo ops" where photographers were typically allowed to make as many photographs as possible while walking between the entrance and exit of a room.

I participated in one of these events when I worked in Savannah and the G-8 conference was held in Sea Island in 2004. I got the honor of waiting hours to photograph George W. Bush and Russia's Vladimir Putin sitting in a small room in chairs next to each other. It was like a very short rock show with all the strobe lights going off as many photographers simply laid on their shutter releases until we were ushered (herded) out. The whole thing lasted about 20 seconds. Rattle rattle, here come the cattle.

After promising greater "transparency," the present administration has gone so far as to eliminate even the cattle call photo op. Right from the start, the photographers assigned to covering the White House were excluded from the President's first day in the Oval Office. From the controversial "do-over" oath of office. And a month later, from a historic meeting between the President and the Dalai Lama.

In all these instances, the White House preferred, instead, to allow only Official White House photographer Pete Souza to witness these events with his camera, who's images were subsequently distributed via the Flickr photo sharing web site. The response from photo editors everywhere was immediate.

... information is "more valuable to the public if you know where it's coming from."

Michael Oreskes, Managing Editor for U.S. News, the Associated Press

It's clear that the White House staff saw this as an opportunity to take advantage of the internet. To "democratize" the process of distributing photographs by allowing anyone to download these photos from Flickr rather than letting the wire services distribute pictures to subscribing news outlets. See for yourself: here's a link to the Flickr White House photostream. That's good, right?

Well, it's also clear this was seen as an opportunity to exert greater control over the image of the President. While the credibility of Pete Souza, a veteran news photographer and educator who also served as Ronald Reagan's personal photographer in the White House during the 1980s, is widely-respected, wire services refused to distribute these photographs based primarily on two concerns: 1) this practice eliminates the potential diversity of images available to the public, and 2) the difficulty of determining the authenticity of an image not produced by someone on their staff.

Changing of the guard. Lyndon B. Johnson eyes Richard M. Nixon.

Even in a clearly controlled situation, each photographer makes decisions about how to compose their photographs. When to click the shutter. How to interpret what they witnessed. And each publication makes a choice about which photographs to publish.

No more. What's the harm, you say? Well, in an era where the authenticity of every digital photograph is in question, a multitude of photographers shooting the same event helps minimize the potential for deception. Photographers, or editors, or staffers in charge of publicity, are unlikely to manipulate, digitally or otherwise, photographs or situations for their own purposes if there are a multitude of images available from different sources.

One of the core principles that makes the news media relevant and useful is its diversity of voices and points-of-view. Information often becomes credible when a consensus is produced from many independent sources. And this principle is just as true of photography as any other medium of communication.

Ultimately, the question for you, the audience, is whether or not you are satisfied with our government representatives being the only source of visual information about themselves. I'm all for breaking with tradition as long as it serves a greater good. Are you being best served by this policy?

Before you answer, though, please go see Tames' photographs. They will be on display until June 15.

He left us with lasting images of our Presidents. Ones that really stick in our minds, individually and collectively.

Tames' photographs are ones that tell us something of the human beings who occupied the office of the President of the United States – their emotions. Their personal style. Their egos. Their strengths. And sometimes their frailties.

Why are these images so important? Why am I telling you to run – as fast as you can – to see them?

Because we may never see their like again.

The Averitt Center’s main gallery is open Tuesday-Friday from 10 a.m. – 7 p.m. and on Saturdays from 10 a.m. – 4 p.m.

The cost of photographing war and tragedy

noreply@blogger.com (Scott Bryant) — Mon, 02 May 2011 17:06:48 PDT

I have not blogged in a long time. Balancing a demanding job and a home life have drained me recently. Today, given many recent world developments, I simply felt compelled.

While chronicling Statesboro and Bulloch County is my primary role as a photojournalist , I still feel a strong kinship with those who choose a larger role on the world's stage.

I probably will never be able to change the minds of those who see some photojournalists as nothing more than paparazzi who choose to cover tragedy instead of celebrity – vultures preying on human suffering for the sake of personal recognition and awards. Or appealing to base, morbid human curiosity.

However, I firmly believe there is a higher calling abided by many, if not most, photojournalists who chase human conflict all over the world.

There will always be a debate about the value of photographs depicting tragedy. It's a necessary and healthy debate, in my opinion. Amongst the photographers who make them. Amongst the editors who choose to publish them. And amongst the audiences who view them.

This recently became the topic at a photography conference in Italy, and photographer/writer Enzo dal Verme blogged about it: Misery Is Photogenic.

However, I feel compelled to share some thoughts and links about those who have recently suffered imprisonment, horrible injuries, or even lost their lives in order to enlighten us.

The conflict in Libya, especially, has been costly for photojournalists. Numerous journalists have been captured by pro-Qaddafi forces or have gone missing. Academy Award-nominated photojournalist Tim Hetherington and Pulitzer Prize-nominated photojournalist Chris Hondros of Getty Images were killed in Libya on April 20th.

"I wanted to photograph their lives as fully as possible."
Photojournalist and filmmaker Tim Heatherington on American troops in Afghanistan for his book "Infidel" and his film "Restrepo"

Especially the deaths of Hetherington, a true pioneer in "multi-media" story-telling, and Hondros have given many in the profession reason for pause.

Others, on the other hand, are more committed than ever. War photographer Joao Silva, who lost both legs and suffered internal injures in Afghanistan, has displayed the same indomitable spirit in his recovery that made him so effective on the front lines, and is excited about sharing his personal story. Not to mention itching to get back to work.

Perhaps photographing tragedy is an adrenaline rush for a few photographers. It's not about an addiction to danger, for most, however. There is something much more profound in the hearts of most of these individuals. These folks have little desire to tell sterile "objective" stories from the front lines. They are so moved by what they see and feel, they are compelled to keep sharing, over and over, regardless of the personal cost. In fact, more than once, I have heard photographers describe this kind of work – to photograph people in the most private, vulnerable kinds of situations – as a privilege not to be taken lightly. I feel their kind of courage should be recognized.

These folks stalk the front lines, often shoulder-to-shoulder with military combatants, or amongst those caught in the crossfire – the "collateral damage." Their only weapons? A camera and a conscience. This gallery, Photographers in Peril, gives us a few examples of the search for humanity contained within often inhumane conflicts.

We Americans laud our military. Rightfully so. Those individuals make incredible personal sacrifices, put their lives on the line, do their duty and carry out orders without question. We owe them much, much more than gratitude. But what of those who risk their lives to tell us the stories of our soldiers and those they fight on behalf of? Stories spun by compassionate souls, not spun for the purpose of "official" agendas, that sometimes painfully reveal the true cost of conflict?

What is your opinion of the men and women who make images, still and moving, of human conflict and tragedy? Are they simply the bearers of bad news? Or do you see value in their chronicles? Is it worth the cost?

Birthday Pi(e)

noreply@blogger.com (Scott Bryant) — Mon, 14 Mar 2011 13:49:57 PDT

Today was a first for me.

It's National Pi Day. Not to be confused with the confectionary delight we know as pie (although I'm quite certain there must be a National Pie Day, as well). We're talking about π. The Euclidian geometric constant used for calculating the circumference of a circle. I never knew there was such a day, but March 14th makes sense since the value of Pi is approximately 3.14.

March 14 also happens to be my birthday. Working on my birthday is certainly no first. It's the rule rather than the exception, as it is for most folks. And I usually go about my business without mentioning the personal significance of the date.

