The Baltimore Sun is reporting that the Sun’s photo editor, Chris Asaaf, was physically moved from outside of a police line. They have a gallery of images taken by colleague Lloyd Fox that show the confrontation.
There was a tragedy here in Georgia last month – a production company was filming on a railroad bridge when a train came through killing a 27-year-old camera assistant. The Hollywood Reporter has a look at what happened – and what went very, very wrong.
From the story:
CSX, the Florida-based railway company that owns the tracks, easement and trestle where Jones died, told the Wayne County Sheriff’s Office in the early hours of the investigation that it never granted Midnight Rider’s producers permission to film on the tracks in the first place.
“According to the CSX employee,” Sgt. Ben Robertson wrote in a report obtained by the media, “the production company had previously been denied permission to film on the trestle, and there was electronic correspondence to verify that fact.” Robertson’s report noted that a member of Miller’s crew, when asked whether permission was granted, replied, “It’s complicated.”
It’s not that complicated – if you’re trespassing, if you haven’t controlled every situation, you are responsible for what happens.
Making images on train tracks has been a rage for a long time – it has to stop. Same for movies and videos.
NPR did a really cool thing to coincide with the release of the monthly jobs report – they asked people to post a photo and answer what’s their job title and what do they really do.
This is an awesome project for publications to try for the next one – go find people in your community and do short profiles comparing their job title and what they actually do.
Nice piece by SFGate’s David Wiegand on CBS News’ Scott Pelley, well worth a few minutes of your time.
“I think people are being driven to brand names in journalism that they feel like they can trust,” he said. “Because never in human history has so much information been available to so many people, but unfortunately that also means that never in human history has so much bad information been available to so many people.”
So well stated, Mr. Pelley.
(Thanks to Al Tompkins of the Poynter Institute for the link.)
How does this work?
The new money comes because, once the images are embedded, Getty has much more control over the images. The new embeds are built on the same iframe code that lets you embed a tweet or a YouTube video, which means the company can use embeds to plant ads or collect user information. “We’ve certainly thought about it, whether it’s data or it’s advertising,” (Craig) Peters says, even if those features aren’t part of the initial rollout.
Still not sure how the photographers make enough off of this …
Yep. Not going to happen.
We’ve had several classroom conversations about dealing with graphic images and how different newsrooms should handle different situations over the last few weeks, so the timing on this is pretty good for us: the Poynter Institute’s Kenny Irby will be leading a NewsU webinar on Grappling with Graphic Images on Thursday.
Need to spend off a little leftover FY14 travel funding? Here’s how to do it – Poynter’s Teachapalooza is one of the best journalism educator conferences around. Three (or five) days of über nerdy, totally geeked out learning about how to better teach journalism at the university level.
Disclosure: I’m on the faculty, but I paid my way for the first two years of this and it was worth every cent.
Over at The Wire, Philip Bump takes a legal look at the Oscar selfie that broke Twitter. Particularly, how the Associated Press may have asked the wrong person (Ellen DeGeneres) for permission to distribute the image when it should have been Bradley Cooper, the celeb who actually took the photo.
The lawyers then get involved with the tale and it gets … weird.
(Thanks to Dylan Wilson for the link.)
Not purely visual, but there’s an event run by Investigative Reporters and Editors coming up in late April. Worth getting on your calendar.