The change: Video storytelling and the rise of the DSLR

It happened so fast. The change. One day, photojournalists were just doing their thing. Shooting daily photos for their newspapers. Maybe even an odd photo story or two. A lucky day was getting a page or a double truck on Sunday to showcase all their hard work.

Video at newspapers was out there on the fringes. A few staffers braved the online world and embraced a new way to tell a visual story. Except this time, it was on the World Wide Web. No space restrictions here. Most traditional still shooters shrugged their shoulders and continued on with the status quo. Video cameras were for “TV types,” they said.

Then the layoffs hit hard. In 2009 and onwards, photo departments at many newspapers were gutted. Hundreds of staff photographers were tossed onto the streets to fend for themselves. To freelance.

In the midst of all this chaos, a new type of still camera was quietly released by Canon. The 5D Mark II had a little secret– it could shoot kick-ass HD video. A few brave photojournalists used the new technology to produce stunning imagery. Images unlike anything ever seen in the video camera world. Shallow depth-of-field shots and cinematic looks that mimicked film dropped many jaws along the way. The smart ones ran with it. Reinvented themselves and in doing so, reinvented the genre of documentary filmmaking. Overnight the doc film industry changed. Shooting with Film stock was done. Former still photojournalists, once resistant to shooting video, now embraced it.

The commercial still photography market tanked as a “billion of photojournalists” raised their iPhones and posted their snaps on Flickr.

Because the DSLR camera was familiar, still photojournalists could buy in without judgment. The taint of video, hidden in a tiny package of a pro DSLR camera gave courage to those that once scoffed at the idea. It did not matter that the DSLR was much harder to shoot with than a traditional video camera. What did they know? They had never shot with a Sony or Panasonic video camera with built-in stabilization and pro audio inputs.

The aftermarket kicked in with a plethora of accessories to make the 5D Mark II easier to focus and improve the bad audio the camera outputted.

Soon the former photojournalists were now calling themselves filmmakers. The old ideas of us (still) vs. them (TV) dissipated. “Us” became “them,” but in a different way.

Video storytelling changed. The entry point into the documentary film world flattened. An army of new filmmakers, not confined by the limitations and cost of film, were unleashed. Stories, some short, some long (most too long,) gave rise to publishing platforms like YouTube and Vimeo. No longer did you need a TV to showcase your vision. Shoot and edit your story yourself, then post it to the Web. Maybe even enter a film festival or two.

Former photojournalists, the ones newspapers turned their backs on, were the most creative with the new DSLR video medium. They brought a keen sense of composition, moment and storytelling to the table. But sometimes that was not enough. They needed to understand that great imagery did not a great story make. Each failure was a learning opportunity.

The unfortunate ones were the Nikon shooters. The Nikon D90 was the first DSLR to have video capabilities. But Nikon took a nap after that release. Canon became the de facto standard for DSLR video. The release of the Nikon D800 and D4 played catch up and now a lost generation of Nikon users are joining the fray of filmmaking.

I sit here now stewing, one of the first still photojournalists that embraced digital video storytelling at a newspaper. I was a change agent; embracing the idea that video was an important path to enhancing our online content. In those early days of 2004, our website was mostly text-based with a few postage stamp-sized photos sprinkled about.  I evangelized, I shared, and I taught video sequencing to anyone who wanted to learn. I produced hundreds of video and multimedia stories. I even survived 11 rounds of layoffs at my newspaper. But now I feel like the old man talking about the good old days. Many of my photojournalists friends who left newspapers unwillingly are doing incredible documentary video stories now.

Video storytelling is hard. It takes commitment to keep learning. To keep pushing the boundaries of what is possible with the tools available.

In the blink of an eye, things change. It comes down to how you respond to that change. Give up and you stagnate. Embrace and you risk failure. Fear is the great equalizer. I keep telling myself  “no fear, no fear.”

I really love video storytelling. Though now I feel the cool kids have taken the torch and somehow passed me by. I tell myself I still have knowledge and experience on my side.

