Jackie Bell, CPOY Director from CPOY/POYi on Vimeo.

Genaro Molina, CPOY Still Image Judge from CPOY/POYi on Vimeo.

Scott Strazzante, CPOY Still Image Judge from CPOY/POYi on Vimeo.

CPOY Coordinator Yanran Huang interviewed Brittainy Newman of Rochester Institute of Technology, who was the gold winner of Individual Story or Essay - Standalone in 2018. 

Nancy B.B. Meyer is a firm believer that animals are angels. Meyer has been adopting and helping to place animals from shelters for over 50 years. From dogs and cats to snakes, goats, and pigs, Meyer has been able to find a home for every animal brought to her attention. And she's never given up on an animal because it's old or sick or has been abused.

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Yanran Huang: Could you talk about The Love Shack?

Brittainy Newman: The Love Shack was created during my senior year in college. I studied at Rochester Institute of Technology in Rochester New York and I graduated 2018. And so the Love Shack was a project I created actually in a portrait class. But I thought like this was a great character study. So I thought it’s kind of acted as a portrait in a way like a moving portrait of this woman named Nancy Meyers who lives in Rochester New York and lives in like a house that is all about giving love and spreading love. And I was really drawn to the house and to her obviously because the house itself is covered in hard. It’s super visual and crazy. I knocked on the door asking like who lives in here and just to like tell me more about herself and she was really open to being recorded and having her story shared. I ended up using a drone for like the beginning and ending shot. I didn't actually shoot the drone footage. I have an artistic director in that. I had a fellow student named Brian Bennett. And so I was like learning a whole bunch of new things while shooting this. I brought a light to do the interview. Technical wise I was learning a lot of things to do this project. The project is about Nancy Meyer and how she's all about spreading love and giving it. She was once battered in like the eighty's and so the house kind of access of the place where women who have been formally abused or like a domestic abusive relationship can come to her and like feel the love. But now she has transformed the house like her mission into helping the homeless and helping rescue the animals. In the film you can see like not only her and her husband in the kind of like a little day to day. They go out and celebrate Thanksgiving dinner with her and like all these homeless people. The dinner used to be held at the home itself but now they do it at like a nearby supermarket. It was just like a really quirky fun story. I'm really into quirky stories. So I'm really into people who just like have like a strong passion and like kind of artists to get their feel.

YH: Did you meet any difficulty while doing the story?

BN: I think it’s always difficult to tell a story. I have the curse of knowledge of like knowing everything about this woman so how do I convey that to viewers who know nothing through like video and through editing. So I think editing this project was definitely difficult. It took a lot of different iterations. I had a lot of different eyes looking at it to give me feedback like if it’s make sense, does it look like I'm making fun of her, the music choice and everything needs to be paid attention to.

I guess another difficult thing was this is in the dead of winter even though she was like a couple blocks down. I guess also just like that person was weird, getting this done, there is no story is important and you want to continue doing it. So staying motivated and keeping the people that you're working with, like my other assistant shooters or like Brian, for example, who helps with the drone, you know, keeping the motivated to be. Yes, this is important. So let's go and get up and let’s do this. I think that's another difficult thing that always happens in any project.

Nancy loves the piece, she still talk to me this day, the main character. And it's received so much good feedback like COPY. That was such an honor to receive 1st place that was like honestly really surprised me going insane.And so yeah I am I'm really happy with the response that project is getting.

YH: How is your fellowship in the New York Times going?

BN: I love it. Honestly, it’s a dream come true. I have assignments every day including weekends sometimes, like 7 days a week. My back is killing me carrying tons of different equipment because I never know what I'm shooting every day. Sometimes I get notified if I have been assigned that day that hour and so I always have reasonable lens in my backpack. But I love it. It's really an amazing opportunity and it's like brought me to so many different people. Photojournalism in general is like my keys of the world in a way. So people can allow you into their lives. That's such an amazing thing, the trust that comes with that, the relationship and friendship. That's all still happening while on assignment for them. I get amazing feedback from my editors you know. Tomorrow actually my college is visiting The New York Times. They always do meetings with different companies. So it's kind of cool full circle that like my college’s visiting and I’ve already is an alumna to present.

But it's really intense. It's cool. It's hard. Sometimes I think I like is long term, storytelling like documentary work. The majority of the assignments that I receive are actually portraits, building mugs and photographing sports a lot which I'm not like an expert on. But they want you to shot how you shot, not like how a Getty photographer or AP photographer shot. So it's really cool to just kind of staying in my own zone and show what I have to offer but then also have to learn all these so fast, like lighting and portraiture and so utilizes everything that I learned in college ten times. But it's really cool and I get to meet reporters and writers and seeing the story published in the paper. I get tear sheets via email and like seeing it like in person as it's like the coolest feeling. I got my 1st front page for the 9.11 memorial so that was also like a huge honor. It only makes me want to work harder and strive more.

YH: What’s your future plan?

BN: My main goal has always been to work on that a documentary film project. I'm working on one right now about virginity auction. There's these girls that are like selling their virginity online like hundreds of thousands of dollars and I already went to Peru and documented a girl for a week. Right now I'm playing the grants and hopefully getting funding from other sources to continue that and get some new equipment. I really for the future just like want to win an Oscar and like be on the red carpet and just be part of a team. That's really involved in like one long term like story. But I think that won’t happen for like a couple years. I think I still need I like having like that the work I can’t imagine being a freelance there's really hard specially in the video world. It's just not possible. I think you have to be part of the production company if you really want to do video because it just would kill your body, a lot of equipment, funds and everything. But I'm learning every day. This is like a business. So I think it's really interesting. In my future, I just want to continue telling stories in all different medium. I'm really into installation art and immersive storytelling. I eventually want to create an exhibit one day and so just incorporating animation and coding. This is a whole bunch of stuff I think there's a multitude of possibilities of storytelling.

YH: Can you provide some suggestions to college photographers who want to do multimedia in future career?

BN:Watch a lot of stuff. I spent all my free time in college, like in between classes, just watching New York Times op docs and going on the Vimeo page and looking at strictly college work and professional work. I would look at the in the school of journalism all their video works. Everyone's experience and life is different than yours. So the way they speak helps and impacts you and change your perspective personally and professionally. I just think it's really really important to watch films like from the 1970s, 60s, and looking at real cinema, composition and dialogue.

And then also, take your time when it comes to editing and how telling the story right. I like to be really hands on with how I edit. If I doing a couple interview, I transcribe everything, cut out the transcription, paste it on my wall all these stuffs. I think it's nice and fun to hands on and collaborative with your classmates and listen to them. I think a lot right now in college for photojournalists is very competitive. But your classmates are like your future resources so I think it's important to remember that and that can push them away from the competitions. I don't know. Just do it, do the work. It's a really really hard work. Who’s gona see this. Who’s cares. It might be the one doesn’t care. And you have to strive back and look at competitions and see what they look for.

CPOY 74 Setup, in One Minute from CPOY/POYi on Vimeo.

Adriana Letorney, CPOY Still Image Judge from CPOY/POYi on Vimeo.

Photos by India Garrish.

Scott Strazzante of the San Francisco Chronicle talks to students over lunch.

Adriana Teresa Letorney, Founder & CEO of Visura.co, and Alexa Keefe, Senior Photo Editor at National Geographic magazine, exchange ideas.

Genaro Molina, award-winning staff photographer for the Los Angeles Times, in black and white, featuring NPPA.

Alexa Keefe leads the discussion.

Scott Strazzante's boots were made for walking.

Julian Rodriguez plays with his son Christopher at their home on Pueblo's East Side. Julian's decades-long struggle with addiction brought him intimately close to the gang operations as he often bought from and sold for the gangs in order to support his own addiction. "Everything that I desire and want in this life is for that boy," he explains. Christopher will grow up on the East Side, deep in Duke territory, but Julian hopes that a loving relationship with his father can keep him away from the gang lifestyle. (Gabriel Scarlett, Western Kentucky University)

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Yanran Huang: What’s your most difficult story so far?

Gabriel Scarlett: Every story is challenging in different ways—whether it be challenging emotionally, logistically, financially or physically. A few stories have been difficult in all these ways. 

When I began documenting life in the East Side neighborhood of Pueblo, Colorado, I had little idea that I would return time and again over the next year as the story grew into “Flock of Doves”, an essay on a community affected by local street gangs. 

I attend school in Kentucky, so returning to this story meant several cross country road trips and constantly searching for grant funding. When I was in town, I frequently slept in my car in order to cut down on costs. 

At times this story was logistically challenging as I was denied access to one of my subjects who was being held in the Pueblo County Jail.

Looking back at this story, I can see so many of its visual pitfalls and how disjointed its narrative was. One of the biggest takeaways from the story was to be more prepared before I get started. I was truly happy to have put myself out in this community and attempted this story, but if I were to do it again, I would approach the topic with more focus and a clearer idea of the final product and the why behind what I was doing.

YH: How’s your National Geographic internship?

GS: Each year I entered CPOY, my efforts were made with the internship in mind. Since seeing Aaron Huey’s documentation of the Pine Ride Reservation when I was in high school, I wanted to be a National Geographic photographer above all else.  

This summer did not disappoint. I was given a very challenging assignment to document Bob Ballard’s search for Amelia Earhart’s Lockheed Electra in the South Pacific. Alongside a television crew of about two dozen who were making a Nat Geo TV special, I was sent as the lone still photographer. I was responsible for filing from the field for several digital stories in real time while simultaneously photographing with the scope of a potential Magazine piece, in case the plane was found and the mystery solved. While that did not happen, it was a wonderful exercise in planning and executing a broad essay of this kind that stretched from Amelia’s hometown of Atchison, Kansas to the remote island of Nikumaroro. 

Along the way I learned a little bit of on location lighting as well as how to use an underwater DSLR housing. Freediving and photographing was one of the funnest and most challenging parts of the entire expedition. Even though we only needed one or two good shots from the underwater perspective, I was able to use some of my downtime between shoots to dive along the pristine coral reef at Nikumaroro, seeing plenty of reef sharks, sea turtles, and manta rays.

YH: Can you give advice to college photographers on portfolio?

GS: To me, editing together a CPOY portfolio was like taking stock of myself photographically over the past year. Listening to the screencasts of the judges’ critiques was invaluable and each year I felt I was getting closer to a body of work I could be truly proud of. 

I would advise anyone looking to enter a portfolio to simply make it theirs. Don’t be too embarrassed by one or two of your stories that feel half-baked or incomplete. This is not your polished website portfolio, but rather a statement on the work you completed in twelve month’s time. Bring together all your hard drives and start to compile your favorite work from the year. Find your personal voice within that mix and don’t ask too many people for advice. One or two close friends or mentors who know you and your work intimately can help you to hone your vision, but too many opinions can leave you overthinking and confused. I cannot stress enough how much my close friends helped shape my portfolio entries each year, in ways both big and small.

I encourage any and all—no matter what grade in school—to put together a portfolio entry each year. It is such a great exercise in self-editing and so helpful to gauge the “success” of your efforts over the past year and what you may or may not want to do differently in the future. Going forward, I think I will continue to pay attention to the CPOY competition and in particular, the portfolio category as it is always remarkable how much great work can be made by students in just a year.

CPOY 74 Know Our Judges from CPOY/POYi on Vimeo.

Photos by Joel Chan

CPOY 74 Judge Scott Strazzante watches the slideshow of entries for the Spot News Category on Sunday. 

MU student volunteer Army Feffer takes out some clementines for the morning; his role this morning was "host", which includes making coffee and making sure the snack table was well-stocked.

CPOY Director Jackie Bell gives some guidelines on judging to this year's Stills Division judges, Scott Strazzante, Adriana Teresa Latorney, Alexa Keefe and Genaro Molina, prior to the judging of the first category.

Gotta get that caffeine! CPOY Coordinator Hilary Tan grabs some much-needed coffee before judging on Sunday morning. 

We have some shiny new CPOY stickers to put on our mugs now! 

CPOY 74 Judge Adriana Teresa Letorney mulls over an image during Spot News judging.

The judges look through every image large on the screen; they'll see each image submitted at least twice before finalizing a decision on whether to vote it in or out. 

Friends and family members of Devonte Ortiz gather on Friday, July 6, 2018, at Pleasant Hills Apartments in Austin, Texas. Witnesses say Ortiz's neighbor Jason Roche fatally shot 19-year-old Ortiz in the early hours of July 4 in a dispute about fireworks. 

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Yanran Huang: What’s the most difficult thing while covering spot news? How do you deal with it?

Lynda Gonzalez: In general, I think the most difficult thing about covering spot news is just not knowing what’s going to happen. And I think also managing a lot of adrenaline, well, also trying to kind of managing a lot of emotions to what’s just happening. Sometimes the setting is very sad and you've got a lot of adrenaline rushing through your body but also... I'm a really empathetic person. You can get filled with grief really quickly if you're covering a funeral or if you're covering something where someone died. So I think the most difficult thing about covering spot news is just managing a lot of physical responses to what you're photographing as well as emotional responses.

 I’m a strong believer in getting therapy. I think therapy can give you a lot of the tools to manage in the moment those things that are really difficult. It also has helped me adopt mindfulness practices that I can do while I'm in those moments where I'm just kind of be overwhelmed, which tends to happen when you're having breaking news. And I think grounding yourself and taking a moment to breathe deeply and ground yourself is helpful.

YH: How is your internship in The Dallas Morning News?

LG: I’m really loving it. I’m new to Dallas. The first time I came here really was for this internship. I'm from the central Texas region and I also lived along the south Texas border for a while and so moving to north Texas has been different. But it’s really exciting. It's different culturally and demographically. And also, it’s different just because the sheer size of the D.F.W region (Dallas-Fort Worth-Arlington Metropolitan Area) is massive. It's been really exciting to be here because it's a really happening place, a lot of things happen here in terms of national interest. We have a lot of big events and a lot of big sporting teams as well. It's really cool to be in a city and covering topics that the rest of the nation is also interested and curious about. The photo team here is remarkable and it's really wonderful to work with such a diverse group of people in the newsroom.

YH: Can you get give suggestions to college photojournalist for future? 

LG: Some people get this advice a lot, but I really do think it's the best. It's just starting your own backyard. I didn't get an internship my first year at graduate school and everybody else did. I was panicking. I'm going to be so behind. I don't have an internship. It’s so bad on my resume. So the first summer of grad school I stopped in a collective myself and I thought to myself, “Ok, what do you want to be doing.” What I really wanted to do I wanted to go back to the south Texas border and work on my own project that I was interested in. So that's what I did.

