Sortir du Cadre - Future of Photojournalism - Eng

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Think wider - Future of

PhotojournalismBulb - December 2010


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The death of journalism is bad for society, but well be better off with

less photojournalism. I wont miss the self-important, self-congratulatory,hypocritical part of photojournalism at all. The industry has been a fraud

for some time. We created an industry where photography is like big-

game hunting. We created an industry of contests that reinforce a hyper-

dramatic view of the world. Hyperbole is what makes the double spread

(sells) and is also the picture that wins the contest. We end up with car-

toons and concerned photographer myths (disclaimer: yes, there are

photographers doing meaningful work)

Of course I am worried about how I will make my living now, and I wor-

ry for my friends and colleagues too, but I dont really care about the fu-

ture of photojournalism. The soul of it has been rotten for a while.

Chris Anderson - Magnum


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p .4 Introduction

PART I

p .7 The Newspaper industry

p .14 Photojournalism

p .17 Economy of photojournalism

PART II

p .20 Introduction

p .21 Product & Process

p .23 Cross & Transmedia

p .25 All publishers

p .27 Monetization

p .30 Graphic

p .31 Bio

N.B: Click on the menu to jump to the page you want to


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world doesnt necessarily have to be translated into printed photo stories in Magazinesor Newspapers. It can be as efficient in a digital world as long as we put in it the same

dedication and passion. But truth to be told, digital brings us such a new variety of tools,that we would be crazy not to try them all. We would be irresponsible not to try tomaster these new ways to communicate and test new approaches.

This dynamic of research and innovation, star ted by some among us, should be increasedand extended to everybody in this community. Because the traditional model is dying, wehave the imperative necessity to evolve in order to survive. Photojournalists actually mustchallenge the status quo and be courageous enough to stand for new behaviors.

This should neither be considered a rejection of the past, nor a questioning of thefundamental rules of ethics. But in contrary, this should be perceived as a chance for us topreserve an ar t which produced the most incredible pictures in the world and still providelight where there is darkness in this world.

G.HDecember 2010


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We all know that Newspapers are dying. From the United States to

Great Britain to Spain, the old economic model is pushing them to the tom

a while, the creation and distr ibution of news has been largely impacted b

TV and radio. A phenomenon amplif ied by the changing habits of consum

star ted before the Internet era.

But since 5 years ago, thanks to an exponential multiplication of free N

on Internet (even if they were published by pure players or by the old

substantial erosion of readership, combined with the disengagement of a

the traditional revenue stream, has led to an unprecedented collapse of N

healthiness in OCDE countries. As Clay Shirky and Jeff Jar vis have analyzed i

most publications suddenly facing a much higher competition and declin

after years characterized by high performances and rising revenues.

If we take a look at the numbers, two third of OCDE countries have seen th

melt significantly. A pattern, even more present among young people b

who are less likely reading a newspaper than their counterparts of 50yrs

As a matter of fact, the growth of the whole Newspaper market has slo

stopped in 2007, and started to decline in 2008 and 2009 in every seg

market. National or local newspapers, in France or in the USA, Italy, Gree

nobody was spared.

A - The Newspaper Industry


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In USA, readership undergoes a constant erosion at every level of the social spectrum.

The numbers speak for themselves: in 1960, almost 81% of the population was reading

a Newspaper on a daily basis. In 2008, those who were still claiming to be a News

reader (print and internet) were only 30% of the total population, after losing about

8% of its mass in only two years (2006-2008). One of the main factors of this debacle is

disinterest. On average, an American reader spend only 165hr/year reading the news(at a declining rate of 20 hours per year), compared to 1022hr/yr (almost 2.8h/day)

wasted watching TV. And if you consider the Advertising revenues of Newspapers and

Magazines, the setback is even more impressive with a 28% loss over the last 2 years

(12% on Internet). It represents almost $10 billion in losses for publishers and surely the

biggest cr isis in the history of News.


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Clay Shirky, professor at the New York Universit y, has analyzed the reasons of this

unprecedented crisis. To him, the main cause is the emergence of Internet, not as a

potential competitor for the Newspapers industry, but as a sharing platform. The

crucial revolution here is that Internet has connected people in way that has never

been done before, and has allowed them to communicate more easily.

What was, back in the day, a ver y well-guarded fortress controlled by a cast of elite,

became a large free market owned by everyone of us, defined by few rules. News on

the Internet quickly became a commodity, blooming everywhere for little or no cost.