Inside me is a storytelling machine waiting to be unleashed. My Nikon D4 beckons. The world is full of stories. The only one that keeps me from telling them is fear.  No fear. No fear. No fear.

Part 2: DSLR camera accessories-image stabilization

In this part two examination of DSLR accessories, I look ways to outfit your camera to ensure stability of your video (see part one on the Juicedlink audio interface.)

I shoot primarily news video for my newspaper’s website using a Nikon D3s as a video camera. It captures only 720p HD video, not 1080p of the newer models, but it’s resolution perfect for most online delivery.

One of the issues I’ve had as I transitioned from shooting with a Sony EX1 video camera to now using a DSLR, was the stability of my video. When handholding a DSLR during a shoot, I founds it almost impossible to capture stable video. Because I couldn’t put the camera up to my eye when shooting in live view, the shaky-cam effect from holding the camera unsupported out in front of me was really pronounced. It made me realize  how much the optical stabilization on most traditional video cameras work to minimize camera vibration.

In putting my DSLR video camera kit together, I looked for the best lens I could find that would not only give me the zoom focal lengths I needed, but would also have built-in image stabilization. My final choice was the Nikon 24-120mm f/4 VR lens.

VR (vibration reduction) is Nikon’s version of the Canon’s IS (Image Stabilization.) Vibration Reduction (VR) systems in DSLR camera lenses compensate for image blur caused by small, involuntary movements from unsupported cameras.

I can attest that VR works. I’ve seen and shot a lot of handheld DSLR video that was so shaky it was unwatchable. Switching VR on will not make your footage look like it was shot on a tripod, but it will smooth it out considerably. In my video below, I used the Nikon 24-120mm with VR for the first time. I was pleased with the results. VR  allowed to  move with my subjects without encountering the jarring shake of typical handheld footage. I was most impressed with the clip of me running with the subject. No way would this look this smooth without VR.

The next accessory I use for stabilizing my DSLR video is the wonderful  Zacuto Z-Finder optical viewfinder that I attach to my camera’s rear viewing monitor. This allows me to press the eyepiece against the bridge of my shootin’ eye, which helps stabilize the camera–especially the up and down movement you get when holding the camera out in front of you. This, paired with the lens VR, really makes for some excellent looking handheld footage.

Finally, I can’t stress enough about having a solid tripod handy on EVERY shoot. I always try to use a tripod for long interviews. This allows me to spend time looking my subject in the eye, rather than hiding behind the camera monitor.

The best video tripods are ones that have a fluid head, which allows you to do smooth pan and tilt movements. I have three that I have access to, from small (light) to large (heavy.) The one thing that I have come to love about shooting with a tripod is that I can frame a shot and then shoot a three-shot sequence of wide, medium and tight ten second clips. When I edit, I have three different views to choose from—and best of all, they are all rock steady.

I could go on about camera rigs and such, but in my type of work, they are a bit much for what I do. As a one-man band, I find keeping it simple is the best hedge against missing shots and moments. One of the things that I don’t want to do is create the three-headed monster camera rig that would draw too much attention to myself.

In part three, I will look at the Zacuto Finder up close and a round-up of the other necessary accessories to outfit your DSLR to make it a bad ass video camera.

What I learned shooting my first two DSLR video stories

A PETA protest video story shot with a Nikon D3s

In the past 24 hours I have produced two news videos that I shot for the first time with my Nikon D3s. The transition for me shooting DSLR video has been slow. I have been quite comfortable with my Sony XDCAM EX1. But as more photographers embrace shooting video with a DSLR, I figured it was time to jump in. Here are some issues I encountered while shooting my stories.

Workflow
When I first started shooting with a traditional video camera, I was challenged by the workflow. Having to monitor audio, think in sequences and deal with a dozen other simultaneous details was overwhelming at times. I feel like that now shooting video with my DSLR camera. The workflow is a house of cards. Mess up one thing and your story is hosed. Forget to turn on the mic? Without being able to monitor your audio like a video camera, you’ll end up with a bunch of clips with no audio. I live in fear of this.