Today, I photographed a math class at Statesboro High School where the teacher celebrated National Pi Day in her classroom with, well, pie.

I mentioned, in passing, that it was my birthday because I couldn't help but note the irony that I shared a birthday with Albert Einstein on National Pi Day. Ironic because math was, uh, not my best subject in school. And that's putting it mildly.

Today was not a first because I was photographing an educator who finds ways to make learning fun. The students also shared a slice of delicious chocolate cream pie with me. And I have to admit that it wasn't the first time I had sampled some goodies while on assignment. Today was a first because I got serenaded by an entire class.

Yes, before I could make my exit, the students, who overheard my birthday observation, all joined together and sang "Happy Birthday" to me.

"... Happy birthday dear Camera Guy ..."

So thank you Paige Sutcliff and all your tenth graders. It's tough to share a birthday with Albert Einstein on National Pi Day. You made me feel special.

Did I mention it's also National Potato Chip Day?

Farm voyeurs beware: Florida Senator gunning for photographers

noreply@blogger.com (Scott Bryant) — Wed, 09 Mar 2011 13:46:24 PST

Ever see a really pretty field of corn or cotton while driving down the road, or perhaps a herd of cattle or sheep huddled in an idyllic pasture, and felt like pulling over and snapping a picture?

Well, don't even think about doing it in Florida. Even if you're not a socialist or an animal rights activist, it could be a first degree felony if State Senator Jim Norman gets his way.

Read this: Cracking Down on Croparazzi

This is dumb is so many ways, I just can't even begin. I'm both entertained and scared to death about the level of an almost utter lack of rational and informed thought.

I supposed I'm posting this to get back in the swing of blogging. Sorry for the layoff, folks. And I'm hoping others might appreciate this episode of Stupid Human Tricks.

And I'm game for some discussion, if you are.

Beyond the obvious: images from Egypt

noreply@blogger.com (Scott Bryant) — Mon, 07 Feb 2011 08:46:37 PST

I'm sure many of us are following the developments in Egypt. We're inundated with thousands of images chronicling the anti-goverment protests. Most of them being moved by the wire services are just what you would expect. Violent clashes. Danger. Drama.

There is another side to these protests. A more human side. And some photographers are doing their darnedest to chronicle that, as well.

I ran across some of these image at burn. magazine, an on-line photography site curated by great Magnum and National Geographic photographer David Alan Harvey. The photographs are by Egyptian photographer Laura El-Tantawy, who also writes about her experiences while covering the protests.

Visually, these photographs are haunting and atmospheric. We get to see the faces and begin to understand some of the participants in a much more intimate way than the rock'em sock'em wire photos allow.

As El-Tantawy says:

"Tahrir (Liberation) Square has become a microcosm of Egyptian society. The protesters here represent all classes of people, from the art world, politicians, engineers, lawyers, bankers, school teachers, government employees, construction workers, plumbers. They all came here to fight for something."

The best photojournalism not only addresses the "what," but also the "who" and the "why." The best photographs are the ones that move us. The ones that appeal to our humanity, whether the subjects are halfway across the world or right here in our own backyards.

Take a look. Tell me what you think. What images have you viewed from Egypt, and which ones stick with you? Why?

Link: Cairo: Quest for Liberation

Wanted: conversation with YOU

noreply@blogger.com (Scott Bryant) — Tue, 01 Feb 2011 06:17:08 PST

I'm a slow starter.

It's almost an annual ritual. While many kick off every new year in high gear, it seems to take me a while to get my bearings and get rolling. At the end of January, I'm moaning and groaning, wondering why I haven't shot many, or any, pictures worth much discussion.

I could say the same thing about my blog. I follow many blogs and have several friends who write blogs, and most of them have been furiously posting since the new year was ushered in. Me? I'm recharging. Refocusing. Searching for topics and stories worth sharing with the Herald audience.

Also, for the first time in three years, I'm not teaching the Spring Intro to Photojournalism course at Georgia Southern University. And that's something I have mixed feelings about. It's a huge commitment – constantly updating lesson plans and refining teaching techniques to give college students a base of knowledge in order to discuss and practice visual journalism. It takes up almost all of my free time when I'm not on the job for the Herald.

Then again, it's kept me sharp and focused about what I do for a living. More plugged-in to a constantly changing profession. And I've really enjoyed the exchange of knowledge and discourse with students.

To fill that void, I'm tossing out an invitation for conversation to Herald readers, and anyone else who follows. That's the real reason I started this blog, in the first place.

So, what do you want to talk about? Almost anything is fair game. Do you have questions or want tips to help you take better pictures? Are you curious about what goes on behind the scenes when I cover news events? Questions about the news business, it's practice, and the ethics involved? Any suggestions about how I can better cover our community?

All of my posts are open to comments, but I'd love to hear your thoughts now. So toss out those questions and make suggestions. I can always write about my experiences and share relevant links. I'd like to take your ideas, though, and make them the subjects of my blog posts.

Ball's in your court ...

2010 Frozen in Time

noreply@blogger.com (Scott Bryant) — Tue, 04 Jan 2011 16:35:14 PST

This is the time of year we spend a lot of time looking back. Photographs have a special quality in this regard – by freezing time and holding it still, we can see the world in new ways and increase our appreciation for those fleeting moments.

This audio slideshow is not only a look at 2010 through my eyes, but hopefully a way to help us appreciate photography and it's unique ability to communicate and connect with one another.

Click on the picture or on the link below.

Enjoy the look back, Statesboro and Bulloch County!

VIEW SLIDESHOW

Words and pictures make merry ...

noreply@blogger.com (Scott Bryant) — Mon, 27 Dec 2010 07:59:18 PST

Cari Shelkoff, 23, right, and sister Jules, 20, wrap gifts for last-minute shoppers at Statseboro Mall on Christmas Eve.

Christmas Eve. The paper was going to press extra early (noon-ish) so employees could spend holiday time with their families. So I'm searching for a photograph to anchor our front page on Christmas Day.

At first, I was loath to enter Statesboro Mall to photograph last minute shoppers. Personally, I think we've published plenty of pics featuring Santa Claus and shoppers this season. However, after fruitlessly cruising in hopes stumbling across something more unique, I yielded to the looming deadline and entered the mall.

I was rewarded with a fortuitous gift of circumstance. I stopped at a gift wrapping booth where three women worked at a feverish pace. I started making pictures, hoping to capture a bit of the frenzy. As I shot, though, I listened.

And I learned that the booth was run by two sisters in their early 20s (with some help from Mom). This was the ninth year in a row that they've served the needs of holiday shoppers.

Without breaking their stride, the stories flew forth. Before I knew it, I had stopped shooting and was writing in my notebook. The seasonal entrepreneurial effort had helped put the two girls through college. It had helped pay for their cars and gas. It had helped fund trips, including a recent one to Israel.

The business was clearly lucrative, but there was more. The girls clearly loved what they were doing.

Sure, they smiled as they took money for their services. Clearly there was commerce involved. But they weren't just wrapping gifts. They were engaging their customers. Swapping stories and experiences. Giving advice. Even giving directions.

When they directed their stories to me, I scribbled and they continued working.

Their favorite regular questions?

"Do you wrap gifts here?" (Yes, they really get that one frequently.)

And "What should I get for my wife?"

