converging technologies in media devices and their potential to dilute the professionalism of...

7/30/2019 Converging Technologies in Media Devices and Their Potential to Dilute the Professionalism of Photography.

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University of Lincoln

Lincoln School of Media

MED3006M: Media Independent Study

2013

Converging Technologies in Media Devices and Their

Potential to Dilute the Professionalism of Photography.

Joseph A. Burt

09141399

BA (Hons) Media Production


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List of Contents.

List of Contents. Page 1.

List of Illustrations. Page 2.

Introduction. Page 3.

Chapter 1. Page 6.

Chapter 2. Page 15.

Chapter 3. Page 24.

Conclusion. Page 31.

Bibliography. Page 33.

Illustrations. Page 39.

Page 1.


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List of Illustrations.

Fig. 1. Most Popular Cameras in the Flickr Community 2011 Page 40.

Fig. 2. Most Popular Cameras in the Flickr Community 2013 Page 40.

Fig. 3. Mobile Phone Operating System Market Share 2011 Vs 2012 Page 41.

Fig. 4. The Worlds Largest Photo Libraries Page 41.

Fig. 5. London Helicopter Crash Page 42.

Fig. 6. Screenshot of Tweet on London Helicopter Crash Page 43.

Fig. 7. London Underground Tube, Trapped Page 44.

Fig. 8. Number of Photos Taken Each Year Page 44.

Fig. 9. Submerged Page 45.

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Introduction.

Over the past two hundred years cameras, and the art of picture documenting, have

developed rapidly in their uses to expand the definition of photography. From the very first

permanent photograph by Joseph Nipce, a distorted view from his window in France, to

over 3.5 trillion photos (Good, J. 2011), where six billion photos are uploaded to Facebook

every month (Mitchell. J, 2011), its safe to say photographs are a big part of our modern

lives. They are used in everyday life from capturing parties and sports games, to professional

uses for advertising and news articles.

This has only become available to all these outlets due to rapid advances in technology.

Technology evolving from silver halide prints to digital sensors saving light readings onto bits

of metal and plastic: memory cards. Gone are the days of preparing a plate with chemicals,

exposing it, washing off the chemicals and leaving it to dry to create a permanent image.

Kodak, industry leaders in commercialising cameras to the public, first invented a digital

sensor in 1975 (Kodak, 2013). It had 10,000 pixels, 0.01 megapixels, and marked a

milestone for digital photographys incredible journey to date.

This research will investigate these advances in technology and form judgements to whether

they are diluting the professionalism recognised within the art of photography.

Immediately many arguments arise, for example, are amateurs who arent using high-

specification cameras and resorting to cheaper technologies, still classed as photographers?

Are experienced professionals who choose to exploit weaknesses in low camera technology,

for effects related to their project, no longer perceived as professionals, as theyre not using

the highest specification cameras?

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Who decides whether you are appreciated as a professional photographer, and when you

have made it in the industry? All these arguments are valid when studying the true meaning

of professional photography and whether or not technology should be the decider of this

prestigious name.

When we strip photography down to its basics, we are simply capturing light with a man-

made device and producing an image that will hopefully last substantially longer than our

mind.

The origin of the word photograph derives from the Greek words photos (meaning light)

and graphos (meaning writing). When put together it means writing with light, or light writing.

The purpose of writing something is to make it last and we of course are using the light to

reflect off our subjects, therefore we are making our subjects last.

After realising the capabilities of capturing subjects using light, photography began to

develop for other purposes. This required investments in other technologies capable of

performing under different circumstances. Sports photography, for example, demands rapid

firing and high shutter speeds to capture the intense movement of the subjects. Therefore,

technology advances to accommodate its purposes, and the old technology becomes less

in demand and cheaper. It is then incorporated into other devices, usually devices more

accessible to the average consumer, for example, mobile phones. Since the 90s these

pocket sized devices are now an item we cant leave the house without, which makes them

the perfect device to incorporate a camera into.

This investigation is also deciphering the differences between amateur and professional

photographers. Firstly, one must define the words amateur and professional. According to the

Oxford dictionary (2010), a professional is someone engaged in a specified activity as ones

main paid occupation rather than as an amateur. The Oxford dictionary (2010) also states

that an amateur is a person who engages in a pursuit on an unpaid basis. So according to

the dictionary, amateurs and professionals are simply determined by one simple fact: are you

being paid to take that photograph?

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Does this mean students who have a part-time photography job during their studies are

technically professionals, even though they are still honing their craft. Its also interesting to

wonder how experienced photographers, who class photography as their professional job,

perceive this definition. Ken Rockwell (2008) proposed that a professional photographer

earns 100% of their earnings from photography. Although, this mans completely subjective

view must be taken with a pinch of salt. His opinion is not the definition of this elaborate

confusion of titles.

Nikon offer a Pro club: NPS (Nikon Professional Services), this is an exclusive club where

one of the requirements is you must operate your photographic business full-time within the

United States (2013). Therefore, the industry who make the cameras also feel that the title is

dependent on the earnings through the activity, photography. It appears none of these

perceptions include the technical ability of the photographer, or the artistic ability to connect

with their audience.

We all live in a world that revolves around money and possession (Klymenko, K. J., 2004),

keeping this in mind, it is apparent that a general consensus is forming towards the title of

professional photographers. Mainly towards the fact of payment for the activity. To some

extent this can be accepted, as many photographers will fully immerse themselves in

photography, to a paid job level, in order to develop their skills and class themselves as a

professional.

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Chapter 1. The Development of Technology.