I moved back to the border for that summer and I spent my weekends at the beach and during the week I got up – I had a job and I had an internship – and I would work really hard at this project that nobody was telling me to do and I was just curious and interested in. I built a lot of connections in the community along the border and did a photo essay last summer about the colonials in South Texas. Those are a little under developed communities that don't have a lot of access to infrastructure and water services and city services in the city because it's so far out of the city limits. I got to meet a lot of wonderful people and I got to learn a lot more about myself and my own pace without having to be in the formal structure of an internship.

So my advice is if there's a story that you're interested in, just go do it. You don't need any permission to do it. It actually looks better. It's a better reflection of you if you just get up and do it yourself because it shows you're self-starter and you're interested in that theme. It’s the passion come to leading you not because someone comes to tell you go do the story. So that’s my best advice for college students, start doing stories that matter to you because that will reflect really well what you need you find censorship. That will also be the key to unlocking some of the bigger opportunities. So after I did that self-started project. That's what I use to show future editors and that's how I started getting internships because they had a big project that I worked on my own and that was impressive by itself.

Photos by Liv Paggiarino and India Garrish

Two buttons to rule them all: these are the remotes that judges will be using to vote in or out on each image and story they see this week. (By Liv Paggiarino)

Student volunteers gain the training necessary to fulfill their duties throughout the week, which include reading captions, calling ins and outs, operating the sound system and providing judges with snacks and (most importantly) caffeine! (By Liv Paggiarino)

MU senior and social media volunteer India Garrish smiles while going through images to post for the day. #Meta (By Liv Paggiarino)

CPOY Coordinator Anto Tavitian shows student volunteers how to operate the in-and-out voting machine during training Saturday. (By Liv Paggiarino)

MU graduate student Lexi Deagan explains to undergraduate volunteer Liz Goodwin how to operate the soundboard during volunteer training Saturday. (By Liv Paggiarino)

We design and make our own buttons here at CPOY; it's tradition! (By India Garrish)

"Don't ever hit 'save' on this," Anto says while explaining how to read captions of entries during volunteer training Saturday. "You'll make me very sad if you do."* (By Liv Paggiarino)

*No images were harmed in this training. There is one computer that we ask our volunteers not to save anything on, because they aren't making any changes to the files but other computers are.

During CPOY week, the building's staff graciously shares some fridge space with us so that we can provide food and beverages to judges. (By Liv Paggiarino) 

MU student volunteers Elizabeth Underwood and Sammy Snyder peek into the fridge that'll hold beverages for judges during volunteer training on Saturday. (By Liv Paggiarino)

MU student volunteer Joel Chan stands in the break room while going through training to make coffee for judges. (By Liv Paggiarino)

MU graduate student volunteer Jessi Dodge tests the microphone during volunteer training and setup on Saturday. (By Liv Paggiarino)

As CPOY73 comes to an end, we're looking back on the students that made this year's competition possible.

Thanks to everyone who participated! We'll see you next year.  

Cables, computers, more cables – here is a timelapse taken by Yehyun Kim of our CPOY volunteers setting up everything in the Reynold Journalism Institute’s Fred W. Smith Forum last week. Watch until the end to get a sneak peek of the Still Division judges Marcia Allert, Cheryl Diaz Meyer, Patrick Farrell and Vaughn Wallace reviewing some pictures!

Stills Division judge Marcia Allert, left, speaks with Anto Tavitian, right, during a portfolio review before leaving. (PC: Patrick Farrell)

Still Division judges, from left, Marcia Allert, Patrick Farrell, Vaughn Wallace, and Cheryl Diaz Meyer talk in front of the Columns at the University of Missouri in Columbia.

Multimedia Division judge Jarrad Henderson is interviewed by Ellie Cherryhomes, Jennifer Mosbrucker and Emily Nevils at the start of the judges' arrival on Thursday.

Multimedia Division judge Yoshi James (shown in center) donnes pins of herself and fellow multimedia judges, Maisie Crow, left, and Jarrad Henderson, right, on Friday.

Check out more graphics and behind-the-scenes content here: https://bit.ly/2JCAVb3.

Judges from the CPOY73 Still Division shed some light on Wednesday in Sports Portfolio, Documentary, Portfolio categories, as well as literally, donning light up glasses during a break. 

Marcia Allert laughs in front of the CPOY judging screen.

Judges Cheryl Diaz Meyer and Vaughn Wallace adjust their light-up glasses.

Judge Vaughn Wallace donned a witch hat as part of his Halloween accessories.

The crew, from left: Cheryl Diaz Meyer, Patrick Farrell, Vaughn Wallace, and Marcia Allert.

Judge Vaughn Wallace projects a wicked silhouette on the screen.

Maritza.This is a collodion tintype photograph, made on location using chemical processes. Photo by Zachary Krahmer

Q1. Why did you choose the collodion tintype photograph?

I chose the medium that I worked with for several reasons. One reason is because of the intentionality and time required for each picture. Each image represents a 5 to 15 minute effort between photographer and sitter for the image to be created. In learning about this part of the world, I found that the majority of voices being broadcast were from the dominant urban narrative where the largest news broadcasters are located. The collodion process requires a level of hands-on communication between the person photographing and the person being photographed. I knew this would provide structure to ask and learn about these individual’s lives and confront my own preconceptions about the group and this conflict. I knew that the medium would really force me to confront that and actually have real conversations with the people that I would be photographing and working with. More so, there are a lot of issues with how the current peace process is being implemented and I thought it was important to make something different from anything I had seen recently made. In some ways because of the medium, more people have been able to see the work, and this means more people have learned and potentially asked questions about what is happening. Additionally, wet plate images are grainless, which means they can be reproduced at very large sizes. I hoped to create life size reproductions of the plates to frame constructive conversations around the peace process. In addition to the tintypes, we returned printed copies of the images to the individual members and coordinated photography workshops with several groups from the demobilizing front, as well as youth within the community where they would be reintegrating so they could document their own transition to civilian life.

Q2. Do you always think hard about what formats to choose for your projects?

I'm beginning to. The ubiquity of imagery requires all photographers to reflect on 'what is it that I hope people will take away from my work? What is it that I'm actually hoping to accomplish with these pictures? And then thinking 'is this the right medium or combination of mediums?' At the end of the day, I believe as image makers we're creating experiences. Lately, I’ve been drawn to creating video with a photography mindset because it provides context, and a chance to convey deeper structural issues. Perhaps augmented reality, or maybe a quick snapshot camera is the best way to tell a story? There are many exciting new technologies out there that can be used to communicate. I think it's the elements of the story and what you're hoping to convey to the viewer that should dictate the medium you choose. We should be receptive when the elements of a story lend themselves to a certain delivery.

Q3. What advice would you give to people trying to do their own interpretive project?

Spend time reflecting on your motivation for doing a project and think about what you can offer from your own life that is unique. This could be a certain perspective, technique, process, or anything. Think about what you’re creating, and why you are photographing. Think about the audience you hope to reach and how you would like to affect them. How does this story relate to other things that people might already know about this topic? The topic itself could be interpretive.

Find something you're really passionate about and think about how you can convey that passion through your process. And just fail. Take a lot of chances and fail a lot. Also, I would say study what's come before you to inform your work. Unlike art in general, photography has been around for less than two hundred years. It’s not impossible to learn the history of photography. Study what has come before you and develop an understanding of how your work might fit into the larger photographic legacy of our shared experience on this planet.

Q&A by Yehyun Kim. Supervising Editor is Liv Paggiarino.

Uwa Iduozee (University of Tampere) Anton Thompson Coon (Arcada University of Applied Sciences) Sandra Itäinen (School of Visual Arts)

Q1. You said that you were doing a photo story for the project, but changed to a video. How did that happen?

One of the first moving images that I took for the project was Leena at the hospital. I took this tripod shot of her just sitting in the chair and just thinking. I just felt it was so much more telling than just a single image because you can see that time passing and the stillness of it all. So many elements could be portrayed in a single image too, but I felt it was stronger by having movements even if it was really minimal. From then, I started adding to that. I don't think there was a single moment where I went, 'No, I have to tell the story through moving images.' I just started using moving images and then I found myself gravitated more and more towards that end.

Q2. How is the still image and video different to you?

I'm interested in telling the stories of people. I've felt with photography, you're always imposing your subjective view on that subject matter. But (with video), given the additional elements of audio or the moving image, I was able to tell and show more aspects of the individual and their life. I was somehow struggling with photography because a lot of times if you're working on a subject like cancer, a lot of the pictures I was taking, I felt they were loaded with my preconceptions and how I understood because I haven't been a cancer survivor.

For me in especially telling portraits of people, video formats give so much more nuances when you're able to add elements and sound. Since then I've been gravitated to more of an observational approach to filming.

Q3. What did you keep in mind while you were filming the project?

Most of the times, I was trying to be respectful and not intrusive. I was also trying to do my best not to impose anything that I expected to get or wanted to get. I was trying to be open to how things are going to unfold, which might not necessarily be exactly how you had envisioned. But I just wanted to be aware of my position and my limited understanding of the issue. I do this with every project. Basically, be open to what happens and go with the direction that's given.

Q4. Your subject looked really comfortable with your presence. How did you do that?

There's a feeling of connection from the start. Of course, you're going to get to know a person, talk about your intention and talk about how you are to get to know each other. But after that, you quickly get a sense of, 'are you on the same wavelength? Do you understand each other? Do you trust each other? Especially do they trust you and your motivations?'

I felt she was really open and she wanted to tell the story. So that was also important. I felt like she wanted me to tell the story. I felt like she trusted me.

And the way that I work is often that the camera is like a safety net. You can hide behind it. I often minimize myself. People don't really forget you, but it doesn't show your presence as much. Or they might forget you for 10 seconds here and there and that ten seconds might be diamond.

Q5. What else did you do to minimize your presence?

You can always say that 'try to act like I'm not here.' But it doesn't work that way. It takes time. I was going back time and time again. By the time I was filming the video, I had already been with her many of times taking pictures so we had already built the relationship. She was also naturally an easygoing person. It also has to do with if the person has something to do. She was reading to her child and they were together. They had the possibility to delve into something other than thinking of my presence in the room. So, I think that's always important. It's much more difficult to get a person to relax or to not acknowledge your presence when they have nothing to do. But when they're doing something, it's always easier.

Q6. Can you give advice to people working on documentary short videos?

Make sure you’re working with a theme you’re passionate about. Be patient in building the trust between yourself and your subject and be open about your intentions to them. Also, nerd out by watching all the docs you can find that in any way relate to your subject matter!

Q&A by Yehyun Kim. Supervising editor is Liv Paggiarino. 

See more of our behind-the-scenes photos here: https://www.instagram.com/collegephotog/

Check out more graphics and updates here: https://twitter.com/CollegePhotog?lang=en

Check out more of our behind-the-scenes photos here: https://www.instagram.com/collegephotog/

Check out more of our behind-the-scenes photos here: https://www.instagram.com/collegephotog/

Check out more of our behind-the-scenes photos here: https://www.instagram.com/collegephotog/ 

Check out more behind-the-scenes photos here: https://www.instagram.com/collegephotog/ 

Check out more behind-the-scenes photos here: https://www.instagram.com/collegephotog/ 

Ross Taylor, Assistant Professor at University of Colorado - Boulder and this year's Multimedia moderator, talks about how his experiences have helped shape his view of documentary journalism.

Eric Maierson, freelance writer and two-time Emmy-winning editor and producer, talks about the heart of storytelling, the changing nature of multimedia and how it's okay to start small.

Whitney Shefte, Award-winning video journalist at The Washington Post, talks about her interests in social issues and telling stories to impact the world.

Senior Lauren Wortman works on the sound board during the Documentary Short Video voting.

Judges (from left) Eric Maierson, Evelio Contreras and Whitney Shefte rest in between voting sessions.

Evelio Contreras, producer, shooter and editor for CNN, talks about his career, personal experience with the Virginia Tech shooting, and how to communicate the language of visual storytelling.

Jackie Bell discusses her first year as the director of the College Photographer of the Year competition.

Molly Roberts, Senior Photography Editor at National Geographic Magazine, discusses the role of women in photojournalism and photo editing.

Don Bartletti, former Los Angeles Times Photojournalist, stresses the importance of the photo story in today's journalistic world.

As Day 3 comes to a close, here's a look at the statistics on entries, countries and mediums participating in CPOY 72. 

Watch the CPOY 72 still image judges (from left: Deanne Fitzmaurice, Molly Roberts, Carl Phillippe-Juste and Don Bartletti) judge the entries for Feature category, spanning about an hour and a half.

Deanne Fitzmaurice, freelance photojournalist, compares and contrasts art photography and photojournalism, and gives advice to young photographers.

Carl-Phillippe Juste, CPOY Still Image Judge from CPOY/POYi on Vimeo.

From left, Carl-Phillippe Juste, Molly Roberts, Deanne Fitzmaurice and Don Bartletti spell out "CPOY" during their lunch break. 

In the tradition of many Missouri hosted events, such as Missouri Photo Workshop, one of our student volunteers Jessi Dodge created buttons with the judges faces and logo from our sponsors, such as Nikon and National Geographic. 

CPOY judge Ruth Eichhorn, left, and CPOY co-coordinator Daniel Jamang talk during a break. Because of the student involvement in CPOY, students are able to have multiple interactions with our judges. 

CPOY co-coordinators Rita Reed and Jackie Bell discuss why they love this competition and what they expect during its process.

Student volunteer Mariah Brannan calls the ins and outs during the International Picture Story category. The winners can be seen on our website under the "Winning Images" tab. Photo by Anna Brett, a student volunteer photographer. CPOY could not be run without its students volunteers and coordinators. 

 CPOY judge Ruth Eichhorn, pictured above, talks about what she is looking for duirng the Sports Feature category:

"I'm not so much looking for competition, but looking for emotional moments."

We could not have this competition possible without our student volunteers, such as Alex Scimecca pictured above. Our voting box volulnteers said "out" at least 2,000 times. One of our student volunteers, Evan Cobb, shot a short video about judging process. 

Follow this blog for daily updates. Want more than that? Follow us on Twitter, Instagram and Facebook. 

@CollegePhotog

We are getting ready for our first day on Wednesday! Rita Reed went to buy snacks for the next two weeks. We are almost ready for this year's CPOY!

Carolyn Van Houten's photograph of Serenity Bamberger got a Gold award in the Portrait category at the recent CPOY 70, and is a part of Carolyn's CPOY-winning Portfolio. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

In my story about the Bambergers rebuilding after the flood, I wanted to show the relationship that the Bambergers had with the Little Blanco River—the river that destroyed their home, their business and their sense of security. The river was bone dry for years before this past Spring. In the months after the water receded from the flood, the river became an almost daily part of the Bamberger’s lives. They would swim in it, celebrate on its shores and check it hourly for flooding when rainstorms came. It was important to me that I show their relationship with the river. I wanted the river to become a subtle character in their story.

