“Photography” Items

Electronic Photo Workshop, 1990

Back in the late 1980s and early 1990s, digital photography equipment was rare [and expensive].  I’m not just talking about cameras, but also all the equipment needed to process those digital files into a format that could be used in daily newspaper production. Learning to use these digital photographic tools was the goals the National Press Photographers Association‘s Electronic Photo Workshop.

In November 1990, the EPW was in Tempe, AZ and I served as “Executive Editor.”  The real work, however, done by the workshop co-chairs: John Cornell, Newsday, and Bill Hodge, Long Beach Press Telegram. There were more than 90 participants [see page two of the PDF] and more than two dozen vendors, including Adobe and Apple. 

The published work from the conference was a 32-page tabloid that has photos and stories about life in Arizona. Each story used different combinations of equipment.

I liked what I wrote for the introduction to the publication:

This newspaper is living classroom experi­ment. Our purpose is not to highlight one program, camera, or other piece of hard­ware against its competition.

To the contrary, we wanted to bring to­gether the technologi­cal marvels of our time with the trained eye of journalists using cam­eras. Only by explor­ing technology will we learn how best to use the computer software and hardware that have greatly influenced our newsrooms.

Readers need to !mow of the almost superhuman efforts undertaken by both vendors and participants to publish this newspaper, and the great sense of pride in attempting to capture images that communicate information.. Despite the lure of the hardware and software, the primary purpose of the pages produced here was to communicate.

…

Content was our overall goal. Content married with technology.

There are some other articles that are worth a historical read.

Introduction to Best of Photojournalism Book

In 1990, a group of editors took on the task of editing and producing the National Press Photographer Association‘s annual “Best of Photojournalism” publication.  This annual book showcases the awarding winners from the NPPA and University of Missouri contest. This was our first efforts at producing this incredible book.  Here’s what I wrote as to our goals:

The design goals, for me, were very simple: define the book as a record of the contest; bring more order to the arrangement of pictures and develop a pleasing typographic style that would complement the photographs but not overpower them.

The full introduction can be read in this PDF about the process of producing the book on computer. Amazon still has the book for sale.

Chicago Tribune Photo Request Form, 1985

An example of the Chicago Tribune’s photo request form used in 1985. Picture assignments were made through the picture assignment desk, either in the main city room or in the suburban Hinsdale, IL, bureau. Assignments were requested by either the reporter working on a story or by the source editor who is handling the story.  However, according to note Howard Finberg wrote in 1985, “the picture assignment editor of the picture editor controls photo assignment traffic and determines which story takes precedent when time and manpower are short.“

Saying Goodbye to Great SF Chronicle Photographers

One of my great joys working at the San Francisco Chronicle was the photography department.  I was the first real photo editor at the paper and one of my goals was to improve the opportunities for the photographers to contribute to the paper’s journalism.  [Before I arrived at the paper, photos were often dropped off at the news desk into a wooden box.  I like to joke that I put that box out of a job.]

The photo department did a visual goodbye when I left for The Arizona Republic in June, 1987. It was a great team of friendly and hard-working journalists.  These photos are by Gary Fong, the chief photographer.  Gary and I remain friends.  He is in the front row, in the center.

On the far left side is another friend, Bryan Moss.  I hired Bryan as a food photographer, with no experience in food photography. But that’s another story.