So what is photography? Many will answer philosophically for its artistic values: John Berger

wrote Photographs bear witness to a human choice being exercised in a given

situation (1972), and in the words of Ansel Adams, in 1975, Photography is a visual

language and it has been with us for quite a while now (Hill and Cooper, 1975). Alternatively

some may view photography for its scientific and evidential uses such as CCTV, forensic

documentation and even X rays.

Fundamentally, photography is a process of recording light and we have adapted this

process to accommodate our needs. Tom Ang (2008) views a photograph as a visual

recording of an event through the agency of light, using a light-sensitive material. Angs

description of a photograph takes away all the connotations we usually have and strips it

down to the physical process undertaken. Therefore, photography is whatever an individual

makes of it, after Angs simple description.

Kodak brought us the first electronic light-sensitive material to record light: the digital pixel

sensor. In 1975 it had 10,000 pixels (0.01 megapixels) in a camera the size of a toaster

(Kodak, 2013). The first mobile phone to feature a camera was the Sharp J-SH04 with a 0.11

megapixel sensor (Debjit, 2010). Now you can purchase a mobile phone, the Nokia 808

PureView, with a 41 megapixel sensor (Nokia, 2012). However, if youve got cash to spend

then Hasselblad offer the H4D-200MS with an unbelievable 200 megapixel sensor

(Hasselblad, 2013).

These advances from the past forty years are incredible leaps forward in technology, more

importantly mobile technology. According to a survey two years ago in PCMag, 43% of

readers used their mobile phone as their primary camera, either because the camera on their

phone is awesome, or because they dont see the need to carry an extra device (Horn, L.,

2011).

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With these technologies more readily available in everyones pocket, it comes to no surprise

that were not just using them more, but sharing more. Flickr, a large website where a

community of photographers upload photos, have seen a massive increase in camera phone

image uploads, overtaking popular DSLRs.

Flickr stated:

The graphs are only accurate to the extent that we can automatically detect the camera used

to take the photo or shoot the video (about 2/3rds of the time). That is not usually possible

with camera-phones, therefore they are under-represented (2013).

This begs the question: would these graphs be even more distorted towards camera-phone

uploads if Flickrs device detection software was more sensitive? An observation of these

graphs from Flickr, is their lack of detail on the x and y axis. One can assume that x axis is

time through the year, as Flickr stated these graphs represented a year, and the y axis

represents the percentage of members image uploads.

This information is astonishing to see mobile devices rising above DSLRs, the pinnacles of

cameras radiating technical excellence. But why? Surely if the DSLR users are technically

knowledgable they should be taking more photos and sharing them online. Its debatable that

automatic camera technology saves time, effort and knowledge and still provides excellent

picture quality.

Maybe, because mobile phones with automatic camera technologies are in everyones

pocket, and the photos are good enough for every day users to be proud of, they share them

online. Maybe, it is a new form of communication, using visuals rather than words.

The camera phone was not the only thing that encouraged everyone to take more photos

with portable devices. It came connected with something we couldnt quite imagine life

without anymore: the internet. It is a computer structure built on the foundations of

connecting other computers by sending electronic data back and forth. This can be in the

form of sending emails, browsing websites and even video conference calling. It has now

found a permanent place in our day-to-day lives.

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The internet is now the much preferred distribution method used for photos. This is primarily

for speed, even more so now because 65% of premises now have access to superfast

services, (Department for Culture, Media & Sport, 2013) but also for security. The notion of

security traditionally surrounds loss of property, not in regards to security in personal privacy

protection, such as unwanted viewers of your personal data.

The method of sending photos to your employer via email is now much preferred to the days

of posting either negatives or hard prints. Lelia Green (2010) describes this battle of physical

packages and digital information:

if a package is lost in a journey between London and New York, there is a problem. If it cannot

be found, it may have to be replaced. In the digital world, if a packet of information is lost it will

be re-sent, automatically, without anyone being aware that the packet has gone missing. This

is partly because digital information is kept by the source at the same time that it is sent to the

receiver.

This presents us with perfect reasoning to distrust postal services; if they lose something as

valuable as prints it will delay the intended delivery time even more by reprinting. This would

be more of a problem if the postal service lost the original negatives as it would be

impossible to replace them. Email, on the other hand, is simply beautiful as it provides

security by maintaining the original copy of your image. Technology is so sophisticated that

the chance of error is more likely to come from individual users potentially entering the wrong

email address.

Another aspect of security concerns the notion of privacy. When physical post is delivered it

is very easy to decipher whether it has been opened and resealed, whereas electronic mail,

because it is not physical it may be viewed as less secure.

Jonathan Willis, a BSc (Hons) Computer Information and Security student at Sheffield

Hallam, offered advice, through personal emails, on the security issues surrounding emails

and attachments. All views are his own and are in no way reflective of his course.

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When asked How easy is it to hack someones email account to gain access to their

messages and attachments?He informed:

if someone who is targetting you especially and they know their way around hacking methods

and espcially if they know where you live, it is very possible and in my opionion very easy for

them to get your email/attachments (Willis, J. 2013).

The methods he gave needed high skill in computer knowledge and included specific

requirements. For example, if two parties were on the same internet network, i.e. at home,

the person who wants to view the email between you and your mate can use a programs

like packettracer which allows you to view all the internet traffic between the two

partys (Willis, J. 2013). He also states that it will only get more tricky if you have fibre optic

as you cant "pick up the signals from your wireless network. This will make emailers feel

more secure as the UK has 400,000 homes fitted with fibre to the doorstep (Garside, J.

2012).

All in all, its safe to say that both methods, physical mail and electronic mail, can potentially

be unsafe. Nothing beats a personal hand delivery of your printed portfolio, greeting your

future employer with a firm handshake and receiving immediate feedback from your work,

rather than all this miscommunication.

