“Have You Ever Thought About Plumbing As a Career?”

For those of us who have been in this business long enough, the title of this blog has been the subject of an urban legend that has been circulated widely as a response to a photographer during a portfolio review at one of the more prestigious workshops in the country. And although I have been offered corroboration by people who claimed to have heard those words uttered and witnessed the recipient running off in tears, the only person who may know that truth is the photo editor who allegedly offered those words of advice as a critique.

Now some may argue, that this kind of “tough love” may have actually been beneficial to the photographer, perhaps even “speeding up” their decision as to whether they wanted to pursue photography as a career. But I contend that there will always be better ways to say the same thing. And this is not about the “carrot or the stick,’ or the “spoonful of honey,” or pick any analogy you wish. This really comes down to just being civil — something that has been lost in the social media world we are now immersed in.

I wrote a similar blog last year after a photo appeared of three young photographers, cameras in hand, “watching” the game-winning play at the NCAA Championship football game, rather than shooting it. The amount of “piling on” these young girls took on social media was unbearable. No one was offering any words of encouragement for a lesson learned. It has become so much easier to debase than debate.

http://jimcolton.com/blog/2018/1/9/we-are-better-than-that

And sadly, this loss of civility has become so rampant, that it has actually made people, as I read in one recent posting, “choose camps.” Why are we choosing camps? Are we preparing for war? The divisiveness is palpable. And at a time when we, as an industry, are being labelled as “The Enemy of the People,” what possible benefit could there be in tearing each other down from within? None!

People write blogs. I do. And I am sure many of you who are reading this do as well. Most blogs are forms of expressions; many times the writer’s own opinion on any given subject. They are not meant to be definitive statements. They are most times, not irrevocable facts. They are thoughts shared and perhaps even believed by the writer to be true — in their world. And the healthy way to respond to any form of expression is to challenge that opinion if you disagree. But please do it in a professional, respectful manner, even if you are angry at what was written or said.

There is nothing to be gained by saying someone’s opinion is “bullshit,” or by calling people names. Do you really want to be Dan Aykroyd blurting out, “Jane, you ignorant slut!” Because that is how you will come across.

https://www.youtube.com/watch?v=c91XUyg9iWM

Many of you will realize this blog is a response to some recent postings concerning a perceived lack of appreciation for some of the seasoned veterans of our business by younger photographers. Some people turned this into an “agist” issue saying it was a direct and personal attack on younger photographers. And after one of the subsequent blogs, one person wrote that this was “…just another piece written by ‘an old white guy,” bringing race and gender into the conversation as well.

Both of those postings were written by industry veterans. One of whom gives back to our business in the form of cash grants to photographers in the tens of thousands of dollars — from their personal account! Both are brilliant photographers. Both have my utmost respect. But that doesn’t mean I can’t disagree with what they may write in their blogs. We all have opinions, and we must respect that.

I had a long and healthy conversation with one of my favorite nieces last week (I have 2,800 nieces and nephews) who asked me if I really thought that photography “sucked” today. I told her I did not. That I responded to a sentence in one of those articles regarding the “manipulation” of images, which I wholeheartedly believe should always be truthful. But that did NOT mean that I agreed with everything else the author wrote.

I also told her that I mostly refrain from posting my “opinion” on social media because some people will spin what I say to prove or disprove whatever narrative they are espousing. It has happened to me on more occasions than I care to share. To give it a sports analogy, when you are in a battle you can’t win, you lose the incentive to play the game.

https://pdnpulse.pdnonline.com/2018/03/carol-guzy-wins-2018-robert-capa-gold-medal-award.html

But what I do like to do is comment on the great work I see being produced every day, by talented photographers of every age and gender. I get great enjoyment in being able to share the remarkable work being done by one of the industry’s best, Carol Guzy, who has more compassion and dedication for her subjects than any human being I know. Or Maggie Steber, Lynn Johnson, Mary Calvert, Renee Byer, Carolyn Cole, Barbara Davidson, Lisa Krantz, I can go on forever.

And I am equally jazzed when I see the amazing work by my other niece; Steph Chambers who is killing it daily at the Pittsburg Post-Gazette! And Carolyn Van Houten’s (aka Van Hoooooten) powerful coverage of the migrant crisis in Mexico for the Washington Post. And Casey Toth’s multimedia work for the Raleigh News & Observer. And pick dozens more young and talented photographers who are carrying TODAY’s torch. I salute you. You bring pride to our profession!

STEPH CHAMBERS: https://bit.ly/2X2Lyt9

CAROLYN VAN HOUTEN: https://wapo.st/2LCeALF

CASEY TOTH: https://bit.ly/2P00O7e

And yes, I specifically chose women. And I am absolutely positive, that NONE of these young photographers ever took lightly or took for granted, the important work that was produced by the great photographers who preceded them and whose shoulders we all stand upon. This is a great big sandbox and we should all be able to play in it without kicking sand into each other's eyes.

We are living in a time where we need to lift each other up, not tear each other down. We need to bask in our unity and not look for issues that divide us. We should share in our accomplishments and help those among us who may be struggling. And we must always, always, respect each other, even if our opinions or philosophies differ. And when they do, let us discuss, not disgust.

Love to you all. (Especially my nieces and nephews) Uncle Jimmy

AntiSocial Media

“For every action, there is an equal and opposite social media overreaction.” — Sir Isaac Newton (sort of)

For those of us who frequent social media sites, it’s not uncommon to see very passionate statements posted on a variety of important issues. The internet’s virtual soapbox has provided us with a platform to inform, discuss and debate wide-ranging topics that are near and dear to us all.

Unfortunately, it has also provided an impersonal barrier to hide behind and we often wind up saying things that we might not say in person. In many cases, we make the mistake of instinctually reacting rather than thoughtfully responding. (Never write a letter when you are angry, especially to someone you love!)

Recently, I’ve become disheartened to see so many people heading down an irreversible vitriolic path. And the ensuing trolling, sadly, is at an all-time high. I am not suggesting that people refrain from speaking their mind. I am suggesting that there are often better ways of phrasing and framing those opinions.

I have been vocal about the issue of harassment and cyberbullying, which I find to be abhorrent and unacceptable. People have opinions and often, they think theirs are the only ones that matter. Diverse opinions are welcome. But at the very least, can we express them with a modicum of civility?

