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Tremendous issues here. I am very satisfied to see your post. Thanks a lot and I am looking forward to contact you. Will you kindly drop me a e-mail? If you are going for most excellent contents like myself, simply go to see this website everyday for the reason that it presents feature contents, thanks. Of course, the only truly mortal aspect of photojournalism is the outdated business structure sagging around it. Photojournalism itself obviously will always survive as long as there are cameras and people who want to tell a story.
The main existential questions are: What will take the place of the old, print-oriented photojournalism model?
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Will still images be usurped by video and other multimedia platforms? Will anyone make any money at it? The answers are still evolving and will not be easy to determine, says Scott Mc Kiernan, an award-winning photographer and founder of independent photo agency Zuma Press in San Clemente, Calif. Pictures have become very much a commodity.
Seattle-based photographer Dan Lamont says the result is a "classic problem of supply and demand. The value of the work is diminished demonstrably. We're glutted with content and assignment work, so images are not worth what they once were.
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It's a matter of adapting. Mc Kiernan also says it's time to add a little perspective to the doom and gloom about the industry.
Even in Magnum's heyday after the Second World War, "there were only 30 photographers, with maybe 20 people doing 95 percent of the work. The "invasion" of citizen journalism, Pappis says, has the potential to take away the few paying photojournalism markets that are left. They're happy just to have their name on the screen. But others say this short-term problem will be a positive boost, eventually. Competition just puts the spurs back into our sides.
My advice would be not to see covering plane crashes as a business model. Though some disagree on the means, the consensus among most photojournalists is that the industry is a dinosaur that must reinvent itself in light of the irrevocable paradigm shift toward online content. The huge hurdle we still have to jump over is the reluctance of advertisers to fund online publications the way they used to fund print magazines.
Once that new model is established, don't bother looking toward the traditional [print audience], because they're gone. These days, with both good and bad photos flooding the market, photojournalists have to learn to live with lower prices for photos and should embrace the internet's ability to compensate by vastly increasing their distribution. With many newspapers and magazines going out of business, some photojournalists have created their own publications to provide a showcase for in-depth photo essays.
Back in , when the internet was still relatively young, Halstead saw the writing on the wall and launched The Digital Journalist, an online magazine covering the visual journalism industry. Launched in , MediaStorm is a production studio that showcases what Storm calls "cinematic narratives for distribution across a variety of platforms," including animation, audio, video and still photography. The goal of the MediaStorm platform, Storm says, is to promote high-quality storytelling that rises above the din of amateur photos.
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Most of the revenues are generated by producing still and video content for various corporate clients and organizations, and also from licensing content to markets across several formats, including TV, the internet and mobile devices. Other funding comes from advertising, sponsorships, workshops and sales of stories on DVD.
Some, however, say that relying solely on web clicks will not be enough to shock the industry back to life. Media outlets, Smith says, need to think like Rupert Murdoch, who is planning to charge readers to view content on his News Corp. The free-online-access model was a crucial error by the newspaper business, Halstead says. It's at less than 10 percent of what it was. Strength of content is no longer enough to justify "giving away the crown jewels," Halstead says. Rates are going to have to come up, but only if the value to the advertiser is clear. The Wall Street Journal, Halstead adds, is one of the few newspapers that never posted its articles online for free and, as a result, is doing relatively well by providing "content that you can't get anywhere else.
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Halstead also says it's time for some direct action from the journalism-oriented nongovernmental organizations NGOs such as the John S. Knight Foundation and the Poynter Institute. Several NGOs, such as the Smithsonian Institution and AARP, are in a position to help out more with the production of content — to create a "greenhouse" to promote new outlets and to help create viable markets for news photography, Halstead says. It's going to take a Rockefeller to start priming the pump.
Despite the generally bleak outlook in the industry, the educators of tomorrow's photojournalists say interest in the field is stronger than ever. What is changing, however, is the way the craft is being taught.
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Paul Myers, a photojournalist and faculty member at the Brooks Institute's visual journalism program in Santa Barbara, Calif. Today, three curriculum changes later, that ratio has flipped in favor of video production. Instead of one definitive image, they are asked to get 20 images. Aesthetics are also playing a much larger role in photo essays, Myers adds. Getty's Porter says he fears that the emphasis on beauty will lead to a diminished visceral impact in news images. Susan Bloom, director of visual journalism at Brooks, says students need a much broader set of skills these days, including multimedia storytelling, HTML, web design and postproduction, but adds that still photography is still the dominant medium — or, at least, still photos complemented by audio.
Mc Kiernan also cautions that the multi-media trend will come at the expense of technique. I'm also not convinced that video is a great market.
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