Incidentally, the industry lost its control over broadcast news and failed to recognize

that its monopoly was ending. The economic structure which supporting the rise of

giants, like Time Inc., and The New York Times dur ing the 19th and 20th century slowly

collapsed and was replaced by a new one based on shareability and credibility.

It was an accident. There was a set of forces that made that possible. And they werent deep truths the commercial success of newspapers and their

linking of that to accountability journalism wasnt a deep tru th about reality. C.S

The facilitation of communication and the possibility to target a specific audience more

receptive to the advertising contribute to the depletion of advertising revenues for

Newspaper industry. Classified advertising also has escaped from a silly logic where

an individual who wanted to buy a car was forced to read stories about Afghanistan,

the crisis in Dar fur or the las t Milan Fashion show. Again, Clay Shirky explains it:

Best Buy was not willing to support the Baghdad bureau because Best Buy

cared about news from Baghdad. They just didnt have any other good choices.


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Its a no brainer that the tablet revolution is about to take over the print revolution.

The iPad and its successors seem to be on track to profoundly change our habits and

relation to News content. Widely distributed around the world, these new devices will

definitively question the imagination and the reactivity of decision makers, as well as

their editorial and economic approach.

If the ecosystem created by the tablets, and especially the iPad with the apps and the

iAds, at tracts a lot of attention were far from a breakthrough in terms of innovation.

A closed environment where only curated and formatted content can possibly emerge

is non-sense. If we consider the amazing openness of the Internet and the plethoric

amount of websites far more advanced and interactive than apps are. This is actually

more of an attempt to recreate the old model in a digital form, preventing us to think

about what could be a fundamental new model, sustainable and stable for decades to

come.

The possibility to see Internet, as free as it is today is relatively thin, and indeed theres

a good chance that evolution and development will need cash to take place for the

future of a highly competitive and dynamic market. In that case, it is not absurd to

think that soon enough, freemium content (a mix between free and premium content)

will be the norm, when totally free content and premium content will be relegated to

the margin. Information will no longer be the property of someone, or a company,

but rather, the common currency by which we will create a new added value through

analysis, digital creation or content development.

With that said, everyone will have the responsibility to find a way to monetize that

new added value, by any means, to survive and prosper. Obviously the public will

continue to prefer free content over premium subscriptions, especially if you consider

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the troubled time we are living in. But not only that, they wont be encouraged to

migrate to a paid formula if the content is average and findable somewhere else for

free. Without per tinent or original content able to attract new readers, the next

generation of publishers will struggle even more. Thats why the industry needs to

invest in R&D, risk taking if priority isnt set to match this very ambitious goal, but

rather to protect conservatism, ideology and blindness of decision makers.

By the way, if the Newspaper industry slowly wakes up and experiments with new

ways of doing journalism (collaborative, crowd sourced, or interactive journalism), or

to f inance it (through crowd funding or NGOs contribution) it wont be the same for

photojournalism with the exception of some sharp mind lurking around new trends

and new ideas, waiting for the best time to appropriate them.

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Different factors have caused the biggest crisis photojournalism has ever had

The rise of digital culture and Internet development had facilitated creation

and distribution of pictures for a fraction of the cost this would have been

ago. The exponential rise of volume has mechanically pulled down the price o

(photography being considered as a commodity) and the revenue of thou

photographers.

How did we go there?Its obvious that the market 50 years ago wasnt ruled the same way as th

we know today. Actually, todays market is the result of transposition of co

strategies learned by young businessmen during the 80s what was essential

built since the 50s.

On the US side of the Atlantic ocean, when no internet connection was

anywhere in the world, very few photo agencies were in business AP hasservice, Blackstar was preponderant and a legion of photojournalist were

for daily newspapers (like The New York Times) or prestigious magazines (li

Look). On the other side, the European market was literally crowded by a

network of photo agencies (Magnum, Sipa, Sygma, Gamma etc) and of cou

amount of newspaper staffers working for publication such as Liberation, Pa

or Die Berliner Illustrierte Zeitung. From the 70s to the 80s, European agen

geographically best positioned, very dynamic and powerful. They were able t

their economic model overseas and to put themselves ahead of the pack,

how the business was supposed to be conducted sales were made mostcase by case basis depending on the exclusivity and/or the exceptional qua

story.

