Job Posting:

The Los Angeles Times is seeking applicants for a year long paid internship. We will consider recent college graduates who have appropriate photojournalism experience.

The photographer can expect to work on a variety of both daily and longer term assignments throughout California. Additionally, the photographer can expect to work with editors to include audio and video components with their stories.

Please send a letter, a resume and a link to an online presentation of your work to photointern@latimes.com.

More from Luceo:

Luceo is united in a common belief that, through these times of change, the still image continues to be relevant. We believe that history extends beyond the news-cycle, and that ordinary people and personal struggle are avenues through which we can explore the bigger issues facing our world. It is with this purpose that we have created the Luceo Student Project Award.

Luceo Student Project Award:
Luceo also believes that developing photographers need support. To advance this cause,
they have created the Luceo Student Project Award. This award will be disbursed annually to a talented student photographer in support of a significant and developing body of work.

This year’s recipient will receive $1,000 along with mentorship for the project from one Luceo member.

The deadline for receipt of applications is 11:59pm EST May 15, 2010. Finalists will be
announced in late May. A select panel will judge from the ten finalists and the winner will be
announced in June.

You can find out more about Luceo, their Student Project Award, and the Luceo Images Project Fund – another new initiative to help members fund personal work – at their site.

Keynote speaker, Brian Storm of MediaStorm, will join an incredible line up of speakers: Rick Smolan/Against All Odds, Ilise Benun of marketing-mentor.com, Allen Murabayashi of PhotoShelter, Caitlin Jewell of Silverscape, Nancy Andrews/Detroit Free Press, Lou Jones, Ian Ginsberg of VII Agency, Dane Howard of vuvox.com and others. Click on the links at www.aspp.com to read about our speakers and sessions.

The registration fees for this 3-day event is only $495 for ASPP and PACA members, and $590 for sister organizations. You can now register at the ASPP site.

A one-day Trade Show will be the kick-off event on Thursday 15th, and display tables are still available for $150. During Trade Show hours on Thursday, PACA is providing a demonstration of their newly launched pacaSearch. This mega meta-search engine is setting a new standard for stock image searching. The event will be open to the public too, so a great opportunity to showcase your products and services to a local audience as well as attendees. To register for the Trade Show, go here.

The Omni Parker House Hotel is in downtown Boston, and is offering us a special room rate of $199, from April 12 – 18. Click here to book your room at the hotel.

If you sign up for the Reinvention Weekend before March 15th you will be eligible for a drawing for a complimentary 12-month membership in ASPP (or extension of your existing membership). In addition, for all attendees, ADBASE will be raffling off an amazing annual regional subscription to ADBASE, with a value of $695.00. This raffle will take place on Friday morning, but you have to be present to win.

Internships are paid and not for credit.

Ideal candidates can start as soon as possible and are able to commit to 3-5 days, 20-30 hours per week over the course of 4–6 months.

Primary Duties:
Interns will assist the Photo Department in researching and sourcing archival and current content, building photo galleries, scanning, retouching and performing other tasks not yet specified. TIME provides unique opportunities for it’s interns to become deeply involved with ongoing projects and upcoming content.

Applicants should be employment ready, self-motivated, detail oriented, and able to remain focused on long-term assignments.

Skills Required:
An passion in and familiarity with current and historical news events, proficient with Photoshop; strong retouching ability; keen visual sense; articulate; able to work independently; able to learn quickly; possess a positive, can-do attitude. Prior web experience is a plus.

Please direct cover letters and resumes to Skye Gurney. The subject line should read “TIME Photo Intern”. No phone calls, please.

Company/Project Description: The New Yorker is a weekly magazine with a signature mix of reporting on national and international politics and culture, humor and cartoons, fiction and poetry, and reviews and criticism of books, movies, theatre, classical and popular music, television, art, and fashion.

Position Description/Breakdown: The New Yorker is looking for a multimedia producer who can handle pre-production, planning, logistics, shooting, editing video and audio, and posting the final product online. And would have aptitude with a mini DV camera. Experience with Final Cut Pro required. Knowledge of Pro Tools, Flash, blogging software or other CMS a plus. Must be able to juggle multiple projects, meet tight deadlines, uphold journalistic standards, and work well with others.

Application/Submission Instructions: Please submit a resume and cover letter, and links to previous work to Blake Eskin with “multimedia producer” in the subject line.

Position Title/Role: Multimedia Producer

Type: Freelance

Start Date: March 15, 2010

Salary / Rate: TBD

Benefits Information: None

The Creative Director is responsible for designing sophisticated and engaging visual multimedia and interactive stories and supervising the work of others, staff and freelance. More specifically, the Creative Director will develop and refine visual design concepts, participate in web interactive concept definition, present her or his work to different teams, participate in critiques, manage production, and align himself or herself with the company’s overall goal of creating high-end interactive multimedia stories across all platforms for corporate, government, non-profit and publishing clients.

The ideal candidate will be have strong visual design skills, design research skills, an innovative approach that breeds new thinking, a strong understanding of graphic design (type, color, layout, composition, motion graphics), a current understanding of the Web evolution, trends and current approaches, an understanding of Web technology, and an ability to work collaboratively. A deep appreciation for great interactive design and a good sense of humor are required.

Duties & Responsibilities

The Creative Director will:

• Conduct Design Research

  Participate in conducting trend, design, competitive, and qualitative research and presenting relevant findings to peers and managers, gather relevant data and capably represent his/her point of view.

• Create Initial Design Explorations

  Develop directions that reflect new, fresh and exciting approaches, a clear organization of information, and the willingness to take risks. The senior designer is expected to develop a broad range of interactive stories, and present his/her work with both confidence and adaptability. Working quickly and iteratively is a must; SRM is a very-fast paced environment. The Creative Director should have an understanding of information architecture so that information and interactivity is incorporated in a clear and engaging way for the user.

• Refine Designs and Present them

  Create rapid and compelling prototypes of interactive stories using paper, images, Flash and other tools.

• Apply Problem Solving Skills

  The Creative Director must have strong problem solving skills and be able to overcome barriers that stand in his/her way. A ‘can do’ attitude is a must; the designer will constantly need to find ways to overcome challenges and solve problems.

• Create Static and Animated Solutions

  Employ an understanding of Flash, CSS, DHTML and other client-side design and technology solutions in order to create innovative and compelling content that leads the industry in engagement, collaboration and fun-factor.

• Present

  Must present his/her work well and defend it in both small and large meetings. Strong persuasive skills and an ability to influence are required.

• Flexibility and Collaboration

  Must be flexible, and challenge-oriented, able to excel in a fast-paced environment. Must have strong collaborative skills and be able to accept and thrive on good direction from other sources. Must bring a spirit of teamwork to their projects.