Sometimes, they wish some folks would take their advice on that one, too, as they shared a story about a man who came in on a rainy Christmas Eve and was stumped about what to buy for his wife. He ended up buying an umbrella, a rain coat, and rain boots. The sisters held their tongues as they wrapped them for the poor fellow. Not to mention the guy who bought his wife cleaning supplies for Christmas. "She loves to clean," he said. They, again, held their tongues at the time but laughed as they shared the story.

They told me about some of the most unusual/challenging gifts they wrapped, including a bicycle and a basketball goal.

They said they were touched when a woman recovering from a brain tumor brought her gifts in to be wrapped because she couldn't kneel on the floor anymore. They were impressed by her spirit to share despite her difficulties.

They shared their secret to successful gift wrapping: patience and tape. Lots of tape.

It was obvious that their people skills were integral to their success, as well.

The entrepreneurial and holiday spirit do indeed mix well together.

What I ended up with was an okay picture but a great story, so I hustled back to the office, processed my photographs, and wrote a short story in about fifteen minutes. Just in the knick of time before the paper was sent to the press.

I'm not a writer by trade, especially on deadline. But I managed to crank out enough text that the story had to be jumped from the front page onto an inside page. Whew!

The lesson is that words and images always work together to tell the stories of our community.

Gifts come in all shapes and sizes. This is mine, to you, today.

Merry Christmas, all!

I can't help myself: another funny sports pic ...

noreply@blogger.com (Scott Bryant) — Wed, 22 Dec 2010 19:05:14 PST

Georgia State guard Javonte Maynor, left, grabs Georgia Southern guard Jelani Hewitt while he keeps the ball in play.

Ever hear a coach tell a player to stick to an opponent like glue or "I want you inside that guy's uniform!"?

That takes on a whole new meaning, here. I'm not sure this is textbook defense.

Yeah, it's a little out of focus. But it was just too funny not to share.

I love weird sports shots. Still photography just seems to bring it out, too, because you see things you might miss in real time. So I'm gonna keep sharing. Hope you don't get annoyed.

I can't help myself.

Tip: Protect those precious memories!

noreply@blogger.com (Scott Bryant) — Fri, 17 Dec 2010 19:18:04 PST

Figured it was time to share a photography tip.

One of my Facebook friends and former photojournalism students recently posted that she accidentally deleted every picture from her camera's storage card – more that two years worth of pictures! ARGH, indeed!

It's a nightmare for those who are prolific snapshooters. It's one of the hazards in this digital age. With all those confusing menus and options, it's an understandable-but-tragic mistake.

There are a few things you can do to avoid losing precious digital photographs. In fact, for all you digital photography aficionados, I'm going to teach you a mantra. Everyone repeat after me ...

Download, back up, and reformat – often!

Download

Digital photography is just so darn convenient! Cameras can fit in your pocket. That little tiny card in your camera stores thousands of images. Problems can arise, however, when folks treat their camera as an all-in-one picture taker/storage device/photo album. The more images you store in your camera, and the longer you store them there, the greater the chances of losing them to accidental deletion or device failure. And devices do fail. Don't be lulled by the promises of technology.

The simplest advice I can give it to download your images – often. If you frequently use your digital camera, odds are that you have a computer, as well. I won't give a download tutorial because there are too many variables. But most computers ship with photo downloading and storage software. Most cameras ship with similar software, as well.

Another option is to utilize on-line photo sharing sites, like Flickr or Picasa. Technically, this is uploading to a web server. But it achieves the same objective – to get images off your camera's card to a safe place where they can be managed, shared, and displayed.

How often should you download? Personally, I try to download my images after every assignment I shoot. That's not always possible, as I sometimes drive directly from one assignment to the next. In other words – as often as it is practical. Don't let two years, or even one month's worth of pictures accumulate on your card without downloading them.

Back up

In today's digital world, backup is one of the most important and most ignored functions. Like I said, devices fail eventually. Internal computer and external hard drives have mechanical moving parts, tiny as they are, and they eventually wear out. They are susceptible to damage if they are dropped or knocked about, as well. Flash memory devices, such as the cards that store digital images in your camera, don't have moving parts, but they contain tiny microprocessors that can be damaged. Both types of storage can become corrupted over time, as well, and won't be able to write new data to them or correctly read what's already stored on them. This is why back up, or redundancy, is crucial.

Technically speaking, downloading is a form of backup as long as you don't erase your camera's flash card. However, the more times you back up your data, the safer it is. Plus, eventually, you are going to fill up that card. Make a simple backup plan and save yourself some potential grief.

One of the easiest ways to accomplish this is to download your images to your computer and to an on-line photo sharing service. Some services, particularly Picasa, can sync this operation all at once. This requires the download of the Picasa software, but it's free. You can set it up so when you download your pictures through the software, it will automatically save your images to your hard drive and upload them to a Picasa web album. In addition, it will automatically catalogue all of your images for easy searches. I mention Picasa because I'm familiar with it. But check out Flickr and other services to see if you can accomplish the same thing.

Another option is to purchase an external hard drive. They come in all kinds of flavors, sizes, and prices, which start at around $40, but you can drop several hundred dollars depending on the features you seek. Desktop models are less expensive and have higher storage capacities, but portable models can fit in a computer bag, pocket, or purse for easy backup wherever you are. You can simply drag-and-drop image files or folders to copy them from your computer to an external hard, or you can use software to automate the process.

One of the easiest and least expensive ways to back up your digital photographs is to burn them to an optical disk. CD-Rs are an option. But DVD-R is probably the best way to go. They have much higher capacities and, over the years, have proven to be more reliable than the CD format. Optical disks are not practical to work on images from. They are strictly for storage. But they are cheap and reliable. Lots of photo organizing software will allow you to automate the burning process as backup so you don't have to manually drag and drop images and folders.

For some folks, a digital camera might be the only digital device they own. For those who don't use computers or go on-line frequently, most all photo labs will burn a photo disk for you. Whenever you go to have prints made of your digital photographs, spend the extra couple of bucks and get a disk made of all the images on your card. Peace of mind is worth the expense.

At the Herald, I download my photographs to a computer hard drive, then back them up on an external hard drive, and burn them onto DVDs. Eventually, I have to erase the files on my computer's hard drive because it fills up fairly quickly, but they still exist in two separate spaces for the future.

Backup, backup, backup. It's an extra step or two, but necessary if you really want to preserve your images for the long term.

Reformat

If you really want to maintain the reliability of your storage card, I recommend reformatting it every time you download images.

The idea of erasing all those images makes some people nervous. But if you've followed my advice and properly downloaded and backed up your images, there's no need for concern. It gives you a fresh start and you rarely have to worry about filling up your card and missing opportunities for great photographs because of it.

As I mentioned earlier, cards can become corrupted over time. If that happens, you might lose the ability view some images, or even all of them. To prevent this, you need to reformat the card in your camera, at least on occasion. This not only erases the data on the card, but ensures that the card is set up and structured specifically for your camera.
We rarely think about the memory card in our cameras, but it requires care and maintenance, too. Here's a link for some tips on that: 13 Tips for Using and Caring for Memory Cards.

Still hope

All hope is not lost if you accidentally erase the images on your card. Several companies make data recovery software, and sometimes it's free and comes installed on your card when you purchase it. (You just need to install it on your computer before you start using the card.)

When you erase your card, in reality, the images are hidden from view but the data is still on the card. After reformatting, the old data is overwritten as you make new photographs. However, if you use data recovery software before you start shooting again, you may be able to recover most, if not all of your erased pictures.

