World Press Photo announced the shortlist for its inaugural multimedia award this week, with three narrative stories and three interactive projects. Coming after six weeks of monumental global events, it got me thinking: where are the multimedia stories from the revolution in Egypt, the disaster in Japan and the conflict in Libya? Recalling Paul Conroy’s March 11 photograph (above) of his colleagues running from an air strike in Libya prompted this thought, so let me explain the connection.
In an interview accompanying the WPP announcement, the chair of the jury, Ed Kashi, outlined multimedia’s benefits. ‘Multimedia’ embraces a huge range of approaches and styles and their are few if any rules. It is a concept that has been applied to everything from the short-form news story to the long-form documentary, from something that adds a little audio to something that is predominantly video.
Everyone has their preferences, and mine are for stories that have still photographs at their heart, accompanied by audio of the subjects and their environment, supplemented by video if and when appropriate. These are the sort of projects well done by the likes of MediaStorm, the Bombay Flying Club and duckrabbit (who prefer to call them “photofilms”), and I have tried to follow their lead in the two I have produced to date.
I think of multimedia as fundamentally a photographic project that can address context through additional technologies. While I’ve seen some video pieces from Egypt made with DSLRs, these are either television reports or scenes with sound but no overall story. They are impressive demonstrations of what these cameras can do visually, but they are not the photo-based narratives I find most compelling. I think the absence of this type of multimedia project from these events is a missed opportunity for photojournalism. Please correct me If I’ve overlooked examples, but I can’t think of any. So how did Conroy’s photo trigger this post?
Large numbers of the world’s best-known photographers have made their way to cover recent events, and they have produced a considerable body of compelling work that has been published in print and on-line. Conroy’s photo shows (left to right) Lynsey Addario, John Moores, Holly Picket, Phillip Poupin, Tyler Hicks, and (as Photojournalism Links worked out) the legs of Yuri Kozorev between Poupin and Hicks. It makes great sense for photographers to band together in dangerous environments, and the last thing we should be asking of them in such moments is to whip out the audio recorder or start shooting video in addition to taking stills, let alone spend their nights struggling with Final Cut Pro to produce a film.
However, once an event has gone on for a few days, and once we have seen a range of similar images from photographers working together, wouldn’t it be possible for one or more photographer to find a new angle on the story and develop that angle with sound as well as stills?
Reflecting on his weeks in Egypt covering the revolution, Ed Ou remarked:
Having been photographing Tahrir for the last few weeks, it became very difficult to make images. You start to run out of ideas, because you photograph the same thing every single day. Until today, it was really hard to keep things fresh or give a new angle that wasn’t being repetitive.
- instead of another day shooting stills of people in Tahrir Square, a photographer found a protester they could spend a day with taking pictures and asking questions
- during that day, with a simple audio recorder, they record their subject reflecting on what they did before the protests, what made them come to the square and what they wanted the protests to achieve
- at the end of the day, in addition to filing pictures, the photographer FTPs their audio files to an editor/producer in their agency/news organisation
- a day or so later, that agency has a 3-5 minute story with some focus and depth to go alongside the stills galleries, as well as another saleable commodity
Think of the possibilities in Libya – a story with an accountant from Benghazi who has taken up arms to fight Gaddafi’s forces, or the insights of a migrant worker caught in the camps on the Tunisian border. We have television reports with their obvious conventions, but we don’t have the combination of powerful still images and the subjects speaking for themselves.
Last year, after more than sixty well-known photojournalists went into Haiti to cover the earthquake, Michael David Murphy wrote about the problems of redundancy in visual coverage. While I don’t agree with his proposal for a pool system to deal with that, I do think the convergence of the corps of international photographers on Egypt, Japan and Libya again raises questions about both the dimensions of the story we could see, and the different forms in which we could see it.
If I am correct about this absence of stills-based multimedia, photojournalism – as both an industry and creative practice – is currently missing a great opportunity to offer more in a way that is manageable for photographers in the field. In the first instance this is not the responsibility of individual photojournalists. I think agencies should take a lead in setting up a workflow along the lines indicted above. It would benefit all of us, but none more than the subjects of the stories.
Featured photo: New York Times photographers Tyler Hicks (right, in glasses) and Lynsey Addario (far left), run for cover during a bombing run by Libyan government planes at a checkpoint near the oil refinery of Ras Lanuf on Friday, Mar. 11. Copyright Paul Conroy/Reuters, via MSNBC Photoblog.