Mics
I’m shooting with a Sennheiser MKE 400 mic mounted on the camera’s hot shoe. I’m used to shooting with a full-sized Sennheiser ME-66 shotgun. This mini mic is definitely not in the same class as its big ME66 brother. It is important to get the mic close to the subject, and watch out for wind noise. Get a dead cat windscreen for this mic. The little one that came with mine fell off into the abyss within 15 minutes of ownership.

Stability
Using a DSLR makes me fully understand how much the optical stabilization on a video camera really works. Without some type of support, DSLRs are damn hard to hold steady. I’ve downsized to a smaller and lighter tripod that works pretty well. I can shorten it up and use it as a brace in a pinch. Monopods, I’ve found, stop the up and down camera movements, but not the side-to-side.

Focus
Focus really sucks with the DSLR. I am manually focusing every shot. I have remapped the back of my D3s to zoom the monitor 50% using the rear toggle button. To record, I use the front function button next to the grip on the front of the camera. This allows me to quickly zoom in on my subject, focus and zoom out. Without the feature my clips would be a blurry mess. I have a Zacuto Z-Finder Pro on order, which should really help my aging eyes.

A candlelight vigil video story shot at 4000 ISO on a Nikon D3s

Lenses
I’m used to having a wide to telephoto lens with my video camera. On my DSLR, I constantly have to change lenses. The only cool thing about this is the ability to use specialty glass like my 60 mm macro lens and my 85mm f/1.4. Shallow DOF rocks with a DSLR, but it makes focus all the more critical.

ND filter
I need a neutral density filter. Last night, shooting a candlelight vigil was not a problem, but today during a PETA protest in bright sunlight, I had a hard time keeping my f-stops low enough. With DSLRs you want keep your shutter speed between a 30th to no more that 125th of a second. Go higher than that, and your video will start to look funky. An ND filter blocks the light, but not the image quality. They are pricey. I have one on order for a hundred bucks and that’s a cheap one.

Editing
I have been a Final Cut Pro fan boy for seven years, but when Apple reinvented the wheel with Final Cut X, I decided to explore other options. I purchased a copy of Adobe Production Premium for my home computer. This suite of programs is topnotch and includes Premiere Pro CS5.5. My two videos were both edited in Premiere. This modern program edits my DSLR video without transcoding. It didn’t take much effort to jump right in and start editing. It’s not as intuitive as Final Cut. Some things like track heights and how the timeline functions are driving me crazy, but all in all, I settled in just fine.

I feel I’m over the hump. Shooting and editing two quick stories showed me I could do this without losing the quality of my storytelling.

Photogene and iPad 2: Great tools for photojournalists

Sitting in a lawn chair outside the Spokane Apple Store last week, I pondered the absurdity of my week-long quest to buy an iPad 2. Arriving at 5 a.m. netted me the sixth spot in line and an eventual 16-gig wifi slate of glass and aluminum.

Did I really need another digital device to supplement all the other Apple products that grace my home and workspace? No, of course not. But using the iPad 2 this past week has made me giddy with excitement as I discover one new feature or application after another. It’s interesting, when I demonstrate to people who have never seen or touched one, how utterly amazed they are. Suffice to say this multimedia device is smokin’ hot. There are enough glowing reviews on the Web that I don’t need to pontificate much more.

A great tool for photojournalists

The one thing I really wanted to do with my iPad 2 was edit and send photos from the field back to the newspaper. I couldn’t find much info from other photojournalists about what applications would help me replace Photo Mechanic and Photoshop on my laptop. Nor could I find anyone who was using the iPad to send their photos via FTP (file transfer protocol) back to their newspapers. I can happily announce that during my first photo assignment today I did just that.