Here is quick list of a few programs available:

Image Rescue by Lexar
RescuePRO by SanDisk
PhotoRescue by Datarescue
CardRecovery by WinRecovery

I use PhotoRescue, so I can vouch that it works. It's saved my behind more than a couple of times.

So remember ...

Digital technology is wonderful, but you still have to take some precautions and protect those precious memories recorded in ones and zeroes, especially during the holiday season when the picture-taking kicks into overdrive.

Download
back up
and reformat

– often!

Collaboration, non-profit, and multimedia: the future of journalism?

noreply@blogger.com (Scott Bryant) — Wed, 08 Dec 2010 17:01:58 PST

I'm stepping out of my role as a photographer for a sec and taking a look at the bigger picture, so to say. I will always consider myself a journalist, first. Photography just happens to be my medium of choice for communication. So I follow a lot of web sites and blogs to keep abreast of issues and trends in the industry.

MediaShift, one of my favorites, recently posted a story about a project – UBC Students, Globe and Mail Investigate Hidden Cost of Shrimp. It's the type of long-term, labor-intensive investigative journalism that's been falling by the wayside in this era of change and transition. It's also a fascinating study and perhaps an ideal example of the direction journalism might be headed.

Not so long ago, newspapers were tremendously profitable and broadcast networks were willing to operate their news divisions at a loss as a public service in exchange for use of the pubic airwaves. Professional journalists tossed out information for audiences to consume, sometimes without ever knowing if it resonated. But companies were willing to spend vast resources to produce multi-part investigative series and devote multiple pages or air time so photojournalists could explore the world and report their findings visually.

No more.

Stemming the tide of newspaper readers defecting to the Internet for information is a losing battle, no matter how hard or smartly fought. And the advertisers follow the readers. The broadcast industry no longer considers any endeavor that's not wildly profitable to be worth their resources. They are also losing a considerable share of advertisers to the internet.

So these "legacy media" companies must get into the internet game or risk becoming entirely extinct. The Internet is a beast, though. A wild, untamed, spirited beast that's still evolving. It's a medium that requires entirely new ways of thinking: thinking about ways to communicate. Ways to make money. Ways to engage an audience.

The nuances of complex stories are ideally conveyed in a comprehensive multimedia approach.

Journalists who are uncomfortable interacting with their audience need not apply. Reporters specializing in only one medium of communication soon will find out that job listings for their kind are short. Graphic designers and sales representatives specializing in static display advertising better start learning to code, write apps, and teach others how to use them – or retire soon. News companies (once fiercely competitive and protective of their products and brands) who don't learn to share resources might find themselves standing alone – and bankrupt.

It's a brave new world where interaction and multimedia rule the day.

And honestly, that's not such a bad thing. There are lots of details that need to be worked out over time. Such as how to fund journalism in the future. That's a pretty big detail, if talented folks want to continue and make a career in journalism.

This collaboration between the University of British Columbia journalism students and the Globe and Mail, largely funded by a private foundation, could be one of many possible frameworks for the future.

I can tell you that the legacy media companies, particularly newspapers, aren't relishing the non-profit aspect, but they probably need to face up to the fact that the days of 20-30% profit margins common in the mid-to-late 1990s are unlikely to ever return. Non-profit isn't the only new tract for funding journalism. In fact, recent non-profit ventures have had their share of setbacks. There are numerous ways to develop new sources of revenue, limited only by the imagination and the level of willingness to try new things.

But they will have to start buying in to the collaboration part if they want to survive. If they don't embrace collaboration, they will end up competing against the very people they've laid off in recent years: the so-called journalism entrepreneurs who are cropping up in communities everywhere. These lean, mean, often one-man or one-woman operations already have advantages over the legacy companies by having to adapt and innovate out of necessity. The legacy companies ought to think twice before creating David vs. Goliath scenarios. We know how that one turned out. A smaller, adaptable, skilled combatant shouldn't necessarily be considered an underdog against a stubborn, slow-moving giant. Rather than competing, media companies and entrepreneurs ought to start thinking of ways they can mutually benefit from collaborations. Like I said – brave new world.

The multimedia nature of the shrimp project is an example of how different the Internet is from print and broadcast. The production published on the Globe and Mail website, The high environmental cost of global shrimp, is a web video snapshot of the larger project. However, we really see the benefits and potential of multimedia production on the journalism school's self-produced micro-website: CHEAP SHRIMP: Hidden costs. Says student Erin Empey:

"This worked well as a multimedia project because of its complexity. By using several multimedia tools and breaking the video into chapters, we were able to present the nuances of the story clearly."

The nuances of complex stories are ideally conveyed in a comprehensive multimedia approach. Words. Images. Sound. Timelines. Maps. Links galore. All in a relevant, dynamic fashion. An editor or producer doesn't decide entirely how facts and ideas are presented, and in what order. Folks who view this project can choose how they wish to experience it. They can comment on its effectiveness. They can ask further questions. They can interact with those who produced this work – journalism where its practitioners are directly accountable to their audience. In this capacity, the Internet shines.

There are lots of really good examples of on-line journalism out there, if you look. This one hits home, though.

Think a project generated in Canada isn't relevant to you? Think again. If a report on the shrimping industry isn't meaningful to folks in Southeast Georgia, I don't know what is.

So, let me know how you see the future of journalism.

How can the news media use the Internet to better serve the community? How can they interact and collaborate with each other? With you, the audience? With the business community to provide services, create connections with potential customers, and help fund professional journalism?

And what's in your low country boil?

How the pros do it: Way rad surfing shots

noreply@blogger.com (Scott Bryant) — Mon, 06 Dec 2010 11:56:57 PST

Are you an aspiring sports photographer? This is a great video that gives us some insight to how the real pros do it. Real hard core photo geeks might appreciate it more, but anyone who's interested in how great images are made might enjoy watching this as well.

I ran across this on David Hobby's Strobist blog: Hangin' Eight, with Dave Black.

It's a great lesson in how pro photographers are using the latest in wireless lighting technology to produce pictures that really stand out from from the pack. Black walks you through his setup. It's really impressive and enlightening (pardon the pun).

Still intrigued? To get started making these kinds of images, all you need is $5,000 in lighting equipment, a $4800 digital camera, and a $5,800 lens. And an assistant. Oh yeah, and a few years of practice to learn how to use all that equipment and – most importantly - develop an understanding of light, composition, and the necessary sense of timing to capture those great moments.

Are you game?

A comparison of images without, left, and with remote flash. © David Black Photography.

© David Black Photography

The NCAA vs. The News: the never-ending debate between private and public interests

noreply@blogger.com (Scott Bryant) — Fri, 03 Dec 2010 05:43:27 PST

Georgia Southern student Cliff Hatcher, 22, of Leesburg,
celebrates as the Eagles pull away from South Carolina
State in Saturday's first round FCS playoff game at
Paulson Stadium.

The NCAA. The National Collegiate Athletic Association. They bill themselves as being founded to "protect" student-athletes. What they've become, I think, is a huge commercial venture that helps protect billions of dollars in revenue for college sports.

And in Information Age, where the Internet rules, there is a constant conversation – battle, if you would – over the United States Constitutionally-protected dissemination of information (under the "freedom of the press" and "freedom of speech" clauses in the First Amendment) and the prerogative of commercial entities to protect their intellectual rights. Fair Use versus piracy. Where's the line?