A point to ponder from this research is: the possibilities of hacking/theft are there, but there

are very few types of images that may be on a thiefs wish-list. For example, the vast majority

of images for news are going to be publicised anyway so what good would come from

someone stealing that image? Images focused more for government uses may be desirable

to some people if they feel they may be in danger from the content of these images.

Although, because they are government images the security involved in protecting these

images will be far more advanced.

The fear of having your images stolen/duplicated via email without your consent should be

quite low, unless you are a government spy taking photos of high importance.

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The internet has given us a speedy alternative to getting photos published in the media.

Does this mean old media is irrelevant, and we should switch everything to the internet?

Lelia Green (2010) describes old media, such as broadcasting and newspapers, as being

characterized by professional access and rigorous gatekeeping, whereas the internet allows

a space for multiple voices of varied credibility to be heard.

One such area is blogs. This term is a combination of the words web and log. They are an

online diary or journal for anyone to create and publish for the public to see and privacy can

be changed to user preferences.

There is a large difference between a blog and a personal diary. With a blog, the user

willingly writes for a potentially unknown audience. Every blogger may share what they have

produced with friends and fellow bloggers, but once it is in the public domain the blog can be

searched and shared an unlimited number of times. This information is what most bloggers

crave in comparison to personal diaries as, for media producers with blogs, they want their

blogs to be seen by the masses and unrestricted.

Blogs are also a way for the public to gain more knowledge of the blogger. Jill Walker

Rettberg (2008) suggests: Following a blog is like getting to know someone, as you follow a

blog, not every post they publish online is the same; their opinions may change in relation to

the events in their life or current readings they engage in. It is like getting to know someone;

your opinions of them may also change due to everything they post building up a multi-

faceted view of them, rather than just reading one post and judging a book by its cover.

Rettberg (2008) states because blogging is a cumulative process, most posts presuppose

some knowledge of the history of the blog, and they fit into a larger story.

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Blogs can accommodate much more than just journal entry style posts. For example,

clouds365.com is a blog where photographer Kelly Daley (2013) takes a photograph of

clouds every day and has kept this running for 1392 days, and counting (into its 4th year). It

is a perfect example of a photo blog, as they usually have a primary focus to drive audience

attraction.

Photo blogs come in all shapes and sizes. From professional blogs such as Cloud365, to

small personal blogs where individuals simply upload photos of their day-to-day activities.

Photo bloggers are now presented with more choice to publish their photos. They can stick to

traditional blogging routes like Wordpress and Blogger, or they can use new generations of

photo websites and mobile apps such as Flickr and Instagram. These new generations

provide a fresher taste to blogging, compared to the traditional style, as they are not

dedicated photo blogging sites/apps, and more image hosting sites. Users can upload

images with or without descriptions and gain followers very similar to traditional blogs. The

new generation sites/apps are more appealing as they stem away from traditional blogs and

more than adequately suffice as photo blog hosts.

Where is the best place to share your photos? Does each photo library site cater for different

users needs? Or are they all the same but some started first, thus having more consumers?

As demonstrated in Figure 3, Facebook is the largest online photo library to date. But why?

When comparing the three largest on this diagram, Facebook, Flickr and Instagram, the

immediate question arises: what does Facebook offer that the other two libraries do not?

Initially, Instagram was an elitist app for iOS device users only (iPhone, iPad and iPod).

Therefore, it was very limited when the iPhones operating system, iOS, was put into

perspective against other mobile phone operating systems. This can be seen in Figure 4, as

Android dominate the market share leaving only iOS to be a worthy competitor.

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iOS market share averaged 22.25% over 2011 and 2012, meaning only 22.25% of

individuals with a mobile phone had the ability to upload photos to Instagram, until the 3rd of

April 2012 when Instagram changed their exclusivity and branched out to Android devices

(Cipriani, J., 2012). Instagrams early exclusivity will have had a large impact towards The

Worlds Largest Photo Libraries diagram (Fig. 3.) as it was published online in 2011, before

the photo based app gained a larger consumer base. It is still debatable whether Instagram

would have made a significant difference being inclusive to all devices earlier, as it is still only

an app which allows one photo upload at a time.

Facebook is the most popular social media website with over 1 billion monthly users (Kiss J.,

2012). Thus making it more popular for photo uploads as it has more people engaging with it

on a monthly basis. Therefore, people may find it easier to share photos where they know

most of their internet friends can see them.

User interface is also large game changer in uploading photos; Facebook have developed

their photo uploader over the years to accommodate large batches of photos to be uploaded

to albums. This makes it very easy for Facebook to be used as a large library for many

companies and individuals who may need to host large albums for their consumers or friends

to view easily.

For example, a cocktail bar/night club in Lincoln, UK, called Lola Lo upload around 1,000

photos per week to their Facebook Page for their customers to view, tag and share. The club

uses Facebook primarily for their photo hosting as it is free and limitless, but also because

they know a large amount of their target demographic will be active users of Facebook. Ian

Boyle (2013), Sales & Marketing Manager of Lola Lo, Lincoln, stated:

fb photos help us in a large way, they are not the be all and end all of the promotions online,

only a part, but they help to keep the page active, drive people to it, tag themselves, search

for us, comment etc.

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He also explained that Facebooks interface is more interactive as: unlike twitter, no

clickthrough is required to view it...it can be 'seen' without being clicked on - so can draw

attention instantly (Boyle I., 2013). This helps the club in their social media marketing, which

plays a large role to some of their target demographic of students.

Facebooks success in being the largest online photo library can arguably be determined by

its large index of monthly users. This is because consumers of photos prefer everything to be

in one place and easy to share between their friends. Even if there are better image libraries,

it is highly doubtable that any library can/will overtake Facebook in the near future,

considering its current attributes.