My first stop last week was to the Apple iPad App Store where I found this amazing little program called Photogene. It allows me to crop, tone, caption and send my photos all from a three dollar application. The best part is that it has a built in FTP, so I can send my photos directly into our Merlin archive system.

Here was my workflow today:

  • Shot a photo of a woman in a job-training program working in the kitchen of a restaurant.
  • Ordered lunch, sat down at a table and plugged in the Apple camera connection cable between the iPad and the USB port on my Nikon D3s. It immediately displayed all the. jpg’s in the iPad’s photo browser. By touching a photo, it marks it so you don’t have to bring in every image on your card. I hit “Import Selected” and the files were quickly downloaded from the camera.
  • I open Photogene and select the photo I want to edit. The workflow now is super simple. I crop my photo, and then toned the image. Toning is done using sliders for exposure, color temperature, saturation etc. There are a ton of other adjustments from noise reduction to selective color channels. It even has a digital histogram and curves adjustment tools.
  • On to the metadata tab, I clicked “IPTC” and added caption info and filled out the other metadata fields that are needed to archive the photo for later.
  • Finally, I hit the export button and chose “FTP” from the menu (You can also send directly to Facebook, Twitter, Flickr or email.) I already have all the info such as IP address and password stored, so I just add the file name (make sure there are no spaces) and upload the photo using my ATT MiFi . A minute later it was ready for an editor to move to the desk.

Some observations

Will the iPad 2 replace a laptop? Probably not. I think the iPad is perfect if you need to move a couple of photos from your car during a breaking news event. It’s not be ideal for slogging 300 photos from a high school basketball game.

You need to buy the Camera Connection Kit from Apple ($30.00), which includes an SD card reader and an Apple connector to mini USB cord. I wish there was a CF card reader, but the cable works as advertised.

Typing a caption is easy, but it is all on one line that gets obscured as you type past the field boundary. A bigger caption field for photojournalists is a must have.

Get the PhotoSync application ($1.99). It lets you transfer photos to and from your iPhone, computer and iPad wirelessly. It also lets you bypass the iTunes software, which is not really intended for photos.

I also bought the pro upgrade for eight dollars. It adds a few more things that professionals need such as applying star ratings, adding personal watermarks to exported images, saving your FTP settings, adjusting RGB curves individually, and controlling JPEG export settings.

If any other photojournalists are using an iPad to edit photos please share your experiences in comments below!

Producing Audio Slideshows with Final Cut Pro

One of a Kind in the World Museum

In 2005, Joe Weiss released Soundslides, a killer audio slideshow production program that helped transition many newspaper photojournalists into the world of online multimedia. Audio slideshows soon flooded newspaper websites. Its simple interface and even simpler learning curve proved a perfect match for anyone wanting to add an audio narrative to their online picture stories.

But times have changed. Many of those same photojournalists moved on to add video to their storytelling toolboxes. As they began to master video editing programs like Apple’s Final Cut Pro or Adobe Premiere Pro, it seemed like a no brainer to use them to produce audioslide shows. I cannot say building an audio slideshow is easier with a video editing program, but it does afford you some added features that are hard, if not impossible, to replicate in Soundslides.

Here are some of the things I’ve learned when making an audio slideshow using Apple’s Final Cut Pro:

  • Soundslides is great at taking all the tedious production out of the process. It grabs all your photos in a file and automatically sizes them for the web. When producing in a video editor, you have to do all this image prep yourself. But it’s not too bad if you create a Photoshop action to automate the process.  I create a one-click action to reduce the image dpi to 72 and size to each photo to a width of 2500 pixels. This size makes the images large enough to use motion on later if needed.
  • Before you start to edit, it is important to set up your timeline as an HD project. It makes the photos look so much better, even after you compress the hell out of them later for the web. I generally pick Apple Intermediate Codec 720p30 from the “Easy Setup” menu. I think progressive timelines without the interlacing work best for photos. I’ve even used the XDCAM 1080p30 setting with great results.
  • As I assemble my story, I tend to build as I go. I start editing at the beginning with audio, then layer on my photos. I use the voiceover tool in Final Cut Pro to record my script narrative direct to the timeline. This is just how I do it. There are many ways to edit. You may like to have the whole project storyboarded out before you start your edit. Do whatever works best for you.
  • I try to scale up each photo to fill my Canvas viewer. This looks so much better than having black bars showing above and below the image.
  • One of the nice things about producing audio slideshows in a video editor is the ability to display multiple photos at once in the Canvas viewer. This solves the vertical photo issue of trying fill a horizontal space with a vertical rectangle. I like to fade in my vertical photos on the far left or right of my frame then fade in another image to fill the rest of the frame. Click image below to see and example of using multiple photos in one window.