So I am making a plea. Don’t lose your passion for what you believe in. Fight against those who foist injustice on our industry. Call out harassment and bullying whenever you experience it or witness it. Be specific with your fervor and not let your emotions overtake your mission.

There is still so much that needs to be done to change not only what we do, but also how we are perceived. Let us be civil and talk TO each other and not AT each other. There will always be more to be gained from conversation than confrontation.

The Eddie Adams Workshop: What a ride!

By Jim Colton

Last week, I returned from my *28th consecutive Eddie Adams Workshop. I use the asterisk, as last year, I was only able to attend for one one day due to a death in the family. And it made me realize just how special the workshop is…was…and will continue to be for so many people. The sheer volume of love and dedication devoted to the workshop by its staff is mind boggling. 

About 40 years ago, Eddie Adams had a vision. To create an environment where young photographers yearning to get into the business would have an opportunity to mingle amongst and learn from some of the greatest leaders in the industry at a quiet and unassuming barn in the middle of the Catskills. And every year, 100 students would be accepted solely on the merit of their portfolio and it would be tuition free! There really is no other workshop like it in the world.

This year was especially significant. I can unequivocally state, it was the most “inclusive” regarding issues of concern in our industry such as harassment, diversity, people of color and gender balance and efforts to address and correct them. Perhaps this was a result of troubling accusations regarding our industry in recent years, but I am hoping that was rather due to an acknowledgment of the much needed changes in our times finally being implemented. And to those who are experiencing and calling out these injustices, please continue to do so. The time for change is now!

Over my last 28 years of attending, I also had the great pleasure of meeting so many giants of our craft; Gordon Parks, Carl Mydans, Joe Rosenthal, Nick Ut…the list is endless. I had the great fortune of watching students grow and become industry giants of their own including almost a dozen Pulitzer winners. And I have been rejuvenated by the enthusiasm of 2,800 new nieces and nephews whom I have stayed in contact with over the years. But through this journey, I have also realized that all good things must come to an end, and it is now time for me to move on and let the next generation of photojournalists carry that much needed torch to shine a light in all of the darkest corners of the world.

I am stepping down as a member of the Board of Directors of the Eddie Adams Workshop. (Talk about burying the lead) I have told Alyssa Adams of my decision, and I cannot thank her enough for her passion and commitment to the workshop, and personally, for the love and care she has shown to the Colton Family (Sandy, Jay, Irene and myself) over all of these years. There is no one more dedicated to the advancement of photojournalism than Alyssa. So while I am at it, thank you to workshop producer Mirjam Evers and to all of the previous producers. Thank you Mark Suban, William Pekala and Nikon for your continued and unwavering support since the very first year. And thank you to all of the sponsors. Your generosity and commitment is what makes the workshop possible. A huge thanks to all of the volunteers who give so much of your time, energy and love. Your spirit is palpable. And lastly, thank you to all of the 3,100 students who walked through those barn doors where the words “You Have Arrived” welcomed you to the “Adams Family.” You are all now part of my family. (Uncle Jimmy expects to still hear from you!)

I am leaving with nothing but fond memories in my heart that will last a lifetime. Some of you may know, that I have rediscovered my love for pottery, so I will be spending more of my time doing that as I ease into the “Autumn” of my years. So to everyone I had the great pleasure of meeting during those 28 years, thank you! And to all the former, current and future attendees of the workshop, I can think of no greater words to leave you with than those of the most loving photojournalist I know, Mr. John. H. White; “Keep in flight!” 

I love you all!

Uncle Jimmy

#MenToo

By Jim Colton

In light of another prominent figure in the photography industry being accused of sexual misconduct, I feel compelled to pen my feelings about it all, specifically what it has done to MY profession of choice; photojournalism.

First and foremost, I am saddened. Saddened to know that there are people in positions of influence that would use their stature to satisfy their own sexual inefficiencies. Saddened that the actions of a few have tarnished the good name of the majority. Saddened that they have given the already much maligned industry of photojournalism another unwelcomed black eye.

When Lady Di was killed, by an intoxicated driver, the world blamed the paparazzi, and from that day on, many people equated ALL photographers as tabloid feeding vermin. I am genuinely concerned that the same mentality might come to mind now that all photo editors are abusers of their positions for their own satisfaction. We are NOT!

In my 40+ years in this industry, I am extremely proud of the young men and women who I may have played even the slightest role with helping them in their careers. This is what photo editors REALLY do. We encourage, we support, we help them see.

I am also angry. Angry that it has taken this long to bring these urgent and pressing matters out of the darkness and into the light — and out of the whispers for fear of retribution. This message should be screamed from the mountain tops, not spoken softly behind the scenes. And I am angry that more men have not made their voices of outrage and support heard publicly. Speak up! Show your support!

And regrettably, much of the response has been knee jerk or superficial. Calling out people on social media by name at the organizations that these offenders worked for or participated in, and demanding a statement and threatening to boycott them is tantamount to cyber bullying which is harassment of its own kind. So harassing organizations that the offenders worked for or workshops they participated in, is your solution? Really?

And sending out a google document to ask men in the industry to sign their names to “…change our industry for the better,” is not the answer either. Why? Because the men that NEED to sign the document won’t. And the ones that don’t need to sign it, well, don’t need to sign it. It is symbolic at best and condescending at worst. And if you want it to be universally effective, then send it out to ALL people in the industry, not just men!

And regarding the Eddie Adams Workshop, where one of these offenses was alleged to have taken place; I have been a team editor and most recently the moderator for the last 27 consecutive years. And I can unequivocally state that the faculty there is, was, and always will be committed to, not only the advancement of our craft, but to insuring the safety of all who attend.

Starting last year, as a proactive response, the workshop made all attendees sign a “Code of Conduct” form. It explicitly spells out that if anyone “violated any of the principles, you will be asked to leave the farm and will not be invited back to future Workshops.” This document can be found here: http://www.eddieadamsworkshop.com/ 

We won’t move the issue forward until we take action. So I call upon ALL of my colleagues, men and women, to listen and react swiftly to ALL complaints of harassment, abuse and bullying of any kind. Have a zero tolerance policy against harassment in place BEFORE these issues come up. And please, do everything you can to advance the careers of all photojournalists, especially women and people of color. (We are so needing more people of color in our industry!)