B - Photojournalism

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But when the digital era rose up, the world of photography - which was so far more like

a market place than a real industry - had radically changed. The dominant position of

the three A (Sigma, Gamma and Sipa) were challenged by their U.S competitors. The

old fashioned techniques to sell pictures, which were built upon slow technologies and

hand crafted negotiations, were quickly outdated by the globalization of the market

and the development of fast delivery automated systems. There was no need to waitanymore, half a day to receive a picture, everything was faster and easier. For the

f irst time in our history, photographs were made available on Internet for worldwide

distribution, only minutes after they were taken.

This speed factor combined with statistic tools and performance tracking systems

allowed new development perspectives, increased eff iciency and profi tability. Seduced

by this new sector where investment opportunities were suddenly huge, investors

decided to position themselves in the hope to make big bucks. That opportunity was

in fact a dream, the core reality of the business being blurred by the remains of ourgolden era.

When Getty, Corbis and the myriad of stock photo agencies progressively appeared, the

two sides of the business started to f ight one against each other, with the consequences

we know today: ultra-cheap pictures, a production based on quantity and not quality,

exclusive partnership with major publications, subscription plans and very low annual

fees for unlimited licensing. Clearly, the Goliaths won the battle.

But after two decades of gigantism and exponential structural growth, this modelreaches the limits of sustainability. The printed press industry is severely impacted

by the largest crisis in its history and photo agencies - no matter their size are

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facing the same problems. Studies conducted by Jeff Jarvis and Clay Shirky (NYU)

clearly depict a collapsing structure, where traditional revenue streams (advertising &

classified) are shifting to Internet, forcing structures like Getty or Corbis to adapt to a

new environment. Despite the effort s deployed by these structures, Shirky and

Jarvis are predicting unavoidable damage for many publishers who will not shrink thesize of their businesses to adapt to the digital environment.

This disintegration which, by the way will accelerate over the next decade

wont save the world of photography and these giants who are facing

the same problems: loss of income streams and increased fixed costs. This

is almost an impossible equation to solve without cutting into the charts,

going back to smaller, more f lexible and competitive structures. Surpr isingly

the reaction of these giants seems relatively measured considering the

speed with which their income base is melting and the issues they face aregreat. Gettys strategy for example, is buying one competitor after another,

increasing the pressure on pr ices and stif le smaller players to recover market

shares and reap new revenue.

Its just like the policy of the scorched earth. That headlong rush seems to be pointless as

the disintegration of the ecosystem becomes more and more severe. The alternative -

which is easier for the small structures to implement is based on innovation that aims

to change the status quo. The questioning of values and concepts that underlie the

photo market should redefine our goals and practices. No one can accurately predictwho will win todays battle, but its safe to assume that the lit tle ones, who survive in

the end, will do better than large ones.

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Before discussing new monetization opportunities that open to the photo

should consider how specifically articulate the current market is. Photog

agencies now essentially have a role of content provider. They yield a l

editor or a client at a negotiated price for a specific publication or certai

In the case of rights-managed (RM) there are three cri teria governing thof a price: the nature of the media, the space occupied in the media and t

for this media. If these criteria made sense for a very long time, they don

the reality of production anymore.

During the analog era (pre 90s), publications were constrained by the s

by the pagination of magazines and newspapers - f inite, limited by a certa

pages - and the relatively small audience that they were able to reach. The

have evaporated with the advent of digital technology and the Intern

technical constraints, infinitely more flexible, have created a kind of bottwhich the boundaries of space and audience have more sense.

Moreover, photography which was limited to a 2D feature opens itself en

to the video format (including motion and sound) and will certainly move

the next decade, the augmented reality or even virtualization.

Yet paradoxically, we still apply to this new digital environment, traditiona

pricing which seems inadequate to support long term growth. Amazing

industry and agents continue to ignore what basically constitutes the value of a photograph: the very subjective notion, yet very real quality

value of an image, induced by long-term involvement from the photogr

her story, well documented researches or unique intellectual approaches

C - Economy of photojournalism

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a better monetary value of that work. Every one of us is equal in front of the system

and we see our pictures published at the same rate, (which are decreasing from yearto year under the pressure of content inflation) regardless of the amount effort and

the professional level were at.

Another criteria ignored by the contemporary system, is the emergence of new delivery

formats - mult imedia, video - and new marketing strategies - Crossmedia, Transmedia

etc.. - that defy conventions and therefore, are constantly devalued.

When the tool doesnt f it to the thing that we measure,

all deviations are possible and the credibility of all canbe questioned and challenged.

