photo by Rosh Sillars
The most exciting part of being a media photographer is that you have the opportunity to meet great people and witness events first hand.
Unlike commercial photographers, whose work remains nameless, the photojournalist’s identity is revealed to the world through the photo credit. Most importantly, a photojournalist is given the awesome responsibility of recording the history of a community, perhaps the world, from his perspective.
I spent about 20 years working for newspapers. I’ve photographed rock starts, professional athletes and presidents as well as the local heroes. I’ve seen death. I’ve captured birth and true love in front of my lens. But, just as important as all the history passing in front of me is the style in which I depict it. Each image needs to tell its own story.
Some people would say many of the great early photojournalists such as Robert Capa where not very good photographers. I’ve heard it said that what made them great was that they were there and they got the shot. That may be true, but today with cameras found in every device and in the hands of more people than ever, being there is generally not enough.
You must be able to capture the decisive moment. This is the point in time that reveals the peak moment of a story. This requires the ability to read the scene, use your gut, and prepare yourself for a once-in-a-lifetime event or opportunity.
Photojournalism is a style of photography. Many wedding photographers present themselves as using the photojournalistic style, but all they are really offering are candid images. Photojournalism is not about candid photography.
Good photojournalists, including true photojournalistic wedding photographers, have studied the style. They understand the difference.
Being a photojournalist is a never-ending quest to better tell the stories in front of you with the photographic tools you carry. It’s mastering the wide lens by layering subjects to better tell the story. It’s the ability to use a long lens, composing fast-moving subjects while considering the interest of the foreground and background. It’s always observing and thinking about better ways to use light.
Although photojournalists may have a look or style to their images, their portfolios will show a variety of images: overall shots that set the scene; medium photographs that help tell the story; and close-up images to add drama. A good portfolio is packed with shots of emotion jumping off the pages.
Photojournalists are generally not the highest paid photographers, but are generally the most well known. They build relationships with editors, reporters and the community around them.
Some of the best commercial photographers were once working photojournalists. The ability to create beautiful imagery out of chaos translates well into the world of commercial photography.
Photojournalism is a lifestyle and a rewarding career. However, the opportunities for the photojournalist are changing. Print media is shifting to the Web. More editors are depending on citizens and stock photography to supply imagery. But, the ability to be able to tell a story well will always be in demand.
The future of the traditional photojournalist is unknown. But, the need for good imagery is growing. The photojournalist needs to continue to understand his value, not give in to pessimism and harmful pressure. Photojournalists will decide their own fate.
Rosh
Tags: commercial photographer, history, media photographer, photojournalism, Robert Capa
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Hi Rosh,
I am totally agree with your statement. This is what photojournalism has to do nowadays to be above others photographers.
Thanks
Frederic
http://www.greenphotographersnetwork.com
I forgot, nice picture of Bill Clinton. Catch in the move!
Rosh, what a great article & you made me think when you said “Many wedding photographers present themselves as using the photojournalistic style…”.
You reaffirmed many things that I heard in a Peter Turnley seminar.
Tafari
[...] According to the e-book Understanding new media, social media and the business of photography, you have to “create a story” for yourself. What the author means by this, is letting people know not only what your style and ability is but how much experience you have. It also depends on what kind of photography you are doing. For instance, being a photojournalist is completely different from being a wedding photographer. Although being skilled in both fields is helpful. The differences are better explained in this blog called the new media photographer. [...]
Your article really opened my eyes in what I capture with my lens. I would love to have the freedom to truly capture war, death, travels, beauty. Being a wedding photographer gives me the rush I crave when I stalk my shot. I am home all week with my pre-schooler, but one day I dream to follow your profession.
A photojournalist has a camera in common with other photographers. It is a very different way of working from commercial and wedding areas.
Rosh, you’re spot on. It certainly is becoming a very competitive and challenging environment nowadays as everybody can become a citizen journalist and contribute articles. It raises the bar which is a good thing, but also is a risk to the profession. I work for a company who is helping in the transition from print media to the web, so I am quite deep into this. Ultimately I still believe that not only there is room for professional photojournalists, but we also need them. Being there is not enough, empathy, understanding and the ability to tell the story in a professional manner will always require special skills. I wrote about this transition last month: http://tr.im/mUfZ
Tafari, I happened to meet Peter Turnley and can totally relate. I think you would enjoy a post I wrote a couple of months ago: http://tr.im/pgZE
I don’t write that much so it’s actually quite interesting that I have two posts on the subject to offer you guys
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I really enjoyed your article and the last sentence “Photojournalists will decide their own fate” has me doing some serious thinking. I’ve been a photojournalist most of my adult life and it has been difficult to keep up with the technology. Consider that when I started we were making black and white prints, then halftones, then DPS prints, then digital, etc. Now we are expected to produce slideshows, videos and photo galleries of nearly every assignment with the equivalent of the grim reaper lurking over our heads every day in the newsroom. Is the answer to become more knowledgeable about a variety of skills or to specialize in the niche we are the best at?
I know the exact feelings. Although technology was never an issue – I was also in the darkroom working at newspapers in the eighties through the changes of the nineties and 21st century.
Today I the only newspapers I work for are in Italy – I’ve never been to Italy.
For business in general, I say specialize and then expand. But, what I teach my students in my University photojournalism classes is that if you wish to work for the media today you better have multiple skills and talents.
Rosh