My most bizarre assignment

On the heels of my last post, “Content versus Craft”. I thought that I would relate to you the story of my most bizarre assignment. I tell you this to stress that not all assignments are full of excitement and high adventure and can sometimes be a bit, well…, strange.

The Assignment

York is a company that makes high end caskets here in the U.S. A company in China is being accused of making cheap knockoffs of York caskets and selling them in the U.S.  As a result, York is supposedly filing suit against the China company. My assignment was to take pictures to accompany the article. This is all the explanation that I received. When I got to the casket showroom, the caskets were all arranged around the room. The owner of the showroom had been informed that I was coming just a couple of hours prior to my arrival. He was not aware of the law suit and was selected for the shoot only because he was a vendor of both the York and Chinese caskets. He was very nervous and simply minimally informed about what was going on. He was nice enough and allowed be to do my job with little interference. I shot the pics and left.

Here is an example where I was expected to cover the assignment with all of the gusto and excitement that would accompany any other assignment. My client, The Houston Chronicle, expected results and I had to deliver. I tried to provide an assortment of views including both close-up and wide. It was difficult because the small room did not allow for much in the way of variety in terms of views and perspectives.

I throw myself out there. How did I do? Share your thoughts. The entire photo shoot can viewed here

Content versus Craft

It happens every semester for the first couple of assignments. A student will say, “Mr. Sides, I do not have my assignment. I really wanted to shoot a great picture but I just did not see anything to shoot”. My usual response is, “If you did not see anything, you were probably looking too hard”. The student’s response is usually something like, “But I did not see any fires or wrecks or riots and stuff”.

This feeling, this attitude, this student perception worries me a great deal. Why does this student feel compelled to cover such an event? Sure, I admit, it is relatively easy to take great pictures during a disaster or other large event. The content by itself is shocking, emotional, breathtaking and whatever other adjectives you can come up with. All a photographer needs to do is keep the eyes open, the camera up and the shutter rolling to generally get some good photographs. But, why is such emphasis and importance placed on these types of photographs by students?

The reason, is because the general public and others including critics, editors and especially press agencies and contest judges often confuse photo content with photo skill. Shocking photographs of fires or floods or death or violence are generally considered “great”, “fantastic”, “awesome” even if the photographer just stood still and snapped away. Further, the photographers that captured such photographs are considered to be equally “great”, “fantastic” and “awesome” simply because they had a camera and were in the right place at the right time with some sense to be able to capture the scene.

I am not saying that there are not great photographs taken by great photographers with notable skill and vision. Check out the feature and breaking news Pulitzers for the last couple of years. There is some outstanding photography represented.

I am saying that there are many “great photographs” that are considered “great” merely on content alone with little consideration given to the craft the photographer.

I am concerned that students and young photographers feel compelled to shoot earth-moving events like disasters, wars, famine, and floods or social topics like homelessness, drug abuse, or urban blight in order for people to take their photographs seriously.

The reality is, that typical staff photographers spend much more time shooting less than spectacular assignments. When I went to work for a small town daily in north Texas, I had visions of covering gunfights, bank robberies, rioting in the streets, and general mayhem. I actually spent most of my time covering the ribbon cutting celebration of the latest shoe store or little Sally’s prize bull or the community picnic, Eula’s 102nd birthday or Billy-Joe’s retirement from the local fix-it shop.

The true value of a photographer and the true measure of a photographer’s ability lies not merely in the content of his photographs but instead, in the ability to take the mundane and ordinary events of normal life and make them appear extraordinary. The young photographer should not spend time seeking out content to photograph in order to get recognition and should not mimic what they see on the news or what they see published in newspapers or magazines. Young photographers should spend their time honing their skills and finding their vision. They should look for and celebrate the everyday things and make those things seem bigger than life.  Teachers, professors, hiring editors and others that control the destiny of aspiring photographers should encourage  exploration and celebrate the seeking of original and independent vision.

We should NOT say, “See these photos in the paper, this is what you need to shoot in order to be successful”

Technician, Artist or Story-Teller, who are you? Part III

The third significant group of photographers are the ones that I call the story-tellers. Photojournalists, of which I am one, fall into this category. Photojournalism means just that, telling stories with pictures in the same way that journalists tell stories with words. Our mission is to record moments in time in a way that conveys the look and feel, emotion and essence of an event, location or person. In effect we serve as the eyes of those not able to experience the situation themselves and record that moment to be experienced at a later time. We strive to condense the totality of everything into a single or a small number of photographs and invite the viewer to view, ponder and experience them.

Because of the general natural of our jobs, we must watch out for certain warning signals that effect our work. Because we often shoot similar situations time and time again, our photography can fall into rut. Just because the situations may be similar does not mean that all of the photographs need look the same. We must constantly strive to find our vision and creativity and to resists the urge to produce cliche’ images.

We must be aware of tunnel vision. There are times when photojournalists are so intensely centered on “getting the shot” that we miss opportunities for expression and creativity. Our images are often sterile, cold and lifeless. Here is where advice from an “artist” would serve very useful.

