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“What does a professional photojournalist do that others cannot? Depicting photo opportunities as if they are authentic, covering press conferences, or making subjects play their assigned roles (the poor as passive victims, celebrities as glamorous) are hardly adequate responses. In fact, these might be reasons to ask for the help of amateurs who do not know how to stylize their imagery and are not interested in making a publication seem more palatable to its potential consumers.”

IfsKnowsDoeReasonPlayFactsHelpingSeemsMightAsksOpportunityPoorRolesKnow HowSubjectsVictimPressesResponseConsumersNot InterestedPassiveAdequateConferencesImageryCoveringGlamorousPublicationPress ConferencesPhotojournalists
Author:Fred Ritchin
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“Photojournalism has become a hybrid enterprise of amateurs and professionals, along with surveillance cameras, Google Street Views, and other sources. What is underrepresented are those "metaphotographers" who can make sense of the billions of images being made and can provide context and authenticate them. We need curators to filter this overabundance more than we need new legions of photographers.”

NeedsMadeViewsStreetsSourceCamerasPhotographerBillionsMake SenseEnterpriseGoogleSurveillanceFiltersHybridLegionCuratorPhotojournalismOverabundanceSurveillance Cameras
Author:Fred Ritchin
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“The inherent non-linearity of the digital allows for more input from others, including the subject and reader as collaborators. The top-down, bedtime-style story is of limited use. A non-linear narrative that allows for increased complexity and depth, and encourages both subject and reader to have greater involvement, will eventually emerge more fully from the digital environment. This, in a sense, is the more profound democratization of media.”

StoriesUseEnvironmentGreaterSubjectsMediaStyleReaderProfoundDepthIncludingNarrativeComplexityDigitalInherentInvolvementLinearInputBedtimeCollaboratorsTop DownDemocratization
Author:Fred Ritchin
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“We have faith in the photograph not only because it works on a physically descriptive level, but in a broader sense because it confirms our sense of omnipresence as well as the validity of the material world.”

WorldWellsLevelsMaterialsPhotographHave FaithValidityMaterial World
Book:In our own image: the coming revolution in photography : how computer technology is changing our view of the world
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“The decisive moment, the popular Henri Cartier-Bresson approach to photography in which a scene is stopped and depicted at a certain point of high visual drama, is now possible to achieve at any time. One's photographs, years later, may be retroactively rephotographed by repositioning the photographer or the subject of the photograph, or by adding elements that were never there before but now are made to exist concurrently in a newly elastic sense of space and time.”

YearsMayMadeMomentsCertainSpaceAchieveSubjectsDramaSceneElementsApproachPhotographyPhotographerPhotographVisualsTime And SpaceDecisive MomentsCartierHenri Cartier Bresson
Book:In our own image: the coming revolution in photography : how computer technology is changing our view of the world
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