We should lead by example, not by words on social media. Show the world we are being proactive in encouraging our next generation by inspiring them, not seducing them. Show the world that not all of the men in our business are sexual predators. Show the world that we care not only about the industry but also about the people in our industry. Show the world that we respect and treat women in our business as equals, because, we are…#MenToo.

WE ARE BETTER THAN THAT

BY JIM COLTON

It was a classic NCAA Championship game. Perennial powerhouse Alabama comes back to tie the game in regulation and then win it in overtime. The game winning play was a 2nd down, 41- yard heave-ho into the end zone that broke a lot of Georgia fan’s hearts. It was a play that will be etched in their collective memories for a long time. And one image, a screen grab of that play, will also be etched in the memories of a few people…for a totally different reason.

The screen grab above, has been circulating on the internet for a while now. It shows credentialed photographers watching the play as it happened, as opposed to shooting it. Not a good thing…if you are a professional photographer. There really is no excuse for that. It meant, that they were not prepared.

Any sports photographer worth their salt, will have a second short lensed pre focused camera around their neck JUST for occasions like this one at a sporting event. One that they can grab quickly and “Press and Pray” that they get something as it happens right in front of them. It’s part of the sports photographer’s Play Book. Sometimes you just also have to be “lucky,” but as my good friend and consummate professional Walter Iooss Jr. used to say, “Luck favors the prepared.”

But what bothers me more than the fact that these photographers missed the play of the game, is the amount of “bashing” that they are being subject to on many social media platforms. Now don’t get me wrong, I’ve already stated my case about how they screwed up. I’m NOT giving them a pass. But there are ways to say things without coming across like arrogant assholes who know everything and things like this never happen to them.

Remember, we all didn’t start out as “seasoned” photographers. We were all “rookies” at one point in our careers. And it really doesn’t move the issue forward when we so harshly criticize with comments like, “They’re amateurs…or they’re just “kids”…and even in some cases turning this into a gender issue. This has NOTHING to do with gender!

Part of the process of becoming a professional photographer is experience. Part of that experience is making mistakes. We all do. And the best thing about mistakes is that we learn from them. So to the photographers in the photograph that missed the moment…learn from the moment. Wisdom comes with experience.

And to the rest of you who think there can be any positive effect gained from trashing them on social media…remember two things: One, you were a rookie at one point in your career….and two, as an industry, WE ARE BETTER THAN THAT!

Wally McNamee: A Photographer's Photographer

BY JIM COLTON

It’s been a while since I’ve written a blog. It seems like I find more reasons to not write one than write one. And I blame myself for that. I’ve become a bit complacent in the autumn of my years. Much has happened in my life recently and I’ve found less time to do things than I used to...or at least I perceive it to be that way. I feel like I’m busier now than when I was working full time! That’s not the way it’s supposed to work is it?

It’s Thanksgiving night, and so many memories have poured through my head today. Images of ritual November gatherings in a cabin nestled in the Adirondack mountains...a feast prepared by my brother Jay who would arrive days before to prep...turkey with all the trimmings for about 20 people sitting at a table only meant to seat 12 at best...and my father Sandy, holding court at the far corner...remarking at how big the grand kids have gotten...and how old I was getting! And it was  deemed...that every year...there would be an annual Christmas card photo taken, and if we were lucky, it would contain snow!

As I give thanks on this day of giving, I am blessed by all the lives that have touched me, guided me, and shaped me into who I am today. Even though so many of them are no longer on this earth, they are still with me, in that special place in my heart reserved for all that is good.

We have just lost another legend from our industry, Wally McNamee. I had the honor of working with Wally during my combined 17 years at Newsweek magazine. Simply said, Wally was a class act. A photographer’s photographer...a true professional...and one of the funniest guys I have ever known. His “Newsweek Calculator” story (http://www.newsweekmemories.org/mcnamee.html) will go down in photo history as one of the most hysterical --- and typically Wally --- stories that you will ever hear!

In 1984, before the start of the Summer Olympics in Los Angeles, a small group gathered for lunch in a local Mexican restaurant that had the approval of LA staff photographer and resident connoisseur Lester Sloan. After a fine meal, our group of about six, all who had just about licked the plates clean, was approached by the waiter who asked, “Was everything all right?” Wally, looked him dead in the face and said, “That was just awful!” The waiter was stunned, until a few seconds passed...and the trademark Cheshire Cat grin crept upon Wally’s face and he broke out into his familiar and hearty “Heh...Heh...Heh.”

Whether it was grinding it out on 20 hour days at the Olympics, or riding shotgun with 8 photographers and a correspondent trying to invade Grenada in our own Lear Jet, or cranking out a cover story on Texas that featured all his images including the cover shot of the Kilgore Rangerettes, it was an honor and a pleasure to edit his film.

His photograph of Leonid Brezhnev, ogling Jill St. John at a Washington DC function, hangs proudly on the wall in my office at home. I will fondly remember him calling me “Jimmeh,” in his deep Southern drawl. So, on this day when we give thanks, I say with great fondness, to one of the photographers I always admired and respected...“Thank you...“Walleh!”

Enemy of the People

By Jim Colton

From a recent Photoholics Anonymous meeting in Webistan

Hello. My name is photojournalism…and I have a problem.  I’m sick. Although I feel the same as I always have. Perhaps there’s something new in the air that my immune system isn’t capable of handling. It used to be that journalism was a respected and admired profession. Heck, even Walter Cronkite was once voted as “The Most Trusted Man in America.” And that’s that way it was!

Could you imagine one of us being named the Most Trusted Man in America today? It seems our valued industry isn’t as revered as it once was. In a recent poll [1] which had nurses as the most trusted…87%, journalists are at 23%...but at least we are above used car salesmen (9%) and members of Congress (8%).

Hello. My name is photojournalism…and I have a problem.  Who should I see about my illness? Some say I should seek the advice of a veteran…someone who has been in the business most of their adult life. In a recent interview in The New York Times [2], when asked about the state of our industry, veteran photojournalist Donald Winslow – when talking about “quality” -- was quoted as saying, “In many ways, photography became junk food for editors.”  Have iPhones become McNikons and McCanons?