With cameras becoming more mobile and younger generations of people embracing the ever

changing capabilities of the internet, it makes picture taking easier, also sharing photos

simpler and more appealing. The journey of camera technology is developing in everyones

pockets, the Nokia 808 PureView and its 41 megapixel camera. Is it this reason why we now

take so many photos? Because they are in our pockets; quick, easy and good quality?

It has not been a slow change from even using basic, compact, point-and-shoot cameras.

From personal experience, working at an ASDA In-store Photo Centre, developing pictures

four years ago from a mobile phone camera was very rare and the images were often

pixelated. Now the printing machines are fitted with bluetooth receivers for customers to

wirelessly send photos form their mobile phones to be printed.

There was also a slow decline of interest for compact camera (also referred to as point-and-

shoot camera) sales over four years, which will be in conjunction with smartphones

popularity and technology increase. People are now snapping their friends at weddings, from

their mobile phones opposed to compact cameras. Why? Because, thanks to the internet,

you can now upload images to your personal networks in seconds. This technological

advancement is a threat to certain photographers who used to work on a basis of developing

photos and delivering them a week later.

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The development in technology seems to be a misguided race. To the uneducated consumer,

a good camera is relative to how many megapixels it has. That is not always the case. On

the 27th April 2013 the World Photography Organisation hosted a talk, with digital camera

industry experts, called How Technology is Changing Photography. One of the experts on the

panel, Richard Sibley (2013) explained that the pixel race is a distraction and there are far

more important factors that affect the image. Sibley is the Technical Editor of Amateur

Photographer, the worlds oldest consumer weekly photographic magazine (Amateur

Photographer, 2013). He also describes the application of pixels to print, how a camera with

6 megapixels will easily produce a high quality print at A4 international paper size. This is

something todays consumers do not take into consideration, they always buy the highest

megapixel cameras, when they will never need them.

HD video resolution is 1080 x 1920 (pixels), which equals a single frame resolution of

2,073,600 (just over 2 megapixels). Making most mobile phone cameras on the market

higher resolution at single frame shooting. The difference is HD video is shooting over 25

frames per second of 2 megapixel images, which is when you need a large processor to

handle that amount of data. HD video appears to be excellent quality on our PC monitors, so

why do most consumers desire higher megapixels in cameras, when the only time they

would need that many pixels is if they were printing to a billboard size? Even then Sibley

described that it is relative to the viewing distance, if you get very close to a billboard you can

see the pixelation, but because they are usually viewed from the road in motor vehicles they

appear to be high resolution.

The typical consumers megapixel desire should be directly relative to their desired display

method, but taking into account most images now arent even printed and simply uploaded to

Facebook, that means our desire should end at 2 megapixels. Hence, why there are so many

different aspects to consider when purchasing a digital camera. One of the main areas

people should follow closely is the sensor development; making sure the quality of

megapixels are being improved rather than the amount.

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Chapter 2. Technologys Affect on Journalism.

We are now living in an age where news is often delivered to us by fellow citizens opposed to

traditional media. Thanks to camera-phone technology, citizens who are already at scenes of

news first, are able to snap images of events and upload them to the internet. This spreads

through first connections in personal networks until it breaks through into wider networks

gaining virality and becoming large news. One example is the helicopter crash in London on

January 16th 2013.

Civilians about their day-to-day activities are now acting as news reporters, unrequested and

unpaid, purely for sharing news worthy events to gain greater coverage. They are simply

aiding the current news media before they can arrive at scenes like this.

To put this incident into perspective, The Telegraphs (2013) website coverage began at

08:47 briefly stating the crash in text, no images. Whereas Rodgers digital photo was

uploaded to Twitter at 08:02, an astonishing 45 minutes before The Telegraph reported a

word. This is only one event which proves the importance of citizen journalists, reporting at

the scene because it is impossible for the news media to have coverage everywhere at all

times on a just in case basis.

Twitters general structure is a work of art for discovering news from the public. Their use of

the hashtag (#) allows users to see Trending events like the helicopter crash in London.

Trends are described by Twitter (2013) as topics that are immediately popular, rather than

topics that have been popular for a while or on a daily basis. This helps users identify news

that is relevant to them currently, not last week, as more and more people use the same

hashtag.

In relation to the helicopter crash in London, Twitter users were Tweeting with

#helicoptercrash to help identify and Trend the news of this accident for all to see. Jessica

Elgot, a news reporter for The Huffington Post UK, posted Tweets and photos using the

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#helicoptercrash, as seen in Figure 6, to aid in news coverage; this hashtag trended on a

national scale.

News Trending on Twitter cannot be underestimated; it has grown to become a network of

individuals constantly updating, sharing and staying current with news. Citizen journalists can

even be there before emergency services, and before they censor our life with boundaries of

POLICE DO NOT CROSS tape. This tape restricts the public view of events to coverage

from selected media, hence why citizen journalists are invaluable for being at the scene of

incidents first. A sense of raw media coverage comes from citizen journalists, it is what it is;

they have no need to twist or censor any news for political reasons.

Legitimacy is to be considered when relying on citizen journalists. More than likely they have

simple motives for sharing news.

During Hurricane Katrina, in 2005, where many residents of New Orleans were evacuated to

the Superdome, many of the initial reports of the damage came from citizen journalists.

Citizen journalists are seen to take it upon themselves to publicise the news unofficially

through their own efforts and not through the authority of the professionals being paid to

report. These initial reports - including inflated body counts and erroneous reports of rape

and gang violence - came from their camera phones and helped spread unfounded rumours,

which were later debunked by the traditional media. The professional news reporters

captured high-quality photographs of the disaster (Keen, A. 2007).