Well, the little Statesboro Herald recently became the nexus of these two sometimes opposing principles after Saturday's first-round Football Championship Subdivision (FCS, formerly Division 1-AA) playoff game at Georgia Southern University between the Eagles and South Carolina State University.

The question at hand is over the rights of news organizations to report matters of community interest with the medium of video, particularly on the Internet, vs. the rights of other organizations to control their commercial interests.

I think there would be little argument that in a free and fair market economy, individuals and corporations should have the rights to protect their intellectual property and trade secrets. Being a photographer, I'm a huge proponent of artists being able to protect their copyrighted material. There has to be economic incentive for creative people to, well, create. But I think there will always be a battle to maintain balance between public and private interests.

Georgia Southern defensive tackle Brent Russell, left, meets
South Carolina State quarterback Malcolm Long and running
back Asheton Jordan, left, at the handoff and forces a fumble
which was returned 34 yards for a touchdown by defensive
end Josh Gebhardt in the first quarter at Paulson Stadium Saturday.

Let's try to set the stage. The NCAA is the governing body for college athletics. They set policy. They make the rules. They are entitled to contract with other parties for economic advantage on behalf of their members, which include both public and private universities and colleges. While every member must abide by NCAA rules, typical operating procedure is executed by the individual conferences during regular season play. Everyday news media coverage is usually facilitated by the individual schools. However, come championship post-season play – in any sport – the NCAA steps in and becomes the Big Dog.

Because they issue press credentials for these games, they lay down the law for media game coverage. The Herald and other local news agencies were told that television stations would be allowed to broadcast highlights of the game for only three days following, and not beyond. Any internet distribution of highlights was universally prohibited except on the NCAA's own website.

Well, Herald director of video operations Vince Johnson posted his Two-Minute Drill highlight video online Sunday, just as he has for every other Georgia Southern football game this season. Monday, sports editor Matt Yogus was greeted with a "cease and desist" e-mail from the NCAA.

To be frank, the NCAA has very little legal standing on which to base its playoff policies towards video. The news media is not bound by any contractual agreement between the NCAA and any television outlet for commercial broadcast rights. We are bound by a professional obligation to report the news, especially news that happens to be of great interest to our community at an event staged at a public university in a stadium paid for by public funds. And that obligation is protected by the First Amendment.

Georgia Southern fullback Lee Banks scampers for an 11-yard gain
to the South Carolina State 13-yard-line in the fourth quarter at
Paulson Stadium Saturday.

The NCAA has a significant trump card, however. Along with the cease and desist e-mail was a threat to deny any press credentials to the Statesboro Herald. And they are within their legal rights to do just that. Hence, in the interest of being able to continue coverage of the Georgia Southern football team during the playoffs for our community, the video was taken down from our web site.

Let's be clear. The United States Supreme Court has ruled that persons can own certain rights to publicity in Zacchini v. Scripps-Howard Broadcasting Co., 433 U.S. 562 (1977). However, the ruling states that the news media could be liable for compensation to a party only for distributing an entire work or performance without permission. And if you want to strictly interpret this ruling, the right to publicity applies only to individuals.

Additionally, each news organization shoots their own video and creates their own, unique highlight reels. The NCAA simply can't legally claim ownership of these works. If anyone has a copyright issue, it's the news organizations because the NCAA is attempting to restrict the use of their copyrighted work. The NCAA simply has no case for misappropriation (piracy) or copyright infringement. And they should be careful about making themselves the sole provider of video highlight news from playoff and championship games. By unfairly eliminating any competition, they could be in violation of certain anti-trust laws.

While the NCAA has a legal right to regulate who is issued press credentials, do they have the right to determine the nature and content of coverage and how it is used, video or otherwise? Federal Courts have looked extremely unfavorably at prior restraint (censorship) over the years. However this, practice is becoming standard, not only in the business of sports: Increased Restrictions on Covering Sports Events: Credentialing Similar to Limits on Entertainment Coverage.

Many argue that the publication or broadcasting of material by news organizations constitutes commercial use since these organizations are commercial enterprises. However, over the years, Federal courts have generally ruled otherwise – that the publication and broadcast of material for primarily information and educational purposes is protected by the First Amendment, even if the distribution of that material is supported by advertising or other forms of revenue.

However, Zacchini v. Scripps-Howard (where the court decided that broadcasting a 15-second circus act in a news program constituted a commercial infringement) gives news organizations pause before litigating this issue in court. The 5-4 decision was controversial, with the dissenting judges expressing concern that the majority's holding "has disturbing implications" and could have a chilling effect on freedom of the press. But litigating disputes is expensive and contentious, and an unfavorable ruling to either side will have far reaching implications – well beyond the world of college athletics.

To me, the delineation between use in the context of news and commercial use is fairly clear, in this instance. Highlight reels report the news and in no way whatsoever constitute an infringement of copyright or right to publicity under any known court precedent. On the other hand, if highlights are used in an advertisement promoting the news organization, that's commercial.

Georgia Southern linebacker E.J. Webb, center, celebrates with teammates after advancing
to the second round of the FCS playoffs with a 41-16 victory over South Carolina State at
Paulson Stadium Saturday.

In my opinion, the NCAA should recognize this obvious difference on their own and consider negotiations for an equitable solution. They are struggling with the realities of today's free-for-all Internet culture and how to remain a viable commercial entity in that environment, just like everyone else is. (Their policies on live reporting in the social media offer further example). I think there's a lot of room to make everyone happy, in the end, without going to court.

Someone needs to forcefully broach the subject, first. Perhaps after the playoffs? After all, the Statesboro Herald would like to cover the games of its hometown team. So we'll abide by their rules for now, fair or not.

I'm curious about how you, the readers and sports fans, feel.

I don't know about you, but information is information, whether it comes in the form of spoken or written words, or in images – still or moving. And, as far as I know, the First Amendment applies to all media - print, broadcast, and the Internet.

Does the public have an interest in a diversity of coverage – video or otherwise – from a multitude of sources about college sporting events, or are you happy with the NCAA being the sole provider of that news, whenever it sees fit?

C'mon! Tell me what you think.

Holiday shopping list to unleash the photographer in you

noreply@blogger.com (Scott Bryant) — Tue, 23 Nov 2010 17:50:29 PST

It's that time of year, again. You or a loved one are interested in photography, so you buy a camera. What's next?

Many are satisfied with turning the dial on top of the camera to the green "A" and snapping away. And that's just fine. Have fun! But what if you want to take the next step?

The manual that comes with the camera can tell you how to operate it. But you won't learn how to build a shed just by buying some power tools. There are a ton of books and other resources out there that can lead you down the path to becoming a photographer instead of a snap-shooter. These are some of the top choices, off the top of my head, and they would all make inexpensive gifts to accompany that camera.

Last year, I recommended a book written by my college photojournalism instructor, David LaBelle, called "I Don't Want to Know All the Technical Stuff... I Just Want to Shoot Pictures." And it remains at the top of my list. It covers all the timeless basics – advice that can be executed with any camera. Beautifully written for everyone, not advanced photo geeks and gear-heads. Real, everyday examples. And you just can't beat the price at $9.95. It's the perfect compliment for that camera you just bought for yourself or a loved one. You can order the book from Dave's "The Great Picture Hunt" web site, or find it on Amazon.