 

Mount St. Helens comes to town

  • In Soundslides the default is to add a cross-fade to every image. I see a trend away from this as more people edit in video programs.  Most of the time I just use quick cut between photos. It took me awhile to break the cross fade habit, but now I see how much better a show flows without all that cross fading. It also makes it easier to edit to a beat in the audio.
  • I tend to edit an audio slide show like I edit a video story. I try to use sequences of images that help move the story through time and place. I try to mix up the photo selection by using a mix of wide, medium and tight shots just like I do with video.
  • Use motion on photos with caution. Most of the time, slower is better. You don’t want to make the viewer seasick. Try not to zigzag all over the place. Use motion on a photo to reveal or isolate something that pertains to the story. I like to put a very slow pull or push on a photo that is almost not noticeable. It adds just a little kick to a static photo. One last suggestion on using motion with photos; If you are pulling out on a photo and your next image has motion too, make that one zoom in; otherwise it makes the viewer feel like they are heading through a tunnel.
  • Finally, the other added benefit of producing audio slide shows in a video editor is that it brings all your multimedia under one player for your website. If your video player has embed ability, it makes it easier for viewers to share your story and make it go viral.

The Nikon D3s is, like, WOW!

My new Nikon D3s arrived last Friday and I’m still kicking the tires.

This camera is one bad boy. Yesterday, I set my ISO at 4000 and left it there for three photo assignments. ISO 4000 looks like 800 did on my vintage Nikon D2h  of just a few years ago.

My newspaper has always been a Nikon shop. Though I was tempted by all the low-light Canon camera offerings of yore, management never blinked or gave my informed blathering much acknowledgement to make the switch. Now I’m glad they didn’t listen to me.  This camera kicks! In the past, when I needed to spin the ISO dial up to, say, ISO 3200, I would often regret the decision later. Noise in digital files looks horrible.

This camera easily handled 4000, and 6400 ISO. I haven’t needed to go higher on the account that I don’t need 500th of a second for an environmental portrait.

Take a look at this shot I did of my daughter Brenna, right, and her friend Shea.

I shot it on my living room floor with just lamplight at 6400 ISO in RAW. I tweaked the color to get the skin tones right and made just basic Adobe CS5 RAW converter adjustments. If I had shot this with my D2h, it would have noise the size of gravel.

This camera will open many new low-light avenues for me and any other shooter lucky enough to get their hands on one.  I had to go through Nikon Professional Services to find one. I’m told they are as elusive as unicorns.

The next thing for me to tackle is the whole DSLR video learning curve. I have shot video for five years. My Sony Z-1U and XDCAM EX-1 have served me well.  Lately, I’ve been feeling I’m on the outside looking in as the Canon 5D Mk II has dominated  the video gear spotlight.

Mostly, I suspect, for the look of the files coming out of these cameras. Shallow depth-of-field is all the rage, but at what cost? Audio is a DSLR camera’s Achilles heel. The contraptions DP’s and video producers are building to make these cameras work gives me pause.

If I was the subject of a story and someone came at me with a steering wheel contraption laden with mics, lights and other paraphernalia,  I’d probably freeze up like a deer in headlights.