This shows us that amateurs desire to be the first reporting on the scene and would stretch

or tweak the truth, making it sound extraordinary, to put their reports into the limelight.

Although, Keen never explained how these citizen journalists publicised their photos whether

they were on personal social media sites, heavily followed blogs or direct to news

companies, either way Keen has jumped to conclusions. The possibilities could have been

that they were posting photos to reach their relatives in other states and just for general

publicity to inform the state, which may have been misinterpreted.

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On the other hand, Keen may have been correct in assuming they were all citizen journalists

posting to their blogs, hoping to gain more publicity and reputation for themselves, about the

disaster. Without researching these specific citizen journalists intentions there is no definite

way of agreeing with Keens views (that they were there to sabotage the news media before

the professionals showed up).

With the argument of their intentions aside, the technological fact that many people in this

disaster had camera phones to document it first hand cannot be ignored. However, if these

people didnt have camera phones to publicise the disaster, the speed with which we would

have received this news may not have been significantly different for a couple of reasons.

Primarily, this was a natural disaster that was being tracked by weather offices, which made it

easier for news groups to assemble at the scene of the disaster before it hit. Also, because

this was seven years prior to the present day, we were not used to news companies relying

on citizen content to gain news quickly.

This is contrasted with today and the media receiving mass influxes of user-generated

content (UGC) which we have become accustomed to.

Is this something we should accept? The fact that the public with their camera phones will

more than likely be there at the time to document events. To counter that question, we dont

really have a choice. The speed of todays news, thanks to high speed internet and camera

phones, would have been unthinkable 50-100 years ago. But as argued before, which is

better, speed or legitimacy?

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By empowering the amateur, we are undermining the authority of the experts (Keen, A.

2007). It is clear Keens views are very subjective towards the experts and professionals

being another higher breed of people. One thing Keen may need to consider is; maybe we

(we used in the same sense Keen did previously) are not empowering the amateur as such,

but using them in cases where they are faster on scenes than the professionals. Keen wants

to strip the power down from the amateurs and structure the media, in regards to news, in a

completely elitist approach where we rely on traditional media opposed to citizens for

journalism. What Keen doesnt realise is the public, these citizen journalists he despises, are

everywhere at all times, whereas the media are not. The media have cottoned on to this and

are using us, the public, for first references of news.

With regards to photography within journalism, and the debate around citizen journalism

versus professional, it is clear UGC is needed and plays an integral role in the news media.

This is due to the public being everywhere and having the converging technology being able

to upload photos to social media platforms faster than the professional media arriving at

scenes.

The content is rarely questioned because news companies always reference the source

being public, and often state it is from camera phones. This immediately informs the

audience that the production value will never compare with professionals. But most

importantly, it is coming from this individuals view and how they have chosen to capture it.

The fact is, we know nothing of the person documenting the events. However, professionals

are people we trust because they have been trained or accepted to a high standard of

documenting the news to consistently report and produce images and footage we can rely

on.

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Debates around UGC most commonly arise around the ownership of content, such as

photos. A large debate sprung between Andy Mabbett (who published the whole email

conversation on his website) and the BBC, as they used photos of the Tottenham riots from

Summer 2012, but only credited them as from Twitter. Mabbett requested the owners of the

photos were to be given proper credit, understandably as the BBC would have credited their

reporting photographer had one have been there to capture it. The BBC replied stating they

cannot give credit in exceptional situations, where there is a strong public interest and often

time constraints, and that sometimes, in the exceptional circumstances just outlined, it's just

not possible to make contact with the person who took the picture, or they don't want to be

contacted, or we might consider it too dangerous to try and make contact (Hamilton, C.

2011).

The values of each argument between Mabbett and the BBC can be appreciated. Mabbett

wants the owners of the content to be given correct credit for aiding the BBC with images,

rather than being under the umbrella of from Twitter. This title is very broad and gives no

credit to a specific individual responsible for it. The BBC, on the other hand, stated the

potential possibilities of contacting owners was difficult due to time constraints. Although, this

is hard to determine if they attempted to contact the owner of the photo and just used the

umbrella from Twitter to save time.

The BBC also replied to Mabbett in regards to photos on Twitter, saying, any content on it is

not subject to the same copyright laws as it is already in the public domain. This is

understandable as anyone can access your Tweets, subject to your privacy settings, and

there are no restrictions in copying content, i.e., anyone is able to right-click > save, or simply

screenshot. Although, Twitter clearly state in their terms of service whats yours is yours

you own your Content (and your photos are part of that Content) (Twitter, 2013). Therefore,

it is wrong for the BBC to reply saying, copyright laws are different once the photos are

available to the public as a whole, as users still own their content? Did they technically steal

a photo with incorrect credentials?

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A couple notes to mention are, Mabbett was never requesting that the BBC pay the owner of

the photo their entitled payment for usage, but only for them to be properly credited. Also,

and possibly most importantly not to be overlooked, Mabbett was posting all of these

conversations through his personal website, and because the reliability of Mabbett is

uncertain, every message he has sent and received must be taken with a pinch of salt. His

views are subjective, therefore, it is impossible to know if he changed any of the

conversations before publishing to his website.

Surely the BBC, who are meant to be representative of British news etc, should not be trying

to cheat people out of the credentials? That is if they are using their argument to cover up the

fact they simply could not be bothered to contact the owner. Unfortunately we cannot know

this information. On the other hand, it is understandable for the BBC aspiring to look

professional in journalism and steering away from posting screen names from original

sources (i.e. xxxJess94xxx), although most account users have their real names on their

account. So, in respect of the services of Twitter it is unacceptable for anyone to use that

argument.