In the months leading up to this moment with Serenity in the river, I had photographed the girls in the river many times. There is a steep bank along the river on their property, so sometimes I would photograph from up high. Other times I would carefully climb down and sit on the bank to photograph. However, the river bed was filled with slick rocks, so I did not trust myself to get in with my gear unprotected. To fix this problem, I got a waterproof bag that was big enough to fit my camera inside. A few days later, I returned to the river. After placing the camera in the bag, I started to climb down the bank into the river. Sure enough, the second I fully stepped into the river, I slipped and fell face first and fully clothed into the water. Once Serenity and Cielo stopped laughing at my clumsiness, they went back to swimming and playing as if I wasn’t there. Thankful for my waterproof bag, I stood in the river with my dry camera and let the swirl of activity and water happen around me. A huge oak tree stands on the river bank casting shadows and speckled light across the river. Knowing that Serenity often floats on her back while swimming in the river, I quietly waited until she floated through that speck of light.

Since this image was made, the Bambergers moved into their new home on stilts on their youngest daughter Esme’s first birthday. That same week their property flooded and they were evacuated. Their relationship with the river will always be a tenuous one, but it will take a lot more than losing their home to break the family’s bond with their land and the river.

Brittany Greeson's photograph 'Kenth' got a Silver award in the Portrait category at the recent CPOY 70, and is a part of Brittany's award-winning Documentary project. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

This image was taken when I was working on my final project at The Danish School of Media and Journalism in Aarhus, Denmark in the Fall of 2014. A good friend of mine, Soren Degn, told me about an institution for the mentally handicapped called Solund. I instantly fell in love with the people there and the staff members. Kenth, however, caught my attention in a unique way and it was actually through the making of this photo that he did.

I originally began work on the story in an essay form on the entire institution. I had been documenting other people in their living areas. I was simply walking past his room with my camera and the second I ducked my head in to take a photo of him he ducked behind his bedroom wall. It was a matter of seconds. This photograph is of one of those first exchanges. That’s why it’s so important to me, it’s an authentic moment between us and reveals his original feelings toward me. Feelings that quickly faded away as time passed we were able to get closer. It taught me how important relationship building is and I soon realized the story of Solund resided in one person.

In working on this story, my goal was to show the depth of his character and the support network around him. Mentally around 18 months old, Kenth can’t speak for himself. So, I approached his caretakers, Solund’s administrative staff and Kenths parents to pursue the story. I wanted them to be 100 percent on board and never wanted to show them why it was I was doing this story. Sadly, there are a lot of instances that the mentally handicapped are portrayed in a kind of freakshow way. With Kenth, I wanted to do my best to show a sense of beauty that so many people see in him. I learned so much about the empathy of others, a form of empathy I respected and admired. I simultaneously became more interested in how the United States offers care to the mentally handicapped and hope to document those issues further. I think this story will always leave a huge impact on me as a photographer and shape the way I approach more sensitive topics.

Daniel Owen's story 'The Jews of Oradea: A Story of Survival' got a Silver award in the Documentary category at the recent CPOY 70, and is a part of Daniel's award-winning portfolio. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

The image is from early on in my documentary about the Jewish community in Oradea, Romania, and, in my opinion, it contains the essence of the story.

The documentary started while I was in Romania working on a separate story about the Roma. During an evening walk to the city center from my house on the edge of town, I noticed an enormous synagogue just sitting there, dilapidated and empty.

The more I learned about the community that once thrived here, the more I felt a responsibility to tell their story. So what was initially a three-week trip turned into ten months, and finishing the piece would mean several trips back to Romania over the next two years.

I was eventually able to get a meeting with the president of the community and propose my story idea. Until then, the community had been very protective of the survivors, and rightly so. I had been told about photographers trying to photograph survivors without any respect for what they had gone through.

I assured them that I had no desire to tell a story that focused only on the Holocaust, whilst ignoring all the good that had been done throughout the community before the war. I wanted to tell the complete story of these people and their struggle to survive. Their history had nearly been erased seventy years ago, and I wanted to do my best to preserve it.

The image was taken during a Torah reading at the Sas Chevra Synagogue, the only functioning synagogue left in the city. I had been invited to be a part of their sacred ritual. I remember shooting and just being aware of the solemnity of the moment. They had survived genocide and now they were reading from this scroll just like their ancestors had done for thousands of years. It was a humbling experience.

Looking through a window into the empty sanctuary, I saw their reflections fill the seats. It was like looking into the past. Thousands of their relatives were murdered simply for being Jewish. Yet despite it all they were still there, and they were still praying. It changed my life.

John Happel's photograph 'Things Left Behind' got an Award of Excellence in the Interpretive Eye category at the recent CPOY 70. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

The story behind this photo began in April 2015 when over 90 residents of Sunset & Ed's trailer park received news that they had six months to vacate the property. Most of the people who lived there were impoverished with some trying to support children and families on what little they had. To me, this story was emblematic of what sometimes happens to poor people when a town or city undergoes a period of boom and development: they get pushed further and further toward the fringes. Ironically, these are the very people that depend on being close to urban centers so that they can work and find jobs.  

When I began photographing there, I took portraits using artificial lighting. During that time, I got to know the people who lived there and the troubles they faced in their daily lives.  When I returned in the fall, the trailer park had already changed so much. More than half of the residents had already left, many without their trailer homes. Most of the trailers that people owned were difficult to sell and too old to be accepted at the few remaining trailer parks in the area. 

As the eviction date drew closer, I knew that the transition would not be easy for the people still living there. I wanted to document what was happening and try to show that this was 'home' to some. It wasn't an idyllic place to grow up or raise a family, but it meant something to some people.  Soon this neighborhood would be just another vacant lot waiting to be developed. There was something haunting and sad about the things I saw there in the last few weeks before the park closed.  I was trying to pay attention to how that felt when I photographed.

The picture that I made was meant to show that the abandoned trailer was once home to a family. It looked as if the family had left in a hurry since most of their belongings were strewn about the yard and left inside the trailer. The teddy sat is such contrast to the its surroundings.  I think that is what drew me to the scene. I got to know many of the children in the neighborhood during the time I spent there.  I became a welcomed visitor after a while. I knew that this scene was foreshadowing what would soon come for those who had not yet left.

Christian Randolph's photograph of Ava Cota got an Award of Excellence in Portrait category at the recent CPOY 70. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

This portrait of Ava Cota was shot as a daily assignment during my internship for the Flint Journal and the result of a subject who thankfully was flexible as I came up with portrait ideas following a general theme on the fly.

My goal from the outset of the assignment was to create an image that was more than 'just' a photograph of a dancer. Because of Ava's skill, I knew that an image of Ava dancing would likely be visually strong enough to stand on its own but that also sparked a motivation to bring something else to the composition of the picture. Not so much to add complexity for complexity's sake, but because I felt the more visually interesting a subject you start with, the more energy as a photographer you have to invest to not just be making a snapshot of the cool thing in front of your camera.

With about an hour to scout beforehand, my focus was to find roof access and make a frame that incorporated Ava jumping and her hometown's skyline but I had no luck. Several roofs looked like prime locations but all inquiries to actually shooting there were met with polite deflections or responses of, "the person in charge of that has gone for the day." So I had nothing with five minutes until the start of the portrait.

Dougal Brownlie's photograph 'Fight for Freedom' got a Gold award in Sports Feature category at the recent CPOY 70. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

I have always loved history, sports and travel. During my senior year of college college I made it a point to include a trip to a more unusual destination. When I had the rare opportunity to visit Cuba I could not resist. I knew that I would be able to find something interesting to document given the long-standing U.S. embargo against Cuba. I was really interested to see the impact of our policies on people’s lives. What I did not know was that during my visit on December 17, 2014, Obama would make an announcement calling for eventual full diplomatic relations with Cuba. I was really fortunate to have been able to witness history and to see the reactions of people everywhere.

While I was looking for a perfect moment my travel companion, Ross Thayer, invited me to accompany him to Rafael Trejo, a small covert boxing gym in Havana. Ross was doing a story on boxing, which I discovered continues to be a much-loved sport in Cuba despite the 50 year ban on professional sports. While I was at the gym, I took this picture of the young boys, their coach and the women in the window. I was hoping to show the love of boxing seen in the passion expressed by the coach, but I also wanted to include the women in the window as an expression of hope for their children to be strong and prosper. I chose to convert the photo to black and white in order to reduce distraction and to honor the nostalgia of a country on the cusp of the old and the inevitable new. sIn a way, given the historical context, this photo is a larger metaphor for Cuba, it’s fighting spirit, and it’s hope for the future.

Tim Tai's photograph 'Fire' got a Bronze award in Spot News category at the recent CPOY 70. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

One staple of newspaper photojournalists’ coverage is breaking news events, which occur somewhat infrequently in a town the size of Columbia, Missouri, where I go to school. I live within earshot of a fire station and often hear the sirens turning on from my bedroom. On this particular night, I was home when I heard sirens and checked the online fire dispatch log to learn there was a fire reported at a mobile home park in the north side of town. I grabbed my gear and my car and headed over, and arrived after the fire had basically been put out. I made some pictures of the residual firefighter activity around the mobile home, which had been seriously damaged on the inside.

At that point, I was able to walk around a bit more freely near the scene, and was asking some of the onlookers if they knew who lived in the home. Someone pointed out who one of the residents, Donnie Perkins, was and I learned that he had been living in the trailer to take care of his elderly mother, but he wasn’t home when the fire occurred. As Perkins was watching the firefighters finish their activity around the home, he pulled out a cigarette and put his hand on his forehead in a look of total exhaustion. At the same time, I had noticed a young boy peering out on the scene through a window in the mobile home behind Perkins, and I tried to layer the frame with another onlooker. I took two frames, but only the first captured the quiet moment before it disappeared. It happened to be a second where the flashing lights of the fire trucks illuminated the scene with a deep red glow, and I think color is a crucial part of what makes this image striking. I made other frames of him later in the night, but I felt this was the strongest one.

Photojournalism is inherently intrusive, and it is difficult and uncomfortable for journalists to cover traumatic breaking news events like fires and shootings and whatnot. Sometimes, victims of trauma in this situations don’t want their photos taken, and it becomes harder as a journalist to communicate the feeling of the scene. But Perkins did not seem to have a problem being photographed, even at a fairly close distance, or telling me about the home and his mother. That sort of openness is a privilege and never guaranteed, but in this case I think it allowed me to make an image that helps viewers feel a sliver of the weariness and pain of the situation.

Screencasts of final rounds of the Spot News category judging are now online. Have a look!

Click here to see the CPOY 70 Setup Time Lapse.

Photos by Evan Cobb, Alexey Furman and Tanzi Propst.

Mario Wezel's story got an Award of Excellence in the Documentary category and was a part of his CPOY 69 winning portfolio. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

This set of images is from my story called “1in800”. I’ve been photographing Emmy, who has Down’s Syndrome, for the last two and half years by now.

This picture was taken last summer when I visited her and her family for a week in June. Her parents had to work that day so Emmy and her brother Kristian went on a afternoon trip with their grandmother. We drove through the lush green Danish countryside and arrived at a playground in the middle of the forrest. For about an hour we were playing hide and seek and used the slides and swings. After a short lunch break we walked back to the car and the grandmother allowed Emmy and Kristian to go play at the water. We all took our shoes off and dipped our toes in the fresh water. Emmy was braver then her younger brother and walked out into the water. I was following close behind taking pictures and looking out in case she would walk too far. Emmy suddenly stopped and it was totally quiet around her. It almost seemed like nothing was moving besides the ripples of water around her. She started starring down on her feet and stood like this for a few seconds. I could’t really tell whether she was looking at her own reflection or at her feet on the ground of the lake, but she was so focused that nothing around her could irritate her. 

In the end I chose this picture to be part of the story because of that moment. Also the time leading up to it reminded me so much of what it feels like to be a child. When the world around you is still so big and exciting and you just explore everything around you. In this particular moment nothing reminded me of the fact that Emmy is a child with special needs. She was just a child, exploring the world, being curious about what happened around her.

Andrew Renneisen's project 'Violent Times' got an Award of Excellence in Documentary category at CPOY 69. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

My story, Violent Times, originally started from internship assignments at the newspapers I was working on at the time. I covered a few vigils in Wilmington and Atlantic City, and realized violence was affecting so many people in the cities throughout the United States. I decided that I wanted to show this on a deeper level so I started working on the story on my own as a personal project. I had help through the Alexia Foundation, which funds documentary projects that promote social change. 

By being present in communities affected by violence, I was able to meet and connect with people who wanted their stories told. I think building trust is the most important part of gaining access for a story like this. By being honest and open about my intentions, I was able to build trust with the people I photographed.

I think the image of Zachary Taylor and his mother at the funeral home is one of the photographs which has affected me most. I was 20 years old at the time I made this picture. Mr. Taylor was 19 years old when he was killed in Atlantic City. His mother invited me to come with them to see her son’s body for the first time. On my way back to my car after making these photographs, I found myself weeping, which had never happened to me on an assignment before. 

It was the first time on an assignment I realized how powerful the camera can be, and I think this moment had a profound impact on the way I thought about this story. I don’t necessarily think I am going to change the world through my stories, but if I can have the viewer see something from a different perspective, or think differently than before, I feel like I have done my job.

Alexey Furman's photograph 'Deadly clashes in Odessa' got Gold in General News at CPOY 69. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

On the early afternoon of May 2, 2014 I was home in Kiev when I first heard about the violent clashes between pro-Russian and pro-Ukrainian protesters some 300 miles away in Odessa. I was contemplating if I should go there when news about the Trade Union House broke. Debate surrounds what exactly happened at the makeshift headquarters of the pro-Russian protesters, but at some point it caught fire, which resulted in over 30 deaths. Among the victims were those who burned alive and others who had jumped out of windows in desperation. I quickly scrambled onto the last bus to Odessa around midnight, and by morning I had arrived near the Trade Union House.

A horrifying scene waited. Everything had obviously ended by then with the exception of some communal workers cleaning the square nearby. The riot police would not let anyone inside the building while the investigation was underway. So I photographed outside and came back around noon when people started bringing flowers and candles to the stairs of the building. Some had lost loved ones in the terrible standoff. And although it was an incredibly sad scene, the crowd managed to simultaneously conduct a vigil and peaceful protest. However, there were some minor clashes with riot police.

The next day events continued in much the same way, but with a bigger crowd of around three hundred pro-Russian protesters. At some point the police literally vanished from the scene, and the crowd took notice. Slowly, people took refuge inside the burnt Trade Union House. I followed them in and sensed they were still grieving, but now also extremely angry.

