Visualize for a moment the defining images of World War II,
Vietnam, the Gulf War. Photojournalists were
there, serving as eyewitnesses to history and bringing home
the harsh reality that war is about suffering, destruction and
the death of innocents -- not simply an abstract
political conflict in faraway lands.
Just as WWII belonged to the wire services, Vietnam to Life
magazine and the Gulf War to CNN, the placement of news
photographers with advanced digital equipment on the front
lines of the conflict in Iraq suggest that photojournalists
will again play a key role in shaping the public’s
understanding of war.
This time around, photographers will be stationed alongside
troops, providing viewers an up-close kind of personal
photojournalism not seen since the Vietnam War. With advances
in digital photo and video equipment, battlefield images will
be available for online distribution almost
immediately.
“Digital,” in fact, may be the defining word in coverage of
the Iraq war. Two editors who are overseeing photojournalists
in the Gulf region expect that digital technology will yield a
rich payoff to news publications looking to provide a
multidimensional form of storytelling.
For starters, both Brian Storm, vice president of news and
editorial photography at Corbis, and Tom Kennedy,
assistant managing editor of multimedia for washingtonpost.com, say that their
photographers are shooting digital exclusively.
“In Afghanistan, our people had to shoot digitally because
there was no place to process film,” Storm says by phone from
New York. “Today, the quality of digital photography has
gotten so good that everybody’s gone digital. It’s fast,
economical, and lets you transmit instantly instead of sending
your film on a two-week safari to the Saudi desert.”
Storm brings strong
credentials to his position at Corbis, which he joined last
August after building an impressive platform for visual
journalism during his seven years as director of multimedia
for MSNBC.com. Corbis is not a news organization -- it offers
stock video footage and still photography -- but
it expects to be a key player in covering the war
because of its arrangement with about 10 contract
photographers in the region.
Storm believes that online audiences will no longer settle
for tired storytelling formulas.
“Photojournalism has
changed dramatically in the past few years,” he says. “The
medium is evolving quickly, and you’re not going to win
mindshare by just walking out and making a picture with a
two-line caption. There’s a real opportunity to present a
compelling linear narrative experience on the Web. I don’t
believe the single image will ever lose its impact. What I’m
interested in is, once you’ve grabbed someone, where do you
take them?” Storm is a major proponent of
multimedia slide shows, which MSNBC, The Washington Post, The New York Times and other publications have elevated into a new
storytelling form by marrying powerful imagery with
well-crafted text, background sounds and
narration.
As technology evolves, Storm says, it changes how stories
are presented and understood. “New media is still going
through its growing pains, but as you grapple with the new
toolsets, you’ve got to remember to hang onto the principles
of journalism.”
One way that digital technology has enhanced journalism is
by enabling an unprecedented degree of communication with
correspondents in the field. “Today we had a Corbis editor in
Paris, a Time magazine editor in New York and a photographer
with the 101st Airborne in a satellite conference call to
discuss a photo package,” he says. “It seems subtle, but that
kind of contact gives everyone greater freedom to shape the
evolution of a story.”
That degree of communication, with instant uplinks to
satellites, suggests to Storm that military censorship will be
far less prevalent than during past conflicts -- although
journalists in the war zone will still need to abide by the rules set down by the
Pentagon.
One drawback of digital technology, however, is that the
production process is still fairly cumbersome, both for the
photographer in the field and Corbis’ editing teams in New
York and Paris. Multimedia programs still frequently require
getting under the hood and coding by hand, diverting attention
from the narrative aspects of digital storytelling.
“We’re all still hindered by the toolsets that are
available,” Storm says. “Once the tools become easier, then
the creativity takes over. In the next few years we’ll see a
dramatic improvement in the way people can put stories
together and package materials.”
At the same time, Storm worries that the ability to
transmit photos instantly will lead to a beat-the-clock wire
service mentality. “Because everyone is shooting digital, the
pace at which we’re expected to turn things around is so great
that I think it can hurt our journalism,” he says.
“Photographers are spending a lot of time dealing with the
transmission process instead of telling stories.”
Storm expects a backlash against rapid-fire surface
coverage by television or other media and a demand for
in-depth photo essays that stand the test of time. “Great
storytelling requires time -- time to understand what’s
going on, time to spend with your subject, not at the laptop
transmitting but really making great pictures. We’re still
hindered by the production toolsets that are available. In the
next few years we’ll see a dramatic improvement in the way
people can put stories together and package materials.”
In the meantime, Corbis has the luxury of working with
world-class photographers, on assignment for print magazines,
who are charged with focusing on long-form, behind-the-scenes
coverage. Chances are you’ll see images shot by one of these
free-lancers in the coming weeks: Benjamin Lowy, stationed
with the 3rd Brigade of the 101st Airborne Division and
shooting for Time; Christophe Calais, also with the 101st
Airborne in Kuwait; Peter Turnley in Kuwait, who has
won World Press and Overseas Press Club awards and is now
shooting for the Denver Post; his twin brother David Turnley, winner of the
Pulitzer Prize for his work during the last Gulf War, who is
working as a video producer for CNN and still photographer for
Corbis; Antoine Serra in Baghdad, on assignment for Le Figaro
magazine; Patrick Robert, en route to Baghdad and on
assignment for Time; Kate Brooks, on assignment for Time in
Kurdistan; Lynsey Addario, on assignment for The New York
Times Magazine in Kurdistan; and Jason Florio, who recently
returned from Iraq. Photographers retain full rights over
their work and earn revenue from the syndication arrangement
Corbis has with thousands of print and online
publications.