We must change the tool, and thereby, the way we define the term

photojournalism.

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Redefining photojournalism brings a significant number of advances, in termsof practice, and opens the door to new opportunit ies for monetization.

The format - generated by a tool that, in a perverse way, has def ined a practice

- is becoming an accessory, and its rejection in the periphery refocuses the

value of photojournalism on the mastery of narrative and informative process.

It recreates a new scale of values in which each production is assessed not

according to a market, but according to its intrinsic value and its f inal expression

(integrity, honesty, responsibility, ethics, accuracy, visual quality etc).

Were shifting from the measure of a tangible product to the evaluation of

an intangible one, which implies the establishment of a new methodology and

new marketing strategies to ref lect those changes.

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What is referred to as photojournalism is in fact a twis ted definition of its

meaning. Photojournalism today, means photo (photography), the two

object, in color, or black and white, in which an image was fixed. It doesn

writing process (photo graphos) by using light to form a visual messagecase, to create information. By broadening the perception of what photo

supposed to cover, we expand its natural range of exercise to video and

capture tools.

Consequently, we can spare ourselves from get ting stuck in an old-fashioned c

which shapes the entire ecosystem created around photography from a

century. By opening the way, we understand the term photojournalism

more reason to deprive ourselves of integrating all areas of visual creation

activity. Theres no point to avoid the integration of new tools into our wour marketing strategy. The new approach of defining what is photograp

opportunity to rethink the way we monetize our work and how we co

the rest of the world.

Basically, the core and central value of our profession is journalism. By g

the formats dictatorship, we can embrace them all and refocus our at te

intellectual value of the information. We can shift from the economy o

move to an economy of process.

A - Product & Process

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This economy of process implies that we reinvent tools for assessing the intellectual

value provided through the report and that we f ind a consensus about new cri teria

to determine a monetary value of our work, i.e.:

Credibility and Authority, Ethic and Responsibility, Commitment and Quality.

Credibility and Author ity: The ability of a photojournalist to build a professional

identity based on the tru thfulness and accuracy of the information relayed, his/her

ability throughout time to provide relevant & original content. The authorit y or

expertise of the photographer in the area he/she is covering, the experience

gained over the years on a par ticular topic.

Ethic and Responsibility: The ability of the photojournalist is to exercise their

profession in an ethical framework, governed by the professional conventions andtheir consistence to follow these rules without compromising them.

Commitment and Quality: The commitment of a photojournalist in the s tories

he/she covers, the capability to feed the democratic debate through their work. -

The use of his/her skills which allows one to offer rich content and provide a clear

and original point of view.

This migration from the product to the process, absolutely essential, is in itself a trigger

for a series of major adjustments especially when considering how to market ourproducts.

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Photojournalism is definitively about Storytelling. The emergence of HDSLwith the consolidation of Internet and the development of social netwlives, have allowed photojournalists to switch from a linear narrative toone. From Newspapers and Magazines, photography has gone digital aMultimedia and Web-documentaries to finally extend its sphere of infultimate form.

Therefore, the future of photojournalism cannot be considered withoutcontent or an integrated multi-plat form distribut ion strategy, which woulupon the media consumption habits of the Generation Y. This is for examargued by Stephen Mayes, Director of the Agency VII, and many other

the broadcasting and new technologies worlds. Nicoletta Iacobacci, DiInteractive TV at the Eurovision Broadcasting Union says, that nowad

allows the emergence of new multiplat form interactive and mobile contenMedia convergence and the lower production costs make the flow of contacross multiple media inevitable. So, whats the difference between CroTransmedia story telling? Both stra tegies are based on multi-plat form distr

use the Internet as a central gathering space.

In a Crossmedia strategy, the same content is distributed through vario

(books, internet, TV, newspapers) to at tract the largest audience possib

degrees marketing strategy, which doesnt involve story telling, just a de-co

replication of the same product everywhere. A Transmedia project dcontent across multiple platforms to generate as many different entryoverall narrative scheme. This is basically the modern adaptation of theGesamtkunstwerk, invented by Richard Wagner in his essay, Art and

B - Cross & Transmedia

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in 1827, which is expressed through the synthesis of works of art in a coherent andunderstandable whole embracing all artistic expression. This is what he called the

Total Artwork.