His interview seemed to stir heated debate (always welcome) especially from younger photographers who didn’t have such a dim view about the future of photojournalism.  So here’s the rub. Who should you believe? Remember, I’m ill. So do I take the advice of a doctor with 40 years of experience…or from someone that just graduated Medical School? Answer: Always get a second opinion…then decide.

Hello. My name is photojournalism…and I have a problem.  Everybody hates me.  I know I took a pretty big hit in 1997 when Lady Di’s death was blamed on the Paparazzi and from that day on, all photographers were viewed as celebrity chasing vermin. And it also doesn’t help when the new President of the United States classifies us as “The enemy of the people!” Ummmm, didn’t we help him get elected?

This is the first time I can recall that photographers were “penned” like animals during the Trump campaign and then pointed at during his speeches labeling us as “the dishonest media,’ to a resounding chorus of boos from the audience. Veteran Time Magazine photographer Christopher Morris was choked and body slammed by a security guard for leaning over said pen to the delight of a cheering crowd.

Hello. My name is photojournalism…and I have a problem. What do I tell my kids? My dad was a photojournalist…and his dad before him.  But now I am at the crossroads of what do I tell my son or daughter? I lived and worked in a time where it seemed to matter. Hard work was recognized and rewarded. Today, the platform has changed with social media and now we have instant delivery of millions of unvetted images which is only adding fuel to the “fake news” fire.

I guess I would tell my kids to pursue their dreams, no matter their chosen profession. But like so many things in life, it ain’t like it used to be…so I would tell them to be prepared to be asked to do a whole lot more and be paid a whole lot less.

Hello. My name is photojournalism…and I have a problem. 

* * * 

[1]

http://www.pharmacytimes.com/news/pharmacists-remain-among-most-trusted-professions

[2]

https://lens.blogs.nytimes.com/2017/02/15/the-uncertain-future-of-photojournalism/

The Social Media Eclipse

By Jim Colton

They say that if you stare into an eclipse, you might go blind. Unfortunately for social media, that’s already happened. Using the most recent eclipse is a fine analogy of what is happening to the world of photography…which is ironic as the literal meaning of photography is writing with light.

The huge mass of available images (There will be more pictures taken in this calendar year…than in all of history combined) has managed to block out the light…and with it…the truth. The sheer volume of images now being distributed on every social media platform from Twitter to Instagram to Facebook is astonishing.

Many photos are being put out there without any form of vetting or filtering. People are posting….because they can….everything from snapshots of their lunch to the latest cat videos. But “serious” photography is also being uploaded…many claiming to be “newsworthy”…or at the very least…REAL!

View fullsize

Copyright © 2009-2015 Ryuunosuke Takeshige All Rights Reserved.
Background data © European Southern Observatory:ESO contributors, CC BY 3.0 (Id:eso0932a)

Which brings us back to the eclipse. Yesterday, March 20th, there was a solar eclipse viewable by millions on planet earth. It wasn’t long before millions of pictures were taken and uploaded on the internet. One photograph (above) purported to be taken from the International Space Station…was widely distributed and tweeted and retweeted and liked and reliked and before you knew it, hundreds of thousands of people were sharing this glorious image.

When I first saw it, I said, “Damn…that is really cool!” And then…the alarms went off. There’s an old saying that, “If it’s too good to be true…then it probably isn’t.” And another that says, “Believe none of what you read…and only half of what you see!”  I did my due diligence and searched for other frames that might show the sequence.  There were none to be found.  But an image search did find the photo in question…and here are the results:

One:  The photo….isn’t a photo. It’s a CGI (Computer Generated Image)

Two: It wasn’t taken March 20th, 2015 from the International Space Station. It was created in 2009 by Japanese artist Ryuunosuke Takeshige who goes by a4size-ska at Deviant Art: http://a4size-ska.deviantart.com/art/Eclipse-144235675

Mr. Takeshige states on this site:

It's extremely regrettable that my ECLIPSE was used here on Facebook without my permission. I can't say what I have in mind since I'm not good at English.

In the case that you found any websites that infringe my copyright, including the link above, if possible, it would be very helpful if you could warn any copyright infringers not to use my work instead of me. Moreover, informing me of the sites via e-mail will be helpful as well.

A4size.3dcg@gmail.com

Three: As we see and read, this gorgeous creation is now being used worldwide without permission, credit or compensation. (Mr. Takeshige gave me permission to use it as illustration for this blog)

Four: It has been disseminated as “real,” so now thousands, if not millions of people, have been misinformed…or at the very least…duped.

This is only one example of thousands that occur every day. Now more than ever, we need a better filter, which starts with factual postings by conscientious photographers and diligent editors. The cutbacks in our industry have been so severe that not only have we lost institutional history, but many organizations have also lost the basic ability and obligation to fact check.

Truth is the only thing that matters in photojournalism. And it is being eroded every day. Perhaps one day, we will see the light again. 

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For more blogs with people in our industry who have far more interesting things to say than I do, please visit: www.zPhotoJournal.com 
A feature of ZUMA Press

World Press Photo Controversy Follow Up

By Jim Colton

In the wake of the decision by World Press Photo to revoke the award for photographer Giovanni Troilo’s work, I am imploring those in our industry to not turn this series of events into a “witch hunt.”  In the humble opinion of this photo editor, matters were (mostly) handled in a professional manner. Questions were asked…and answers were obtained…and then a measured and qualified decision was made on the part of World Press Photo.

As I stated in my original blog, the “Charleroi” story contained some fine images. They were just entered and awarded in the wrong category of a photography contest….period. We cannot, and should not place the blame on the photographer who entered them in the category he thought best….nor World Press Photo who judged them in that category, as they are charged to do.

There is merit in the kind of photography that Giovanni Troilo does. And there is a need and a home for that style of work. What occurred was an unfortunate set of circumstances regarding category definitions…which I am sure will be better defined in the future  in light of these recent events.

I also applaud many of my brethren in the industry for stepping up and asking questions. Please don’t think of us as “photo police,’ but rather concerned journalists who value truth in photojournalism during these very tenuous times.

