|
Ask The Experts provides an opportunity for professional photojournalists starting out on their careers to put questions to some of the leading members of the profession.
For edition six there are three questions. Question one and its answers are below. You can reach questions two and three from the links at the foot of this page and by using the navigation to the left.
| |
Nwazulike Hope
|
The first question is from photojournalist Nwazulike Hope who has worked with
the Nigerian army for a year but is now on a one year’s program with the News
Agency of Nigeria, courtesy of the army. Her question is:
"Is it good for a photojournalist to offer prints of the pictures we take
to subjects as complimentary copies?
In what cases is this a good idea and are there any circumstances in which
it is not a good strategy?"
We have two answers.
| |
Guy Tillim
|
The first is from Guy Tillim, a freelance photographer
in Cape Town in South Africa. The recipient of the Oskar Barnack Award in 2005,
Guy has been a magazine and newspaper photographer and a guest lecturer at the
Nigerian Institute of Journalism. He now says he is concentrating more on his
own projects.
Says Guy: “There are no rules about this, just as there are none about how to
be a good photojournalist. People I’ve photographed have sometimes asked for
photographs of themselves and, if I’ve been in a position to deliver them, I’ve
agreed.
If I could not easily deliver them (perhaps because of the remoteness of the
location) or I did not want to go to the trouble to return a print for whatever
reason, then I would say no. If that meant that the subjects would not be photographed
then that was better than to promise and not deliver.
Often subjects recognize that it would be too demanding to return prints and
let you get about your work.
People accept a photographer into their homes and places of work for more complex
reasons than simply to obtain a print.
Giving prints should not be seen as a strategy, it's not a trade or barter for
access.
There is a more interesting negotiation: that of building trust with and gaining
the respect of one's subjects, leading to better photos than starting from a
trade.
It is not the right of the subject to receive prints
nor the duty of the photographer to provide them. Every circumstance is different."
|
| Kenny Irby |
Our second answer is from Kenny Irby, a Visual Journalism Group Leader and Diversity
Director at the The Poynter Institute in St. Petersburg, Florida, USA.
Says Kenny: "It is best that photojournalists earn access by non-financial means.
Our role is to educate viewers, report on the under-covered and give a voice to
the voiceless."
To quote a trusted friend and former CNN photojournalist, Andre Jones: “you get in where you fit it.”
Getting in - gaining access - is an essential step in coverage and giving away photographs during coverage is generally not an accepted professional practice at newspapers, wire agencies, magazines or online entities.
Consider my most recent international work in Lagos, Nigeria, on behalf of World Press Photo.
I was constantly informed about the “cash and carry” requests made to reporters of all disciplines - especially photographers - to “show me the money,” “present the brown envelope” and “pay to play”.
Independence, fairness and integrity are non-negotiable attributes of authentic documentary coverage. It is what distinguishes our work from the commercial, paparazzi, advertising and other genres of photography.
This may make it harder to gain access. Yet the value and importance is immeasurable in free societies. Photographic reporters have an important mission to gain access, build trust and capture the truth of situations.
Photographic reporters must invest the time to make connections and explain that what the individual gets back for allowing access is the privilege of an honest depiction of their story and circumstances. And then – maybe - a set of the published photographs.
A few reasoned guidelines worth considering:
Show images on the back of your digital camera (LCD Display) or low-resolution proofs to gain and build trust, but not for approval.
Be aware that showing photographs before publication can give the individual a false sense of authority over what will be published.
Share photographs to gain insight, test receptivity, validate direction and offer advance notice.
You can build goodwill in more lasting ways without compromising your integrity - have exhibitions, provide extra copies of the paper and only provide published photographs.
Be aware that it is a dangerous precedent to give away unpublished work, especially in high-resolution form."
|
|