Photographic narration is sequential. It brings us a ser ies of events, which are supposedto be connected, but it often fails to create a bond between them and the public. We lose track of the context in which the event happens. Transmedia story telling,whose theoretical definition is still very recent (between 1991 and 2003 according

to sources), implies that different parts of a story are told through different kindof platforms (web, film, novels, comics, exhibitions, Augmented Reality Games etc...)in a non-redundant and complementary manner. The new narrative form, implies

that the web platform breaks off, and that all known materials potentially becomea part of the Transmedia story, linked together by a general context . Therefore, a

Transmedia story can start by a web documentary, and then be adapted for a TVseries, then be extended through a book and finally be completed a little more through

discussions on social networks, or through an application such as iPhone or Android.

This fancy way to tell stories mus t not be seen as an absolute method which can be applied

to all photojournalism work. Good stories will keep strength and relevance through

a purely photographic medium. On the other hand, some stories will take advantage

of a web documentary narrative s tyle. For a fraction of them, Transmedia story telling

will bring particularly effective narrative mechanicals, enabling photojournalists to

considerably enrich their work. As we can see, the revolution of Transmedia Story tellinghas nothing to do with technologies (even if its largely based upon their use), but

more with the appropriation of different narrative codes, through new pract ices and

new collaborations.

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David Campbell, Professor of Cultural and Political Geography at Durham University

explains in Photojournalism in the New Media Economy (Nieman Report s Spring 2010),

Success will depend on seeing oneself as a publisher of content and a participantin a distributed story - the form which helps reshape the content of the story.

The concept isnt new, but i ts adoption is still relatively rare. Everything began nearly

5 years ago with the emergence of a new breed of paparazzi agencies on the West

Coast of the United States - X17 and Splash News among others - who unders tood

very early in their development the interest of creating magazine blogs. Although

the format was still very close to a classic blog, each one of them used it, and made

extensive use of their exclusive content, and developed a Crossmedia strategy (photo,

video, mobile, and print).

Its easy to see the benefits that follow from self-publication. Furthermore, it allows

greater control over the pictures and their use. It also induces a strengthening of the

brand, the acquisition of new audiences, and the emergence of additional income. In

the area of entertainment, however, the picture is used more as a single shot, than a

real developed story (for the rare exceptions) which limits the expression of this type

of publication.

In the case of photojournalism, this model extracts the photographs for the role ofmere illustration and allows them to be par t of a more complex narrative f low through

various media. It also allows greater control of the destination and the presentation

of the final story. It eliminates the barriers of paper and offers the opportunity to use

C - Publishers

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the pictures, along with videos, sounds and texts, in order to provide a deeper context

and richer analysis.

The multiplication of entry points - which implies a greater segmentation of the s tory

line - enables interactivity and reconnects the documentary genre with a younger

audience. The photo essay becomes a visual story and the web platform a converging

point for links, comments and references, transforming the whole into a new objectdescribed by Fred Ritchin as new Visual Journalism. The most recent example of

that is the at tempt to create new spaces for pictures, initiated by agencies like VII or

Magnum, or by photographers like David Allan Harvey and his web publication Burn.

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The outs tanding issue remains obviously, the state of the opportunities that are linked

to a revitalization of the online and offline press, as well as the dynamism of adver tisers.

For now, the ways of monetization for the photojournalism industry is hardly obvious,

but are worth exploring further.

Advertising will still be for the next couple of years the predominant model to finance

web publications. Even if the entire ecosystem struggles to find its balance, encouraging

signs are showing that the advertising revenue is a promising model on Internet, as it will

surpass the print adver tising revenues in 2011. With that said, we really need to consider

the new opportunities in that domain and promote the adoption of new technologies.

The recent advent of tools such as Embedarticle.com which allows embedding Ads

banners with a picture - can inspire us to reconsider the relationship between the user

and the image, avoiding the trap of creative commons, while preserving freedom of

private use and ensuring the viability of the creation.

The funding of photo agencies web magazines implies more classical methods of

monetization including advertisement placement or targeted marketing. Its worth

noting that the rise of social networking and SMO (social media optimization) will

empower any kind of platform, even the smallest one, to build a solid community,

which could be la ter monetized through advertising.

Crowdfunding will also play a bigger role in the next few months for photojournalisms

funding as Emphas.is a platform similar to Spot.us, founded by established andworld-renown photojournalists will be launched at the beginning of 2011.