One difference between this conflict and the last Gulf War,
Storm believes, is that people’s media habits have changed.
“Tens of millions of office workers get their news every day
from CNN.com and MSNBC.com. I suspect people won’t be glued to
their televisions as much as they were in the past. They’ll be
glued to their computer monitors.”
The Post: Looking for the right
rhythms
The Washington Post, which
has scored numerous awards for its print and
online photography in recent years, has positioned five photographers
and videographers in the Gulf region: Andrea Bruce
Woodall, Jahi Chikwendiu, Michael Robinson-Chavez and Lucian
Perkins from the print side and Travis Fox, a video journalist
from the Web team. None are stationed with U.S. troops,
Kennedy says, to maintain maximum freedom of movement.
“Unilateralists,” as the Pentagon calls journalists not
assigned to a specific unit, can move around and report
without being pinned down in one location.
Kennedy says that as soon as war breaks out, the print
news desk and Web team will go from a 20-hour news cycle to
around-the-clock staffing.
“The biggest thing we’re
doing differently is trying to find new rhythms for the
delivery of content,” he says. “We’re focusing much more
intensively on not only establishing a rhythm as it comes in
from the field but also establishing a rhythm of placement and
play on the site that lets these pages talk to each
other. We’re being more conscious of how photos move from the
home page to become the primary focus a few
hours later on the Confronting Iraq page to moving
into background or archival areas.”
Toward that end, the Web site has named Jessica Doyle, a
former business editor, to the role of “video DJ” to direct
readers to the best new material each day. In
addition to Fox, who is carrying a Sony PD-150 digital video
camera, The Post has two print reporters stationed with U.S.
troops carrying lightweight Canon Optura camcorders. “When
they spot something significant we’ll be able to tell a video
story,” Kennedy says.
The Post has content partnerships with Newsweek and MSNBC,
and Kennedy met with editors at MSNBC last week to discuss the
logistics of getting the footage out of the war zone with a
video satellite phone. Fox made his first appearance on
MSNBC-TV on Friday reporting from Kuwait.
As for the print photographers, Kennedy points
out that the competition for space is so ruthless than many of
their best photos won’t ever see print publication.
“Washingtonpost.com is regarded as both a showcase and a
safety valve for the display of photography. We can do justice
to the photographers’ work in a way that’s not always possible
in the newspaper.”
Of the photographers in the field, Kennedy expects to
communicate most closely with Travis Fox, whom the Post
outfitted with protective gear against chemical and biological
weapons. “I made sure Travis ran through the same kind of
military training offered to embedded journalists regarding
how to handle yourself in a war zone. He and I had many
conversations about how to steel yourself for the horrific
realities of modern warfare. I’m thinking back to the terrible
scenes along the Highway of Death during the ’91 war.”
Showing the graphic face of war
Kennedy predicts that the Web site will provide a fuller
depiction of the war’s graphic nature than the print paper.
“I’d argue that most of the time newspapers have a lower
threshold for showing the gore of war than you have on the
Web,” he says. “Online you can let people decide whether they
want to view a certain image by applying a warning label on a
splash screen.”
During the Kosovo conflict, Kennedy recalls, he had to make
a call about running a photo of parents walking through
a makeshift morgue to identify the bodies of their slaughtered
children. “I felt it was important to convey to the world that
this terrible horror was being wreaked on a civilian
population. That kind of image needed to be shown, not because
it was graphic or sensationalistic, but because people
deserved to know the reality of what was taking place.” It ran
on the Web but not in print.
Storm, too, has wrestled with the ethical issues of
photojournalism during wartime. “It cuts to the heart of the
profession and to the role of the photographer and editor,” he
says. “The photographer has to make a deeply personal decision
about when to put the camera down. Each publication has to
decide what’s acceptable for its readership. Corbis
distributes to a global audience, so we can’t take on any one
set of geographical value systems. I think it’s critical that
we see the horror of war. And I think we’ll see it faster and
it in more venues than in the past.”
One thing of which Storm is certain is that photojournalism
will reaffirm itself during this historic episode. “It’s a
profession that’s all about passion and belief in truth and
not about making money. The still pictures will stay with us
and haunt our memory. Ten, 20 or 30 years from now, people
will look at those pictures to try to understand what happened
here.”
Will we see a signature image from the war, as we did in
Vietnam and with 9/11? “A few images will come out
that will rise above the rest,” Storm says. “The very
best photographers in the world right now are all lined
up on the Kuwait-Iraq border. Any time you have so much talent
in one place, somebody’s going to make some great pictures. I
just hope we get through this without losing any of those
guys.”
Senior Editor J.D. Lasica hosts a page of online
resources on his home page at jdlasica.com. He also writes a popular
weblog, New Media Musings.
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