I will continue to look to World Press Photo to provide us with outstanding images in the future worthy of meritorious recognition. It is organizations like World Press Photo that are our beacons of light. And I for one, wish Giovanni Troilo continued success in his chosen profession. Let us not turn him into a pariah or a scapegoat. He is neither.

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For more blogs with people in our industry who have far more interesting things to say than I do, please visit: www.zPhotoJournal.com 
A feature of ZUMA Press

An Open Letter to World Press Photo

By Jim Colton

As a former Chair of the World Press Photo Contest, I am saddened and deeply troubled by some of the results and aftermath of this year's contest.

Every year, without exception, there is always controversy surrounding the World Press Photo of the Year and other winners. That's the nature of our business. We all have different tastes, values and principles when it comes to the art of photojournalism, upon which this venerable contest has always been predicated. And "healthy" discussion is exactly that...healthy.

But this year, perhaps due to the ease and increased value being placed on social media, the contest, the results and subsequent "justification," of meritorious acknowledgement of the winners has reached an all-time high of vilification. This is NOT healthy.

So it is with profound respect that I must, in good conscience, voice my opinion regarding some of those results and post-result press releases.

First: Kudos on awarding Mads Nissen's image of homosexuality in Russia the World Press Photo of the Year. http://www.worldpressphoto.org/awards/2015/contemporary-issues/mads-nissen The recognition is a bold "political" statement regarding an important issue facing society today.  But let me temper that excitement with a "caution" that judges should use their utmost professional discretion to insure the contest is being judged on photographic merits and not political ones.

Most photographs will have some sort of "political" element embedded in the image. We must be ardent when we are charged with assigning a "value" to it, that the photojournalistic merit and not the political element is driving our decisions. This year's image has been, and can be argued on either side of that boundary...but I have no issues with the judge's decision.

Second: It was stated that over 20% of the finalists were "disqualified" for manipulation of some sort. Again, Kudos for making a stand. But without showing examples or defining exactly what was done that was considered egregious, you have actually done a disservice to the photographic community.

How can future participants know what is considered "acceptable" when it comes to issues like toning when you do not show or explain what was done and why? And at the same time, you award images like the following: http://www.worldpressphoto.org/awards/2015/daily-life/sarker-protick?gallery=2900401 which to MY eye looks nothing like reality. Lovely images...but do these not constitute "alteration?"

So as you can see, I am perplexed...as I am sure many are...when World Press Photo says one thing, yet awards a set of images that "appears" to be contrary to your acceptable standards. Perhaps another press release clarifying this decision may also be in order...or  at the very least, please consider publishing some of the 20% that were disqualified so we may better understand the parameters that World Press Photo is using.

Third: This bring us to the last, and most troubling item; Giovanni Troilo's "The Dark Heart of Europe." http://www.worldpressphoto.org/awards/2015/contemporary-issues/giovanni-troilo?gallery=2900401 There is no doubt in my mind that this story fits the category of "contemporary issues." There is also no doubt in my mind, that they are fine images. But...it is beyond the shadow of a doubt in my mind, that it is not photojournalism. It is, at best, photo illustration.

“Created” images have no place in the World Press Photo Contest…perhaps other than the portrait category…where the photographer has control of the environment they are placing the subject within. And even within that category, there is a fine line that must not be crossed. But, they definitely do not belong in contemporary issues.

Many of the images in this series “appear” to have been set-up. One in particular which I am having the most difficulty with, is the couple having sex in the car. The photographer stated, “My cousin accepted to be portrayed while fornicating with a girl in his friend’s car. For them it was not strange.” World Press Photo stated, “The cousin had given the photographer permission to follow him on this particular night, to observe and to photograph him having sex with a girl in public. Whether the photographer had been involved or not, the cousin had planned to have sex in the car.”

Upon inspection of the image, I am troubled by many things; the placement of the car with headlights illuminating the bushes and the light source that is illuminating the inside of the car (coming from BELOW the couple having sex…and not a roof light) So many questions come to mind. Would you leave the lights on the car on if you were having clandestine sex? Why would you light the interior of the cab from below? To me, the only reasons to do that would be to make a dramatically lit image. It does not look like a “found” moment.

In conclusion, let me say I am saddened to see images like this awarded in a category that has historically produced some of the finest stories of our generation. And I am equally saddened that World Press Photo has decided to uphold the award after some of these revelations were brought to light.

I have always had the utmost respect for the integrity of World Press Photo and will continue to do so…but for me, the polish has been tarnished. It is my hope that it will shine again.

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Editor's Note: Since the writing of this blog, World Press Photo has revoked the award for Giovanni Troilo's "Charleroi" story. http://www.worldpressphoto.org/content/world-press-photo-withdraws-award-giovanni-troilo%E2%80%99s-charleroi-story

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1989: TWTYTW (That Was The Year That Was)

By Jim Colton

We are starting to see a lot of 25th anniversary commemorative pieces for news events from the calendar year 1989. The first to get some air time was the 25th Anniversary of the Exxon Valdez oil spill in Alaska. And now, we are seeing remembrances of the massacre in Tianamen Square which occurred on June 4th, 1989.

All of this got me thinking about what a remarkable news year 1989 truly was; perhaps of the like that we will never see again.  For those of us who were fortunate to be involved in the journalism business during that year and for those who are just curious, here’s an abridged list of events that many of us covered in some manner:

• January 4: The US shoots down two Libyan planes
• January 20: George H.W. Bush inaugurated as US President
• February 2: The last Soviet forces leave Afghanistan after 10 years of occupation
• February 14: Ayatollah Khomeini issues a death warrant on Salman Rushdie for "Satanic Verses"
• March 24: Exxon Valdez oil spill
• April 19 - June 4: Uprising in Tianamen Square, China
• May 4: US Jury convicts Oliver North for his role in the Iran-Contra affair
• May 25: Michael Gorbachev named Soviet President
• June 3: Ayatollah Khomeini dies
• June 4: Massacre at Tianamen Square
• August 9: General Colin Powell named first Black Chairman of the Joint Chiefs of Staff
• August 14: P.W. Botha resigns as President of South Africa
• September 17 – 25: A Category 5 Hurricane Hugo strikes the Caribbean and the US
• October 17:  A 7.1 magnitude earthquake strikes San Francisco
• November 9: Deng Xiaoping resigns from Chinese Leadership
• November 11: The fall of the Berlin Wall
• November 30: Czech Parliament ends Communist rule
• December 15: Romanian uprising overthrows Communist government
• December 20: US troops invade Panama and capture General Manuel Noriega
• December 25: Romanian President Ceausescu and wife are executed

It was a transition year for me. I had just left Newsweek magazine after an 11 year stint as the senior photo editor for International news to head up the New York office of a French photo agency called SipaPress as their Executive Vice President and General Manager.