D - Monetization

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Other tools like Kickstarter.com orUlule.com already encourage private fundraising

(crowdfunding), opening new horizons for independent professionals and for truly

participatory media. From B2B content provider, were moving to a more public and

opened space to engage ourselves in a co-producing relation with the audience. This

is a paradigm shift we need not be afraid of. Weve been kept away from the people

were supposed to talk to for too long now, and its time to engage in a more direct

and frank dialog with them.

The interagency co-production, the sponsorship deals or the backing with nonprofit

structures will also be some of the main promising solutions to develop financially

sustainable structures. Progressively, modern agencies or collectives will have to think of

the development of third party services (training, outsourcing, or consulting expertise)

premium subscription to access an exclusive content, or products sales to stabilize their

resources and develop their business.

Last but not least, the rise of the tablet market, combined with the All publishers

strategy and new products, such as the InDesign Publishing suite edited by Adobe, gives

to any collective or agency the chance to publish dedicated apps on the iPad and the

forthcoming Android tablets for a very small entry fee. This should also be a powerful

leverage to reach a new public and gain new revenues to produce more great stories

without worrying if, when, and where they will be published. As you guessed it, the

capital words here are innovation and experimentation.

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http://www.kickstarter.com/http://www.ulule.com/http://www.ulule.com/http://www.kickstarter.com/


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The year 2011 shouldnt be seen as the year when photojournalism died again but as

a year of opportunit y and courage. A year where a new generation of photojournalists,

young professionals, all sharing a common digital background would be able to create

the next Gamma or Sygma or some kind of Viva agency 2.0 if you will.

The year 2011 should be considered as the f irst year of a rebirthfor photojournalism, the f irst step which will take us on the path ofrecovery. Im sure theres plenty of guys out there excited at theidea of taking a fresh approach and engaging in new challenges.Its time to shift, its time to let go the so called Golden age,

we are going to create our Golden age, and we just have tobelieve in it!

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Estimate of the volume of pictures online


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Dreamstime - 8,556,710

Fotolia - 9,056,403

iStockphoto - 6,837,000

Shutterstock - 11,332,581

Alamy - 19,270,000

AP - 6,000,000

Bloomberg - 290,000

Corbis - 4,000,000

DPA - 7,500,000

Getty Images - 8,500,000

Microstock - 20,000,000

Newscom - 40,000,000

Reuters - 25,000,000

AFP - 8,000,000

p

= 173 mil

Facebook - 15 billion

Flickr - 4 billion

ImageShack - 20 billion

Photobucket - 8.2 billion

= 47 billion

Shared pictures

Licensed Pictures

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Im a French freelance photojournalist based in New York since 2006, specializing in news,portraits and event imagery.

After studying Law and Journalism in France, I worked with the photo agency AbacaPress as staff photographer for almost 3 years in the 2nd largest city of France. I usedto cover major French political rally, the last presidential campaign, social and economicnews as well as entertainment events.

In September 2006, I moved to New York and, after a br ief stint with Abaca USA andGamma Press, joined Polaris Images as Contributing Photographer for two years. I

covered the U.N General Assemblies, the Pope visit in New York, the economiccrisis and Wall Street, the Presidential Campaign, and a lot of Movie Premiereamid a lot of other different stories. My work has been published in the mainmagazines and websites in USA such as Life, Business Week, Sport Illustrated,Newsweek, Portfolio, Vanity Fair, the New York Magazine, Rolling Stones,Us Weekly, In Touch, and several other publications in the world.

I spent the last five years working as news photographer, looking everyday for the best story and the best way to report it. I love the perfect shot,

the very famous instant dcisif invented by Cartier Bresson, my eye hasbeen influenced by his sense of sharpness and geometry. Im always looking

for the neatest composition, working mainly with ambient light to preservethe atmosphere of my subject. I balance my work, between news and long term

stories, in order to develop a narrative construction adapted to new tools likemultimedia productions. This work gave me experience and knowledge. It made me aversatile photographer, comfortable in various circumstances, ready for new challenges.

As a responsible professional, I also try to contribute to a better understanding of thisindustry and its improvement. In the series Sortir du Cadre (Think outside the box)I explore the economy of the new media and the photo industry, looking for the new

opportunities offered to our generation and analyzing the different economic modelswe could or should embrace to significantly change the status quo. To me, future ofphotojournalism is brighter than ever and Im deeply committed to find the possible exitstrategies ahead of us.

This e-book is published byGerald Holubowicz,

NYC 2010.

Text Gerald Holubowicz 2010

License Creative Commons

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Sortir du Cadre - Future of Photojournalism - Eng

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