So my toe dipping starts with the limited video capabilities of the D3s. It has been much maligned for not shooting in the higher resolution of 1920p that Canon cameras do. This doesn’t really concern me. The test files I’ve shot so far look better than anything that comes out of my XDCAM. The huge full-frame sensor in the D3s makes shooting in the dark a breeze. Its 720p file size is just about right for the web-based video storytelling I do.  I have to compress the hell out of the videos I shoot, so the huge files from a 5D Mk II will only slow my edit down. I’m not planning to shoot any Hollywood movies, so I’m cool with the Nikon’s smaller file size for now. Of course, in a few months, my camera will probably be rendered obsolete by the rumored Nikon D4. Such is life of a techno geek.

Big picture galleries gaining acceptance at newspapers

Newspaper websites historically have never been photo friendly. In the first five years of the active Internet, most photos were compressed to a postage-stamped size of around 15k -30k. They had to in those promising days of 28K modems, where one oversized graphic element would bring a homepage to a screeching halt.

I think many photojournalists gave the early Web a big thumbs down as a place to display their work. At my newspaper, us photojournalists’ collectively shrugged our shoulders when the “web guy” would say that he posted one of our photos online.  Later requests on my part, to up the size on our online pictures, was met by one photo manager’s insistence that the images would be downloaded (stolen) or mass-produced across the internet. At that moment I gave up trying and, instead, embraced video as my online medium of choice.

Then, several years ago, Boston.com’s The Big Picture blog rocked my world when it launched.  Here, finally, was a large format online gallery that showcased photojournalism the way it should be. The images were displayed in a format that also didn’t frustrate the viewer with slow page loads. The minute I saw it, I knew we had to have something like it for Spokesman.com. Unfortunately our web team was in middle of developing a ground-up overhaul of our CMS, and it never made the priority list.

While I waited, other newspapers around the country embraced the idea of increasing the format size of their photo galleries. The New York Times Lens Blog, Los Angeles Times, the Chicago Tribune, and many others started big picture galleries.

A few months ago, Ryan Pitts, Spokesman.com’s online director, who was damned tired of my whining, came to me with a surprise. “ I built you a big picture gallery,” he said. After picking my jaw up off the floor, I took a look at what he built.

I was nothin’ but smiles the rest of the day. He gave me the keys, so to speak, to a beautiful Corvette. Behind the scenes, the gallery is really nothing more than a tool that I can access through our web-based Django admin page. I just upload my photos, paste in the captions, add some intro text and a headline, hit save and, drum roll please, instant big picture gallery. The nice thing is, because it is a web-based tool, I can create a gallery from anywhere in the field.

What I like best about our gallery is its clean design. For a long time I pushed the idea of a black background for photos, but our gallery is white and I am fine with that. In fact, I think it is easier on the eyes. I also like how I can pop in drop quotes in between the photos. I am pushing to have commenting on the gallery, which I hope will be enabled soon.

Update: here is some more  links to big picture galleries: Tampabay.com’s All Eyes, SacBee’s The Frame Any more? Send links my way…

Update Two: KobreChannel blog take on this post.

Feedback website “Finding the Frame” launches

Finding the Frame, a website dedicated to giving feedback to newspaper multimedia producers and video journalists has launched.

My post in Mastering Multimedia last month,  “Video at newspapers needs to improve,” resonated with many people. I received lots emails from producers who vented their frustration at not being able to get feedback on their multimedia stories.

After a brainstorming session over a few beers, Brian Immel, a former multimedia producer and programmer at The Spokesman-Review, graciously agreed to build a website for the sole purpose of connecting those who need feedback on their multimedia, to professionals willing to share some time and knowledge.

Here’s how it works

The plan is to have onboard as many “expert” volunteers as possible that have solid foundations in video storytelling, audio slide shows or Flash projects. This pool of reviewers will peruse the submitted links of multimedia in the “Story Pool”. If they decide to comment on a story, it will then become public on the Finding the Frame home page where anyone else is free to give added feedback.