Job Qualifications

General Skills:

• Outstanding creative, visual design, and technical skills
• Strong communication skills and client orientation (including interaction with teams and other departments)
• Excellent people and project management skills
• Expertise in negotiating with other functional areas as well as externals

Specialized Skills:

• Thorough understanding of Graphic Design and Web Design
• Conceptual research and design skills
• An ability to create Photoshop comps of stories, web pages and more
• Expert knowledge of CS4 (with an emphasis on Photoshop and InDesign).
• A working knowledge of Flash and HTML is a plus
• Experience in animation a plus.
• Strong working knowledge of creative team dynamics
• Strong working knowledge of corporate team dynamics
• Skilled in communicating constructive criticism while inspiring

Experience

• Candidates will have at least 4 years of visual design experience

Education

• A Bachelors Degree or advanced degree in Graphic Design or other related areas from an Arts College or accredited University

Please send resume and salary requirement to jimgaines@storyrivermedia.com

Tim Matsui is a multimedia journalist whose recent work focuses on human trafficking. He is a past Blue Earth Alliance Project Photographer and a recipient of grants from the Open Society Institute, Fund for Investigative Journalism, and King County 4Culture. Tim earned a bachelors degree in journalism, with a minor in geology, from the University of Washington. He is the founder a 501(c)3 non profit using documentary multimedia to create dialog about the lasting effects of sexual violence. Tim co-founded the Travel and Outdoor Photographer’s Alliance and organized several state-of-the-industry panel discussions with leading photographers and editors. The World Affairs Council regularly invites him to speak with international visitors hosted by the US Department of State.

Tim will be spending the next couple of months in Brooklyn with MediaStorm, but is usually based in Seattle where he lives with his Brazilian sweetheart, Luciana, a six year-old boy skilled in the art of Lego battles and ninja moves, a princess of a cat, and a tail-less clown fish not named Nemo.

Interested in interning with us? MediaStorm accepts interns throughout the year, in multimedia production, design, motion graphics, and/or programming for web. The deadline for our fall 2010 Internship is June 15, 2010. See our site for more information.

Here’s how to set up a one-frame fade as your default audio transition:

Open the Effects window (command-5). In the Audio Transitions folder, note that one of the transitions has a line beneath it. The line indicates that it’s the default transition.

If you have not previously changed the fade time, you’ll see ‘00:00:01;00′ in the length column. That’s a default time of one second, zero frames.

Highlight the number in the length column and enter ‘1′ (just the number, no quotes). Then, press return.

Your default transition time should now be set to one frame.

Sometimes though, due to a Final Cut bug, you may find that when you now select an audio edit point and add the default transition (option-command-T), the fade remains at one second.

To fix this, right-click Cross Fade (0db) and select Set Default Transition. The default line now appears beneath that transition.

Next, repeat the procedure back on the Cross Fade (+3db). Right-click the transition and select Set Default Transition.

Now, when you select an audio edit point and apply the default transition (option-command-T), the fade will be one frame.

Additional quick tips: to change the time of an audio fade that’s already been applied to the timeline, right-click on the fade and select Duration. In the pop-up window, enter your new desired time.

In Final Cut 7, if you select the entire audio clip and apply the default transition, an audio fade will be applied to both sides of the clip.

The Festival offers photographers and its industry a fantastic 3 day program and features events such as talks by veteran photographers, portfolio reviews given by experts in the industry, exhibitions, screenings, workshops, daily live shooting stations and an industry symposium for all to attend and listen to renowned industry leaders talk about the current trends, issues and debates concerning photography today.

The Awards ceremony showcase is for the first time open for the everyone to attend and will deliver a visual journey through many diverse genres of photography.

The festival organizers have kindly offered our readers a 15% discount on all tickets for the Festival and Awards ceremony event. Tickets start at £15 – £30 and portfolio reviews start at £60 for 3 sessions.

Confirmed leading industry participators this year are photographers Nadav Kander (UK), Bohnchang Koo (Korea) and Pablo Bartholomew (India), Chloe Limpkin (UK) (Photo Director of Harpers Bazzar), Aidan Sullivan (UK) (VP of Getty Images), Bill Hunt (USA) (Co-Founder of Hasted-Hunt Gallery), Trisha Ziff (Mexico) (curator and filmmaker), Zelda Cheatle (UK) Curator and Portfolio Manager of Tosca Fund, Roberto Koch (Italy) (Publisher of Contrasto and Founder of FORMA), Monica Allende (UK) (Picture Editor of the Sunday Times Magazine), Mark Sealy (UK) (Director of Autograph – the Association of Black Photographers), Michelle Dunn (USA) (Co-Publisher, Aperture Magazine; Editor-at-Large, Chronicle Books), Grant Scott (UK) (Group Brand Editor of Imaging for Professional Photography and Photography Monthly magazines), Scott Thode (USA) (Freelance Curator and Picture Editor), Sue Steward (UK) (Photography Critic, Writer, Radio Broadcaster and Photo Editor), Adrian Evans (UK) (Director of Panos Pictures Agency), Adrian Boot (UK) (Music Photographer and co-founder of www.urbanimage.tv), Jonathan Torgovnik (USA)(Photojournalist and Founder of Foundation Rwanda), Idris Khan (UK) (Artist) and many more to be announced.

For discounted tickets, visit the Festival website, and use promotional code SWPA15.

The website for the Festival will offer you additional information about the program and continuously update as they confirm new events and participators.

Effective immediately, the IMF has an opening for a full-time contractual multimedia storyteller. The position requires an experienced individual capable of producing photographs, video and audio using Adobe and Final Cut Pro applications to tell compelling stories concerning the work of the Fund.

Specifically the position requires capturing and acquiring content and composing stories for distribution to the Internet and Worldwide news media outlets. Some international traveled required. Full benefits provided. All tools provided including a recently constructed HD broadcast capable Multimedia Center.

Send inquiries and include contact information to Phughes@imf.org.

The News Entrepreneur Boot Camp is designed for 20 competitively selected digital entrepreneurs with great ideas for community news and information initiatives in the public interest. The boot camp will be held May 16-21, at USC Annenberg. Deadline for applications is February 19, 2010.

The Transformative Leadership Institute is looking for people who are already positioned as the new leaders of news and information in the community interest. They are looking for leaders from major established news organizations that are transforming themselves and also for news entrepreneurs who are reinventing models for news and information. You can nominate yourself, or anyone else you feel is qualified for this program. The final list of fellows will be named in May. Deadline for nominations is March 31, 2010.

You can see a full list of upcoming seminars and workshops at their site. If you have questions about either of these opportunities, you can contact Vikki Porter, Director of KDMC, at vporter@usc.edu. For updates and announcements on new programs, you can also check them out on twitter: @kdmc.

Internships are paid and not for credit.

Ideal candidates can start as soon as possible and are able to commit to 2-3 days, 14-20 hours per week over the course of 4–6 months.

Primary Duties:
Interns will assist the Photo Department in researching and sourcing archival and current content, building photo galleries, scanning, retouching and performing other tasks not yet specified. LIFE provides unique opportunities for it’s interns to become deeply involved with ongoing projects and upcoming content.

Applicants should be employment ready, self-motivated, detail oriented, and able to remain focused on long-term assignments.

Skills Required:
An interest in and familiarity with current and historical news events, as well as celebrity culture; knowledge of LIFE Magazine; proficient with Photoshop; strong retouching ability; keen visual sense; articulate; able to work independently; able to learn quickly; possess a positive, can-do attitude. Prior web experience is a plus.

