By: Frances Micklow

Ian Fisher: American Soldier

27 months, three years from idea to publication. 130,000 photographs, 130 hours of video. They had the love of photojournalism to get this published.

The Idea:

2007: “Who would want to sign up no?”

Working title: A Colarado Patriot

You can’t tell every soldier’s story, but you can tell one soldier’s story

The chances for failure in this story were enormous.

“The gods of photojournalism were smiling on us that day” Ian had/became the perfect story.

Style and Philosophy:

Set the bar high from the very start.

Be better than the Rocky.

Do the best work of their career.

Had to build the trust and relationships from the very beginning so Ian would call Craig when he did good and bad things.

You’re a reporter with a camera. Your priority is journalism.

Craig took photos, copious notes, and wrote daily ‘day-in-the-life’ accounts. He was there to take pictures but did notes and reporting as well.

Every time they sat down with Ian they had basic questions that they wanted to ask over and over (what does patriotism mean to you? How do you feel about having to kill someone?), but they ended up changing that half way through. But at the end of the project, they asked them again and read him his first answers

Forms of Content:

Wanted to do the very best work possible.

Decided that they were not going to use any live video other than the interviews.

Shot many of the photos before he shot the video interviews so Craig knew what kind of questions to ask during the interviews.

Extra Online Content:

Slideshows and video were a given. But they wanted to do extra things as well: views from the Humvee, cast of characters, interactive map of major U.S. bases in Iraq, a list of Army acronyms.

Content Gathering:

Focused on the documentary photographs, and then combined the audio/video for the multimedia.

Were given so much access, they were never denied a photograph.

When they marched, Craig marched with them. It was imperative that he made the connections and gained the trust of Ian as well as his family, friends, and entire platoon.

Had to learn the best way to communicate with Ian, so Craig had to learn to text.

Content Editing:

Craig and Tim did photo editing as the photos came in. While editing the photos, the team tried to keep an open mind about what the chapters online were going to be. Started to try and organize the content into a story board in a way that would work for the online project. Craig made a giant time line of the events in Ian’s life. Meghan then merged that time line in with the videos. Meghan then logged all the video and did a 500 page transcript of all the videos.

Time Frame:

Started out thinking the project was going to take 1 year. Didn’t deploy until 15 months after the start. When it came time to run the story in the paper, the editors pulled the story. The paper had to pull the written story up to the level of the multimedia project. Thanks to Craig’s notes and daily writings, the writer was able to put together a good enough written work to save the story. Craig saved the piece

The Design:

The Mom test—Meghan sends her project to her mom to see if she can navigate the design, if she can’t, they change it, they learn something new from it.

Presentation:

Wanted it all to be very simple. Use a large marker board to map out the flash of the project. Prioritize the important things to get up. Did flash site, photos for a blog and a page on the paper’s page so people could see it in different formats/options. Made a blurb book—used it for gifts to the family and people bought it.

Have gotten well over 3 million (“a gazillion”) hits on the project, has been run 12 times in the world, and won the Pulitzer Prize.

By Elissa Ewald

How do I get better sound? Darren Durlach gives you tips for how to collect audio on the scene of a story that helps viewers experience the story.

“I would rather have better audio, better sounds, better characters than better images.”

Gear (What Darren uses)

ME66 Sennheiser Shotgun mic

Lectrosonic-UCR 401

Lectrosonic-um400a transmitter

JVC noise cancelling headphones

On the way to scene, conceptualize with your reporter. Discuss audio or moments to gather so you know what to look for when you get there.

Start shooting anything that is going to go away. The first thing you want to do is capture the visuals and audio that you’re not going to be able to get later on.

Ask yourself, are there moments?

Duck Pin Politics

Mission of Hope (Part III)

Use your wireless mic. “Go fishin’” for good character sounds and nat sounds.

You need to gather sound in the moment, because the moments are what make stories memorable. Making the most of a moment means getting good sound.

Just like you shoot tight, medium and wide pictures, there should be tight, medium and wide sounds.

Use natural sounds to transition your piece from one part to the next.

Audio springboard—can serve as a creative lead into a story.