So why do this?

While most publications have driven head first into the online world, multimedia storytelling is still in its infancy at many newspapers. Unfortunately, not all people tasked with producing multimedia received adequate training or had the financial ability to attend a multimedia storytelling workshop. Many multimedia producers are self-taught, having picked up bit and pieces of knowledge along the way.

When I judge a multimedia contest, I often get frustrated at seeing the same problems in the execution of basic video and audio production fundamentals. Many photojournalists are struggling with how to tell an effective video or audio slideshow story that is different from the traditional still picture story.

Our hope is that Finding the Frame will begin to address the need for feedback and in turn, help multimedia producers improve their storytelling. Just read some of the comments by reviewers so far–you’ll be impressed. The professionals that have signed on as reviewers are the some of the top in the industry. If they critique your story, please thank them for giving up some of their precious time to help out a fellow visual journalist.

What we need

What we need is for enough producers, multimedia editors and photojournalists who have a solid experience with multimedia storytelling to step forward and share some of their knowledge with those that are looking for constructive, honest feedback.

So if you feel you have something to offer, we would really like you to join the pool of reviewers on Finding the Frame.

So go check it out and give Brian and me some feedback. Create an account. Upload a link to a video, audio slide show or Flash project. Be patient, as it might take some time for your story to get reviewed

I am not sure how many people will upload stories, so let’s take this slow at first. It would also be helpful if non-reviewers could give some feedback to others by commenting on their work.

If you would like to be added to the reviewer pool, register your account, making sure you create a profile and upload a photo of yourself or avatar, then email me at cmulvany@findingtheframe.com with the request.

This website is for you. We would really appreciate your support and feedback.

I do have the coolest job ever!

A slap upside the head always comes when you least expect it.

“You have the coolest job ever,” said a hockey fan standing behind me admiring one of my photos at the Spokane Arena last night.  I was on deadline preparing to transmit my pictures of a blowout Spokane Chiefs hockey game back to the paper when those six words stopped me cold.

“You have the coolest job ever.”

Up until that utterance, I’d beg to differ.  It had been a long 14-hour day and I was tired. I started in the morning shooting a freelance job. I take extra work now whenever I can.  It helps make up for the furlough days and pay cuts I have endured over the past year.

The economic trauma and turmoil facing my and every other newspaper in the country weighs heavily on my shoulders at times. When someone asks me why I entered the newspaper biz, I tell them it’s because I have a passion for telling stories.  Like any good photojournalist, I see the world a bit differently from most people. There is a creative energy that burns inside me.  When I put a camera up to my eye, life becomes my palette.  I felt it when I bought my first professional camera in high school and I still feel it today…well most days.

“You have the coolest job ever.”

As I sat there hunched over my laptop, awareness washed over me. Here I was at a hockey game that I didn’t have to pay to get in, surrounded by the best cameras, lenses and laptop that I didn’t have to buy. The only thing missing was a cold beer by my side.

Looking back over the past seven days at some of what I have produced for the readers of my newspaper and viewers of our website, I realize that I can’t let the uncertainty of the future kill my creativity. Today, I put a sticky note on my computer monitor that simply says, “Try Harder.” It is my little reminder  that  (slap upside the head)  I do have the coolest job ever!

These are some of the highlights of my past week– a mix of multimedia and stills.

Several dozen great blue herons were perched on pilings in the Pend Oreille River at Usk, Washington Tuesday, March 2, 2010. Area birding enthusiasts said this is the time of year large groups of the giant birds can be seen migrating and resting in certain areas, such as the Pack River Delta along Lake Pend Oreille. Soon they will disperse in smaller groups to nesting rookeries in cottonwoods or other woodlands near water.COLIN MULVANY colinm@spokesman.com

Tim Michaels, who lost part of his leg in a grain elevator accident holds a wooden foot carving a relative brought him during his stay at Providence Sacred Heart Medical Center in Spokane, Wash.

Videos: Click image to view.

