Tag Archives: Kirsten Johnson

Stuff I Liked This Month – September 2016

Like most people I seem to spend an inordinate amount of time on the internet reading articles, watching short videos, and looking for inspiration among the millions of new things uploaded everyday. While a lot of what is forced down our throats these days is clickbait trash, every once in a while I stumble across something genuinely of interest to me as a photojournalist, videographer, and more broadly as a human being.

Enjoy this random collection of things I liked from the internet from the last days of August through to the close of September.

To see what I liked last month, click here.

1. Cameraperson – Directed by Kirsten Johnson

Part documentary, part video memoir, Cameraperson is one of the most unique looking pieces of filmmaking I know of when it comes to relating the experiences of doing documentary work – and more broadly about the power of the work itself. The autobiographical details of director Kirsten Johnson’s decades of experience as an international videographer will appeal to those interested in, or currently engaged in, the field of documentary media, while the socio-cultural perspectives on global issues and the media make it much more than a behind-the-scenes piece for industry insiders.

The New York Times says of Cameraperson:

“In the course of her career, Ms. Johnson has found herself in dangerous and somber places, as a witness to some of the worst inhumanity of the recent past. She returns several times to Foca, Bosnia, the scene of mass rapes and killings during the Balkan wars of the ’90s, and also visits Darfur, Afghanistan, Guantánamo Bay and Manhattan’s ground zero. “Cameraperson” isn’t a work of journalism or advocacy. It’s a scrapbook, a found poem assembled out of scraps and snippets of truth.”

The film is currently on the indie festival circuit (where it looks to be racking up awards) so I’m not sure when exactly it will be available for mainstream audiences, but this is a film I’m going to keep tabs on.

Visit the official website for the film, here.

2. How a French Photographer Made Intimate Photos of Refugees (or The Ethics of Working With Non-Governmental Organizations (NGOs))  – James Estrin/The New York Times Lens Blog

screen-shot-2016-09-15-at-4-03-43-pm

Copyright Marie Dorigny. Click on image to read the full article.

This article by my friend and mentor Jim Estrin was technically written last month, but it’s too relevant to photojournalism to ignore. Photographer Marie Dorigny, the main subject of the article sums up one of the dominant issues for those working in documentary photography today:

“There are no more magazines that will send us on humanitarian social stories. They don’t care anymore and they don’t want to put money on these stories. The NGOs are willing to use photo reporters, and it’s an opportunity for us to keep working on the stories we care about.”

While it’s not necessarily true that there are no more magazines that will pay for humanitarian reporting, the list is dwindling by the day and the only ones who seem to see any of the limited funds that still exist are typically big name photographers with prestigious awards under their belts – and all the power to them. But for those, like me, whose names are not industry-wide brands yet are still living full time from visual storytelling, finding the money to pursue in depth projects is a constant challenge.

In fact, in the last fours years of work, the longest assignment I have ever received from the mainstream media has been six days, and that was an outlier. One or two days is more the norm. This isn’t an indictment of media as they are all dealing with their own well-publicized financial woes, but it does mean that photographers like me who want to pursue long-term stories need to look elsewhere for support – and more often than not, that means reaching out to NGOs.

My recently completed two-year documentation of the Mekong river was funded entirely by the non-profit sector, and despite producing roughly 50 pieces of multimedia journalism, we never received a cent from any media organization. That would seem to indicate that the new trend is to bypass the media altogether and work exclusively with the non-profit sector, but the solution isn’t that neat. Working with major media outlets provides both a legitimacy and scale of distribution that just can’t be matched by NGOs alone, and  the work produced with NGOs can be dismissed as being a piece of advocacy rather than journalism.

This article discusses some of the ins and outs of NGO/photojournalist partnerships, and gives some examples of noteworthy photographers who have stepped away from the media to get personal projects accomplished. This is an issue that will likely stick with my colleagues and I for the foreseeable future, and so I highly recommend reading it.

3. Use Your Photography Skills to Master Video – Jessica Dimmock/CreativeLive

If you work in the documentary photography world, odds are you have been repeatedly bombarded people telling you that you need to start shooting video immediately if you are to have any chance of long-term survival. This two-day course from award-winning photographer Jessica Dimmock of the VII Photo Agency takes a slightly gentler approach in branching the topic. Rather than preying on the fears that photojournalists have about the seismic shifts in the industry to force them to adopt video, Jessica Dimmock takes a different approach.