In April 2010, Niko Ruokosuo launched a new method for citizen journalists to gain correct

credit for their images and videos through a simple smartphone app called Scoopshot.

Owners of the app can upload their photos to Scoopshot who then catalogue all the images.

They are attached with relevant data such as time, place, content, etc, to make it easy for

news companies to search for an image when they catch wind of a story. Users can price

their own photos starting from 9. When compared with the National Union of Journalists

(NUJ) standard rate per photo, they range from 40 to 1,000, for exclusive photos, (NUJ.

2013). This is arguably putting citizen journalism into perspective, if standard photos from

professionals are bought for four times the amount it proves their value.

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The Guardian have also released a new platform, similar to Scoopshot, for user generated

content, called GuardianWitness. The user interface is friendlier and already has a lot of

contributions from citizens. The difference between GuardianWitness and Scoopshot is,

GuardianWitness never state on the app, or their website releasing the app, they will pay for

contributed content.

The Guardian posted:

If your submission is picked up by a journalist it could go on to be featured across the

Guardian - in print and online - which means you can help set the news agenda and become

part of the Guardian's award-winning journalism (Geary J., 2013).

The guardian are very clever by offering the app to be contributing to assignments such as

Top pets: best friends where users can submit content of their pets to the GuardianWitness

app. This will hopefully increase engagement of the app and show appreciation to users if

their content is published. In time users will start to contribute to news stories, for the hope of

publication on The Guardian website, but without payment.

It is apparent that news companies, such as The Guardian and the BBC, are very financially

driven by getting away with paying for user generated content. The BBC and Andy Mabbett

case showed the BBC to be fighting against giving credit and payment for content, which

they essentially stole from a Twitter user. Now The Guardian producing an app for users to

submit content to them for free; it appears news companies are embracing citizen journalism

(from user generated content) with wrong ethics. Citizens should be credited for their

content, and paid for it; a professional photographer employed by the news company would

not be happy if their content was used and they were left unpaid.

This technology is in aid of citizen journalists gaining credit for their efforts. Although, it is

questionable if these advances in mobile technology are diluting the credibility of professional

journalists. The future can only tell if news companies start to rely more on citizen journalists

because theyre cheaper and faster, or stay true to the professionals they employ.

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A recent event to evaluate the converging technologys aid in reporting news coverage is the

Boston bombings. Twitter was again first at the scene; citizens used this website and its

Trends to publicise the horrific news. Due to mobile phones being common place, and most

of them being smart phones with internet and cameras, it is so easy for any citizen to cover

events like this immediately as they are at the scene. Although, the Boston bombings are not

a perfect example as media coverage was already present at this event because it was

during a Marathon. This can still be compared with terrorist attacks twelve years ago: The

Twin Towers.

The Twin Towers terrorist attacks were one of the most tragic events witnessed in this

generation. Occurring in 2001, twelve years ago, it is clear the technology was vastly

different. The first mobile phone to feature a camera, the Sharp J-SH04, was introduced in

November 2000 (Debjit, 2010), but the mass use of camera-phones was not used like it is

today. There was also no Twitter as that was founded in 2006 (CrunchBase, 2013). Thus, the

public lived in an age where they relied solely on traditional news companies to give them

updates on the disaster.

One can only imagine how different the coverage would have been to see the events of that

day unravel via Trends and photos uploaded by citizens trying to escape the terror. The main

source for news on that day was radio, TV and mobile phone calls. It is easy to assume that

people trapped would have Tweeted with photos from the top, and using hashtags for help.

Many would argue that their public coverage would not have aided any more in their rescue

but massively helped the public view on that days events.

This may sound far fetched, but UGC has been used post-9/11. The BBC relied on citizen

journalists heavily during the London 7/7 tube bombings. They received 22,000 emails and

text messages, including 300 photos with 50 being contributed within an hour of the first

bomb going off (Douglas T., 2006).

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These masses of images are noted to be where citizen journalism came into its own by

Torin Douglas (2006). It can be assumed that the Twin Towers reportage would have had a

lot more visual images from citizens if the technology was available then. This is assumed

because of the UGC from the London 7/7 bombings, as this was when camera phone

technology was becoming more common with the public.

Questions do arise though regarding the conspiracy theories surrounding the Twin Towers

attacks. Some conspiracies question how one of the towers suffered a second explosion

almost an hour after the initial impact from the plane collision. If citizens then had the

technology of today, smart phones with cameras and internet, they could have reported

simultaneously the events as they occurred and not have them potentially censored from

traditional media as a lot of people believe.

In traditional media that was the case. Brooks, B. S., et al. (2004) states editors serve as

gatekeepers, deciding what information is printed or broadcast and therefore what

information consumers can access. This statement provides perfect justification to

conspiracy theorists that editors can withhold information to consumers if they feel

necessary. Although, what need to refrain coverage of terrorist attacks would the editors

have? Debates could circle around this topic for quite some time, but the real debate is how

different the news would have been with todays current technology.

No longer do the new generation of humans rely on traditional media, they now turn to

Twitter and other personal blogs, for the raw uncensored news from the people just like

them.

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Chapter 3. The Future.

News is changing. More people are contributing to the news, thanks to converging

technologies, but also the way we consume news has changed. We have seen it develop

from paper publications to news in your hands on mobile phone apps. The question the world

inevitably asks is, what is next?

We, the consumers of media, now control what we consume, tailored to our wants and

needs. This may be the new concept growing for producers of media. They already control,

to some extent, what they are producing, but what if they controlled their wage in alignment

with the appreciation of their work?