Many of my brethren in the business said I was nuts to leave Newsweek specifically because of the terrible reputation that SipaPress had at the time. (Delinquent payments to photographers, banned from use by the New York Times Sunday Magazine…and much more that I won’t bother to list.)

But I saw it as a challenge. There was no place but UP to go from where they were. And frankly, it was an opportunity for me to get some “managerial” experience that an un-named editor at Newsweek thought I was lacking to be considered for the top position in the photo department for their magazine at that time.

By the end of 1989, sixteen months into my tenure at SipaPress, and primarily because of this extraordinary news year, we had managed not only to pay off their entire debt (The dollar amount had six digits in it….without pennies) but the credit Photographer/Sipa appeared on the cover of almost every major domestic magazine…and in newspapers nationwide.

Of course I am deeply proud of this fact….but even prouder of the photographers and staff who worked with me and the editors and clients who trusted me. I will forever be indebted for their confidence as Sipa struggled to get back into the good graces of ALL publications. (PS: We even managed to get the cover of the Sunday New York Times Magazine…a shot of Boris Yeltsin…so a personal shout out to Kathy Ryan for having faith!)

After three years at Sipa, the un-named editor at Newsweek asked me to come back as their Director of Photography…which I gladly accepted. And looking back, it was perhaps the best thing that could have happened to me. It did in fact give me the managerial experience I was lacking, but it also allowed me to broaden my horizons outside of Newsweek and work with new photographers and clients all around the world….many who remain friends today.

So as we hear of more 25th anniversary look-backs, I too will look back at a historic time in our industry…pre-cell phones, pre emails and pre digital images…where we put our best out there and delivered…time and again.

Here’s looking forward to another 1989….should it ever happen!

AU REVOIR HENRI BUREAU

By Jim Colton

Anyone associated with photojournalism in the 60’s through the 90’s is familiar with the name Henri Bureau. His image of the burning oil refineries in Abadan, Iran during the Iran/Iraq war in 1980 viewed from the back of an Iranian Soldier that is on his home page www.henribureau.com will forever be emblazoned in my photographic memory.

His accomplishments are far too many to try and list on this blog.  And his larger than life personality could also not be contained on these pages. His passing this week has left me with sadness but my memory of our times together will always be with me. Let me share but one of our stories together.

Dateline: Warsaw, Poland, June 1979.

Karol Józef Wojtyła is returning to Poland for the first time after being elected as Pope John Paul II. Thousands wait to greet him as his travels will take him all over the country. It is a logistical nightmare for journalists covering the trip. His visit will include the cities of Warsaw, Częstochowa, Krakow and others. And remember, back then….no cell phones, no emails, no digital imagery. Telexes and landlines ruled the day and film was shipped on airplanes.

I was point man for Newsweek magazine whose photographic team included staffers John Ficara and Bernard Gotfryd, local contract photographer Chris Niedenthal and freelancers Ken Regan, Joe McNally and Mario Ruiz. In addition, we had the services of six Sygma photographers headed up by Henri Bureau. A dozen photographers! That’s how we rolled back then.

The Sygma team chose a Winnebago (I kid you not) as their form of transportation during this trip. It even had two mini bikes strapped to the back for better mobility. It was driven by Henri’s cousin who also served as chef for their hungry crew. While in Warsaw, all of the photographers would use the shower in my hotel room nightly, perplexing the room service staff with my request for ten towels a day.

The Pope arrived late on a Friday and the French photo agencies had reached a mutual agreement to not ship any film until the first flight out Saturday morning as there were no other flights back to Paris on Friday night. So they thought. It turned out that the very last flight was delayed and somehow, one of the competing agencies managed to get their film on it, breaking the agreement.

Henri was pissed, to say the least. And not being one to take it lying down, that night, there was a knock on my hotel room door. As I answered, I heard a phrase that I am sure I will never hear again the rest of my life. Henri said, “Jeem, I need your plane!” Newsweek had a Lear jet on standby in case I needed it other than my scheduled Saturday night flight to Paris with our film to be processed and shipped on the Concorde to New York on Sunday morning to meet our deadlines. Henri wanted to fly the plane into Warsaw that night and then back to Paris with Sygma’s film as to not get scooped.

I made the call and summoned the Lear into Warsaw that night. If my memory serves me well, it was at a cost of about $17,000 back then…to be billed to Sygma….something that the folks back at Newsweek in New York didn’t realize when they heard I had ordered the Lear!

But getting film out of a communist controlled country is not as easy as it may seem. So this is how it went down. Our local contract photographer Chris Niedenthal, who knew all the ins-and-outs of shipping, snuck us in to the Ministry of Information office after hours, I sealed the film in clear plastic bags, each twist tied with wire and clamped with an official Polish seal. Chris typed up the bogus paperwork and we were off to the airport.

By this time, the flight crew had arrived and as there were no commercial flights in or out of the country, the only barrier we had left between our film and the pilots on the other side of a cyclone fence, was a lone Polish Army soldier brandishing an AK-47. Niedenthal explained that we had a package for the pilots and presented the bagged film and paperwork to the soldier. Upon inspection, he did not like the way I sealed the packages (I didn’t know at the time there was an actual “seal” impression) and he told us this was not done properly and we would not be able to pass it through. No matter how we pleaded, the soldier was remaining firm….until….

Henri huddled us together and we devised a plan. Chris would yell at him in Polish saying the soldier would be summoned by the Ministry of Information in the morning if he did not allow this film of the Pope’s arrival in Poland to be distributed to the world…Henri would yell at him in French…and I would yell at him in English…all at the same time!