I headed to the second floor and took some pictures of the crowd outside through a window. After which time I looked to my right and saw a woman holding a St. George ribbon crying her heart out. I crouched against the wall, framing the bright sky out of the picture and centering the woman. I did not want to interfere with her grief long and left as soon as the voice inside told me it was enough.

The resulting picture represents to me not only this tragedy in Odessa, but also the myriad other tragedies that have taken place across my country the last two years. It is a sad reminder of the constant grief people suffer for their deceased loved ones in yet another conflict that could have been avoided.

Austin Anthony's story 'Serenity' got Silver in Domestic Picture Story at CPOY 69. Catching Photo of Yours (CPOY) is a new CPOY Blog feature that gives photographers a chance to share the emotional and technical aspects of making their award-winning photograph.

I first met William and his family my freshman year of college. The first photo story I ever did was about his struggle to stay in high school. Throughout college I kept in touch, and his family became my friends. I would stop by a couple times a semester to catch up.

During one of those visits they happily told me there was a grandchild on the way. I decided to do a story about the pregnancy only knowing that they were open to me and that they didn’t hold back emotions when the camera was around. Everything had gone fairly smoothly for them up until the birth. William and Stephanie had gotten their own apartment, William had a minimum wage job, and friends and family members had given them several of the supplies they would need once the baby arrived.

The day the photo was taken began at court. The judge essentially said that the nurses were concerned about their behavior with the child and that they wanted to put Serenity (the baby) into temporary custody while they took parenting classes. Over the course of the day they began to speculate and blame each other, which lead to a long drawn out fight. I was there for all of it, which helped me feel a little more comfortable taking photos. I was one of a handful of people that knew the entire situation so I didn’t feel out of place. It was still very difficult to take the photo. It’s awful to be around two people fighting and I had to constantly remind myself that if they wanted me to leave they would have said so. And then after a lot of tears and yelling this moment happened. It felt like such a private moment, and it was so pure and beautiful. It was the moment they decided to try to let love win and not have this horrible situation tear them apart. He held her face and told her he wanted to stay together and make it work after hours of fighting. Prior to all of this I thought those moments only happened in movies.

It was one of the most emotionally exhausting days of my life. It began at 8 in the morning at the courthouse and I didn’t get home until 10 at night. I knew I had seen something special, felt lucky for that, and happy that they decided to try to make things work. But most of all I was heartbroken that they weren’t holding their baby.

Judging of the 70th College Photographer of the Year contest begins on Sunday, November 8, on the University of Missouri campus with Spot News category. This year CPOY got 11324 entries from 122 schools in 24 different countries.

There are plenty of possibilities to follow the judging online, if you can’t make it to Columbia this year.

Follow our screencasts that will be posted as soon as the first couple categories are judged.

The latest information and web updates will be available on Twitter via @collegephotog or on Facebook: College Photographer of the Year. CPOY has also recently joined Instagram, so look us there at @collegephotog.

Click here to view this year’s judges and approximate schedule.

Stay tuned for interviews with the judges; a discussion between last year’s Portfolio winners; a peek behind the scenes at Tucker Forum; or read the stories behind winners’ images in our new feature, Catching Photo of Yours.

Photo by Loren Elliott/CPoY

CPoY judge John Sale ponders a final round decision on Nov. 12, 2014. Sale is the visuals editor at The Commercial Appeal in Memphis, Tenn.

Photo by Loren Elliott/CPoY

Preston Gannaway takes a minute with her fellow CPoY judges to contemplate final round advances on Nov. 12, 2014. Gannaway is a Pulitzer Prize winning documentary photographer.

Photo by Loren Elliott/CPoY

Judge Jessie Wender takes in the first round of images during the CPoY contest on Nov. 12, 2014. Wender is a senior photo editor at National Geographic.

Photo by Loren Elliott/CPoY

Judges and attendees look on during the final round of judging for the College Photographer of the Year  Sports Feature category on Nov. 10, 2014.

Photo by Loren Elliott/CPoY

From right to left, judges Uwe Martin, Jesse Wender, Preston Gannaway and John Sale view the Sports Feature category on CPoY's second day of judging Monday, Nov. 10, 2014.

Photo by Loren Elliott/CPoY

CPOY coordinator Taz Lombardo toggles through images displayed on the big screen during the first day of judging Sunday, Nov. 9, 2014. 

Photo by Loren Elliott/CPoY

University of Missouri photojournalism graduate students Justin Stewart (left) and Alexey Furman watch the judging process at the 69th annual CPoY's first day, on Nov. 9, 2014. "Justin and I were playing the 'ins' and 'outs' game, pointing our thumb up or down depending on what we thought about the image on the screen," Furman said. "It was interestin g as on most of the images our opinions were contrary. I think neither of us did good in guessing the judges' opinion." 

Photo by Loren Elliott/CPoY

CPoY judges and coordinators take part in the first day of judging on Nov. 9, 2014. "Students at MU are particularly fortunate to have a photojournalism competition like this hosted here," University of Missouri senior Sarah Rothberg said. "Viewers have the opportunity to hear experts in the field comment on photos taken by our peers. Personally, I've been participating in the competition for two to three years, and it's been an invaluable experience."

Photo by Loren Elliott/CPoY

CPoY director Rita Reed (left) chats with judges Uwe Martin (center) and Preston Gannaway during a break in the judging at Tucker Forum on Nov. 9, 2014.

Sleezer: Winning cPOY not only gave me confidence in my chosen career path, but gave me credibility within the photojournalism community. Along with it, came a summer internship at National Geographic when Rich Clarkson was the director of photography at the magazine. I had been following his ability to help and inspire photographers since his days in Topeka, Kansas, and had always wanted to work for him. Having that internship on my resume, along with internships at the Philadelphia Inquirer and Milwaukee Journal helped me decide that newspapers were going to be my chosen career.

CPoY: What is the latest photo project you've been working on?

Sleezer: About 75 percent of the work I do for the Kansas City Star is sports photography. The last project I finished was the 2014 Royals baseball season. My beat is covering the team throughout the season and this year was the first time since 1985 that the team played in the World Series. While a student at Kansas State University in the early to mid 1980s, I was the UPI stringer at the school. This allowed me to hone my skills in sports and news events. One of those skills was turning around photos quickly on deadline for UPI. As technology has changed, I have embraced the technology that allows for quick turnaround of pictures in time for deadline. This skill set is one that is needed today by photojournalists, as newspapers require more and more photos quickly for their websites and social media.

CPoY: Why did you choose and continue to pursue photography?

Sleezer: I chose photography at first because of the process involved. Take the picture and then spend time in the darkroom with chemicals to make the picture appear. The transition to photojournalism for me started as a photographer in the Army in the late 1970s. After photography training and a year at my first post, I was given the opportunity to be assigned to the post newspaper at Ft. Hood, Texas. That exposure to a weekly newspaper, and contact with outside photojournalists coming to the fort, set me on the way to being a newspaper photographer. After the Army in 1980, I stringed and worked for a small daily in Olathe, Kansas, before deciding to attend Kansas State University for a degree in Mass Communication and continue working for the Collegian, a daily student newspaper on campus.

CPoY: How does one develop a personal photographic style?

Sleezer: I've always thought developing a photographic style for a young photographer means studying other peoples styles, and trying to figure out how that photographer makes their pictures. Lighting, lens selection and angle of view, along with how the photographer put themselves in a particular situation, are ways of learning about a photographers style. Copying others styles in different situations helps a photographer to eventually develop their own style. I think that styles change as the situation the photographer puts themselves in change.

CPoY: How has the medium of photography changed for you since entering cPOY?

Sleezer: The skill set that photographers need these days have changed slowly over the years since my CPoY days. Getting wrapped up in the technology and allowing it to dictate how a photographer sees is very dangerous. The end result is the same now as it has always been, a photograph that tells a story about a particular person, event or place, for the public to experience. How we get there has changed, and photographers need to accept the change and see how the technology can add to their story telling.

CPoY: What advice do you have for student-photographers on entering photo contests?

Sleezer: Student photographers should enter and use photo contests to do two things. One, is to help gauge their work against others of similar experience. The photojournalism world is very competitive and it will give them an idea of where improvement is needed and if this is the correct field to spend their lives in. Second, is to further their career opportunities. CPoY on a resume will still open doors but will not automatically guarantee a job. A body of work, including still images, published work, video and participation in social media, will be needed to secure work.

Interview conducted by T.J. Thomson and Alex Scott.

Eich: Winning cPOY was incredibly formative because it opened the door to National Geographic, a client that I still enjoy hearing from occasionally. cPOY introduced me to a lot of wonderful people, not only at Nat Geo but throughout the industry. It helped to put my work out there in a way I'd never been able to before and aided in the start of my freelance career, which proved to be incredibly helpful because less than a year later I was welcoming my first daughter into the world.

CPoY: What is the latest photo project you've been working on?

Eich: There isn't one particular project I've been working on ... since CPoY I worked more on "Carry Me Ohio" before moving to Virginia in 2009. In 2010 I started a project called "Sin & Salvation in Baptist Town" about a town in Mississippi which is ongoing as well as another chapter called "The Seven Cities" about my home in Virginia. I continuously photograph family and my daily life.

Here are a few 6x7 images from this year made while working on the Baptist Town project as well as "The Invisible Yoke" and my graduate studies at Hartford Art School's Photo MFA program.

CPoY: Why did you choose and continue to pursue photography?

Eich: Photography found me at a very early age, and it has always felt like the medium with which I can best communicate. This isn't to say that it's an easy path ... there are plenty of days where I wish I had a real job, and then other days where I realize that this is the best job in the world when it isn't taking me away from my family.

CPoY: How does one develop a personal photographic style?

Eich: Everyone is different, but style comes as a result of having something to say and knowing how it needs to be said.

CPoY: How has the medium of photography changed for you since entering cPOY?

Eich: Haha. Photography has been in a state of rapid change for some time now, but it has certainly been picking up the pace since 2006. For instance, I never really thought too much about Instagram or shooting assignments with my iPhone or having people "follow" my work through an outlet like that. I wasn't very worried about motion in 2006, though at this point I consider it an important addition to my skill set. That said, I still try to focus on image-making and let other more talented folks work on the editing end of things.

CPoY: What advice do you have for student-photographers on entering photo contests?

Eich: It's like fishing ... you won't catch anything if you're not out there, (i.e. can't win if you don't enter) and it's a numbers game. The more you put your work out there, are rejected, refine it, think about it, reformulate it, resubmit it, the more rapidly you are forced to confront your weaknesses and the more likely you are to succeed.

CPoY: What advice do you have for student photographers/young professionals who are ready to graduate or start in the field?

Eich: Don't turn your nose up at work ... always produce to the best of your ability and listen to your client's needs. There is no guarantee they will ever call you again. You are not just in the business of image-making, but in relationship-building. This carries through the people you photograph and the people you work for. Put your work out there, get torn apart, get better. There is no place for ego in this industry, be honest, genuine and open to feedback and be resourceful.

Interview conducted by T.J. Thomson and Alex Scott.

Buchanan: I have to admit that when I was preparing my portfolio to send in to cPOY, I had been so focused that year on producing a portfolio that would be strong and effective and when I laid it all out on the day before I had to send it in, I was so depressed because I thought “It’s not there.”

But I came to realize that sometimes you can push too hard and you ultimately have to have faith in the work that you are doing and keep pushing forward. It reminded me of the great Ira Glass quote:

“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”

Ultimately the CPoY did give me some assurance that I was headed in the right direction and to keep pushing forward and that maybe I wasn’t as bad as I thought at the time.

CPoY: What is the latest photo project you've been working on?

Buchanan: My life is a true variety of work that ranges from editorial to corporate to events and I wish I could say that editorial was still a big part of my business but unfortunately there is less space and pay for it so I am still applying my experience and skills in other directions, but at it’s root, it’s just photojournalism applied to different ends.

This last weekend I was out in LA working with Dan Dry (POY winner back in the late 70s for the Courier-Journal) and working with his team that covers the Breeders’ Cup Thoroughbred World’s Championships, which he and I have covered since the first races in 1984. It’s a test of sports photography, human interest and all on tight deadlines…all the things I still love to this day.

CPoY: Why did you choose and continue to pursue photography?

Buchanan: I love the variety. In everything about photojournalism, there is always something new. And even if there isn’t, it’s up to YOU to find something fresh.

I always admired the staff photographers who were professional enough that even though they were being sent out to photograph the same event that they had photographed time and again, they still came back with something new and innovative. I always vowed that I didn’t want to become one of those photographers that became burned out and bitter and lost the drive to always find something new or fresh. One of my teacher’s, Jack Corn would always say “You’re only as good as your last frame.” Wise words.

CPoY: How does one develop a personal photographic style? 

Buchanan: When you start out, you look at others work and try to figure out how they did it. Sometimes you mimic it, sometimes you start to see things from their perspective so, like a piece of clothing, you have to try it on, but it doesn’t necessarily mean it’s your style or you’ll buy it. 

You have to take a variety people’s of advice on composition and framing and then start to add your own knowledge of a topic or event and lay that on top of endeavoring to create images that can have more complexity while being simple and straight forward. Balance all those things and you are just beginning to develop a style. A mix of technique, knowledge, insight, and simplicity that combine to make the viewer feel they are right there and a part of the scene; immersed in the scene that they immediately understand it and yet there is more complexity there that they want to study the photo more. Then I think if you are achieving any of these things, you are starting to develop a style that is your own.

CPoY: How has the medium of photography changed for you since entering CPoY? 

Buchanan: I think it has changed in some ways: technologically and with some more tools to use, but fundamentally, it’s still about making great photos that grab people’s attention and convey a message quickly, concisely and with depth and conviction. 

Yes, it is very immediate and can be around the world in seconds but it can get lost in a lot of chatter. So getting attention for your work can be good and bad. 

CPoY: What advice do you have for student-photographers on entering photo contests? 

Buchanan: I would say that early in your career it is probably best to go with simple, direct and clean. With time your work will gain more depth and have more complexity. Like young writers who are starting out, their work and success is usually concise, directed and spare of too many words. So maybe your photography should be the same. Direct, concise and not too much clutter and focusing on making photos that put your viewers right in the middle of your images. You can usually succeed with that same formula as a writer. 

CPoY: What advice do you have for student photographers/young professionals who are ready to graduate or start in the field? 

Buchanan: I recently saw a video interview of Gregory Heisler; his point being that business part of photography and the medium where it is used is always changing that what it was like for me will not be the same as it will be for them. He points out that relationships are important in building a career and also that having a vision of your own to become successful but yet be true to yourself. It’s a great, must see interview. 