For example, DVorkin, of Forbes Media has implemented a new strategy where his

contributors (he despises the word bloggers) are paid according to the size of the audience

they attract (OCaroll, L. 2013). This is a brilliant way for contributors to become more

passionate about their job and driving for more audience. This on a large scale throughout

the whole company makes every contributor drive more because they know their wage

depends on it. Therefore, the whole company is constantly driving forward. This could be

applied to photographers in news companies; they could be paid on a piecework basis but

relative to the audience they attract.

If applying this to images and monitoring the audience attraction, the technology is there. At a

bare minimum Facebook (2013) offer Page Insights, presenting data on the amount of views

of photos, how many clicks it has had and even its virality. These are all the attributes

photographic contributors would be measured to in order to give correct credit and payment

for the piecework model.

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Who would benefit from this alternate payment scheme? At first glance one could assume it

would be the young photographers fresh into the industry, thriving and aspiring for greatness.

With the new payment program they would do exactly what the company wants: share their

news. As soon as their photo is published online they will share it with their friends and

family, as they feel proud, then friends and family will share with more people. Once this has

caught fire the news spreads. This would not just work for younger photographers trying to

make a name for themselves. The experienced contributors still have their dedicated

audience and following and there is nothing stopping them do some self-advertising to work

for their money.

This may level the playing field for some contributors, but it would giving correct credit to

photographic contributors in accordance to the audience attraction. In terms of elitism and

experienced photographers owning their land at the news desk, this method may at first

seem daunting and scary that the fresh meat may come in and take their wage. On the

contrary, it would simply level out perfectly how much the photographer deserves to earn.

Ian Burley (2013), Tech Journalist and Owner of DPNow, described a polarisation of the

current photographic environment, during a talk with the World Photography Organisation.

When asked how new technologies are affecting professional photographers, he explained

how amateur photographers attempting to break into the trade are struggling because so

many people now have the technology to produce decent quality images, perfect for their

desires. Although, the professional photographers are experiencing a boom, while the bread

and butter photographers are suffering. Burley says we are over saturated with images

making it so hard for any new photographers trying to make a name for themselves; to be

successful, photographers must also be businessmen.

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This is an acceptance of the changing environment; there may be great photographers in the

world, but if they cant sell themselves and their photos past all the saturation of the industry,

then they are going to struggle. A demonstration of this saturation is presented in Figure 8,

how there were less than 1 billion photos pre-1930, compared to the year 2000 with 86 billion

photos taken in that year. It is also noteworthy that purely over the past ten years the yearly

photo abundance has quadrupled.

From looking at Figure 7. it is very clear when digital photography emerged and gained

popularity, analogue photos severely declined. Although, up to that point there was still a

steady growth of photos taken per year. Images are a powerful way to get messages across

which makes images very relevant to this study in terms of photojournalism. Images can set

the scene or even explain exactly what has happened.

Barbara Ganim (2004) referenced a well known expression, first coined by Fred R. Barnard:

One picture is worth a thousand words. The general notion of this phrase is that you can

look at a picture and it can explain so much without words. It leaves a lot to the imagination

of what the image may be about. If you view an image with a caption you will immediately

perceive what you are being forced to by the caption. If you have no caption, you have no

preconceptions of the image and your mind is left to assume whatever the producer

intended.

Images can provoke more feelings than words, according to Adrienne Carlson (2009) who

says Photographs are able to capture emotions that words cannot, no matter how cleverly

theyre used. Text may provoke mental images, they are all different to every reader and can

easily be perceived differently, which is arguably the appeal to them. Whereas images are

definite, in the sense that every person viewing it sees the same arrangement of colours,

therefore giving the audience a universal thought base to begin their thought process from.

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Figure 9. demonstrates the notion of images speaking without words. One thing you may

immediately assume is: there has been a natural disaster and people are in danger. This was

an image from Amateur Photographer and Search & Rescue Swimmer Chris Billings during

Hurricane Katrina. It is a straight forward image but leaves the imagination to wonder many

things about the situation.

With images being such an integral part of journalism now as People tend to stop and look

at compelling visuals rather than sit down to read (Carlson A., 2009). It is clear that the

playing field would be leveled with pieceworker photographers. As photos are relative to how

popular a post is, unless the context of the news is already predicted to be of high

importance. Then it may be a downside to pieceworker photographers as some

photographers will be getting an easy ride.

A hypothetical situation may be, if a news website was focusing their reporting on certain

acts passing at the Houses of Parliament, there is little a photographer can do other than

photograph the MPs involved or them entering and leaving the building. However, if it is a

high importance act going through Parliament, then it will generate a lot of public interest

whether or not the photo is good, because of the nature of the news itself. Therefore, a

certain photographer could be getting an easy ride for wages if he is constantly used for

these types of articles.

The method of piecework payment for photographers in the journalist route is probably a long

way from being tested. Although, its method is good for photographers to take more control

of their wages, it does have some disadvantages. Before it is fully implemented one can

assume news companies will take precautions in writing contracts for this type of payment,

where theyre paid with a basic wage as security.

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Google Glass maybe one of the next big leaps for journalism. Google are producing a pair of

glasses the consumer wears, which allows you take photos; record videos; start video chats

sharing your current sights; and lots more of Googles usual little extras. This naive project

could be the start to a downfall in media coverage. If the public are wearing these in the

masses and changes to Terms or Service occur, one thing could lead to another until the

police are using these Google Glass feeds as remote CCTV feeds to monitor cities.

This exaggeration may seem a bit over the top, but when the Cispa (Cyber Intelligence

Sharing and Protection Act) bill has been passed by the US House of Representatives,

making it easier for law enforces to get at web data (BBC, 2013) it seems more of a reality.