It worked! The soldier was trembling and his eyes were like saucers and with one gesture of his AK-47, we were allowed to toss the packages over the fence to the pilots and they were off to Paris. Sygma would NOT be scooped.

Chris, Henri and I were laughing so hard in the car ride back to Warsaw where we stopped at the Winnebago for some well-earned wine and cheese!

It is this tenacity that I will miss the most about Henri…as well as his impish smile. I would share the trenches with him anywhere...any time…as we did on so many more occasions.

Au Revoir mon ami! I hope the light where you are….is heavenly!

MIDLAND (MI) DAILY NEWS: THREE AMIGOS

By Jim Colton

Last week, Sean Proctor of the Midland Daily News in Midland, Michigan, was named Photojournalist of the Year (Smaller Markets) in the NPPA’s Best of Photojournalism contest. When informed about this honor by Donald Winslow of the NPPA, Sean said, “Wow, you’re kidding!”Although Sean may have been surprised, what isn’t shocking at all is that the Midland Daily News is the “Little Paper that Could.”

They are no stranger to awards. This small circulation newspaper located in the Tri-cities region of Michigan has garnered their share at major photography contests over the years including a 3rd place this year for Photo Editing Portfolio at POYi for ALL newspapers, regardless of circulation…right behind the New York Times and the Washington Post. And they did so, without a photo editor!

The driving force behind the visuals at the newspaper are three young staff photographers; Sean Proctor, Neil Blakeand Nick King. They are a triumvirate that not only shoots the stories, but they assign them, edit them, lay them out and occasionally write them as well! They do it as a group; with implicit trust in each other.

Although Sean has been an intern at the Citizen Patriot in Jackson, Michigan and the Virginian-Pilot in Norfolk, Virginia, this is his first full time job as a staff photographer at the Midland Daily News, joining the crew in late 2012. Neil Blake has been a staff photographer for the paper since 2011 and had internships at the Herald in Jasper, Indiana and at the Concord Monitor in Concord, New Hampshire. Prior to joining the Daily News in 2010, Nick King was a staff photographer for the Columbia Daily Tribune in Columbia, Missouri as well as serving as a photo editor at the Evergreen Newspapers in Evergreen, Colorado.

In an industry that’s being continually downsized, it’s refreshing to see good work being published on a local level and being recognized on a national one.

Read the interview here: https://nppa.org/page/midland-mi-daily-news-three-amigos

GREGORY HEISLER: EXPLOITER OF LIGHT

By Jim Colton

George Eastman, founder of the Eastman Kodak company, once said: "Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography."

Perhaps nowhere is this truer than the art of portraiture. Using light (artificial or natural) and understanding its nuances, is an art form in itself. The subtleties imbued with light and shadow can make or break a compelling portrait. And few in our industry, embrace, admire, love and know light as well as Gregory Heisler.

In addition to the 70 plus covers he has done for TIMEmagazine, Heisler’s portraits have also graced the covers of LIFE, Esquire, Sports Illustrated, ESPN, GQ, GEO and The New York Times Magazine. His commercial and advertising clients have included American Express, Merrill Lynch andNike. Heisler’s work has been recognized with prestigious photographic awards including the Leica Medal of Excellence and the Alfred Eisenstadt Award.

One of the portraits he is most noted for is the January 7, 1991 TIME magazine "Men of the Year" cover of the 41st US President George H.W. Bush. The cover line read, "The Two George Bushes," and showed President Bush in two profiles as a multiple "in-camera" exposure, not created after the fact in Photoshop.

After its release, then US Press Secretary Marlin Fitzwaterwas furious claiming the magazine lied to him and only wanted to show the President as a "two-faced" politician which resulted in the temporary revocation of Heisler's and TIME's White House press privileges. They eventually reinstated them and Heisler has photographed several sitting Presidents since that time.

He is currently an Artist-in-Residence at the Hallmark Institute of Photography in Turners Falls, Massachusetts where he devotes much of his time giving back to students there as well as photography workshops and lectures in Maine, Santa Fe and Dubai.

Greg was always the “go-to guy” when I was at Sports Illustrated when we needed a dynamic portrait. I am sure I speak for many of my brethren in the industry who felt the same way. You always knew he would come back with the goods. 

Read the interview here: https://nppa.org/page/photo-journal-gregory-heisler-exploiter-light

ERIKA LARSEN: A QUIET ELEGANCE

By Jim Colton

Photographs speak to us all in different ways. That’s part of the beauty of our craft. When I was a photo editor at Newsweek magazine, I loved images that captured the scene and told the story without the need of a caption. Similarly, when I was at Sports Illustrated, nothing grabbed my attention more than a “belter,” that smash mouth, in-your-face, peak-action moment. 

In auditory terms, I’d categorize those as the louder moments. But a photograph can also speak volumes with a whisper. The stoic beauty of a quiet moment can pierce the heart. Few have managed to do that as well as Erika Larsen. Her work, in a word, is enchanting, simple in structure, thoughtful in composition and always conveying her vision with a quiet elegance. 

Larsen graduated with a BFA and MFA from the Rochester Institute of Technology. After being accepted to the Eddie Adams Workshop in 1997, she embarked on a career in magazine photography. She has also received several grants including a Fulbright Fellowship, New Jersey State Arts Council Fellowship, Women in Photography Individual Project Grant and the Lois Roth Endowment.

Her work has been recognized with a World Press Photo award and has been included in the Smithsonian National Portrait Gallery, the Swedish Museum of Ethnography and the AjtteSámi Museum.  Her photographs have been published in dozens of magazines from AARP toWIRED and she was even a contributing photographer for Field and Stream.

Her latest work “People of the Horse,” will be featured in the March 2014 issue of National Geographic magazine. 

Read the interview here: https://nppa.org/page/photo-journal-erika-larsen-quiet-elegance

MARYANNE GOLON: THE WASHINGTON POST

By Jim Colton

Most of us can recall exactly where we were and what we were doing when we heard about the attacks on the World Trade Center and the Pentagon on September 11th, 2001.

On that day, most of the nation -- indeed the world -- sat riveted to live television coverage and endless replays of the day’s most gruesome moments. While television captured us for the day, many agree that it was the power of the printed image that burned those moments into our collective memory…still images made by courageous photographers who ran into the chaos while others desperately fled…a chaos later sorted and clarified by photo editors like MaryAnne Golon, then director of photography at TIME magazine. 