Please direct cover letters and resumes to Liz Ronk, liz_ronk@life.com. No phone calls, please.

Megan is a recent graduate of the S.I. Newhouse School of Public Communications at Syracuse University, where she obtained a B.A. in Photojournalism and Psychology. She also studied for a semester in London through the SUAbroad program with a concentration in photojournalism. Megan spent her summer in Uganda, documenting the conditions of the families left in the Tegotatoo IDP camp resulting from a 20-year civil war and producing a multimedia project for Every Child Ministries. She has interned with The Muskegon Chronicle, and externed with The Post-Standard.

Interested in interning with us? MediaStorm accepts interns throughout the year, in multimedia production, design, motion graphics, and/or programming for web. The deadline for our fall 2010 Internship is June 15, 2010. See our site for more information.

The conference begins on Thursday April 15th with a one day trade show (tables still available), and then will continue with 2 days of great sessions. Brian Storm is the keynote speaker and will also join a panel to discuss thought-provoking insights into the new paradigms for our industry. Be inspired by thought leaders, story-tellers, and community service activists. Lend your voice to the critical discussions between the different segments of our industry. Learn from the experts how to use social media and web tools to enhance your business. Even receive free career make-over sessions.

Speakers will include Rick Smolan, Ilise Benun of marketing-mentor.com, Allen Murabayashi and Andrew Fingerman of PhotoShelter, Caitlin Jewell of Silverscape, Nancy Andrews of Detroit Free Press, Ian Ginsberg of VII Agency, Lou Jones and others. Program details are available at the ASPP site.

PACA is our conference partner in Boston. During Trade Show hours on Thursday, PACA is providing a demonstration of their newly launched pacaSearch. This mega meta-search engine is setting a new standard for stock image searching.

The registration fees for this 3-day event is only $495 for ASPP* and PACA members, and $590 for sister organizations. Registration is open, so mark your calendar and start making your plans to be there now! For sponsorship opportunities, contact cathy@aspp.com

The weekend will take place at the beautiful and historic Omni Parker House Hotel in downtown Boston. We have arranged a special room rate of $199 per night (not including taxes) for all Conference attendees from April 12 through April 18. Please visit their site for immediate online reservations. But hurry! The cut-off date for accepting reservations into our room block is Thursday, March 25, 2010.

For more information contact Cathy Sachs, Executive Director, ASPP.

The career path for many of today’s journalists is merging with entrepreneurship. Journalists who once covered topical, feature and investigative news for established newspapers are becoming independent publishers of specialty blogs and hyperlocal community news site. These sites fulfill an important role in the emerging news and information landscape.

Powerful and easy to use Web publishing tools make creating quality online news sites easy and affordable. These new tools are allowing individual journalists and community journalism to flourish as part of the evolving news eco-system.

The Knight Digital Media Center at the University of California Berkeley is offering an innovative new training workshop for journalists who have or are actively seeking to venture into online community or specialty news publishing. The Web Publishing for Independent Journalists Workshop will provide journalists with the hands-on training and tools to get started with an online publishing enterprise.

Participants in the Web Publishing for Independent Journalists Workshop will receive training on:

• Setting up and maintaining a WordPress blog
• Establishing a brand
• Shooting good video and video editing
• Using Photoshop to prepare images for publication
• How to sell advertising
• Data visualization at the community level
• Basic Mapping and Data-driven Maps
• Using social media to develop and engage with audiences
• SEO and Google Analytics

APPLICATION DEADLINE: Wednesday, February 17, 2010

WHO SHOULD APPLY: Journalists who have already begun or are in the process of launching an online news venture.

HOW TO APPLY: An online application form and instructions are available at: http://multimedia.journalism.berkeley.edu/training/

To fill out the application, you’ll need to register at the site (and confirm that in an email link). By registering, you’ll be able to save your application and return later to edit, update or complete. The application includes questions about your contact information and your proficiency in various equipment and software, as well as a statement of interest by you, a letter of recommendation from a colleague who knows your professional work, and a resume summary of your journalism experience.

If you have any questions, please contact Alisha Diego Klatt, KDMC program specialist, at aklatt@berkeley.edu or (510) 642-3892.

9. The Third & The Seventh by Alex Roman Simply stunning visuals. Play it full screen. – Eric Maierson The Third & The Seventh from Alex Roman on Vimeo.

10. Black Passport Stanley Greene’s transition from a fashion to conflict photographer. – Brian Storm

11. Roping the Wind by Nacho Corbella We loved working with Nacho at the MediaStorm Advanced Multimedia Workshop. It’s great to see his latest project, a very elegant production. – Brian Storm

12. William and the Windmill A young man in Malawi with an inspired idea. From the dynamic duo in Toronto. – Brian Storm William and the Windmill from Randy Risling on Vimeo.

13. Visura Magazine Celebrating one profilic year of publishing. – Brian Storm

14. Timelapse movie: The Alps — part II (night) by Michael Rissi Breathtaking stop timelapse of the skies. Astronomers rejoice. – Eric Maierson Timelapse movie: The Alps — part II (night) from Michael Rissi on Vimeo.

15. Follow the Money Where does your money go when you pay at the gas pump? Talking Eyes Media and LeftChannel’s new animated video,”Follow the Money,” takes you on a fantasy voyage through the pipelines back to the source of the oil reserves. – Brian Storm

16. Sweet Dreams by Carol Guzy Touching multimedia project, and Carol Guzy’s story that accompanies it is not to be missed- super intimate look at the connection between a journalist and a subject, turned friend. -Jessica Stuart

17. Interviews 50 Cents The unique combination of Ray Farkas’ visuals and Alex Chadwick’s questions. – Brian Storm

18. THE COAL WAR by Chad A. Stevens Give. Save. A Mountain. – Brian Storm

19. Think Different Wishing Apple the best of luck for their product launch tomorrow. – Brian Storm

Thanks to everyone who commented and added suggestions on our last round of projects, we’d love to keep hearing from you, please tell us about any notable projects that shouldn’t be missed in the comments!

It’s that simple and that difficult.

People tell me they want to produce work like MediaStorm. You can. Yes, we are fortunate to work with many incredibly talented photographers. But the storytelling techniques we use in our work are not revolutionary. They’re the same techniques described by Aristotle in his Poetics, 2000 years ago. What’s different is that we work our stories. We watch and re-watch literally dozens of times, replacing soundbites, removing the inauthentic, rearranging, restructuring, often for weeks at a time. Sometimes it feels endless but in the end, it works.

And it can for you, too.

When I produced Driftless by Danny Wilcox Frazier I worked more hours than I thought I could. But I did. And in the end, I became a better editor for it. And the same applies to you, if you put in the hours.

Malcom Gladwell once famously proclaimed that you need 10,000 hours of practice to become a superstar.

Start. Now.

I want to compose my own music. I’m not a musician. A teacher, in fact, once told me I had no rhythm. But I’ve been taking piano for the last six years with that goal in mind. I don’t know if I’ll get there but I know for sure that I won’t if I don’t try. So I practice every morning for twenty-minutes.