Just recently, photographer extraordinaire Joe McNally collaborated with Life to produce "LIFE Guide to Digital Photography: Everything You Need to Shoot Like the Pros." The beauty of this book is that you can grow in your knowledge, skills, and gear, from beginner to pro. The book lists for $29.95, but you can find it at Amazon for around $20. It's a great gift for someone who's just starting and has higher aspirations, or even for an advanced enthusiast. McNally is a master story-teller, and his previous books entertain as much as they inform. This one is no exception.

The above two recommendations come in paperback form. If that's too "old-fashioned" for you digital-centric folks with smart phones and tablets, perhaps try this: "The Digital Photography Book: The step-by-step secrets for how to make your photos look like the pros’!" by Scott Kelby. This e-book is available in four different digital flavors, including iPhone/iPad versions as well as PDF, for $15.99. Kelby is best known as a Photoshop® and digital darkroom guru, and his book, “The Photoshop Book for Digital Photographers” and his on-line training workshops are well known and respected in photography circles. As Kelby or any Photoshop wizard will tell you, you have to start with a good original photograph before you can apply any digital magic to it. Otherwise, you're just putting lipstick on a pig! Wherever you happen to be, Kelby will walk you through tips and tricks that will make your photographs better so you won't have to "fix" them later. You can purchase and download the e-book at http://www.ebooks.com/. (This book is also available in paperback from http://www.kelbytraining.com/ and at Amazon.)

So don't stop with that holiday camera purchase. Accessorize! Any of these books are the perfect compliment that will help shed light on all those mysterious camera functions and unleash the photographer within you or your love one.

Half a Tank: I HAD to share this ...

noreply@blogger.com (Scott Bryant) — Tue, 23 Nov 2010 08:59:38 PST

Yolanda Vazquez walks with her six-year-old son Jonathan down the hallway of the
Hilda M. Barg Homeless Prevention Center. Photo by Michael Williamson/The Washington Post

This is the kind of link I would normally share on my tumbleblog. Especially since it's a series that ended over a year ago. But I just randomly happened across it. I couldn't believe I missed it in the first place. I haven't even had a chance to get into it and experience it for myself. But I decided to share it right away. It's the kind of work I get excited about because it combines topics and interests I've always been drawn to.

The subject of this post is a series, done in the form of a blog, by two Washington Post staffers, writer Theresa Vargas and photographer Michael Williamson. The series, called Half a Tank: Along Recession Road, was a 5-month long quest to find photographs and stories about the lives of ordinary folks and how the current economic recession has altered their lives. The project ended in October of 2009, but it's still available for viewing.

I can't say I'm familiar with Ms. Vargas' work, but I'm acutely aware of Williamson's. I seem to always be just a step behind Michael Williamson. Or he behind me. He briefly left the newspaper business to teach photojournalism at Western Kentucky University – my Alma Mater – just a couple of years after I left. And he joined the staff at the Washington Post when I was still working in that metro area – shortly before I moved to Georgia.

I've never met the man but I've always been strongly drawn to his work, which can have a sort of dark, Americana feel to it. A feel that harkens back to the days when Life magazine was the chief window to the world. And, like myself, the guy has an affinity for the road. Getting out of the nation's megopolis, off the interstates. That's where you'll find America and its history. Williamson has driven countless miles. Hopped trains with hobos. He's probably hoofed more miles than many of us have driven.

I'm also keen on history and the power of photography to document and preserve visual records of people and eras for all time. Williamson has literally traveled in the footsteps of iconic photographer Walker Evans, who, with writer James Agee, produced the book Let Us Now Praise Famous Men, which depicted the lives of sharecroppers in the South during the Great Depression. Fifty years later, working with writer Dale Maharidge, Williamson chronicled the descendants of those portrayed in Evans' work. The resulting book, And Their Children After Them, won a Pulitzer Prize for non-fiction in 1990.

While following in Evans' tracks and sharing with him a fondness for photographing the details of cultures and places, I think, personally, Williamson's work often resembles, in both in style and intent, that of Robert Frank, who's momentous book The Americans was critically panned when first published. The pictures of both photographers are unsentimental in their blunt and sometimes brutal honesty in their depiction of America – especially the poor, the downtrodden, and the homeless. But they are pictures clearly made by the mind and soul of an artist. Evidence of the American Dream are everywhere in Williamson's work, but his images powerfully remind us, sometimes uncomfortably so, that there's still plenty of work to be done in this great democratic experiment of ours. While Robert Frank's view of the American Dream was that of an outsider due to his immigrant status, Williamson's is due to his upbringing.

It's natural that Williamson would be drawn to the road and to downtrodden subjects. He grew up in foster homes and orphanages in over 15 states. His brings his own experiences to his work and gives these people a voice through his photographs. It's important and notable work. Photojournalism at its very best.

A self portrait Michael made in North Dakota.
Photo by Michael Williamson/The Washington Post

Please make some time to view Half a Tank: Along Recession Road. One caveat, though. The blog reads from the end to the beginning as each blog post replaces the one before it. I wish the Post would re-format the piece so it is easier to experience it chronologically, as if we were traveling with the two journalists.

Still, it will be worth the effort. Maybe I'll finally meet Michael Williamson, one day. Until then, we're all privileged to experience his journeys and historic chronicles through his eyes.

Update (Nov. 19): Michael Williamson's latest project, From middle class to poverty, was just posted on the Washington Post website

Shots that make you go Hmmmmm ...

noreply@blogger.com (Scott Bryant) — Tue, 16 Nov 2010 18:47:40 PST

Mercer's Sharnea Boykin, left, gets the worse of a collision with Georgia Southern
guard Jamie Navarro during the second half of Tuesday's game at Hanner Fieldhouse.

Okay. I love shooting sports, and I'm fairly competent at it. Now, I'm not Bill Frakes–Walter Iooss–John Beiver good. That's crazy good. Those guys just never seem to miss anything, while I still have plenty of times where I never seem to be in the right place at the right time. Especially this year – my gear seems to draw referees like flies. I just can't begin to tell you how many great moments I've captured that are hidden behind black and white stripes. But every once in a while, I can still pull off a doozy.

And I almost didn't get this one because I was contemplating leaving early with the Lady Eagles comfortably ahead by 20+ points in the second half. I did leave, though, after I checked my images while Jamie Navarro shot her free throws. I blew the smoke off the barrel of my lens and got the hell out of Dodge.

This is the beauty of still photography, too. Video would have captured a nasty collision in real time. Sometimes, slow motion can convey something we miss in real time, but it is also fleeting and linear. Only still images can communicate the merging of elements that create something unusual, surprising, and memorable.

Anticipation plays an incredibly important role in photography. It's what separates the best from everyone else. Some things, however, you just can't anticipate, and you look forward to the surprises. You never get tired of that.

Ask anyone who's been doing this for a long time what the best part of the job still is, and they'll probably tell you – it's those shots that make you go hmmmmm.

GSU win trumps all

noreply@blogger.com (Scott Bryant) — Tue, 09 Nov 2010 17:26:06 PST

My wife called it.

With the Georgia Southern football team seemingly out of the playoff hunt with four losses, there were lots of story lines that might have produced a front page picture.

Homecoming. The annual Blue-Out, where most folks dress out in team colors and some paint their bodies from head to toe. Being the last home game of the season, the senior football players were honored. Not to mention the nippy fall weather that had folks huddling together in their coats and blankets.

No shortage of possibilities for a front page photograph.