Photojournalism is an intensely competitive field. Photographers especially, young ones often compare themselves to their competitors based on their equipment. If we do not have the “best” and “newest” equipment, there is often a fear that we might fall behind the competition. We must refuse to give into those temptations and strike out to serve the world making the most of whatever equipment is at hand.

So where do you fall? Are you a technician? An artist? Maybe you are a story-teller. I hope that you realized that my discussion was a bit tongue-in-cheek. I purposely exaggerated the descriptions of the various groups hoping that I might strike a nerve. I wanted to antagonize you so that you would consider your own perspective with regard to your photography and realize how that perspective can influence how and what you photograph.

Which group is the best or most productive. I don’t know. Who really cares? The perfect photographer would be a balance of all three types that allows the best characteristics of each to work together to produce images that excite and engage the viewer.

History Channel Documentary 04/18/09

I mention the documentary “Black Blizzard” in Stuff to Read. It airs tonight, 04/18/09 on History Channel at 7:00pm CST and again at 10:00AM on 4/19/09. Great show featuring fantastic video footage, vintage photographs and brief discussion of FSA and impact on government policy and public opinion.

Technician, Artist or Story-Teller, who are you? Part II

So sorry folks. There is really no excuse for me being away so long. Sick kids, sick me, wrapping up semester, grading assignments blah blah blah. I will try not to let it happen again. Anyway, back to our discussion.

What kind of photographer are you? If you find yourself preoccupied with composition, lighting, balance, color, tone, mood, line, and such, you might just be the type of photographer that I call the artist. You most likely enjoy photographing your subject from every conceivable angle. You find yourself returning to the same subject over and over again because you feel in your soul that you cannot get it quite right. You have visions that must be revealed to the world. Your photographs grace the walls of museums, galleries and coffee shops across the globe. Your images are aesthetic. Yep, if any if you accept any or all of these statements to be true then you could definitely an artist. Artists are cool. You folks produce images that inspire and provoke and please us but, artists often find it difficult to transition from the so-called “art” world into the world of photojournalism. The first day of class I poll the students to find out which have taken a fine art photography class. Usually there are 2 or 3. I warn them that they might find it difficult to transition into photojournalism. Why?

First off, museums and galleries do not often chase down the works of photojournalists to grace the walls of hallowed institutions (although this trend my be changing slowly). Artists enjoy the luxury of uninhibited expression and have the freedom to explore any subject that catches his or her eye. While time is always a factor with any type of photography, it may not be a significant variable to manage for an artist. The artistic photographic scenario is exactly opposite to what the photojournalist experiences.

Photojournalists working at daily or weekly newspapers often experience a lack of freedom with regard to the selection of subjects. Most of us work from assignments. We are told where to go, when to go, and what or who to photograph. If we want to work, we shoot it whether we want to or not or whether it is particularly interesting or not.

Photojournalists rarely enjoy the luxury of time as the artists do and quite often are given limited opportunities to get the shot. Deadlines must be met. Events occur as they do, period. Once the moment has passed, it will never happen again. If the photojournalist misses a photo opportunity, the opportunity is lost. We are often asked to stand in a specific place, the sun is always wrong, light polls, potted plants, shadows, passers by and an endless list of other obstacles pose challenges that must be overcome. Photojournalist must anticipate and be prepared to shoot quickly to capture a moment that passes in a few seconds. Getting the shot is the goal, despite variables that exist beyond immediate control.

Artists often find the field of photojournalism threatening and stifling but the very factors that make photojournalism so challenging are the very factors that photojournalists thrive on. They enjoy the challenge, they enjoy overcoming what may seem to be impossible odds to get those shots that no other photographer can get. Great photojournalists always somehow manage to get the job done, regardless.

Post a question, rant, rave. It’s open!

(Almost) anything goes on this category. Post a question. Make a statement. Whatever moves you. This is your place to speak your mind about photojournalism. Please keep it clean and professional and it will not get edited or censored.

Technician, Artist or Story-Teller, who are you? Part I

I have met many different photographers ranging in experience from amateurs to seasoned professionals and even a Pulitzer winner. Over the years, I have identified three distinct type of photographers Where do you fall?

The Technicians fall into group 1. Group 2 is for the Artists and Group 3 is for the Story-tellers.

We have all seen them. They show up at an assignment carrying a huge camera bag while dragging a wheeled dolly bag behind them. They have their owner’s manual memorized and can tell you with great satisfaction the serial numbers of all their equipment as well as the place and date of manufacture. These folks are the Technicians. They can tell you anything you want to know about the latest technology and make certain that they carry a dizzying array of gadgets including the necessities like multiple batteries, chargers, shoe laces, filters, flash heads, rope, tape, clips, dental floss, q-tips, rags, tissue, tire gauges, clothes pins and so on, you get the idea. When I see these guys coming I just have to ask, “You have all of the latest and greatest stuff and all of the supporting accessories one can carry but can you take good pictures?”