By: Frances Micklow

Presented by Sarah Bates and Warren Peper, The Post and Courier

How we’re getting news is changing. Getting news used to be a lecture, now it is a conversation. The move is going to interaction to create that conversation between the audience and the news sources.

Video needs to have a purpose, it must be compelling, entertaining, informative, and worth watching. It shouldn’t go up just because you have the capability.

Man on the Street

Use the different aspects of the paper (video, articles, etc) to work together and cross promote

Post and Courier has paired with Comcast to put together a 30 minute news show called In The News with The Post and Courier. Produced and used to show news and draw readers in.

TV is there to do TV, it’s finding a different or better way to provide the readers with the information, but using some tools from TV to do it.

When you’re moving the Titanic, remember it takes time. Even two or three degrees can be a big change in the long run.

Have to find the balance with the amount of time you can spend on different stories. Spot news needs to go up quick, longer format (i.e., man on the street) can be more flexible with time.

“Keep it simple stupid”

Have to hold our selves to a higher standard than YouTube, anyone can throw information up on the internet and people with watch it. You still have to take the time to get good audio and video, it still has to be clean.

Think beyond what newspapers have always thought about.

Newspapers need to be more open to promoting their own personalities. Don’t let the faces of newspaper be completely invisible, it is ok to promote.

It’s not always the produced videos that draw in the most hits; it is often time surveillance tapes, dashboard cams, 911 tapes. Papers have to realize that these things are available to them too if they have the technology and capability to work through it and get it up online.

The capability for video is much more accessible now, so newspapers have to take advantage of it. Not everything has to be network quality but it has to be professional.

Push your featured videos and photo galleries to the top of the page so to better promote the good things your paper is putting together.

You have to prioritize the videos that you shoot and put up on line.

You don’t want the numbers to drive what you cover.

Darren Durlach discusses his video techniques and how to improve your video storytelling and capture your viewers.

“Storytelling is about getting the viewer to care.”

In maximizing the story, as a photojournalist…it’s your job to get out of the way and let the story tell itself. You don’t want to do anything to distract the viewer from the story.

Quickest Way to Dress up Your Storytelling

-shot variety: not just tight medium and wide, remember shots with foreground to give depth, high angles and low angles, “zoom with your feet” (depth of field), exploit repeated action, never edit two similar sized shots in a row, make your tight shots tighter and your wides wider, fill your frame

“C’mon Son” water main break story

“I think one of our jobs as photojournalists is to show our viewers the world in the most unique way possible.”

Soldier Salute

How do we get the viewer to care?

-personalization

-people care about the story when they relate to the people involved

-find the story in the story

-if you find someone interesting then most likely your audience will find them interesting

-talking heads are boring

-check back in on the character if you can

Mission of Hope

Angels for Irma

How do we involve the viewer?

-action-reaction

every action has a reaction

reaction is what the viewer at home relates to

Sweaty Buttery Teamwork

-The most valuable tool in your physical toolbox is your wireless mic

The mic adds an entirely new dimension to reaction–suspense

video of reaction without sound and you’re looking at a stranger, but if you add the mic they become human

efficiency is king-shoot ‘n move (unless they become a pivotal character)

Special Piece of History

use “active interviews” which look like b-roll and keep the story rolling

White Smoke, Black Smoke

“Moments are what you look for in stories. Moments are what’s important.”

-Moments don’t have to be big. If it compels you then it probably compels your audience.

-Don’t be frustrate when you miss one

-Establish trust from the beginning and people let you in

-Every story has moments.

“McNatra”

Snow Wrap Up

and lastly…have great endings!

-The ending is more important that the opening. It is what leaves the viewer with a feeling.

Stanley Leary shares some insight on how you can improve or build a successful business in photography.

Find the entire presentation at http://www.stanleyleary.com/marketing.pdf

“Corporate clients are looking for, first and foremost, someone who can solve the immediate problem.”

To be successful in the business side of photojournalism, you need to make sure not to get too focused on making your portfolio or website perfect, but you also need to concentrate on meeting clients, listening and asking good questions.

Need to develop a business library to help you deternine how to run your photography business.