While alumni were out in full force, the visual presence of Homecoming wasn't so apparent, and I mentioned that to my wife before we both went about our busy work days. And, being the loyal Georgia Southern fan she is, she quipped "When the Eagles beat App State, then you'll have a front page picture!"

I smiled. Georgia Southern has struggled to return to the heights of their glory since their last Football Championship Series (FCS, formerly Division 1-AA) Championship in 2001, their sixth title overall. Since that time, they have watched Appalachian State become a perennial powerhouse and championship contender, winning three straight titles of their own from 2005-2007. Today, the Mountaineers were the number one ranked team in the country and the Eagles were supposed to be a minor speed bump on the way to another championship run.

So I went about finding a way to tell the stories of the day surrounding the game as App State raced to a 14-0 lead.

But the Eagles refused to act like a speed bump. With the Mountaineers threatening to take a 21-0 lead in the second quarter, they came up with an interception in the end zone. Then they scored with only seconds to go before the half. Then they came out after the break, marched down the field, and scored again. 14-all.

The rest of the second half was a slugfest in which the defenses dominated. Regulation ended with the game still tied up at 14. The Eagles scored a touchdown on their first possession in overtime. Then they forced a fumble by the Mountaineers quarterback and recovered it. Game over. Stadium erupts in celebration. Got my front page picture.

Good call, my love!

Georgia Southern fullback Robert Brown (5), center right, celebrates a four-yard touchdown in overtime against number-one ranked (FCS) Appalachian State at Paulson Stadium in Statesboro, Ga. Saturday.

Tip: Learn from your mistakes? Hah! Why not learn from a Pro's instead?

noreply@blogger.com (Scott Bryant) — Tue, 02 Nov 2010 14:39:20 PDT

I've mentioned Joe McNally in another post: The best light available – in a flash.

Joe's been around the block. He was, in fact, Life magazine's last staff photographer. Photojournalist. Portraitist. Editorial, commercial, advertising photographer. If you want to learn about lighting, he is one of the pre-eminant sources for information and advice. His workshops are renowned around the world. Joe is also a fantastic, self-depricating, witty writer who's penned several books and writes a widely-read blog.

I've been getting a lot of questions lately about photography – what equipment to buy and advice about making better pictures. Today, Joe beat me to the punch. In his post, he says:

"My buds over at LIFE.com asked me to come up with a list of common mistakes folks make when starting out with a camera in their hands. Okay. No shortage of material here, right? And they came to the right source, ’cause I’ve made every mistake, basic and advanced, that one could possibly think of. Hell, I’ve even invented some mistakes."

Hence, Joe combined some historic photos from Life's archive with some sagely advice.

So, if you want some tips about what mistakes not to make and shoot better pictures, let experience be your teacher and and learn (and laugh) with a master:

Mistakes at joemcnally.com

or Photo Tips: Mistakes to Avoid at Life.com

Reader submissions enabled on a small(er) voice

noreply@blogger.com (Scott Bryant) — Mon, 01 Nov 2010 07:21:34 PDT

Following up on the announcement of my supplemental blog, a small(er) voice, I enabled the ability for readers to submit their own content to encourage discussion.

Got a link to a web page you want to share? A quote? A picture or slideshow you think is a great example of news photography or photojournalism? A video you think deserves some conversation?

Please feel free to click on the "Conversation" link and submit your content for posting. While the focus of this blog is photojournalism, conversation about journalism in general and current events is also encouraged, although some discretion will be exercised.

Your content could be the subject of a post here on a small voice, too. While comments for all posts will be allowed to be made anonymously, the sharing of links must include the attribution of both the sharer and the source of the content. All submission are subject to approval before posting.

So, folks, contribute and share away!

Bookmark a small(er) voice

noreply@blogger.com (Scott Bryant) — Mon, 01 Nov 2010 07:19:13 PDT

I'm still experimenting with my on-line "presence," so I started a tumbleblog as a compliment to a small voice.

I want a small voice to be mostly focused on my work specifically as a photojournalist for the Statesboro Herald. Here is where you will find my more thoughtful attempts to connect with the community about what I do. Commentary, tips, stories behind the stories, etc.

So, rather than clutter up this blog, I created a small(er) voice as an attempt at a more stream-of-consciousness sharing of links, articles, information and pictures, with examples of my own work and others that I admire or find interesting.

You can find the link on the sidebar to the right. So check in and follow me on both, if you like.

Oh yeah. Feedback. I need feedback, folks! Let's "conversate."

A camera is just a tool, right?

noreply@blogger.com (Scott Bryant) — Tue, 02 Nov 2010 13:04:51 PDT

Good light and composition are not dependent on gear.

I get it all the time. I'm out working, and inevitably someone will take a look at my gear and say "I bet that camera takes good pictures."

Well, no, I counter. A photographer takes good pictures. The camera is just a tool. I tell that to anyone who enquires about taking better photographs. I preach it to my students when I teach classes. A photographer understands how to use light and thoughtfully compose an image. A photographer chooses when to press the button and capture a particular moment in time. Owning a nice camera does not make you a photographer.

I might have to eat some of those words.

You can build a house with a hammer and a saw, but you can build one a whole lot more efficiently with some power tools.

For the past couple of weeks, I feel like I've been working with a hammer.

My trusty Nikon D300 wigged out on me. The mirror locked up and the camera essentially became non-functioning. It was my only working body, too, my other one being an old D2Hs with a fried image sensor functioning only as a lens holder. (Useless, unless images with a sickly hot-pink magenta cast are the look you're going for) To simply do my job, I've had to borrow a camera from the Connect Statesboro staff. I'm grateful to them, but it's been an exercise in frustration.

The camera I borrowed is a Nikon D40x, which was the entry-level digital SLR in Nikon's lineup (since replaced by the snazzier D3100). To be sure, it's cable of making fine images within its limitations. But make no mistake: it has its limitations.

Many folks appreciate lightness in a camera body. It's sure a lot easier on my shoulders and neck. But a little heft has its advantages. A heavier body acts as a counterweight against heavier professional-level lenses. The D40 looks and feels downright silly with a 70-200 mm f/2.8 telephoto zoom lens mounted on it. Plus, the camera is made of flimsy plastic. Camera equipment tends to get knocked about in the course of covering news assignments. The build does not inspire confidence.

Like I said, this camera is capable of making good images. I shot a fairly bang-up portrait for the cover of one our monthly publications. Light and composition are two of the three most important elements of good photography. That part never changes, regardless of your gear. The third – timing – is where I consistently have experienced frustration. And, in photojournalism, I can't think of anything more important than timing.

Missed a funny moment while D40 searched for focus

I'm accustomed to a camera responding instantly. I shoot a frame, and the D300 was instantly ready to shoot another. If I needed to shoot a burst of frames, I've had up to 30 or so frames available, at 8 frames per second, no less. Not so with the D40. Sometimes, there is a lag when I press the shutter release. Sometimes I have to wait before I can shoot again. Nikon claims "instant response time" and "3 frames per second burst rate," but I beg to differ.

Plenty of light? No problem. Typical human movement? Sufficient. But news photography frequently requires shooting action in low light. Thank goodness all of our local high school and college football teams were playing out-of-town games last weekend. Still, I was cursing as the D40 struggled to make in-focus, properly exposed images at a Halloween haunted house.