Regardless of your discipline, the rule remains: practice, a lot.

In 1986, I bought a copy of Talking Heads Stop Making Sense. As much as the music, what stuck with me all these years were the words that surrounded the CD insert like a frame. They said, and I’m paraphrasing, “If you are an artist it is work. If you are a painter it is work. If you are a writer it is work.”

If you are a multimedia producer it is work.

Sometimes I think that we forget that work does not have to be drudgery. If you love what you do, then work can be an act of love.

All right, enough preaching. Go practice.

Columbia University’s Graduate School of Journalism today announced the 2010 winners of the Alfred I. duPont-Columbia University Awards. MediaStorm is honored to be the first web recipient of a duPont Award, for Intended Consequences, by Jonathan Torgovnik.

From their site:

In painfully intimate interviews photojournalist Jonathan Torgovnik explores an unfathomable question: can a mother can love a child born out of rape. The women profiled in this haunting multimedia presentation were caught in the 1994 Rwandan genocide, when mass rapes resulted in the birth of an estimated 20,000 children. It spotlights an issue which had not been as widely covered as other war crimes in Rwanda, and is the first Web-based production to win a duPont Award. The women speak simply about their brutal experiences, their isolation and suffering, and the way forward. The producers made excellent creative choices that contributed to the impact of the reporting without resorting to sensationalism.

The duPont Awards, administered since 1968 by Columbia University’s Graduate School of Journalism, are considered to be the most prestigious broadcast journalism awards and the equivalent of the Pulitzer Prizes, which are also administered at the Journalism School. Selected by the duPont Jury for excellence in broadcast journalism, the award-winning news programs aired in the United States between July 1, 2008 and June 30, 2009. The honorees will be presented with silver duPont batons at a ceremony held at Columbia University on Thursday, January 21, 2010.

Congratulations to all of the winners, there’s some really amazing work in there. You can see the full list at the duPont site.

We are pleased to announce that Intended Consequences by Jonathan Torgovnik has won The Anthropographia Award for Multimedia and Human Rights. Congratulations also to Marcus Bleasdale, whose still project The Rape of a Nation won the The Anthropographia Award for Photography and Human Rights. The multimedia piece, produced by MediaStorm, also received an Honorary Mention.

Anthropographia’s aim is to create new spaces for photojournalism; new spaces that encourage the promotion of human rights, expose social injustice and underline the multiple realities of our current world. The jury shortlisted 24 photography essays as well as 10 multimedia pieces which will be displayed on large scale exhibitions internationally.

Projects will be screened at the New York Photo Festival, and at several other locations. Full listing, along with all of the winners, on the Anthropographia site.

All applications must be submitted online. For more information, please see the full job description. If you have any questions, please email us.

Application deadline is February 1, 2010.

Oceans are literally the source of life on earth. They shape the climate, feed the world, and cleanse the air we breathe. But the world’s oceans are being threatened by a dizzying array of dangers, from piracy to climate change. The United Nations Convention on the Law of the Sea offers fundamental legal principles for ocean governance, but suffers several serious limitations, and much work remains in coordinating national actions within and across regions. To be good stewards of the oceans, nations around the world need to embrace more effective multilateral governance.

With a cinematic overview, an interactive timeline, maps, and other resources, Oceans provides a detailed look at multilateral efforts to address global challenges in oceans governance.

This, along with the Monitor’s two previous components on nuclear nonproliferation and finance, can be viewed here: www.cfr.org/ggmonitor.

Can you work hard and have fun at the same time? Are you looking for a workshop you can afford? Would you like to work elbow to-elbow with some of the best visual editors in the country? Can you bowl? The 2010 Kalish is open for business and accepting applications for the 21st edition of this venerable visual editing workshop. It’s an opportunity to learn cross-platform/multimedia skills from a faculty of Emmy and Pulitzer Prize winning visual editors. Brian Storm, Geri Migielicz, Sue Morrow, Randy Cox and Kenny Irby will be on the faculty this year along with other industry experts. The core faculty has worked together on this program for many years and most of them stay through the duration of the workshop providing ample time to answer your questions. Last year we closed registration at 30 people and attracted a diverse group of working professionals, students and professors from six countries. It was one of our most successful workshops and this year should be better.

The Kalish enjoys a great reputation industry wide and after much thought, and vigorous eye-brow raising, The Kalish board, with the support of the National Press Photographers Foundation, have decided to keep the registration fee for this year’s workshop at $500. It’s the lowest rate you’ll find for a workshop of this quality. You’ll receive four full days (June 4-8) of intense hands-on instruction in cross-platform visual storytelling.

The traditional Kalish values of ethical decision making in journalism and management remain. The workshop begins with a primer in FinalCutPro, progresses through picture selection, multiple picture editing and news judgment, to multimedia and management.

The days are long and packed with real-life decision making exercises in visual storytelling. You will be expected to make difficult decisions about visual storytelling and then defend them in front of the group. We work hard and then we play hard. Please ask any Kalish alum about their experience with us, they are our best references. You can hear testimonials and learn more about the workshop at www.kalishworkshop.org.

If you have any questions or for more information, contact Scott Sines, director, sines@commercialappeal.com, or 901-529-5843.

1. Still Hoping by Luceo Images
The visual sophistication of Luceo Images meets the multimedia prowess of Syracuse University. – Brian Storm

Still Hoping from Luceo Images on Vimeo.

2. The Insights of Angels by Liz O. Baylen
A beautiful story with words of wisdom from two young girls. – Brian Storm

The Insights of Angels from mountainworkshops.org on Vimeo.

3. No Mas Presents: Dock Ellis & The LSD No-No by James Blagden
The story is great and the low-fi animations are just magical. Reminds me of MAD magazine from the ’70s.
Rumor has it for years after the ball clubs referred to Doc as Ellis, D. – Eric Maierson

4. Not Ready to Land
Terrific character, elegant coverage and post production. – Brian Storm

Not Ready to LAND (Fuchsia Team, 2009) from Eddie Adams Workshop on Vimeo.

5. Fifty People One Question: To Wake Up
Sometimes it’s as simple as asking a really good question. – Brian Storm

Fifty People, One Question: Brooklyn from Fifty People, One Question on Vimeo.

6. You Play to Win the Game by DJ Steve Porter
Brilliant mashup from the popular NFL coaches beer commercials – Brian Storm

7. Parkour motion reel
A new twist on animation. Makes me wish I had thought of it. – Eric Maierson

8. MSNBC.com’s The Year in Pictures: The Decade
No one does it better. – Brian Storm

That’s all for now, but we’re adding to our list for next time. We’d love to hear what you are watching and what inspires you!

MediaStorm along with Thomson Reuters Foundation and the International Federation of Red Cross and Red Crescent Societies (IFRC) announce Surviving the Tsunami: Stories of Hope. The project marks the fifth anniversary of the Indian Ocean Tsunami.

Combining imagery by Reuters photojournalists with eyewitness testimony and interactive graphics, the documentary reveals the strength of the human spirit in the face of catastrophe. These are stories of compassion and hope.