Why do we care about the Technicians? Why not just ignore them? Who cares about the Artists or the Story-tellers? Why do we need to discuss this topic? The reason is, because we all fall into one of these categories. Who we are, what we think, how we prioritize and how we approach the field of photojournalism affects how we see the world and what we see though the viewfinder.

The Technicians are potentially dangerous because they typically believe that in order, take good pictures, one must have the latest technology. Related to is idea is the belief older equipment and technology is somehow fundamentally inferior and therefore useless when attempting serious photography. They believe that technology makes the photographer. Experience, vision, skill and practice are second to the type of camera the one uses. They obsess about digital noise and resolution to the point of not being able to even look at an image without being overwhelmed about the print quality or noise level. They are opinionated and very willing to go out of their way to offer advice on equipment buying decisions.

Of course, this belief is absolutely ludicrous. Older equipment is not inferior and in many cases, the only available option for young student photographers. Photojournalism is a lifestyle, a belief system, a way of seeing, an art form. The camera is a tool in the hands of a skilled user but to the over-zealous technician it is simply an expensive discussion piece.

Look at the works of Henri Cartier-Bresson, Margaret Bourke-White, Dorothea Lange, Weegee, Robert Capa, Lewis Hine and Edward Steichen. They produced some of our most treasured and iconic images with technology that existed many decades ago. Their cameras were hardly state of the art by today’s standards but yet they produced images equaled by few if any contemporary photographers using so-called modern and “better” equipment.

Young photographers must resist jumping into the, “I have an old cheap camera pity pool”. Learn to use what you have. Understand what it can do. Then exploit its strengths and avoid its weaknesses.

Coming up next, the Artists. Check back often to continue the discussion.

Until then. Thanks and best of luck to you.

Kirk

Copyright © 2009 by Kirk Sides

What is a photographer?

In the course of covering photo assignments for my clients, people see my credentials and approach me often. They walk up to me and say “I am a photographer. How can I get a job at the paper?” To myself I ask, “So you are a photographer, what exactly does that mean?” I have pondered this question many times. Does merely owning a camera make a person a photographer?

I suppose there must be a distinction made between the photographer and a photographer. When referring to a specific photograph, the photographer is the person who took the photo. The photographer is not necessarily a photographer. Understand?

Owing a camera does not a photographer make in my humble opinion. I believe that a photographer must possess a certain degree of knowledge and expertise about imaging technology and photography and that knowledge and ability must command a degree of recognition and respect from his or her peers. A photographer actively pursues photographic endeavors with eagerness and passion and a purpose to create lasting images to entertain, inspire and engage the viewer. This is a contrast to the person that owns a camera and casually snaps the occasional family keepsake. A photographer photographs out of love for the craft and strives to grow and to improve his skills all the while searching for what Henri Cartier-Bresson called the decisive moment.

Think about this the next time you tell someone that you are a photographer. What exactly are you telling them about yourself?

What do you think? Share your thoughts with the group.

Copyright © 2009 by Kirk Sides

Why write this blog?

Writing a blog is a fairly large commitment in time, energy and resources. Some my ask, “Why do it?” Why spend time observing and commenting on the field of Photojournalism?

I say, “Because.” Photojournalism is my life. I teach it, I live it and I do it. I absolutely love studying the history of it, talking about it and and critiquing it.

OK, i admit that I might be a photojournalism geek.

I am concerned about the field. Newspapers are in trouble. The printed press in general is in trouble. Photojournalists are in trouble. Jobs are being lost and assignments are being trimmed.

As photographers we must be at the top of our game. Those of us working must present the best possible work to the world to show that photography is an invaluable asset, the loss of which would be a horrendous travesty. I am concerned because the work I am seeing is not the best work. Front pages across the country are frankly, weak. In general, the photography is bland and uninspired. Of course there are specific pages that shine from day to day but in general, the photography is flat. These are my observations and opinions.  I know that the photographers are there and that they are very capable and talented individuals. Why is the work suffering? What is going on?

I would like for you to visit this link to view front pages and see for yourself. Do not take my word for it. Look and ask yourself if you feel inspired, agitated or excited by what you see.

As we gear up this blog, I want to get your reactions to my comments. Your comments and opinions are always welcome. I thought the quickest and easiest way to collect some data would be a short poll.

Take a look and tell what you think.
Kirk

Copyright © 2009 by Kirk Sides

OK here I go!

As promised, here is my new blog. The Press Photographer Journal will be our space to discuss the art, craft, profession and business of Photojournalism. Located at http://pressphotojournal.wordpress.com, I invite students to gather around, read, ponder and discuss the various topics presented each week. Currently, I intend to update once a week unless the spirit particularly moves me. Interesting comments come up all of the time in class and if so, I will share with you here.

Experienced professionals should feel more than welcome to share your thoughts and opinions. The more the merrier. I really want this to become a popular place, a watering hole of sorts to talk, laugh, cry and to consider this crazy profession we call photojournalism.

Vendors are invited to share gadgets, technology, publications or whatever. The better informed we are about available resources, the better informed and better equipped we will be to handle situations in the field.

Until next time
Kirk