Golon received a B.S. in Journalism and Communications from the University of Florida, was the Director of Photography at US News & World Report, followed by 15 years as the Director of Photography at TIME magazine where she earned wide recognition and acclaim for TIME’s 9/11 coverage.  She was the on-site photography editor in Saudi Arabia during the first Gulf War and coordinated all of TIME's photographic coverage of several Olympic Games

In a word, Golon is tenacious. The same tenacity she employed just to get to Manhattan from New Jersey that fateful day is but one of many examples of the determination she brings to all her endeavors. Now, as the Assistant Managing Editor and the Director of Photography at the Washington Post, she supervises all aspects of photography for the newspaper and its digital forms.

Well-traveled and worldly, her wisdom, guidance and energy is a beacon that “carries that light of photojournalism,” for all to see. 

Read the interview here: https://nppa.org/page/photo-journal-maryanne-golon-washington-post

KAREN KUEHN: BURN NOTICE

By Jim Colton

Back in the day when magazine photojournalism was strong and assignments were plentiful just maintaining a visual presence and having a unique style got you work. We all know that’s no longer the case. In the 80s and 90s, Karen Kuehn’s credit line appeared in almost every major publication. Today, like so many photographers, she struggles finding the balance that will satisfy both her heart…and her rent.

Kuehn has a passion for making compelling portraits and telling stories. Her early years included an internship at National Geographic before spending 16 years as a freelancer in New York City and then moving on to New Mexico in 2001 after becoming a mom and wanting to raise her son in a rural environment.

She continues to take the occasional assignment when it comes in, but in the meantime, has immersed herself in a personal project that has consumed her very soul - Burning Man: the annual migration of spirited souls to the Black Rock Desert in Nevada. Her latest project, “Cargo Cult,” is a 200 page, 12x12 hardcover book illustrating the event with images and quotes. The book is financed by a Kickstarter campaign. 

This week, we enter Karen Kuehn’s world and talk about issues and events that took her from being a National Park Service Ranger to one of today’s most spirited and committed photographers.

Read the interview here: https://nppa.org/page/photo-journal-karen-kuehn-burn-notice

MARCO GROB: REJECTION TO REDEMPTION

By Jim Colton

For those of us who are diminutive in stature -- I am but five feet five inches tall -- we have a common unspoken bond with others possessing ED (Elevation Deficiency) I was always FIRST in line in public school as they entered the auditorium for assembly in size order. It was always me and Bonnie Bruman…the two shortest kids in the school. 

And I was always LAST to be picked on a team for any sporting event. But that stopped happening once they saw me play. As a teen…I was a jock…I admit it….but as a small teen, I had to run faster, shoot better, jump higher…just to keep up with the bigger guys….which I did. Even at my limited size, I could dunk a tennis ball on a regulation basketball court. (That’s ten feet high for those who don’t know)

In many ways, that first rejection may be hurtful, but it drives you…and makes you work harder. And the redemption is even sweeter when people realize it and say, “Hey, that guy is good!” Such is the case with photographerMarco Grob. 

As a teenager, Marco was rejected while applying for photography at a University in Switzerland.  And today, he is one of the most sought after portrait photographers in the business. But he is not bitter. On the contrary, he considers himself blessed. Commenting on being invited to be an instructor at the Eddie Adams Workshop this past year, he said, “After not being allowed to be a student in my homeland Switzerland - I was asked to be a teacher in my new home, the US…something that went full circle…which I consider wonderful!” 

His credentials are impeccable. His numerous awards include an EMMY for his work in TIMEMagazine’s “Beyond 9/11: Portraits of Resilience,” which is also now part of both the Smithsonian Museum's and the National 9/11 Memorial's permanent collections; as well as recognition by POYi, the Swiss, German and American Art Directors Club and the prestigious Hasselblad Master in 2007.

TIME Magazine’s Director of Photography, Kira Pollack says about Grob, “Commissioning Marco to make a portrait is like knowing you will hit the bulls-eye before it happens. His elegant eye paired with his technical wizardry has yielded some of the greatest portraits for TIME since I joined in 2010. From Lady Gaga to Steve Jobs to President Bush to Hilary Clinton, Marco has proved himself across all different subjects and degrees of difficulty. He is a true pleasure to work with and he sets the bar high.”

This week, we have a conversation with the very talented and extremely personable Marco Grob.

Read the interview here: https://nppa.org/page/marco-grob-rejection-redemption

YUNGHI KIM: CORE VALUES

By Jim Colton

In the wake of the landmark $1.2 million award reached in the Daniel Morel vs. AFP/Getty Images lawsuit for willful infringement of Morel’s images from the 2010 Haitian earthquake, there has been much discussion concerning photographer’s copyright and how to pursue organizations and publications for damages for unauthorized usage. 

Veteran photojournalist Yunghi Kim is a strong proponent of photographer’s rights and offers suggestions to problems that all photographers now face as they tread through the morass of digital landmines. She also is quite vocal regarding protecting the value of one’s work. Kim says, “without monetary support, in whatever form that takes, photojournalism as an industry is dead!”

Kim espouses the adage that the best defense is often a good offense -- recommending photojournalists take preemptive measures in the present to prevent damage in the future. 

And in contrast to Ben Lowy (recently interviewed for Photo Journal), Kim has strong opinions about iPhoneography and its place in the professional photojournalistic market. 

Kim has been a staff photographer for the Patriot Ledger in Quincy, Massachusetts, the Boston Globe, and affiliated with the photo agency Contact Press Images for 20 years. She’s covered major international stories from the famine in Somalia in 1992 (for which she was the runner up for the Pulitzer) to documenting the lives of South Korean women who were forced into sexual slavery by the Japanese army during World War II.

She’s received numerous major photojournalism awards, including the Olivier Rebbot Award and John Faber Award from the Overseas Press Club and Magazine Photographer of the Year from POYi(one of only two women to receive that award). She continues to give back to the photojournalism community as a member of the NPPA board of directors and instructor for the Eddie Adams Workshop and Missouri Photo Workshop.

Read the interview here: https://nppa.org/page/yunghi-kim-core-values