Surviving the Tsunami follows two previous productions with Reuters, Bearing Witness about the Iraq war and Times of Crisis about the global financial meltdown.

Other nominees in the category included:

CNBC.com: Boom, Bust & Blame

CBS.com: The Fast Draw

The Wall Street Journal Digital Network: Mongolian Way of Life at Risk

Congratulations to all of the winners.




Pictured from left to right are: Jacky Myint, Michael Moran, Brian Storm, Eric Maierson, Jeremy Sherlock, Lee Hudson Teslik. Image by bryan-brown.com.

NGM is hiring a Video Producer/Editor

The primary role of the Video Producer/Editor is to create short-form video content for use on National Geographic’s website and other digital properties. He/She must demonstrate experience in all aspects of digital video production, including shooting video (on location and in the studio), writing original text, recording audio, creating graphics, and editing in Final Cut Pro.

The Video Producer/Editor will be responsible for working closely with NGM editors, photo editors, photographers, writers, researchers, and graphic artists. The Producer/Editor also works closely with online divisional resources at the National Geographic Society. The Video Producer/Editor must bring the same journalistic standard to multimedia storytelling as the magazine writers and editors bring to the print magazine. An ability to deliver with speed, clarity, and focus will be a measure of success.

Creativity, web experience, teamwork, and flexibility are all essential ingredients in the profile of this job. The Video Producer/Editor must be capable of multitasking-as he/she will be handling numerous projects.

Responsibilities:
-Works on the development and execution of editorial multimedia/video content for National Geographic online and other digital properties.

-Shooting and editing feature stories and short video series. Candidates must be comfortable working in the studio environment and out in the field. Experience with studio lighting is preferred. Experience telling stories with still photographs in video is preferred. Ability to create finished short-form segments that have high quality standards for music, sound, color, and story narrative.

-Candidate must have experience in and be able to follow proper procedures for contracts and right clearance.

Minimum Experience:
BA preferred with a minimum 1-3 years experience in multimedia/video storytelling.

Knowledge & Experience:
Successful candidates have worked well in teams and have demonstrated people skills and time management.

-Experience in Final Cut Pro, SoundTrack Pro, Adobe Photoshop, content management and digital asset management.

**This is a one-year contract position. Interested candidates should send their resume, cover letters, and samples of work to Melissa Wiley, mwiley@ngs.org.

First, though, a few definitions commonly used to describe musical attributes.

Tempo: the speed of a musical composition, how fast or slow it’s played.

Timbre: the voice or sound of an instrument. A stringed instrument has a different timbre than a piano or a saxophone.

Pitch: the frequency of a sound. Bass notes have a low pitch; the upper octaves of a piano produce a higher pitch.

Rhythm: the variation in length between sounds and accents. Rhythm is often tapped onto a surface.

1. Decide whether to use music. If the music you’ve chosen is not exceptional, don’t use it. Viewers need only a single small reason to stop watching your work; poor music is a big one.

If you do use music, don’t steal it. Unless you have explicit permission to use a piece of music in your work, you cannot use it. Schools and festivals sometimes receive waivers from music licensing companies like BMI and ASCAP, but as a good rule of thumb it’s best to hire a composer or search Google to purchase royalty-free music.

Royalty-free music often comes with a variety of licensing options, for Web, TV, or film usage. It may take trial and error but there are numerous companies that license individual tracks at fairly reasonable prices.

2. Don’t needle-drop. A needle-drop is when you simply drop a music track onto your timeline and let it play from beginning to end, as is. This is the easiest and generally the least effective way to use music in your multimedia work.

Unless you are working with a composer to create an original score, chances are you’re going to need to cut up your music. But by editing and rearranging sections of a single song, you create the impression that the music was created specifically for your production.

Just as important, try to avoid using music for the full duration of your work. Sometimes dramatic parts of a story are much more effective when they are told quietly.

3. Use music with a strong rhythm. Musical cues with a pronounced beat are often easier to work with, as they provide natural edit points. Strong rhythm will also inform your pace and help to keep things moving. Bear in mind that a strong rhythm does not necessarily mean a fast tempo. It’s good practice to use slow songs as well. Variety keeps the viewer interested. For an example of a composition with a strong rhythm, see the opening of Marcus Bleasdale’s Rape of a Nation.

4. Use music with strong stings. A sting is the last few musical phrases of a song, how the piece ends. A strong sting provides a definitive conclusion to a section of your production.

To edit a sting, locate the last beat of the song. Now shuttle the playhead backward three beats. Create a new edit here.

Next, replay the sting. Pay particular attention to the note that begins this last phrase of the song. Now comes the challenging part, you need to find this same phrase earlier in the piece.

Once you locate it, create an edit point right before this beat. Move the two sections together. You may need to roll back a few frames on either side to create a seamless edit. This is without a doubt the hardest part of editing music. There’s no secret. It takes patience and practice to perfect.

See the credits section at the end of Black Market for an example of a pronounced sting.

5. Turn off other audio tracks when editing music. Before mixing or editing your music track, make sure your interview tracks are disabled. It’s an obvious but often overlooked tip. Select your interview clips, then use control-B to enable and disable them.

For more Final Cut tips see Tips From the MediaStorm Final Cut Pro Workflow.

6. Keep levels consistent. When splicing two pieces of the same track together, make sure both sections are mixed to the same level at the edit point. Otherwise, your ear will deceive you into believing the sections don’t quite match, even if they do.

7. Strategically place imperfect music edits. Ideally, your edit should be indecipherable, but if a perfect cut is not possible, hide the edit by lowering its volume and placing a voice track over it. This will help disguise the edit point.

Along these lines, avoid cutting images on the same frame as an imperfect audio cut. Failing to do so with emphasize the flaw.

8. Create an interplay between your narrative and music. Music should not be used as simply background sound. It’s an integral part of multimedia, as important at times as your images, narration, or video. Effective music editing creates a rhythm, a call and response, with your other media sources.

For an example, see minute 1:40 from Danny Wilcox Frazier’s Driftless chapter, Town Bar. As Tumara describes her experience wanting to “check out,” the music plays counterpoint. Listen to how the guitar riff plays in the spaces between Taumara’s sound bites.

9. Fade music levels as interview bites begin. Avoid lowering music levels far in advance of an interview bite. Nothing draws attention to your music like a sudden drop in volume for no apparent reason.

The secret here is to lower the level just a few frames before your sound bite and continue to dissolve for the next second or so beneath other sound sources.

It takes some trial-and-error, but in the end the fade between music and interview should be smooth enough to not draw attention to itself.

10. Learn an instrument. The more you understand music, the more skilled you will become at editing music. You don’t have to be Miles Davis, but a few theory classes will go a long way toward understanding the way music is constructed. And when it comes to cutting music, the ability to distinguish between pitches is an invaluable skill.

MediaStorm is hiring for a Multimedia Producer to create multimedia pieces for our publication, workshops and clients. MediaStorm Multimedia Producers are also responsible for teaching at our workshops and at other events. This position is based in Brooklyn, NY.

All applications must be submitted online. For more information, please see the full job description. If you have any questions, please email us.