So, if you ever wondered what you get when you spend megabucks on a digital camera, this is what differentiates a model with pro features from an entry-level camera:

Durable build. When you drop big bucks on a camera, you should expect something that can take a reasonable beating. The camera body itself will outlast the electronics that make it function. (e.g. my D2Hs) Higher end models come with a degree of weather sealing, too, to keep moisture and dust from invading the electronics inside your camera. Not water-proof, mind you. I wouldn't suggest shooting with any sophisticated electronic cameras in a driving rainstorm. But a gentle sprinkle shouldn't make your gear lock up.

Processing power. A digital camera is essentially a mini-computer, and you can expect the same difference in performance that you would between a $500 computer and a $5,000 computer. Every camera function is dependent on processing power, from responsiveness, to autofocus speed, to image processing, etc. An entry-level DSLR is just fine for most folks. But when you need to make a couple thousand images in one day ( and sometimes I do), you need something more robust.

Those are the main things, but some other niceties come with a bigger price tag. Ergonomics and convenience, for example. Instead of having to scroll through endless menus to change certain settings, pro models have lots of buttons and dials right at your fingertips to quickly make adjustments. You get what you pay for.

Perhaps I needed to spend more time with the D40x to squeeze the most out of its potential. It's the kind of camera that would suffice more many, or most, photography enthusiasts. In fact, it would be a great used purchase for those looking to step up from a point-and-shoot. It's not a power tool, however. (Well, maybe one of those off-brand power tools you can buy at discount stores.)

My equipment breakdown has expedited the approval by our corporate folks for a new D300s camera body, which should arrive in the next day or so. Just in the nick of time, because there are football games Friday and Saturday with playoff implications. Having two camera bodies is not a luxury for a photojournalist, either. Backup is not the only consideration. I lament the countless pictures I have lost because I was switching lenses. To that end, I should get my trusty D300 back from the repair shop fairly soon, too.

I can't wait, because it sure takes good pictures.

"a small voice" goes mobile

noreply@blogger.com (Scott Bryant) — Tue, 26 Oct 2010 06:05:01 PDT

I'm keen on irony.

After posting about the virtues of print, or "Legacy," media, I decided to make a small voice more mobile friendly. If you would like to read a small voice on your mobile phone, click on the a small voice MOBILE SITE link. Bookmark it and stop in where ever you are, now.

And comment! I want to know what's on your mind. Journalism is a conversation, folks!

"The war between old and new is a false construct. Nothing goes away."

noreply@blogger.com (Scott Bryant) — Sat, 23 Oct 2010 17:58:33 PDT

… I lose patience with pundits who prophesy and lobby for the demise of all traditional media in favor of newer forms. - David Granger, Esquire Editor-in-Chief

I covered the Georgia Literary Fair today at Georgia Southern University. The focus was on books. Real, honest-to-goodness printed books, their authors, and people who love to read them. I photographed a woman who loves to read books. She loves the feel of them and how they smell. And I spoke to some student volunteers who also said they loved books but, ironically, were fiddling with their smart phones while on break.

Then I ran across a quote from which the title of this blog comes from.

I often think about the future of my profession. What will it look like? Will photographs be viewed only on tablets and smart phones? Will photojournalism be a viable career choice in an environment where everyone expects information to be free and where news organizations troll for free material from amateurs and hobbyists as the lion's share of their content? Will photojournalism as a full-time job be reserved for only a select, super-talented, ultra-committed few?

Sometimes, that's the picture being painted. (That's a quaint saying, isn't it?) Many appear to be advocating for the complete abandonment of printed communication, or "Legacy Media," as they say with a snarl. Maybe I am becoming a dinosaur, but I can't help but feel that some stories are more appropriately and most powerfully communicated in print.

Fact is, today's digital viewing devices simply can't adequately display the images modern digital cameras are capable of producing. The iPhone 4 touts itself as the highest resolution smart phone ever made at 960 by 640 pixels. Sounds impressive, but all those pixels are packed into a 3 1/2 inch screen. So, no matter how far you zoom in, you are still viewing a 3 1/2 inch image.

We go ga ga over gigantic High Definition televisions. No matter how big the screen, however, the resolution remains the same: 1920 by 1080 pixels. Professional level digital cameras are capable of producing TEN times that resolution – or more. In other words, an HD TV is capable of displaying only 10% of the detail captured by a pro digital camera.

Newspaper reproduction is limited, too, but it still requires an image roughly twice the resolution, or more, than that of HD TV to print adequately. Ever consider what you might be missing?

That's just technical mumbo jumbo, however. What photographs communicate, and how they do it, is more important. And I firmly believe that print is still often the best way to present still photography. On digital devices, photography is too often presented as video - in a linear fashion. An on-line slide show simply doesn't produce the same experience as a two-page spread in a broad sheet newspaper. And size does count. Does anyone believe those pictures of the World Trade Center on 9/11 would have been nearly as impactful on smart phone screens instead of on the front pages of our newspapers?

I love technology, though. The Digital Age offers opportunities to tell stories in more different ways than ever. We can appeal to a much broader audience. We would be fools not only to resist, but not to embrace the opportunities. But that doesn't make more traditional means of communication any less rich or valid.

Anyway, I'm glad someone like Esquire’s David Granger is better able to articulate how I feel.

For the full quote, click here: Words of Wisdom from Esquire’s David Granger - Mr. Magazine.

Miraculous Rescue, Remarkable Reunion: more on how photographs connect us

noreply@blogger.com (Scott Bryant) — Tue, 12 Oct 2010 09:24:01 PDT

Miraculous Rescue, Remarkable Reunion - News Story - WCVB Boston

Photographing tragedy is often controversial. Photojournalists are sometimes accused of being heartless ambulance chasers and sharks at a feeding frenzy when they turn their cameras on the suffering.

But I still firmly believe there is great social value in documenting the human condition – all of it. Sometimes, the value is not understood until years later.

Photographing breaking news has always been the forte of Boston Herald photographer Stanley Forman. In the late 1970s, Forman garnered an unequaled three straight Pulitzer Prizes in a row. Perhaps his best known photograph, and most controversial, is one that shows a woman and a child falling from a collapsed fire escape during an apartment fire. The woman died on impact and the child miraculously survived. It's a heart-wrenching depiction of the worst kind of tragedy. The woman's death was not in vain, however. In short order, the City of Boston revamped it's safety regulations governing fire escapes. While many condemned the Herald for publishing the photo, this question, as always, remains: would such forceful action by city officials have ever taken place had the picture not been published?

The ultimate value of some photographs may not be fully understood until years later. The story linked above is such an example. Sometimes, we are quick to condemn photographs of tragedy in the name of protecting the victims. In this case, an innocent child who lost everything. The photographs depict the heroism of the firefighters in this instance, and that's of great importance. However, we see how, over thirty years later, these photographs and the person who made them helped a woman make sense of and better understand her own personal history.

The fact is, sometimes photographing tragedy actually helps victims cope. Many subjects of disturbing photographs never forgive the perceived invasion into their private experience and emotions. However, many others come to appreciate, over time, the attention given to their circumstances.

In his book Lessons in Life and Death, photojournalist David LaBelle says that photographing tragedy actually has a therapeutic value. That confronting mortality and that of loved ones can help people appreciate life itself. Photographs of tragedy, if used compassionately, can serve as a form of psychotherapy for society, as a whole and on a personal level.

And the key is compassion. As LaBelle says, "Love doesn't always wear a smile."

In the end, Tammi Brownlee's story is just another example of how photographs can reach across space and time and connect us as human beings.

To see more of Stanley Forman's work, click here: Stanleyformanphotos.com

Hannah Forman