The king of Cat Tales Zoological Training Center gets a root canal.

In the Kalispel Tribal Language Program, new Salish speakers immerse themselves in daily conversation with elders and then teach what they have learned in nearby public schools.

Photojournalism in the age of the Internet

I’ve been working on a presentation I will give next month called “Photojournalism in the age of the Internet.” In the process, I’ve been thinking a lot about how much photojournalism has changed for newspaper photojournalists.

With the rise of the  Internet, traditional photojournalists have been faced with a dilemma. Stay a purist to the craft by clinging to their still cameras or embrace the change by venturing out into the online world by adding video and audio to their storytelling toolboxes.

Back in 2006, I was invited to speak about newspaper multimedia at The Southern Short Course in News Photography conference. During some free time, I dropped in on a panel discussion about the future of photojournalism. The panel was made up of a stellar group of veteran, but mostly old-school photojournalists.  The room was packed, so I stood in the side-shadows taking in the conversation.

An audience member asked whether video was something she needed to learn. After a pause, one panel member said, “I don’t know, why don’t you ask Colin? He’s standing over there.”  All 200 heads turned and looked at me.

My answer made many people squirm in their seats. “Yes,” I said. “You need to learn video. You need to add audio to your pictures and yes you’ll need to embrace change.”

I felt a little uneasy as the questions kept coming at me and not the panel. I could sense that many people thought I was crazy. I started to see the panic in some people’s eyes. One woman volunteered that her editor at a small newspaper was requiring her on a single story to write it, take the photographs and produce a video. An uneasy murmur rose in the room. I could tell, my belief that video was important to the future of online journalism, was  a tough sell in this room of die-hard  photojournalists.

Flash-forward some four years. Whereas, in 2006 I was an anomaly, now most newspaper photojournalists produce some sort of multimedia, be it  audio slideshows or video. J-school programs have finally stopped wallowing in the past and are junking old curriculums for new ones that are multimedia focused.

Looking at the troubling position newspapers are in, one must wonder if all this talk of multimedia storytelling really matters. After all the rounds of layoffs, who has time to shoot video?

There are some days I wonder myself, but I quickly shake off the feeling. I have to remind myself that newspapers are awash in transition. As we near rock bottom, the economy is starting to show some life. I can only hope for some stability to return to the newspaper industry.

Today, if I faced a similar crowd like the one in 2006, I would say the same thing. Learn video storytelling, master audio gathering and editing. Embrace change. The future, I would tell them, is not in the printed-paper, but in the digital delivery that will eventually replace it.

Photojournalists are a curious lot. They are independent, visual thinkers. Most take photographs because they love to shoot and share their work. They know they’ll never get rich on this career choice, but instead find happiness in the people they meet and photograph along the way.

The disruption that online journalism has placed on the photojournalist, whose career choice was based solely on taking still photos for newspapers, has been gut wrenching. “That’s not what I signed up for,” is what I often see posted in forums dealing with the changes facing photojournalists today.

The technology being deployed is slowly changing the definition of what photojournalism is. Newspaper photojournalists are becoming multifaceted visual journalists who can now use a variety of formats to tell a story.

As lean as newspapers are running these days, I think we’re about to get a dose of “oh shit” real soon. Circulation is not coming back. Just look at the downward trend of the last forty years as proof of that. Our readership is dying off and screenagers are just not interested in buying the dead trees we’re selling. I think the last transition will be the messiest. More talented journalists will leave the profession. More photojournalists will become freelance wedding photographers.

What awaits those few who make it across the proverbial burning bridge is anyone’s guess. If I could flash forward four years, I can visualize in my crystal ball a world where newspapers have transitioned most of their subscriber base to the touch screen tablet platform that has suddenly gone white-hot with advertisers.  I predict these multimedia centric devices will need a steady stream of visual content.  And guess what?  Visual journalists, who honed their multimedia skills during newspapers darkest hours, will be there to gladly step up and help feed the daily digital beast.