Application deadline is December 15, 2009.

MediaStorm and Asia Society have collaborated to produce On Thinner Ice: Melting Glaciers on the Roof of the World, examining the loss of these glaciers and what it means for all of us.

The project includes a narrative introduction,  “then and now” images, and a wealth of additional resources for anyone interested in learning more.

Now imagine it is your job to tell the whole world who these children are. To breath light into an existence too few know about. That’s the critical role photographers working with non-profits and NGO’s play. It is exactly what you’ll be tasked with if you join the next Truth With A Camera workshop in Quito, Ecuador, January 9-17th.

As with all TWAC workshops, students will be joined by their colleagues in-country to document stories surrounding issues of need that NGOs battle every day. Led by world class instructors who specialize in caused based photojournalism, the students will spend an intense week making a difference in this world frame by frame.

Friends will be made, tears will be shed, students will stretch the limits of their capabilities and, most importantly, good will be done.

For more information please visit www.truthworkshopblog.org and to apply visit www.truthwithacamera.org.

What is Twenty Ten?
The Twenty Ten project is inspired by the 2010 FIFA World Cup -which is being organized on the African continent for the first time- and the media opportunities this has to offer. Football is an integral aspect of life all over Africa, as well as in the rest of the world. This project aims to give African journalists a voice, both on the African continent, as worldwide. It offers African journalists the opportunity to present their own view of African reality, as opposed to depending on foreign news organizations.

Twenty Ten is a multidisciplinary media project and will focus on strengthening African journalists from the various disciplines. It aims to encourage media professionals to creatively produce and distribute articles, images, broadcasts and multimedia productions related to African football.

“All Stars” and “Dream Team”
In 2009 108 journalists from different journalistic disciplines (radio, photo, print) and 35 different African countries are enrolled in the Twenty Ten training program. They are the so called “All Stars”. These journalists will finish their training by the end of this year. In 2010 some of them will be given assignments by the Twenty Ten Editorial Team, to make journalistic stories in their home country in the run up to the World Cup.

A small selection of the All Stars will be invited go to South Africa between June 11- July 11. The participants selected to go to South Africa are called the “Dream Team”. During the World Cup the All Stars that stay behind in their home country can still be assigned by Twenty Ten to make journalistic stories.

In 2010 a new training opportunity in Twenty Ten opens up for photo/multimedia journalists with an interest in multimedia. You can join the All Stars by signing up for the multimedia program and have a chance to become a member of the Dream Team in South Africa. Subscribe by following the steps below and apply to join Twenty Ten.

Read more about Twenty Ten at:
www.roadto2010.com

The Training
The Multi Media training will start with a 6 weeks online course to teach you the basics of making a multimedia story. Camera techniques, does and don’ts and more. After your online preparations you will continue to one of the (2) workshops. The workshops will take approximately 7-10 days. Place in Africa and date of the workshop are to be announced. Your travel and accommodation will be taken care of by Twenty Ten. During the live workshop you will be further educated in theory and techniques before you will produce your own multimedia production.

Who can apply?
Twenty Ten is a project for professional journalists of African nationality and currently living in Africa. Professional here means either one, or a combination, of the following criteria:
• That you have a press card and/or
• That your work has been published regularly in the print media during the past two years and/or
• That your work has been exhibited or has been published in a book during the previous four years.

If you are employed, you will need to forward a signed letter from your employer granting you permission to participate in the program. A standard letter explaining the program to your editor in chief is available for download on this site.

Multimedia
This training in the Twenty Ten program particularly focuses on photographers with multimedia experience or other demonstrable interest in multimedia and all ready practicing multimedia journalists.
The application criteria are the following:
• You must have equipment that enables you to record multimedia stories: minimally a compact camera with a video function with a resolution of at least 640×480 pixels.
• You should have a demonstrable interest in multimedia or earlier experience with multimedia besides your photography: e.g. radio, video or TV are acceptable.

Applications:
If you wish to join the program you send an application form and a motivation letter to frederiek@worldpressphoto.org before December 15 2009. You will be notified if you are selected or not before December 25th.
Please download and read the terms and conditions carefully and send it with your application. Applications without a terms and reference form or motivation letter are not taken into consideration.

For answers to some frequently asked questions, and more information about what the internship consists of, check out the blog post we did a few weeks ago for spring interns (everything except the deadline is the same).

If you’re interested in interning at MediaStorm, you can go here for more information, or apply now.

If you haven’t had a chance, check out the Behind the Scenes piece current intern, Maisie Crow, produced recently during our Advanced Multimedia Reporting Workshop.

(For all who applied for our Spring 2010 Internship- we are going through all of the applications, and will be in touch by the end of the month with everyone who applied.)

Questions? Send us an email. Have a great weekend!

For examples, check out the gorgeous work of Jeff Hutchens and Nacho Corbella in the MediaStorm workshop project Hold Out.

More recent workshop attendees Deanne Fitzmaurice and Doug Grant also used the 5D to beautiful effect in Family Kocktail.

It’s not hard to understand why the Canon 5D Mark II, and now the Nikon D300, have become so popular. But to make these files Final Cut Pro compliant there remain a number of technical hurdles.

To help with this, MediaStorm has documented our workflow with each of these cameras in two separate PDFs. These documents detail the transcoding process in Compressor, demonstrate how to use Apple’s Qmaster to get the most out of your computer’s processors, and describe how to properly set up a default Final Cut sequence setting for your respective footage.

Both documents are available as free downloads on our submission page: http://mediastorm.org/submissions/index.htm.

Special thanks to Zach Wise for his blog post Lessons Learned Shooting with the Canon 5D Mark II.

All of the students who attend shoot still images during the Workshop, and several are given the chance to also record audio and video for a final multimedia presentation. A team of producers, led by Brian Storm, Tom Kennedy, and Rich Beckman produced 10 multimedia stories this year.

This year’s multimedia team included: Jenn Ackerman, Kari Collins, Maisie Crow, Rob Finch, Sonya Hebert, Loup Langdon, Paul Myers, Stefania Rousselle, Steve Sapienza, and Melissa Wiley, with graphics by Jacky Myint and multimedia tech support from Bob Houlihan.

See the projects on the Eddie Adams Workshop site. Congratulations to all of the students who attended Barnstorm XXII for a job well done!

At a time when the Obama administration is reviewing mining permit applications throughout West Virginia and three other states, this video offers a first-hand look at mountaintop removal and what is at stake for Appalachia’s environment and its people.

Online Symposium:
Seeking Justice – Social Activism through Journalism & Documentary Practice

The Centre for Documentary Practice invites you to logon and join the
world’s first online journalism and documentary conference on October
15th 2009, starting 12 midnight (GMT).

Speakers include Ed Kashi, Jodi Bieber, Marcus Bleasdale, Shahidul Alam,
Gary Knight, Adam Ferguson, Travis Beard, Michael Coyne, Masaru Goto,
Jack Picone, Megan Lewis, and more to be confirmed.

On October 15th we will connect an international community of
documentary practitioners and journalists for one day, to share stories,
to stimulate discussion and debate about our discipline, and to inspire
each other to continue the fight for justice.