The original aim of the Cispa act (2012) is to allow elements of the intelligence community to

share cyber threat intelligence with private-sector entities. This act is originally proposed to

fight the war against cyber terrorism. For example, Gary Mckinnons escapades of hacking

into US military files, being extradited and sentenced to 60 years in US Prison. The act could

also mean potential for governments to oversee our cyber activity and brand it as community

cyber protection, for our own safety.

This is where products like Google Glass are left slightly unsafe; if governments are now

allowed to tap into cyber activity they could follow certain devices, and brand their activity as

for the consumers security. For journalism, this would only be beneficial if news companies

were being tipped off by the officials granted access to this technology.

Audiences wants to see visuals, they want to see the shocking news. Thats how it works.

Take, for example, the recent meteor explosion in Russia on the 15th of February 2013.

Russians are notorious for having cameras mounted to their dashboards with time stamps for

ensuring justice when it comes to proving accidents on the roads (Ryan, B., 2013). If they

did not have them, then we would have very minimal footage of the meteor entering our

atmosphere on that day. Google Glass would act very similarly in situations like this. We, the

citizens, will be reporting the world we see when reporters dont have time to get there.

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Google Glass may seem a slight jump to the future at this point in time, but one thing we may

be using a lot more at the moment is video calling. Its been around on our personal

computers for a few years, but now converging into our mobile phones. The technology is

catching up as well. iPhones offer free video calling service, called FaceTime, where two iOS

device owners are connected to a Wi-Fi network. This is not something to be underestimated

for journalism.

Were now beginning to see the progression from news broadcasters having telephone calls,

from the scene of accidents/crimes, to individuals video calling from personal computers to

show the news. This has been seen in news recently surrounding the Boston Bombings.

Kristian Tuinzing claimed he heard gunfire outside his house and later showed BBC news

live on webcam the bullet hole that pierced his bedroom wall and desk chair, which he

wouldve been sat in if he wasnt hiding in his closet (BBC, 2013).

This is ground breaking to see live reporting from citizens streaming via webcam. It begins to

show the capabilities news companies have, but also the potential for the future of reporting

and interacting with the public.

The next progression is very close; a proposition for its era could be 4G news. Video calling

from mobile devices at the scenes of news to report it, much like phone calls from the Twin

Towers and live webcams at the Boston bomber search. This proves the effectiveness and

uniqueness of citizen journalists as Tuinzing was there during the gun fight before the official

journalists and offered something the traditional media could not.

Tuinzing may have begun this new era and opened doors to many other citizens caught up in

current news. Broadcasting news media, such as the BBC, should be expecting more

contact from citizens to present first hand accounts of news as it unfolds, like Tuinzings live

webcam. They should embrace these new approaches as it improves their uniqueness as a

company by them adapting to new technologies and encouraging citizen journalism.

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This would make the concept of Google Glass reporting far more believable as similar citizen

journalism is already being embraced on other devices, such as webcams. Before long the

technology will develop so the mobile phone cameras become HD video streaming, giving

capabilities of reporting HD news from our hands. Try telling to that to the 70s.

This would be a giant leap for journalism and camera phone technology, but more arguments

will surround the notion of diluting professional photographers in the role of journalism. What

is their purpose if we can rely on speed and authenticity from citizens?

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Conclusion.

In an ever growing world the only thing left thats constant is a change according to Matt

Embree (2006). We have always been driven to develop what we have, for the better. We

always want a faster car, a brighter light, more megapixels on a sensor. Change is for the

better in regards to camera technology, the developed portability is a main advantage, and it

is very easy for photographers to blame these technology developments when they are not

adapting so well in the changing environment.

A utilitarian view can be applied to the advances in camera technology. The good is identified

with the greatest happiness of the greatest number, and the aim of action is to advance the

good (Leathard & McLaren, 2007). Therefore, the good is the benefit from advances in

camera technology because the majority of people do benefit from them, and the goal is to

advance the technology further to increase the good. Even though some photographers may

be struggling during this influx of camera-phone technology, it is still producing the greatest

happiness to the most amount of people. So in terms of utilitarianism, the camera-phone

technology advances are a very good thing.

What has not changed is the need to understand and to know about the world around

us (Newton J., 2001). Journalism can be perceived as a need to explore and share the

worlds events around us, and it is adapting to technology as it evolves. The new

technologies, engaging more citizen journalism, are a positive in the larger aspect of

reporting our worlds events. They offer speed, when traditional media cannot be at

unpredicted events, such as terrorism. They offer legitimacy to some citizens who may trust

their peers over the censorship of the media.

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It is unintelligent to assume that citizen journalism is diluting professional photographers

careers in traditional media. They still play a larger role in visual reportage and are only

substituted by citizen journalists in cases where they are unable to be there first. This is not

dissembling the need for citizen journalists, they can still operate with professionals as they

both have different attributes that consumers desire. Traditional news companies, such as

the BBC and The Guardian, need to start appreciating the citizen journalism they are relying

on, before the citizens become deflated with the lack of credit.

Conducting a research project on the subject of changing technology is always going to be

an unfinished study. During this research photos were posted of accidents (the London

helicopter crash on the 16th January 2013) and even new apps released (GuardianWitness

app released on the 16th April 2013). This is technology developing to accommodate

journalisms needs, and it will always be current. News companies are always searching for

the next best thing to set them above their competitors and improving their Unique Selling

Point.

We have a constant need for exploration and sharing our findings, and photography is the

perfect aid for this inspective desire of our world. Advances in photographic technology are

constantly improving accessibility, speed and a new generation of journalism.

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