Always push yourself to find something interesting in whatever you do, no matter how boring or mundane the assignment…and the more you shoot what you know and what you love, it will help you be the best at what you do. Always be curious and want to learn more and it will inform your images and yourself. Remember, you only as good as your last frame… 

Interviewed conducted by T.J. Thomson and Alex Scott.

Gena, In Constant Motion

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. I was at home and a group text was sent out among my Syracuse photo friends. I didn't have my phone on me at the time and so my roommate saw it first and broke the news to me, which was then followed by a lot of "What! No! Are you serious!?" responses. I then called Gena's mom, Sue, to put Gena on speaker phone to share the news. 
 

 Q. Can you tell us something about making the winning story?

 A. I started photographing Gena Buza in October 2012 when I needed a "successful student" to photograph for the Syracuse Fall Workshop. An instant connection was made and I have continued documenting her story through still and moving images ever since. The winning set of images were made the first two weeks I met her and her family. I made the decision to submit a smaller time frame because of the fluidity in the edit of those eight images. 
 

 Q. What got you first into photography?

 A. Being the youngest sibling of four children there was always a lot happening in my family. My mom would hand me a camera at every basketball game, graduation, holiday function and I would always be eager to photograph everything happening around me. My earliest memory of photography was in the first grade at a high school basketball game with my purple 110 camera.
 

 Q. Do you have a photographer you admire/ inspires you? Can you tell us something about that?

 A. Lynn Johnson is one the most inspiring photographers to me. Lynn's images are ones that stick in my head and leave a feeling in the pit of my stomach to do more. She inspires and reminds me that images can change lives and bring awareness to stories right in our own backyards or in the farthest corner of a country we may never see with our own eyes. I was lucky enough to be apart of a group of Syracuse master's students who worked with her this past summer and saw first hand the impact she makes when working with the people around her. 
 

 Q. Do you have any tips for other college photographers?

 A. Find a good balance between listening to yourself and exploring the unfamiliar. Throw yourself in the stories that you connect with and are passionate about and then take on project that makes your expand your comfort zone. And remember that "if you're dreams don't scare you, you aren't dreaming big enough."

To see more of Taylor's work, click here

Interview by Hany Hawasly

Q. How did you find out about getting a gold medal? What was your first reaction?

 A. I was glued to my computer screen, continuously refreshing the CPOY website and twitter page to see when the Illustration winners would be posted.  I was shocked when my photo popped up on the screen!  I was so excited.
 


 Q. Can you tell us something about making the winning photo?

 A. I originally shot the winning photo for a different purpose.  But then once I was going through selects I found this one frame where she looked sad and lonely.  I decided to play around with the image in photoshop and take the story further.  The winning image is what I came up with.



 Q. What got you first into photography?

 A. I honestly don't know what first got me into photography; I think it may have been fashion magazines. I always found myself buying magazines just to look at the advertisements in the front and editorials in the back. I tend to do mostly fashion photography now, so that makes sense.

 

 Q. Do you have a photographer you admire/ inspires you? Can you tell us something about that?

 A. Tim Walker is one of my main inspirations. I love the fantasy element in his work. More and more I see myself trying to create the same moods and settings he does.



 Q. Do you have any tips for other college photographers?

 A. My advice would be to continuously create and explore new styles.  You never know what you're capable of until you try.




To see more of Sarah's work, click here.



Interview by Hany Hawasly

Ice Cold

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. I was working late at the newspaper that day and just finished editing some pictures. While I waited for Photo Mechanic to transfer the images I went to the kitchen to make a cup of coffee. The water was boiling and I got my cellphone to check Facebook for some updates. There it hit me; "Add another gold to the list for interpretive eye, folks!", someone wrote in the group for danish photojournalist students. I couldn't believe it – my name was tagged to me message. I forgot all about the coffee and ran down to my computer, cancelled Photo Mechanic and got to CPOY website. They were right. And I was very happy.

 Q. Can you tell us something about making the winning photo?

 A. The picture is a part of a series made with young winter swimmers from ISS Icebear on Amager Strand, Copenhagen. The series was made for a weekly photo spread in the danish newspaper Politiken back in March when the winter was really bad and there was snow everywhere. Somebody told me about this group of children who had been swimming all winter. I thought it might be a funny and different way to illustrate the weather situation.

The winning photo is the first image of the series. It is the only reportage photo where the others are portraits made on a white background. I think that the photo sets the scene without showing too much. It tells us something about where we are and what is going on but still it asks some questions. 

 Q. What got you first into photography?

 A. I first got into photography in my first year of high school when I bought a DSLR camera. In the beginning I did not have any idea about becoming a photographer or working with photography as a serious matter. I just wanted to photograph the things around me; my family, my friends and my neighborhood. 

Today I still love photographing the ordinary and close things. 

 Q. Do you have a photographer you admire/ inspires you? Can you tell us something about that?

 A. As much as I like taking photos, I love looking at others work. I get my inspiration from many aspect of photography and art – not only from photojournalism. To me photography is best when you mix different genres to tell your story. 

 I think that these photographers does that very good:
James Mollison, Christopher Morris, Roger Ballen and of course, the Master of Color, Martin Parr – just to mention a few. 

 Q. Do you have any tips for other college photographers?

 A. Shoot every day. But also think about what you are shooting and how you are doing it. To me photography is storytelling so it all comes down to how you want to tell your story. As a photographer it is your unique view on the world that matters. 

To see more of Daniel's work, click here.

Interview by Hany Hawasly

 Q. How did you find out about getting a gold medal? What was your first reaction? Club Privé

 A. My friend Marcus texted me in the morning (Swedish time) while I was drinking my coffee, and right after that my Facebook started to shout. I didn't understand what was going on, but when I did, I laughed and cried a little. I celebrated with more coffee.

 Q. Can you tell us something about making the winning photo? 

 A. The winning photo is from my long story about Izza and her family. Izza took me to her work, a well-known strippers club in Stockholm, two hours before opening. In the picture, Izza is about to show me the private area, totally aware of me taking up my camera. But the girl to the right—a regular young stripper smoking her cigarette before work—seems to have no interest at all being exposed. This shows the face of two different people in the same world, and even the face of hierarchy. Just a couple of weeks after this picture was taken someone shot at the club and the owners are now forced to leave. So, today my collection of pictures from Club Privé is totally unique.

 Q. How did you first get into photography?

 A. At first I started taking pictures because of my fear of forgetting things in life. If I got a picture at a moment it was easier to remember. Then later I was supposed to be a journalist, but I didn't have enough patience in writing, so now I’m here.

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. Terry Richardson, because he doesn't give a shit. Also Anton Corbijn because he can make Mick Jagger dress like a woman.

 Q. Any tips for other college photographers?

 A. A friend that went to another Swedish school of photojournalism told me about when she and her class went to a very poor country in eastern Europe with an assignment to make a picture story. All students came back with rough, sad and tragic stories about poor people, violence and narcotics. Except one girl, who had just photographed beautiful pictures of horses in the countryside. Dare to do what no one expects you to do—and if someone is fighting you about your choices; you're going the right way.

To see more of Susanna’s work, click here.

Interview by Leah Beane and Hany Hawasly

Story: Black Birds 

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. My good friend called me early in the morning and woke me up with the good news. I was very confused and had a hard time believing that I really won gold!

 Q. Can you tell us something about making the winning photos? 

 A. The story "Black Birds" has been a lot of hard work. I have been struggling to show the atmosphere and the emotions I encountered at the Kalembwana reservation. Many things were centered around superstition and magic and this is what I have been trying to show with my photography. 

 Q. How did you first get into photography?

 A. I have always been very curious of the different ways people live their lives. With the camera, I found out that I could get really close, and that I was allowed to tell intimate stories that I might be able to pass something on to the people looking at my pictures. 

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. I spend a lot of time looking at the work of other photographers. It is very interesting to see in how many different ways you can tell a good story. I especially like photographers like Mads Nissen, Anders Petersen and Pep Bonet. 

 Q. Any tips for other college photographers?

 A. I'm still a student and my photography is still young, but what I know is really important to tell a good story is: be curious, be honest and work hard!

To see more of Sofia’s work, click here.

Interview by Leah Beane and Hany Hawasly

 

Vigil

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. I was on my way to Flint to visit my old photo editor Jake (ironically where I was interning when I took the winning photo) to talk about portfolio edits when a friend told me. I was in the middle of a traffic detour and I had to pull over until I remembered how to breathe again. When I finally pulled it together, I called Jake to tell him the news. He was so excited when I finally made it to Flint that he picked me up in this huge bear hug and I couldn't stop shaking because I just couldn't believe it. 

 Q. Can you tell us something about making the winning photo? 

 A. Working in Flint, we covered a lot of vigils and memorials for victims of homicides and shootings. I remember this one in particular because it seemed to be a random killing. The victim, Laventez, was robbed at gunpoint and then shot. There were over 100 people at his vigil the next day, and upon arriving I could feel the hole that was left in the community after his departure. People were arranged in a circle around Bridget (Laventez's mom) and Laventia (his little brother) as the pastors prayed. I was standing behind the speakers when I watched Bridget grab her son and wrap her arms around him, clutching him as he held on to a photo of his brother. I put up my camera, framing them in between the speakers and took a couple of frames before she let go of him. After the vigil ended, I spoke to her offering her my condolences and thanking her for allowing the reporter and me to come. She thanked me for coming to tell her sons' story before hugging me and then walking away into the crowd of friends and family. 

 Q. How did you first get into photography?

 A. I think I first got into photography because of my dad. It was something both of us enjoyed and bonded over. I grew up in Kentucky on a lot of land, so we would go out and take photos together of little things like the pond and the changing of leaves. We would always get into these contests of who could take the better photo. Eventually, it escalated into a huge passion of mine and a way to express myself and tell stories. Now I pretty much take all the family photos when we are together. 

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. I would probably have to say my dad, just because he got me into photography. He doesn't shoot much anymore but he and my mom run a company together and they are pretty much the hardest working people I know. They taught me a lot about working hard to achieve what you want in life and never giving up on your dreams. Even though he's not the greatest photographer and really only takes photos of my family, I think there’s something to be said about personal work and documenting those around you. It's some of the most rewarding work out there and I have him to thank for teaching me that.

 Q. Any tips for other college photographers?

 A. Hard work and realization. For my first three years studying photojournalism at WKU, I was consistently the bottom of my class. I once even had someone tell me that I should choose a different career path. I think I was just too stubborn to give up on being a photojournalist so I kept at it and kept working. It wasn't until I got an internship with the Flint Journal that I started to make images that I actually liked. I think it took until then for it to click with me that it’s not about me—it’s about this opportunity we all have to share someone's story with the world. When that realization hit, I pushed myself at every assignment I went to, and off the clock, to make the best image I could for each situation and eventually I started to make images that told stories and I think that is one of the most compelling and amazing parts of our industry. 

To see more of Sammy Jo’s work, click here.

Interview by Leah Beane and Hany Hawasly

 

 

Untitled

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. I was away from school during the middle of the day, so everyone at school found out before me. On my way to class I ran into a friend who congratulated me, and I didn't know what she was talking about. I asked if it had to do with CPOY and she said yeah, but I'll let Kim (Komenich) tell you. When I got to his office he congratulated me and told me I had won. I didn't really believe it. I ended up just pacing around our schools newsroom, unsure what to do with my excitement and energy. My friend James took silver in the same category, which was really cool because we were able to share the excitement of that day.

 Q. Can you tell us something about making the winning photo?

 A. It was my first time shooting Mixed Martial Arts, so I was a little nervous going into the assignment. Anytime you photograph a new sport there can be a steep learning curve. Luckily for me the access was really good, and there were a number of bouts, so I had time to adapt. The hardest part was anticipating where the fighters would go because the whole time I was shooting through a chain link fence and they move around in all directions. I was in one of the spots I found that I liked when Galvadon connected with Johnson on the other side of the octagon. Johnson stumbled backwards and fell into corner where I was, and I just got as close as I possibly could, lens right up to the fence. I remember checking my shots after the round, I saw this image, and I knew it was the strongest. I just prayed it was going to be sharp enough.

 Q. How did you first get into photography?

 A. I was junior college taking care of my general education requirements, dabbling in a few random classes every now and then for fun. One semester I realized I was getting close to transferring and I had a lighter schedule, so I decided to take basic photography, black and white film, to try something new, it had always seemed fun. When I transferred at the end of the year, I knew I had found my major.

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. My professor Kim Komenich. I came to San Jose State because I wanted to learn from him. He's photographed it all, seen the highs and lows of our field and the world, and he is still the kindest, friendly, most helpful person. I really admire him for that. He believes in what we do as photojournalists, and that encourages me to always strive for more.

 Q. Any tips for other college photographers?

 A. Do the things that scare you. Leave no stone unturned. Curiosity is your ally.

Interview by Leah Beane and Hany Hawasly 

 

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. I wish I could say I was hitting the refresh button constantly on the night of judging, but the truth is my friends began texting me upon their discovery that I had earned a gold metal. When I first found out about earning gold, I was completely speechless. All of the entries my photos were up against were so good, and the other photographers are so talented, so it was mind-blowing to be up there along side of them, let alone earn gold.  

 Q. Can you tell us something about making the winning photos? 

 A. When I set out to do that project, the woman and her children that the story was about inspired me. I couldn’t imagine her strength in being a single mother of three with an autistic child, and what it would be like to finally be able to leave public housing. My goal throughout the project wasn’t necessarily to win, but to tell her story the best I could in documenting the incredible change this family was going through. It meant so much to me to have captured the moment of their lives when they entered their new home, let alone lives, for the first time. I was truly humbled in being a part of their experience, even just for an incredibly small fraction of their lives.

 Q. How did you first get into photography?

 A. Photography was always a hobby of mine. I remember my parents buying me disposable cameras for me to take photographs when I was a child, and then I got my first film camera in high school and learned how to develop film. It was never something I ever felt I could do professionally until college. When I started college, I had no idea what I wanted to do, but I knew I missed the all of the time I spent in high school photographing with my film camera. It was then I transferred during my freshman year of college to Kent State from Miami to pursue a photojournalism degree. I truly love what I have come to learn to do, and now it is all I can see myself doing professionally.

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. I wouldn’t say there is any one specific photographer I admire. I admire many professionals in the field, my teachers and classmates. Their work keeps me going, and makes me strive to become a better photographer.