Register now for this free online conference.

See the projects produced during this workshop below or apply for the next round of Workshops.

Family Kocktail by Deanne Fitzmaurice, Stan Alcorn and Doug Grant Kryssy Kocktail always dreamed of leaving her troubled family to join the circus. Now she eats fire and sits on an electric chair as a performer at the Coney Island Circus Sideshow. She also realized her dream of being part of a family. See the project.

The Art of Attraction by Paolo Black, Melissa Pracht and Scott Lituchy The New York Post called them “The Best Buskers in New York City.” Street artist twins Tic and Tac perform their acrobatics in The Art of Attraction. See the project.

Behind the Scenes by Maisie Crow MediaStorm intern Maisie Crow takes us behind the scenes of the MediaStorm Advanced Multimedia Reporting Workshop, to see six participants join the MediaStorm team to conceive, report, and produce two multimedia stories over the course of a week. See the experience.

Strength In Numbers: How innovative photo collectives could save photojournalism

From Miki Johnson, RESOLVE Blog:
Time: October 6, 2009- 15:00 GMT
Location: Online

Event Description:
For many photographers, one of the hardest things about the current business paradigm is that it requires them to work totally on their own. Photographers not only have to make photos, record audio, and capture video, they are also running their own business, coming up with their own assignments, and marketing their own work.

There are many innovative groups working against this trend, who understand the benefits of banding together with other creatives, including people with different skill sets, like marketing, accounting, and design. This webinar will ask four such groups to answer three basic questions:
1. How are you running your organization?
2. What are the benefits for the photographers/professionals involved?
3. What plans do you have for the future and what challenges do you face?

The four groups answering these questions will be:
Wéyo: A U.S. company that creates complete publicity/marketing packages for NGOs and nonprofits.
Drik: A Bangladesh photo group that educates local photographers and helps disseminate their work.
Luceo Images: A collective of young American photographers who are exploring new business models.
Nophoto: A Madrid-based collective that has created dynamic photo-based art and marketing campaigns.

Anyone working in the photography space is welcome. We hope especially that those who are collaborating in groups like these or weighing the benefits of such collaboration will join us. In closing the discussion we’d like to explore what the possible impact of these organizations might be on photojournalism in general. We’d love to hear your thoughts!

JOIN THE LIVE WEBINAR AT 15:00 GMT (that’s 8am if you’re in San Francisco, 11am if you’re in New York, etc etc)

We’ve pulled together some of the most frequent questions applicants ask- please read through these, and let us know if you have any other questions.

Application Deadline is October 15, 2009. Apply here.

What will I be doing?
This is a production internship. You will be working closely with the MediaStorm team to produce multimedia projects. This means full days in front of Final Cut, doing picture research, organizing images, transcribing, etc. If you are here during one of our Advanced Multimedia Reporting Workshops, you will be producing a Behind the Scenes piece (you can see previous ones here and here), but other than that, you will most likely not be gathering content/taking pictures (for us, we hope you’re always shooting for you, if that’s your thing). We expect you to be fully proficient in an OSX operating environment, and experience in Final Cut Pro and Aperture will help (though not required). Our interns don’t do anything we don’t do ourselves- if you’re a coffee drinker, we’d love for you grab us a cup if you run out, but we’ll return the favor another day, we promise.

See work done by previous MediaStorm interns:

What are the hours like?
We’re pretty flexible- a typical day is 10-7, sometimes a little earlier, sometimes a little later. We work hard, but you will have plenty of time to enjoy the city as well. Weekend work is rare (except during workshops).

Who will I be working with?
You can see our bios here. We’re a small, pretty tight group- we eat lunch together most days, go to gallery openings together, etc. It’s a very collaborative group, so you’ll be working mostly with the Producers, but also with the Interactive Designers and the rest of us.

Who is this internship good for?
This is a great internship for anyone interested in learning how multimedia projects are produced. Whether you want to be a multimedia producer, or are a photographer who wants to be able to produce your own projects, you will learn a lot here. Our interns need to be self-motivated and proactive- we will work closely with you, but there will be times we’ll expect you to work on your own, too. Aside from Producers, we’re also interested in interns on our design and web development side, so if you have those skills, we’d love to hear from you!

When will I know?
The deadline for our Spring 2010 internship is October 15, 2009. We will be in touch with all applicants by the end of October.

Still want to know more?
Check out this Internship Q&A The Visual Student did with Brian a couple of weeks ago.

Ready to apply?
Head over to our site- all applications must be filled out using our online form.

If you have other questions, feel free to send us an email.

There has been a lot of discussion lately on whether it’s worth it to go to Journalism school, and whether students are learning the multimedia skills they need to be successful in a pretty rough market. As the school year gets back underway, we’re getting more and more questions from students wondering what skills they need to acquire to land jobs.

Obviously, there are no simple answers to these questions, but we hope to offer up some words of wisdom for students and others interested in the profession, especially during this time of transition.

We’re going to kick it off with Chad A. Stevens- a former MediaStorm Producer, who is now an Assistant Professor at UNC Chapel Hill.

Where are you teaching? How does multimedia journalism fit into the curriculum at your school?

Visual Communication, UNC-Chapel Hill

In the School of Journalism at UNC there has actually just been a pretty major curriculum shift. Like in all journalism programs that require all students to take an Intro to News Writing/Reporting, now at UNC all journalism majors have to take an introduction to multimedia/audio/video course. The is the first official semester that this course has been offered and it is being taught by faculty in Visual Communication (me) and Broadcasting.

Beyond the student’s entry point into the Journalism program, multimedia is a part of every class and there seems to be a lot of cross-pollination and collaboration among sequences. The whole idea of specific sequences isn’t pushed here, but of course students find their focuses and dive in depth into those interests. But every student is touched by two main themes: you have to know how to write and you have to know multimedia (now defining that may be up for debate).

What classes do you teach? What other multimedia classes are there for students to take in your program?

Intro to Audio/Video Information Gathering, Intro to Photojournalism, Multimedia Storytelling, Advanced Photojournalism, etc.

Even the photojournalism classes are incorporating multimedia, at least audio gathering. And UNC’s projects/workshops all include intensive multimedia – from storytelling to web development and interactive information graphics packaging.

For example http://unc.news21.com/

What made you decide to teach? Are you still able to work on your personal projects while you’re teaching?

I love teaching and feel lucky to be in the classroom again, and there is a tremendous amount of freedom and encouragement to continue creative and professional projects. Actually, it’s essential. There are no faculty jobs where you sit back and coast through academia. Survival is largely based on that professional and creative work.

What is the most important thing you want your students to learn?

Adaptation, evolution, openness, commitment. Why? Because there is no easy path and it will take every one of these qualities and more to make it.

What essential multimedia skills should students be graduating with?

I think every student is going to find their own way. There is no formula anymore (internship = job). That is gone. So now what? Traditional journalism jobs are rare if not extinct (at the moment). “New media” jobs are out there but it is unclear where and what skills are needed and how to find them. Maybe it’s a cross-sector approach. … I’m realizing that I’m not actually answering the question. Ok.