Suggested Books:

Pricing Photography

Truth Needs No Ally

Best Business Practices for Photographers

The Photographer’s Guide to Negotiating

The Photographer’s Guide to Marketing and Self-Promotion

Photographers Market

Sell & Re-sell Your Photos

Professional Business Practices in Photography

You need to also be reading what your clients will be reading.

Suggested Software:

Quicken

fotoQuote Pro

Outlook or Entourage or another database program that works for you

shootQ

Know your cost of doing business. (NPPA Cost of Doing Business Calculator)

Network. Go Where your Customers or Prospects go or are likely to be.

Five Things for Success:

(1) Persistence

(2) Being Nice

(3) Whom you know (Teachers, Coaches, Facilitators, Mentors)

(4) Skilled in Craft

(5) Talent

By: Frances Micklow

Presented by Craig Walker, The Denver Post

Ian Fisher: American Soldier

Started with two subjects from Bear Creek High School. Began following Troy, interviewed and took photos for two plus weeks. One day Craig Walker noticed that Troy had changed, and he told Walker that he didn’t want to join the army anymore “You know all those questions you’ve been asking me?”

That’s when they began following Ian Fisher. They followed him everywhere. Graduation, parties, Army recruitment office, on the bus and plane to Atlanta for basic training, to Iraq, everything.

“This is not supposed to happen. I knew it would be difficult, but this is not supposed to happen,” Walker said to his editor Tim Rasmussen when the story took a turn. “That’s the story,” said Rassmussen. “Follow the story.”

“I’m scared and I want to go home” –Ian

Sometimes you make a picture that you didn’t know you had. A good photo editor can help you find them.

Build a relationship with your subjects, gain their respect and trust.

The story became a story of a boy growing up more than just the story of a soldier.

The story isn’t going to go where you think it is going to do, but you have to follow it.

Always follow the story.

by Elissa Ewald

Greg Smith discusses some need-to-know business practices if you want to succeed in your career as a visual journalist.

Why are you here?

Are you here to make big money? To seek fun and fulfillment? To make a difference? To make enough money for long enough that you can have a fun life and make a difference?

Greg’s Mantra for making better pictures

-look at the light

-fill the frame

-grab the moment

Rule of Thirds for business

(1) Look for opportunity

Ask yourself who you want to be, who needs you, where are they, how do you reach them, and with what tools and channels?

Key tools and channels: website, printed portfolio, social marketing, face-to-face networking, direct and email, cold calls

(2) Fill the niche

-Show and explain what you can deliver

-Be prepared to deliver it professionally

-Deliver beyond expectations (but not too far)

-Be a professional in all situations

Digital Standards for arching, delivery and reproduction

-understand and follow UPDIG

-understand and implement professional workflows: dpBestFlow

-protect the value of your images for you, your clients and history with complete, proper Photo Metadata

Others: IDEAlliance, IPTC, JPEG, and LOC’s NDIIP (Digital Preservation)

(3) Grab the profits

-know your costs

-follow the rules

-know your value

-know your market

-negotiate effectively

-collect

Focus: Preparing to Profit

Understand your costs

Understand licensing, contracts and copyright

Determine value

The NPPA Cost of Doing Business Calculator

Copyright Basics

-you own it the instant you make it

-…unless you are an employee

-…or you sign a work-for-hire contract

-others must license use.

-practical enforcement requires registration in the US

-copyright is under fire

Why register your copyright?

-enables statutory damages, court costs

-separate published and unpublished

-can batch register (any # unpublished)

-register published in 90 days and get protection from 1^st publication

-new electronic registration saves $

=registration date is when CO receives

Contracts concerns

-A contract is an agreement between two parties, and is, by definition negotiable.

-It’s what’s on paper that counts.

-Multiple papers, estimate to invoice—there needs to be a paper trail for every contract.

-Contracts should protect against possibilities.

-Small party should no indemnify big.

-All changes must be in writing.

Stock Licensing Models

-rights manages

-royalty free

-microstock

-rights ready/PLUS Packs, etc.

-PLUS makes rights managed easy

Licensing basics: Ask what medium? What size? What placement? What circulation or # of impressions? How long? What region? What market?