Through in-depth discussions of gear, methodology, logistics, and, more importantly, intention and motivation, she instead shows how exploring videography can compliment still photography and open up new opportunities that might not have existed otherwise. After watching this course (which spans more than 12 hours) I was left with a feeling of excitement about how video could enhance my projects rather than the normal gloom of obligation that often goes with this topic.

One of the best online education experiences I’ve had to date, I took this course when it streamed for free on launch. Now priced at $129 for lifetime access, if you are serious about trying to bring videography skills into your toolkit, this is far cheaper than any workshop that I know of and a great value. Dimmock is a solid and engaging teacher, and far from a patronizing overview for total beginners, this course delivers what it promises – sound, practical advice for experienced photographers who want to expand their skill set and start producing moving stories.

Visit the course page here

4. So Good They Can’t Ignore You – by Cal Newport

screen-shot-2016-09-15-at-4-05-20-pmThe anti-self help book I wish I’d read years ago, So Good They Can’t Ignore You is based around the simple premise that the predominant career advice of the last 40 years – follow your passion – is terrible advice. This has been spouted by everyone from high school guidance counsellors to Steve Jobs, and it is easy to be attracted to these types of ideas. After all, who doesn’t want to believe that simply enjoying something is the key to success?

But as Newport points out, Jobs didn’t build Apple because he was passionate about technology. In fact, quite the opposite. Jobs was a barefoot, LSD-taking hippy who took a job at Atari so that he could have enough disposable income to pursue his real passion of zen meditation. What is omitted in the legendary story of how Jobs built the first Apple computer in his garage is the fact that he saw the endeavour as a chance to make some money, and it was by no means a passion project. It was only later, after he had built the company into something real that he began to actually love what he did.

Newport argues that this is true of many successful people. Rather than following their passions, they slowly but steadily built up a skill set that provided value to the world, and then leveraged these skills into deeply meaningful careers that they grew to love because they got so good at them.

Through examples of high achievers like Jobs (and many, many others), Newport suggests that a deliberate blue-collar work ethic that allows you to grow your value is what will eventually define a career that you love, not divinely inspired passion. In fact, believing that passion should be the driving force behind your career is dangerous as it can lead to chronic dissatisfaction whenever the day to day going gets tough – which it will.

This is especially relevant to people considering a future in photojournalism, as in my experience only long-term deliberate practice will have any impact on your career. All the passion in the world will not land you your first assignment or build your portfolio. Instead you will feel discouraged when you don’t make any progress, no matter how in love with the medium you may be. What will pay off, however, is building up a skills that are valuable to clients, and that can only be done through tedious and repetitive practice.

Obviously this is not to say that you should not be passionate about what you are doing, but that passion alone is not enough. I have met quite a few aspiring documentary photographers over the last several years who have asked me for meetings or sent me emails to tell me how they have just realized they want to dedicate the rest of their lives to photojournalism, and want to know the best way to get started. But when I answer them that they should probably expect to spend at least the first two-three years building up their skills without expectation of recognition or getting paid, their eyes tend to glaze over. Surely, they seem to think, I just don’t understand how much they want it, and that I am missing the obvious fact that they are outliers who don’t need to suffer the drudgery of practice. I can say this because I often felt the same way.

But looking back, I can safely say that Newport is right – passion is not usually enough to get off the ground. What counts is learning to be good at something, and with time the passion will catch up. Unfortunately this is not sexy advice and it is much more satisfying to dive headfirst after your dreams. But if I’d read this book when starting out and listened its suggestions, I would have likely progressed much faster than I did.

5. The News is Dead, So What Comes Next? – Canadaland Podcast

screen-shot-2016-09-16-at-2-00-19-pmThis podcast’s own host admits at the end of the episode that putting “Canada” in the name of the show is
a surefire way to discourage a mainstream audience from listening to it, but I promise that this 30 minute show is relevant not only to Canadians, but for anyone who works with or near media.  The show’s guest is Ian Gill, the author of No News is Bad News: Canada’s Media Collapse―and What Comes Next, asserts that Canada’s (the world’s) major media outlets have utterly failed at their job of keeping the public informed about the everyday events that impact their lives. While this is an obviously pessimistic standpoint, he also delves into non-mainstream services that have picked up the slack and which now, Gill says, do a much better job than the traditional news outlets.

This podcast is thematically connected to Jim Estrin and Marie Dorigny’s article that made the #2 slot on this month’s list, and the two go well together if you’re trying to wrestle with what the future looks like for journalists and storytellers in a post-newspaper world.

Click here to leave this site and steam the podcast.

Click here to stream this podcast in a separate tab.

For the full collection of “Stuff I Liked This Month” articles, and other relevant resources for photojournalists and videographers, click here. 

 

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