Speak the language of multimedia.
Understand and be excited about the potential of multimedia.
Content gathering and storytelling:
Audio, Video, Stills
Editing
Interactive Design and distribution:
At least the basics of HTML, CSS and Flash (again, speak the language/
know the potential)

But what transcends all is the ability to tell stories – find stories, recognize them and then tell them.

To put it another way… They need to be a little Bob Sacha, a dash of Eric Maierson, a pinch of Tim Klimowicz and a healthy dose of Jessica Stuart.

Do you think all journalism students need new media skills?

Yes. At the absolute minimum, they must be able to speak the language and understand the potential (and honestly if they understand that, then they probably are gathering as many multimedia skills as possible while they’re in the sweet, nurturing womb of the university.)

Bottom line: Journalism school- worth it or not?

Without a doubt.

Are there any online resources you recommend to your students? (inspiring videos/sites, learning tools, online training, etc)

Oh geez. Everything. Is that an acceptable answer? There is no single source. Most of my harvesting of the good stuff comes from my network on the delicious online community. But to try and be helpful… online training: Lynda.com (I use this in class), inspiration: endless sources. Start at the major competitions and dive into the winners. Watch the Webby winners, etc.

Who do you look to for inspiration?

I’m looking more and more away from Journalism and into the film world for inspiration. Errol Morris, Lars Von Trier, Ron Fricke, and of course Bob Sacha.

Past MediaStorm projects produced by Chad:

Please share your suggestions with us if you have ideas on others that you’d like to see interviewed. You can leave a comment, or send us an email.

 
Chad A. Stevens is an Assistant Professor in the School of Journalism and Mass Communication at the University of North Carolina at Chapel Hill. Most recently, he was an award-winning documentary producer/editor at MediaStorm, a multimedia production company based in New York City. Stevens has also been a faculty member in the visual communication programs at, the International Center of Photography, Ohio University and Western Kentucky University. Currently he is working on a feature length documentary film on the conflict over energy extraction in Appalachia.

He is a 1999 graduate of Western Kentucky University and a 2009 graduate of Ohio University, and has interned at National Geographic Magazine, The Hartford Courant, the Muskegon Chronicle and the Jackson Hole Guide. During his time as a student at Western Kentucky University, he traveled to Palestine and other Middle East countries. He was named 1997 College Photographer of the Year.

You can check out the amazing 1080p footage of “Another Night in Beijing”, shot with the new Canon Eos7D, and weigh in on whether rolling shutter matters for news audiences. There’s also a great video on rigging up a new 7D (if you thought you were going to shoot great video straight out of the box, think again).

If you aren’t familiar with Dan’s work, head over to the Guardian site and watch some of his stories. He’s a stellar journalist, and we’re really looking forward to seeing his blog evolve.

Finance looks at the world’s economy through time, from the Bretton Woods Agreements in 1944 to today. Incorporating a map, an interactive timeline, and a comprehensive overview, the Global Governance Monitor aims to shed light on our economic history, providing information as we lead up to the G20 summit.

The Program on International Institutions and Global Governance (IIGG) at the Council on Foreign Relations (CFR) aims to identify the institutional requirements for effective multilateral cooperation in the twenty-first century. The program is motivated by recognition that the architecture of global governance-largely reflecting the world as it existed in 1945-has not kept pace with fundamental changes in the international system. These shifts include the spread of transnational challenges, the rise of new powers, and the mounting influence of nonstate actors. Existing multilateral arrangements thus provide an inadequate foundation for addressing many of today’s most pressing threats and opportunities and for advancing U.S. national and broader global interests.

Given these trends, U.S. policymakers and other interested actors require rigorous, independent analysis of current structures of multilateral cooperation, and of the promises and pitfalls of alternative institutional arrangements. The IIGG program meets these needs by analyzing the strengths and weaknesses of existing multilateral institutions and proposing reforms tailored to new international circumstances.

Maisie Crow is an award-winning photographer and a graduate student in the School of Visual Communication at Ohio University. Maisie was the recipient of the 2009 Pierre and Alexandra Boulat Association Award, and also won the 2009 Ian Parry Scholarship for her series, Love Me. She spent the summer as the photography intern at The Boston Globe, and previously worked at Patuxtent Publishing Company. She received her undergraduate degree from the University of Texas at Austin and studied for a semester at the Salt Institute of Documentary Studies. In 2007, she attended the Eddie Adams Workshop.

MediaStorm accepts interns throughout the year. The deadline for our spring 2010 Internship is October 15, 2009. Go here for more information.

Times of Crisis Trailer:

On September 15, 2008, the 158-year old investment bank Lehman Brothers became the largest bankruptcy in U.S. history, its collapse paralyzing the global financial system.

Governments pumped in cash, but the crisis deepened and broadened, crippling industries and crushing hopes with a force not seen since the Great Depression.

As signs of recovery emerge, Reuters charts 365 days of upheaval to see how lives around the globe have changed as a divergent world embarks on an era of historic challenge.

View this special web documentary and interactive timeline at reuters.com/timesofcrisis

The workshop will be held in Manhattan- specific location to be announced shortly. The Workshop will be held from 10am-6pm.

The cost of the Workshop is $250. A special discount rate of $200 is available to full-time students.

This one-day workshop provides an overview of multimedia storytelling approaches while engaging participants in discussion about the most appropriate ways to create a multimedia story. Through real world examples, the instructor will share tips and techniques to improve reporting and editing and discuss the most effective tools for specific jobs.

This workshop is designed for anyone interested in multimedia storytelling, no experience is necessary. We will be looking primarily at multimedia methodology and theory- this is not a workshop to learn how to use your new audio recorder- it’s a workshop where you will be asked to look deeper, into the when and why of different storytelling techniques and approaches.

For more information, and to register: Multimedia Storytelling Workshop

This project includes several stories and video pieces, along with an interactive timeline, to help viewers understand the complex issues at play in this volatile region.

When asked why he did not write a lengthy essay for the book, Murphy responded:

“I really don’t have a message—I am probably as much in search of answers. What drives me is to shoot what interests me and to find out how life is for all of us. In that there may well be messages of humanism and my belief in the ultimate goodness of the vast majority of people—but it is not a conscious subtext.”

Murphy’s gallery is definitely worth spending some time in.

Other features this month look at the Death of Photojournalism, News Aggregators, and a great article on Networking and creating a PR Campaign.

From Melissa: “Some things we’re cooking up this year include: a shuffleboard tournament, a shoot-out, a silent print auction and more… If you’ve never been to GeekFest before, it’s not your normal photo conference. It’s laid back. It’s low key. And it’s a pretty full weekend of photo goodness. We like to keep it casual and comfortable. Everyone that comes is there for inspiration, plain and simple.”

Speakers this year will include: Sam Abell, Damon Winter, Bryan Moss, Pat Farrell, Alexis Lambert, Allison V Smith, Bob Croslin, Dai Sugano, and Nicole Fruge. There aren’t many places you can hang with photographers/photo folks of that caliber all at once- registration is only $100, and there are some hotel discounts if you act quickly. For more info, head to the APAD blog.