Determining Value

What is the use, the quality, the expedience, the reliability, the panache, the negotiation, and the market of the content you are providing?

What are good sources for pricing information?

Your colleagues

Professionals you respect

FotoQuote and other pricing guides

Getty and other image distributors

PLUS to define licensing

::WARNINGS::

-work for hire (w/o paycheck & benefits)

-microstock

-spam solicitations

-dangerous indemnity clauses

-slow- and no- payers

-offers for “exposure” and “access”

-Contests that collect extra rights (Learn about your rights and which contests to avoid)

-undercutting good markets

-Not including full metadata

Solutions?

Consider client’s perspective, offer creative compromise, offer unique vision and stories, do something else, assign yourself to your projects, or… marry well.

By: Elissa Ewald

Garrett Hubbard from USA TODAY gives some tips on how to improve your video interviewing techniques.

Developing Trust

The extent to which you can get a good interview is the extent to which your subject trusts you.

25 years after Beirut

Part of overcoming interviewing challenges is planning ahead so they don’t become excuses.

The Interview

Batteries and memory!

Attend to the audio

-What does the room sound like?

-Wireless handshake

Attend to the Lighting

-separation and detail

Compose the frame

-compose for context

-minimize set up and complexity

-keep the eyes 1/3 down from the top of the frame

-avoid chairs that rock

-use compositions that work wide or tight

Interviewing

-get name/spelling/title first

-complete statements-you need them!

-avoid short-answer questions, instead use compound questions to get complete answers

-have a conversation…but keep your noise to a minimum

-leave handles…the pause that makes editing possible

-ask “Is there anything else?”

Other pointer

Don’t talk while your subject is talking!

No talking or noises of affirmation while the subject is talking!

Silence is golden

Curious dog stare

Asking the Same Question

If you have multiple characters telling the story, ask them some of the same questions. Makes it easily to transition from character to character when piecing together your story.

If you’re interviewing a person and your camera is on a tripod, try conducting your interview with your person framed on the left and you standing to the right of the camera to increase visual variety. Or let your subject know that you may ask questions multiple times and quickly change camera angles and frames each time you ask the question.

24 Hours in the ER “Opinions of Reform”

By Frances Micklow

Presented by Meghan Lyden, Denver Post

One of the biggest struggles with multimedia is organizing all the content.

Things to consider: style/philosophy, form of content, content gatherers– who is going to get the content? Who takes the best stills? Who knows how to do good video?, content editors—who knows how to edit everything? time period—how long do we have? Will we need/get a little extra time? design, presentation—do we want it online? On facebook? Partnership—who’s help do we need? What can’t we do and who can?

Childhood Poverty

Start with a story board and ask questions. What content do we have? How am I building this? How will things relate? How will I name all of my content? Who are we shooting? How will I best organize everything?

When the pictures start coming in, the takes are edited out and the edited folders are looked at in their entirety. Each photographer spent about a week with each of the families. Organize the content in a way that seems to make the most sense. Do the audioi first, make the story as interesting audio wise as possible. Know your visual the whole time, then fit them together.

Trashing the Truth

You’re not always going to have the best scenario to work in, you don’t have to follow the same organization that you would in print. With Trashing the Truth, the multimedia was given material to put into the story. They had the reporters who worked on the story in the first place help draft a script for each of the sections to help tell the stories.

Ian Fisher: American Soldier

What’s the style of this project going to be? What does this kid do? What does it mean to train? To come back? Did we want action video? Who do we have to gather the content? Who is going to edit it? How long was it going to take? What do we want the design to look like? How do we organize it all? There were hundred of thousands of photos, so over the years the photos would be edited, talked about and pulled for paper and online content. Then they were brought back to the storyboard. Made a time line of Ian’s life—the only way it made sense was to do it chronologically. Took the time line made by the reporter and merged it with the tapes and interviews. Everything was logged and put into a transcript.

You have to organize everything in a way that makes sense the best for you and go from there..

Multimedia doesn’t always have to have a print component for it, make the time to do the projects. Set a goal, ask the questions, be ambitious.

“Show them, don’t tell them.”