 Q. Any tips for other college photographers?

 A. I was once told by one of my teachers in college that there would be a moment when things just “click” and start making sense. At the time, it just seemed like that was impossible. I believe that the moment he was referring to occurs at a different point for everyone. And I guess before that happens, you can truly feel lost, as I did. When I was in my first two years of college, I truly struggled, and had so many problems with story-development and relating what I wanted to say through a limited series of images. Although I still have so much to learn about the craft, I feel as though things began to make sense during my junior year of college. It really took finding something I cared about to find my voice in photography, and to not feel so lost. I would advise other college photographers to keep shooting, despite how discouraging judging and critiques can be.  And one thing I always try to remember while I am shooting, is that I need to find a reason for why I am taking pictures of something so I can make others care about what I am saying through my work.  At the end of the day, an image will stay with whomever sees it, and what they take away from it is your choice to a certain extent.   

To see more of Kristin’s work, click here.

Interview by Leah Beane and Hany Hawasly 

Story: North Philly

 Q. How did you find out about getting a gold medal? What was your first reaction? 

 A. I got a text from friend and fellow MU grad student Kholood Eid after I placed in both Feature and Interpretative Project. I was really shocked. I'm still in shock, but super honored and excited. This is motivation to keep working harder than ever and to continue to make important, intimate pictures.

 Q. Can you tell us something about making the winning project?

 A. Well, for the feature category, that was a moment I ended up seeing and just waited for the right composition -- Gage framed through the door. I shot a series of frames, but chose the one with his leg in the air because I thought it worked the best visually. I ended up not having to move much because as soon as I saw Gage playing with the gun I was already at the point where I could layer my frame like I ended up doing.

For interpretative project those were a series of images I made using an iPhone camera while back home in Philadelphia over winter/summer break. It's really refreshing to make pictures like that. I'd go out and shoot plenty of times without a DSLR. I didn't start shooting with a mobile phone until January, but I'm really enjoying the freedom that comes along with it.

 Q. How did you first get into photography?

 A. I was first interested in working in the film industry. I wanted to be a screenwriter and then a cinematographer. I finally just took a photo class for fun while I was an undergraduate at Temple University in 2009. I fell in love with the ability to make pictures that people can react to and understand their world by viewing them.

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. As a native Philadelphian, I am a huge fan of former Philadelphia Inquirer photographer Eric Mencher's work. He has a wonderful eye for light, color and scenes. I enjoy looking at his work and being constantly inspired to make thoughtful, interesting images.

 Q. Any tips for other college photographers?

 A. Keep pushing yourself. Never stop. Breathe photography, live photography and take your time creating a body of work that shows your personal vision. Your subjects should be more than just "subjects." Give them a voice and shine a light on people whose stories might otherwise be unheard. 

To see more of Kevin’s work, click here.

Interview by Leah Beane and Hany Hawasly

Untitled

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. I found out because one of my friends from class sent me a message on Facebook that said "Jen, did you just win gold for portrait in CPOY?" At first I thought it had to be a joke, I never thought I would win anything. But I looked online and my photo was there! I started jumping around my apartment I was so excited.

 Q. Can you tell us something about making the winning photo?

 A. I've been working with Leisha for a couple months, mainly focusing on her relationship with her twins. After working with her for awhile I worked up the courage to ask if I could take a portrait of her showing her scars. She was actually really wonderful about it. I guess she knew that eventually I would ask so she prepared herself for it. I read an article about how talking to your subject while you’re taking a portrait can help get genuine emotion in the image. So I talked to her about the boys and how things were going while I shot. I think it helped her feel more comfortable with the situation and it made me feel more comfortable too. I showed her the pictures right after and we talked about how the picture added something really powerful to the story. I really couldn't have asked for a better subject.

 Q. How did you first get into photography?

 A. My senior year of high school I wanted to take an easy class so I took a black and white photography class. Originally, I wanted to go to school for business but I fell in love with photography in that class. It sounds really corny but ever since I was little I wanted to help people somehow. And photojournalism gave me the opportunity to help people doing what I love to do.

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. There are actually a lot of photographers who inspire me. Eugene Smith, Dave Weatherwax, Chris Capozziello, and my professor William Snyder are all great photographers that I admire. I'm inspired by most photographers, my classmates and colleagues included. I love looking at work because it gives me something to strive for. Especially if I'm working on a story I'll look at stories similar to what I'm doing. It helps give me ideas of how to frame the story and what images will make it stronger.

 Q. Any tips for other college photographers?

 A. Just don't be afraid of failure. This time last year I was a really terrible photographer, but I just kept working. I still have a long way to go but this is what I love to do so I'm going to work my butt off to do it. Even if you really do poorly one semester or on a big project, it's all learning experience. Also, work on stories that you feel connected to. Don't do a story just because you've seen someone else do it, or you think people will like it. Do your stories for yourself. It'll help you connect on a deeper level with you subject and create something really beautiful. Plus your subject will appreciate your genuine interest and trust you more.

To see more of Jen’s work, click here.

Interview by Leah Beane and Hany Hawasly

 

Story: Sports Portfolio

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. I first found out while driving to an assignment from a secret Missouri informant who recognized my work. I was incredibly excited and honored! I have been incredibly blessed over the past few years in this contest and the opportunities it has brought me and am incredibly thankful!

 Q. Can you tell us something about making the winning photos? 

 A. The winning portfolio has been a compilation of a lot of hard work. I love shooting sports and the emotion and graphic nature that goes along with it.

 Q. How did you first get into photography?

 A. I first got into photography when my dad brought home a Pentax k1000 from the Goodwill at the age of 13. I started shooting my little brother’s baseball games, and as I got into high school started making photos for my art classes.

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. I strive to be a mix of Sam Abell and Damon Winter. I love the layering and story telling Sam Abell does and the sterile graphic nature of Damon Winter’s work.

 Q. Any tips for other college photographers?

 A. My tips would be to study work you admire, shoot things your care about, and never stop working as hard as you can.

To see more of Jabin’s work, click here.

Interview by Leah Beane and Hany Hawasly

 Q. How did you find out about getting a gold medal? What was your first reaction?

 A. The morning after the judging my girlfriend Jenna was on Facebook. She asked me if I had won gold with my image? I was confused by this and responded, "What do you mean?"  My professor from college had posted on my Facebook page congratulating me about getting the gold medal. It was a huge shock and I had to second guess him for a minute and see if what he posted was actually true. Going onto the CPOY website I then confirmed to my astonishment that I had indeed placed gold. I felt very honored and was thrilled to later find out that I was the first one to represent a medal for Colorado Mountain College.

 Q. Can you tell us something about making the winning photo?

 A. This was an idea I had conceptualized in my head for a few weeks but couldn't find exactly the right model to capture it. I didn't want the image to come off as a fashion shot. I wanted to convey a bone-chilling storm without drawing too much attention to the model. This image was then shot in a studio on a plain white background. I later used Photoshop to add the snowfall. I used previous images I had photographed of tree branches and combined them to make the tree in the background. I applied different gradients in the image to ground it. This image took less than half an hour to photograph in the studio after I had set up the lighting. But I easily spent over 20 hours in Photoshop to make the image flawless. The image of the girl is a composite of about six images. She was not originally wearing the scarf in the image I selected; I added that later in post.  

 Q. How did you first get into photography?

 A. I grew up in Iowa before I moved to Colorado with my family. I was raised on a farm with my five younger siblings. During this time my brothers and I had to entertain ourselves while our parents took care of the younger ones. We were constantly thinking of new games we could play and things we could build. This led me to develop a creative mind. I was always looking for ways to express my creativity. I was only eight years old when I picked up my first camera. Living on a farm I naturally wanted to photograph animals and nature.This led to my dream about one day becoming a National Geographic photographer. 

 

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. I look up to Aaron Nace as one of my favorite photographers. While I relate to him in some of my conceptual work I am always inspired by the creations he makes with his camera and in Photoshop. I would love to spend just a day with him and learn more Photoshop techniques he uses in making pictures. I would say he really inspires me as a photographer to go wild with my imagination in Photoshop and create images that are beyond this world. He also is a huge reminder to me to stay goofy and have fun while you are photographing. Let's be honest, all of us creative types have a side that is a little silly and weird. So, let it out and use it to help express yourself photographically.

 Q. Any tips for other college photographers?

 A. I would say don't limit yourself to one type of photography or say what is not for you. I came into college with the idea of becoming a National Geographic photographer and after a few years I have completely shifted my goals and my creative work. I now am a conceptual photographer where a good percent of my work is spent dealing with Photoshop. I never imagined that this would be what I wanted when I first started. So, experiment, try new things, and who knows you may end up liking what you come up with. 

To view more of Anthony’s work, click here.

Interview by Leah Beane and Hany Hawasly

 

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Q. How did you find out about getting a gold medal? What was your first reaction?

A. I found out about receiving the sports feature medal after a couple friends sent me a message to congratulate me. My first reaction was to thank them and then check the site as quickly as possible to see which photo placed. Seeing your picture on the on main winning images screen for the first time is quite exciting.  

Q: Can you tell us something about making the winning photo? 

A. This particular photo took a lot of patience to make. It involved standing in between a cramped group of horses while trying to piece together all of the photo's layers. I was looking for good separation in the photo, but had to also be aware of my surroundings so that I didn't get knocked down by a horse in the area. 

Q: How did you first get into photography?

A. While growing up I spent a lot of my time flipping through skateboard magazines and watching movies. Even before I picked up a camera I recall studying the components that helped to make a piece of work visually compelling. During the summer before my senior year, I took a trip with my parents to Washington DC and visited the Newseum for the first time. On my visit, I viewed an exhibit dedicated to Pulitzer Prize winning photographs, and just by spending some time in that room my eyes were opened to the power a still image can hold. I left Washington a day later with my heart set on becoming a photojournalist.    

Q: Who are some photographers who especially inspire you, and why do you admire them?

A. I have focused pretty heavily on shooting sports over the last couple years so photographers like Al Bello have been a huge inspiration. Any sports photographer that is constantly pushing to make new and unique images has my utmost admiration. I also like to look to the work of people like Sam Abell, Bill Allard and Alex Webb. I believe I have drawn quite a bit of inspiration from these three photographers by studying their masterful use of layering, color and light. 

Q: Any tips for other college photographers?

A. I think it's important to follow your heart and to tell the stories you truly want to be telling. Set goals and work every single week to achieve them. Also, embrace this awesome community of photographers. Don't ever be afraid to reach out for help and accept that there is always going to be more to learn.  

To see more of Alex’s work, click here.

Interview by Leah Beane and Hany Hawasly

Photo by Melissa Golden 

 Q. Congratulations on being named the 68^th College Photographer of the Year. What does that mean to you?

 A. It means that I was lucky enough to be grouped in with some of the best photo students in the world, and then the judges suffered a case of temporary insanity and gave me the gold award. Seriously, the talent and the caliber of work this year was insane. I still can't believe it's actually really happening. 

 Q. Do you think photojournalism is still needed?

 A. Photojournalism is important because it's a useful tool. Photographs are tools that other people can use to engage in discussion and affect real social change, and to foster empathy and understanding. It's also a tool that can be used to inform and encourage further information-seeking. The photos can be used to illustrate serious and often abstract or foreign issues that people sometimes have difficulty grasping at first.

 Q. You won two gold medals before the big title, how did you learn about them? What was your first reaction?
 
 A. Actually, I found out both times because people messaged me on Facebook congratulating me. I can't watch those things (the CPOY screencasts), it's too nerve-wracking. I was in Denmark talking at a conference held by the Danish Union of Press Photographers, and I started getting a few messages when my phone picked up wifi. It was very exciting, I'd never even entered CPOY before, I never had the guts. I always used to talk myself out of entering anything, including CPOY. I always sabotaged myself and "forgot" the deadline.    

 Q. It can't be missed that Shane and Maggie's story got a lot of attention since February, why do you think it made that kind of impact?

 A. I think that whenever people see something intimate, something like domestic violence, which is such a private crime, they have a very visceral reaction. I also think that when people look at the photos, they identify with either Maggie, Shane, the kids, or me. Who a person identifies with often says a lot about them. How they react to the photos often says a great deal as well.   

 Q. What did it take you to pursue and capture the story? Have you ever thought of giving up?

 A. The story was originally about recidivism, not domestic violence. Once the story switched gears and became about domestic violence, I was motivated to continue it because I felt that there is a strong need for a story about domestic violence as a process. I also didn't want to only portray Maggie as a victim. I wanted to show her for who she is, and who she is is brave, wise-beyond-her-years, strong, a loving mother…she's a complex, nuanced person, and I felt that simply portraying her as the survivor of this awful event didn't do her justice, nor did it speak to the empowering aspects of her story. I still haven't given up. I talked to her this evening, we're making plans for my next visit when I return to the states.  

 Q. What projects are you working on recently? 

 A. I am currently working on two projects while I study in London, one about white Anglo women who convert to Islam, and one about the 25th Anniversary of the Lockerbie bombing. I have a few other ideas I'm playing around with, but for right now I'm trying to quiet my ADHD brain somewhat and focus on these two projects.

 Q. Where do you think you're going from here?
    
  
 A. I'm trying to take it one year at a time, because lord knows I didn't see myself being here this time last year. Things change quickly. If I could continue to do in-depth, intimate storytelling, and expand my skill sets to other arenas of photography/multimedia that will be challenging and rewarding, well, that's the dream, isn't it?

 Q. Who are some photographers who especially inspire you, and why do you admire them?

 A. I look a lot at the work of my contemporaries and friends, as well as photographers who are well-established. Maisie Crow is a very close friend of mine, and continually blows me away. I love Rineke Dijkstra's portraiture, I love Todd Heisler's storytelling, I love pretty much anything Diana Markosian does. I saw Anastasia Taylor-Lind speak at the same conference in Denmark and was blown away by her skill as a photographer and her intelligence and humor. Donna Ferrato has been an incredible inspiration to me from afar for years, and is now someone who I am lucky to have a real-life friendship with. Melissa Lyttle is someone who just knows how to shoot, without bells or whistles or fancy toning tricks, just incredible access and content and storytelling skills. She just gets it. Pete Muller is doing incredible work in Africa right now. Stephanie Sinclair's work on child brides pretty much sets the gold standard for work that is impactful, broad, and beautifully shot. Eugene Richards is my hero in a lot of ways. Brenda Ann Kenneally. Lynn Johnson. Emillio Morenatti. And hell, just looking through the CPOY winners this year was inspiring (and kind of terrifying). There's so much good work out there. (hence why I don't give a flip about people who say photojournalism is dead).  

 Q. What would be your advice to college photographers?

 A. This is going to sound weird, but stop competing with everyone else around you. I don't mean don't enter contests, contests are fine, and are what they are…but realize they aren't the be-all, end-all. My friend Logan Mock-Bunting wrote this on Facebook the other night:

"Photography is more than exposure and composition and timing. It is about the experiences your subjects+you share, and communicating to others. Those are intangibles that Medals can't be hung on. "Success" will be different for every person."

 I completely agree with that. I shot for ten years before I did anything anyone noticed. Of course accolades are nice and can get editors to email you back...but they aren't the way to do good, important work. They wont make further good work magically materialize. Only going out and shooting will.

 I spent SO LONG feeling so insecure about my work, and I still struggle with that, except now it motivates me, rather than paralyzes me. That's an important distinction. I was never on the "A" team as an undergrad studying photojournalism, I just wasn't very good. And I let that fact paralyze me for years, I internalized it. I couldn't figure out how to gain access and do photo stories and was convinced I just didn't have that talent. Then I found one story that I've been working on for three years now, and something clicked. And now long form stories are, bar none, my favorite projects (whether in still or multimedia form, doesn't matter).

 The best thing I ever learned was to compete primarily with myself, looking at my work over time. To try to shoot better than I did last year. I'm still learning. Having one story and a few awards doesn't make a person bonafied. It just means you shot a good story. A lifetime of dedication does, and that only comes with time. I know it might sound hypocritical coming from me, all I'm saying is that an award is just another tool in your career.   

 Q. Any final words?

 A. There's a really great (and a bit lengthy) Ira Glass quote that says it way better than I can, because, well, he's Ira Glass. So I'll just leave you with that (I know lots of people already know it but whatever, it's still great):

"Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.” 

Interview by Hany Hawasly

Photo by Roxi Pop

Photo by Hany Hawasly

Moderator Jackie Bell and the still photography judges watch projected photos in Tucker forum

Photo by Hany Hawasly

Photo by Sarah Rothberg

Director Rita Reed chats with judges G.J. McCarthy and Jeremiah Bogert during a judging break

Photo by Sarah Rothberg

Photo by Roxi Pop

Photo by Sarah Rothberg

Judges discover buttons with their portraits on them! (Check our video)

Photo by Malte Kristiansen

Photo by Malte Kristiansen

Photo by Malte Kristiansen

Photo by Malte Kristiansen

Photo by Malte Kristiansen

Photo by Sarah Rothberg

Director Rita Reed takes control of the voting box during one of the multimedia judging sessions

"CPOY is a contest by students, for students and of students" - Director Rita Reed

 Yulia Shandurenko is an assignment desk analyst at ITAR-TASS Photo Agency. ITAR-TASS is Russia’s central information agency established in 1904. Yulia is a part of a journalist exchange program sponsored by the International Center for Journalists in Washington, DC.

 Q. What is your most recent project?

 A. I organized a photo report about 50 religious fanatics at the Perm territory in their log house in the abandoned village of Cherepanovo, near the village of Nyrob, some 1230 km (765 miles) northeast of Moscow.

 Q. Do you have any competitions similar to CPOY in Russia? 

 A. We don't have a special competition for photojournalism students; they can take part in one of the renowned competitions like Best of Russia and Silver Camera.

 Q. How do professional photo organizations in Russia find new photographers?

 A. We constantly receive portfolios from photojournalists from all regions of Russia and we evaluate them to decide whether to work with these photojournalists or not. 

 Q. After attending news categories judging, do you agree with the judges’ decisions?

 A. I saw many bright, qualitative, interesting images of various aspects of human life get eliminated and lots of pictures of violence, human suffering, injury and funerals chosen as winners. I find this to be one dimensional and I’m afraid of this tendency in modern photojournalism because it does not create or find something beyond what you can see. It’s rather more like exploitation of human suffering and a display of disrespect to victims of tragedies. I know that many of my colleagues may disagree with me, but I believe that the real mastery of photography is achieved without abusing the subjects in your reporting.

 Q. Are these discussions any different than the ones you would have in your agency in Russia?

 A. No, I don't feel like we have different visual standards. ITAR-TASS Photo Agency is working for international subscribers, our images conform to worldwide standards. 

Interview by Hany Hawasly 

Photo courtesy of Chad Stevens

Chad A. Stevens was named College Photographer of the Year in 1997 while he was a student at Western Kentucky University. He is currently an assistant professor at the University of North Carolina in Chapel Hill, NC and is working on a feature length documentary film on the conflict over energy extraction in Appalachia. Before joining the UNC faculty, he was a documentary producer/editor at MediaStorm. Stevens has also taught in the visual communication programs at Western Kentucky University, the International Center of Photography and Ohio University.  

 

 Q. How did you get into photography?

 A. I was a nerdy art kid in college. I drew. I painted. I listened to The Cure - only the sad songs, none of that "Friday I'm in Love" business. And I was lucky enough to get a spot in Jack Corn's basic photojournalism course at WKU. Being the darkroom, the smell of the chemicals, learning to see and love light - all of these things and more got me hooked on photography. That's still the greatest gift for me personally actually, just being able to see and appreciate light in my daily life. It brings me a lot of joy.

 
 Q. Do you think winning the competition helped you in your career? 

 A. Without question, but it wasn't just about my career. Receiving this honor when I did really gave a touch of confidence to keep moving forward, to keep pushing for the next summit. When you are on the journey you just don't know how far you have to go. So it's all about valuing each step and giving yourself credit for how far you have come.

 Q. At the time how did it feel to win College Photographer of the Year?

 A. I remember every detail of the moment. The phone I answered. The room I was in. The light of the day. Calling my parents after I received the call from CPOY director. It was a pivotal point in my journey, and I'm still very honored to include CPOY on my list of accomplishments.

 Q. What would be your advice to current photojournalism students?

 A. You have to be human. You have to care. Your compassion and empathy transfers through you - into your work. You are just the medium through which the stories are told.

 Present tense storytelling. Be there in the moment. It doesn't matter if you are shooting stills or video, you must be present. Don't' fall into the trap of past-tense storytelling with video. It's the easiest formula to follow, but the easy path is almost always the wrong path. Always challenge yourself. Never settle for what's comfortable. And most importantly, ask yourself what you care about, then find those stories.


 Q. Is there anything you would like to add?

 A. This may sound just too simple, but here it is: create. You must create. You must continue, even when you can't see what's ahead, you must keep moving forward. Don't let the fear hold you back. That is the only mistake you can make.

Interview by Sarah Rothberg

 Q. What advice do you have for any photographer in college?

 A. Get close. There are a lot of loose pictures that have pictures inside of them. They’re not breaking people’s personal space; they’re not getting in and shooting. Because you keep that distance and everybody sort of has that distance and wants people to stay out of it. When you start getting in and breaking that space, and getting close to people, your pictures will get better.

 Q. On a scale of 1-10, how would you rate the comfort of the chair you’ve been sitting in all day?

 A. One! Oh my god. Horrifying. Is that on the list? It just kills your back sitting straight up like that all day.

 Q. What advice do you have for any photographer in college?

 A. Don’t get discouraged. Keep trying because this is ultimately just the opinion of four people.
I would say (and it goes the same for even professionals, because we get caught in this trap, too) that it’s very easy to put too much stock into contests. Even if it’s something that you’ve seen before and maybe it’s not something you personally have tried to do before, it’s still worth it to try it for the experience.

 Q. On a scale of 1-10, how would you rate the comfort of the chair you’ve been sitting in all day?

 A. Six. I’m about to start sitting on the floor! It’s nothing personal against the chair; it’s just a desk chair that tends to be very hard to sit in after a while. I’m about to sit on the floor, or possibly lay on the floor, I’m just debating if the floor in there is really as disgusting as I think it might be.

Interview by Shelby Feistner

Photo courtesy of Magnus Holm

Magnus Holm was named College Photographer of The Year in 2012 while he was a student at The Danish School of Journalism. He is now interning at National Geographic working on a story about the fast changing culture of the Inuit people in Nunavut, Canada. 

 Q. Do you think that winning the competition helped you in your career?

 A. Winning CPOY meant I got the opportunity of doing the internship at NatGeo which is probably the best thing that has happened for my career. It is an amazing opportunity to learn from the best in the field (both photographers and editors) and for me a very helpful experience in terms of getting to know the field outside of Denmark too. 

 Q. Do you think that being college photographer of the year influenced your personal approach to photojournalism?

 A. I don't think that winning has changed my approach, but it has given me lots of experiences and I have met many interesting and inspiring people through it. I guess you could say it has helped me expand my horizon instead. 

 Q. What would be your advice to current photojournalism students?

 A. I would advise them to go for the stories they find interesting, not what they think other people would have an interest in. It will show in your work.

Interview by Malte Kristiansen

Q. What advice do you have for any photographer in college?

A. Spend time focusing on a project that you’re passionate about, not one that you think some editor or some magazine wants you to work on. That’s the best way to hone your skills, rather than just trying to shoot a lot of things and be a generalist.

Get lots of fine people that will give you honest feedback and get critiques. You get critiques throughout your time here, but then once you leave, it’s good to get it in front of other photographers, share work and get involved with groups that give monthly critiques. Ask for honest feedback and listen. Make sure you’re not so defensive and holding onto your work. If it’s really not speaking to people, move on to another subject.

Be aware of subjects that are so heavily covered by everyone. If you’re going to Burning Man, you will be the one millionth photographer who has made great pictures at Burning Man and you’re not going to distinguish yourself in an editor’s eyes.

Q. Did you have any weird experience coming into Missouri for CPOY?

A. Well, I started in Banff (Mountain Film Festival) and I arrived in Chicago with 15 minutes to spare. I made it, with a little bit of sweat, but my bag didn’t. So I’m wearing the same clothes I wore yesterday, and it was an 11-hour travel day.

Q. On a scale of 1-10, how would you rate the comfort of the chair you’ve been sitting in all day?

A. Since I stand 80 percent of my day at work, I’m going to give it a 4. My butt is becoming one with the chair. I’m not so happy with it anymore.

Interview by Shelby Feistner

Photo courtesy of Rick Gershon

Rick Gershon was named College Photographer of the Year in 2004 while he was a student at the University of North Texas. He is currently a freelance filmmaker and photographer based in Brooklyn, NY. Previously, he was the director of photography at MediaStorm and a featured photographer with Reportage by Getty Images.

 Q. Do you think winning the CPOY competition helped your career?

 A. Winning CPOY absolutely helped my career; I would say in many ways it launched it. I was a no-name photographer from a no-name school. I didn't have a big school on my resume or anything at all that would make me stand out for an internship or job for that matter. 

 Winning CPOY gave me instant recognition and respect. CPOY is a name that is trusted around the world, and so it was pretty huge for me to be recognized by them. Shortly after winning, I was hired on as staff photographer at the Dallas Morning News. I don't think there is any way a 22-year-old with no experience would have been hired on at a paper of that stature without having been recognized like that.

 Q. At the time, how did it feel to win CPOY?

 A. It was an absolute shock to say the least. I really didn't think I had any chance whatsoever of winning so when I got the call I really didn't believe it. I thought there must have been some kind of mistake. 

 Getting that call is still one of the coolest moments of my career.

 Q. Do you have any advice for current photojournalism students?

 A. My advice would be first to seek out a mentor that can teach you how to edit your work in a way that communicates and to learn from them how to speak the visual language. This was by far the most important and long lasting thing I ever did as a young photoj student. Beyond that I would say to keep CPOY or any other competition in perspective, see them for what they are, don't fall into the trap of shooting to win a competition because it's usually not those photographers that win anyways. We are out there in the real world telling real stories — that's what matters. It's great to get praise and respect from your peers and to have your work recognized as great. But always remember the point of why you are doing what you are doing — and that's the people you are photographing and the stories they are so graciously allowing you to tell.

Interview by Alexis Hitt

Photo by Mark Thiessen/National Geographic

Sarah Leen was named College Photographer of the Year in 1979 while she was a graduate student at the University of Missouri. She is currently the director of photography at National Geographic Magazine.
 

 Q. Do you think winning the competition helped you in your career?  

 A. It definitely helped me. That was my first time at National Geographic Magazine and my second internship. I learned how to shoot color transparency film there; I had only shot in black and white until then.

 The photographers were so supportive, and I got to go to Africa where I made my first story published in the magazine. It opened me up to what became my future.

 Q. What would be your advice to current photojournalism students?

 A. It’s a competitive field and there are less places in print to publish stories but there are a lot online. It’s good to have great technical skills, an aesthetic vision and great ideas.

 Know what stories you want to tell, what separates the best ones are ideas and the passion to do it one way or another. I would think about what stories I would want to tell. I would focus on my own back yard instead of saying, "I want to go to India because it’s cool." I would find a place that I have a personal connection with. It would give me an advantage.

 Q. Is there anything you would like to add? 

  A. The contest is an opportunity to get your work in front of people. People who are judging might be looking for young talent. If your don’t win one year, you enter again the next year.

Interview by Sarah Rothberg

 Q. What advice do you have for any photographer in college? 

 A. Despite the weird things that you hear about the industry, just be upbeat. Be psyched about choosing something you want to do. Be persistent, get your work out and you’ll do fine.

 Q. Did you have any weird experiences coming into Missouri for CPOY?

 A. I went to school here twenty years ago. This is my first time back and I had no problems at all. I think I ran over a Jayhawk on the way in from the airport.

 Q. On a scale of 1-10, how would you rate the comfort of the chair you’ve been sitting in all day?

 A. 8. I haven’t had any pain yet and I feel like I’ve been sitting it all day, but it’s not exactly super comfortable. In fact, I’m jealous of Rita’s chair.

Interview by Shelby Feistner
Photo by Malte Kristiansen 

Photo by Nick Schnelle

Cathaleen Curtiss looks at an image from a Portfolio category entry.

Photo by Nick Schnelle

Co-coordinator Naveen Mahadevan looks through the metadata of an entry from the Documentary category.

Photo by Nick Schnelle

The judges and audience begin taking a look at Portfolio entries.

Photo by Nick Schnelle

Grant Hindsley glances up at the screen during the Documentary category.

Photo by Nick Schnelle

The judges concentrate while viewing Documentary entries.

Photo by Nick Schnelle

The judges prepare to write notes during the Documentary category.

Photo by Nick Schnelle

Kurt Mutchler contemplates over a Portfolio entry.

Photo by Nick Schnelle

Andrew Mitchell, Ryan Henriksen, and Sam Gause watch Portfolio category judging. 

Photo by Nick Schnelle

Wally Skalij offers his opinion for choosing the Portfolio category winners.

Photo by Nick Schnelle

The man: Rick Shaw.

Photo by Nick Schnelle

The judges vote "in" the gold medal Portfolio winner and College Photographer of the Year.

Photo by Nick Schnelle

Rick Shaw holds the mic up to the room to say "Hello" to the College Photographer of the Year, who he has just called on the phone to congratulate.

Photo by Nick Schnelle

Judges look through Sports Portfolio entries.

Photo by Nick Schnelle

Still-Division moderator Rick Shaw reminds the judges the category description for Interpretive Eye.

Photo by Nick Schnelle

Judges look through Interpretive Eye entries.

Photo by Nick Schnelle

Volunteers and audience members take a break in between categories.

Photo by Nick Schnelle

Kurt Mutchler gets out of his judging chair to say what he likes about a General News category entry.

Photo by Nick Schnelle

Janet Reeves speaks to the morning audience about what makes a memorable news photograph after the first round of the General News judging.

Photo by Nick Schnelle

CPOY volunteer Kile Brewer, left, talks with co-coordinator Naveen Mahadevan.

Photo by Nick Schnelle

CPOY volunteer Leah Beane reads captions for Feature entries during the semi-final round.

Photo by Nick Schnelle

Judges take a look at Feature entries during the semi-final round.

Photo by Nick Schnelle

Still-Division moderator Rick Shaw counts the written votes for Feature category medal winners, after a long debate by the judges.

Photo by Nick Schnelle

A 30-second exposure captures the sequence of Sports Feature entries as they are projected for the judges.

Photo by Nick Schnelle

Grant Hindsley and Ryan Henriksen watch the beginning of the Sports Feature category.

Photo by Nick Schnelle

Co-coordinator Naveen Mahadevan clicks through the Sports Feature entries, marking images voted into the next round.

Photo by Nick Schnelle

The judges take a look at the entries that made it through the semi-final round of Sports Feature.

Photo by Nick Schnelle

The first round of Portrait judging begins.

If you are unable to be with us in person, please keep an eye on the judging via the podcasts on the cpoy.org website. We will be updating this blog with behind-the-scenes content from the contest judging period. Check back soon for more updates and make sure to follow @CollegePhotog on Twitter for updates during the judging week.

Are you looking for the previous year's blog content? Click here.

Photo by Nick Schnelle

Co-coordinator Stuart Palley crawls underneath a table to adjust a section of cables and wires before the individual judging of the Large Group Multimedia Project category begins.

Photo by Nick Schnelle

The judges look at projects not in the final round to decide if they want to pull them back in.

Photo by Nick Schnelle

The judges debate over the last four projects in the final round of the Large Group Multimedia Project.

Photo by Nick Schnelle

Co-coordinators Stuart Palley and Naveen Mahadevan wait as the judges debate before selecting medal winners.

Photo by Nick Schnelle

Sarah Hoffman sends out tweets to @CollegePhotog twitter followers at the end of the Large Group Multimedia Project judging.

Photo by Nick Schnelle

Multimedia Division judge Amanda Lucidon, left, and incoming Still Division judge Cathaleen Curtiss, right, greet eachother after the end of the Large Group Multimedia Project judging.

Photo by Nick Schnelle

Multimedia and Still Division judges gather for group portrait outside of Tucker Forum in Gannet Hall after the conclusion of Multimedia division judging. From left: Joe Weiss (Multimedia-division moderator), Robert Hood, Cathaleen Curtiss, Amanda Lucidon, Kurt Mutchler, Bob Sacha, Whitney Shefte, and Janet Reeves.

Judges (from left to right) Alice Gabriner, Lisa Krantz, Geri Migelicz, and David Gilkey scan through Portfolio category entries.

Semi-finals for the Portfolio category.

Judge Alice Gabriner from National Geographic.

Judge Lisa Krantz from the San Antonio Express-News

Judge Geri Migielicz from Story4.

CPOY coordinator Kristan Lieb.

CPOY director Rita Reed (standing) watches as volunteer Hye Soo Nah (left) and web producer Brett Slaughter (right) edit down the podcast for the General News category judging.

After a long day of judging.

David Rees, chair of photojournalism department hugs judge Geri Migielicz, who is an MU alumni.

From left: Melissa Wiley, Eric Seals, Patty Rekstan, CPOY Director Rita Reed, Liz Baylen and Joe Weiss.

By Madison Mack
Interviews by Jonathan Hinderliter

Photo by Madison Mack

Katie Currid and Chris Dunn ask Liz Baylen and Melissa Wiley for advice on dealing with careers and relationships.

Photo by Madison Mack

Eric Seals critics a students portfolio while waiting for the winners' show to begin.

Photo by Madison Mack

The judges look over their winning selections during the winners' show.

Produced by Brett Slaughter

At 6:45pm on Thursday, November 11, 2010, CPOY Director Rita Reed called this year's College Photographer of the Year, Rachel Mummey, to be the first to congratulate her on the award.

Photo by Nick Schnelle

Jonathan Hinderliter edits a video interview of last year's College Photographer of the Year, Ryan C. Henrikson.

Photo by Nick Schnelle

Students gather for the judging of the Pictorial category.

Photo by Nick Schnelle

Photo by Nick Schnelle

Judge Joe Weiss gestures during a discussion of the images in the Pictorial category.

Photo by Nick Schnelle

Photo by Nick Schnelle

Judges Liz Baylen and Eric Seals, right, talk with Clint Alwahab and Kristen DiFate during a lunch break at the Upper Crust Bakery & Cafe.

Photo by Nick Schnelle

Judge Joe Weiss, Director of CPOY, Rita Reed, and judge Melissa Wiley enjoy their last couple of moments during a lunch break at the Upper Crust Bakery & Cafe, before having to return to Tucker Forum for the judging of the Individual Multimedia Story/Essay category.

Photo by Nick Schnelle

Chris Dunn, left, laughs during one of the more humorous-toned Individual Multimedia Story/Essay entries.

Photo by Nick Schnelle

The judges get their first look at the entries for the Individual Multimedia Story/Essay category.

Photo by Nick Schnelle

The judging of the Individual Multimedia Story/Essay category draws a large crowd that fills most of Tucker Forum.

Photo by Nick Schnelle

Two things to look forward to every fall: The changing colors and CPOY, taking place at Tucker Forum inside Gannett Hall at the University of Missouri-Columbia.

Photo by Nick Schnelle

Gerik Parmele, Columbia Tribune Photo Editor, right, talks with judge Eric Seals during a visit to Tucker Forum.

Photo by Nick Schnelle

The judges get their first look at the photos from the Portfolio category.

Photo by Nick Schnelle

Despite having a cough most of the week, judge Eric Seals, right, has fought through and delivered on executing his daily dose of judging and commentary at CPOY.

Photo by Nick Schnelle

Rita Reed, Director of CPOY, listens as co-coordinator Katie Wood tells her about a technical issue during the judging of the Portfolio category.

The judges are given a break during the judging of the Portfolio category.

Photo by Nick Schnelle

Judge Eric Seals sets up his Flip video camera to record the lights and sounds of the voting box.

Photo by Nick Schnelle

The four chairs the judges sit in remain unoccupied while the judges take a break from voting.

Photo by Nick Schnelle

Photo by Nick Schnelle

Students crowd Tucker Forum for the judging of the Domestic Picture Story category.

Photo by Nick Schnelle

Co-coordinator Katie Wood, right, guides Katie Currid, right, with reading captions from the computer.

Photo by Nick Schnelle

After the first round of voting in the Documentary category, judges look back at photos they voted out and raise their hands to signal if they don't want to bring them back in. This ensures that each entry has a fair chance to be at least viewed again by the judges.

Photo by Nick Schnelle

Web-producer Brett Slaughter works behind the scenes on the blogging and podcasting computer in Tucker Forum.

    Photo by Nick Schnelle 

After returning from lunch, Patty Reksten peels back the black curtains which conceal the entrance of Tucker Forum, home of CPOY.

Photo by Nick Schnelle 

A group of students file in through the black curtains to Tucker Forum to get a personal account of the judging for CPOY.

      Photo by Nick Schnelle 

The judges analyze the "in" photos for the Feature category.

Photo by Nick Schnelle

After a much needed lunch break, Rita Reed, Director of CPOY, right, breaks the tension of judging by dancing to the "Cockatoo Dances To Whip My Hair'" video.

Photo by Madison Mack

Joe Weiss rests his eyes in between rounds of strenuous judging. The portrait category alone had over 1,400 entries with less than 1 percent surviving to the semi-final round.

CPOY Director Rita Reed discusses the history and educational focus of the College Photographer of the Year competition. Interviews with Liz Baylen, Patty Reksten, Eric Seals and Joe Weiss are posted below. Melissa Wiley will be joining CPOY on Thursday for the judging of the multimedia categories. Biographies for all the judges may be found here.

Joe Weiss prepares to be interviewed prior to the start of judging. Video interviews with the judges will be posted to the blog as they are completed.

If you are unable to be with us in person, please keep an eye on the judging via the podcasts on the cpoy.org website. We will be updating this blog with behind-the-scenes content from the contest judging period. Check back soon for more updates and make sure to follow @CollegePhotog on Twitter for updates during the judging week.

Are you looking for the previous year's blog content? Click here.

Four green lights on the voting box are what contest entrants dream of. The lights signal that all four judges approved an entry for placement.

The judging, twittering, blogging, podcasting and watching all take place in Tucker Forum in Gannett Hall at the University of Missouri.

From left, judges Barry Locher, Nicole Frugé, Lara Solt and Zach Wise watch as images are projected onto the screen during the judging of International Picture Story.

Rita Reed/CPOY:  From left, CPOY judges Zach Wise, Seth Gitner, Lara Solt and Nicole Frugé pose on a University of Missouri sign at the corner of Ninth and Elm streets.

    • The first photo sets the tone of the portfolio and photographer.

    • Show a variety: composition, light, types of photography, moments, etc.    

    • Try to offer unique ways of seeing.

    • Convey your personal vision as an artist and photojournalist – one that serves as a cohesive unit.

    • Focus on moments. Offer intimate views into your subjects, so we connect with people on a deeper level.

    • Use layering to show multiple moments within a single frame.

    • Surprise the viewer. Show us something we've never seen before.

    • Challenge yourself. Stick with long-term stories that fuel your passion. Connect with subjects and offer visual variety. Trust your instincts.

    • Take a risk. It will push you beyond what you would normally think of doing. You never know what crazy idea could make an excellent photograph.

    • Bring more than your eyeballs. Don't just be a visual photographer; remember to tell a story.

    • Have something to say. Offer your point-of-view on life and the world.

    • Follow your own path; follow your heart. Photograph what feels right for you, don't feel like you have to trail the paths of others all the time.    

    • Edit tightly. One photo can ruin a portfolio. I'm not kidding. I saw what could've been an award-winner get voted "out" because of one image.

    • And remember, treat your subjects with respect. Empathize with your subject, make the viewer feel. Don't, and I repeat, DO NOT photograph in a way that is at the expense of your subject. We are all human beings. Treat people with the respect and dignity they deserve. The way a photo is communicated may read differently with a viewer than what you intended. Be aware of the sensitivity of the subject-matter and your viewer.

    
    I know this is a lot to think about, but hopefully this list will help when putting together your portfolio and making better photographs.
    If you want to understand this advice on a more concrete level, watch the podcast. My points will be reiterated with specific images.

To get a better idea of these patterns, CPOY took the in-camera data for all 636 of the images entered in sports action and crunched it according to aperture, shutter speed and focal length (we added camera make and model just for fun). The charts below show the most common settings (and cameras) used by entrants. Not all of the images processed had numbers for each category, making exact percentages hard to determine, but of the available data, the relative proportions are accurate.

So if you're out shooting sports with your D3 and 300mm, working the f/2.8, 1/1000 combination-- you're not alone. Just remember: in the end, it's the photo, not the camera or settings that matter.

Judge Lara Solt talks about an image that won her an award in the Personal Vision category of CPOY one year.

                                                                                                                                                                                                                       Photo by Lara Solt

                                                                                                                  Photo by Lara Solt

                                                                                                                  Photo by Lara Solt

                                                                                                                                                                                                                       Photo by Lara Solt

John Schreiber, front, and William Lounsbury test the projector and screencast before the start of CPOY judging. Schrieber and Katie Wood, not pictured, are Co-Coordinators and operate the images shown to the judges and record "ins" and "outs," respectfully.

Six different microphones stream audio through a Soundcraft PM6 Mixer. Four judge mics, one director mic and one caption reader mic all contribute to the audio heard on the podcasts as well as in-room audio.

To record the dialogue between judges during the competition, four Shure SLX4 receivers are used to pick up the discussions. The recievers feed into a mixer, which feeds into a compressor, which feeds into an amp, which finally feeds into a computer that records the audio.

An anxious Josh Bickel rubs his head while one of his entries is being discussed as a possible candidate for final placement in a category.

The staff members of CPOY 64 prepare Tucker Forum for judging. 621 frames over about seven and a half hours. Time lapse by Brenden Neville and Matthew Cavanah.

Judging in the 64th College Photographer of the Year competition begins tomorrow morning on the University of Missouri campus with the sports action category. If you can't make it to Columbia this year you will still be able to keep track of the judging progress and additional behind-the-scenes features on this blog.

Up to date information regarding the judging schedule and web updates will be available on Twitter via @CollegePhotog. Additionally, this blog is available on FeedBurner or you can sign up for email updates with the form in the left sidebar.

Click here to view this year's judges and approximate schedule.

Make sure that you tune into the CPOY screencasts or subscribe to our iTunes podcast channel to watch the semi-final and final rounds of judging.

Check back for more. The judges arrive Saturday evening and we will be posting video introductions sometime on Sunday.

Tear down of the CPOY setup in Tucker Forum. It is amazing how much stuff (and especially how many cables) are needed, just to see a few pictures.

Rita Reed sends out a press release Saturday evening.  (Photo by Katie Barnes).

Judges watch the Winners Slideshow.  (Photo by Katie Barnes).

Home page photos are chosen and the cpoy.org webpage goes live.  (Photo by Phoebe Sexton).

More of the same, but I think that these are interesting to demonstrate the sheer number of images viewed in a day during CPOY judging.  Today we viewed over 50 multimedia video projects, and over 1,600 portrait submissions.  This timelapse consists of 1,439 images taken over an 11hour period and compressed into 29seconds and 22frames.

Jimmy Maritz in the driver's seat. 

Samantha Clemens readies her set for the judges' interviews. 

Ryan Gibbons under the hot lights.

Jimmy and Beth Suda - technical difficulties.

It begins - finals of the Sports Action on Monday morning. 

David Rees aka Sensei drops by.

The old trusty judging box.

A time lapse consisting of 1,216 still images from the judging on Monday, November 10, 2008. (Photos by John Hook).

Steve Rice (Minneapolis Star Tribune). (Video produced by Samantha Clemens).

Travis Fox (Washingtonpost.com). (Video produced by Samantha Clemens).

Melissa Farlow (National Geographic Magazine). (Video produced by Samantha Clemens).

Tammy Lechner (Freelance).  (Video produced by Samantha Clemens).

CPOY Director, Rita Reed makes introductory remarks at the start of the 63rd College Photographer of the Year contest. (Video produced by Samantha Clemens).