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The Sourcing of Amateur Photographs in the Professional News Media

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The Sourcing of Amateur Photographs in the Professional News Media The sourcing of amateur photographs in the professional news media Kathrin Schmieder The Swinburne Institute of Social Research Swinburne University of Technology Submitted in fulfillment of the requirements of the degree of Doctor of Philosophy 2015 Abstract The participation of amateurs in the production of news has been widely observed as a growing phenomenon. This thesis investigates the significance of amateur photographs for the professional news media by examining when, how and why amateur photographs are sourced and published in the news. The thesis frames the research in terms of the practice of sourcing, focusing on the decisions and attitudes of news media workers towards amateur photographs. The thesis asks: What impact does amateur photography have on the professional news media? Do professional ideas, structures and standards encourage or discourage the use of amateur photographs? Have news media adapted to embrace the ubiquity and accessibility of amateur photography? The research was conducted using a grounded theory approach, starting from the routine decisions of news media workers. The main sources include interview evidence and observations collected as part of an in-depth study at the Australian Leader Community Newspaper chain, as well as interviews with news media workers from a further 14 media brands in Australia, Germany and the UK in 2010 and 2011. In addition, secondary sources were used to suggest general tendencies in the field, and as a basis for examining historical shifts. The thesis locates the ways in which amateur photographs appear in the professional news media today, revealing diverse categories of amateur photography in the news and their value to the industry. I discuss the implications for sourcing practice, including the use of personal online archives in the newsgathering process; the value of the amateur aesthetic; the evidential purpose of, and public trust in, eyewitness photographs; the voluntary aspects of amateur photography; and the interactive appeal of amateur contributions. At the same time, the thesis demonstrates that news media workers are holding on to established news values, attitudes, practices and roles. Amateurs continue to be perceived as non-routine sources, and have a relatively small influence on the professional news media. The thesis addresses a shift in photographic production, distribution and style that has been influenced by the wide-scale presence of amateur photography. Theoretically, this phenomenon calls into question concepts such as amateurism and professionalism, the photojournalist’s privileged claim to the visual representation of events, and what qualifies as history-making documentation within the public imaginary. The thesis contributes to debates on the future of the news media industry and the professional approach to visual news content- making in the context of today’s changing media landscape. Acknowledgements Thanks to my supervisors Ellie Rennie and Margaret Simons for their guidance throughout the research and for encouraging me to write this thesis in a second language. Special thanks also to Sandy Gifford, with whom I worked before this project, and who introduced me to Swinburne University, as well as to Klaus Neumann, who supported me with the application for the Australian Postgraduate Award. Without the APA scholarship and the additional support from the ARC Centre of Excellence for Creative Industries and Innovation, this project would not have been possible. Thanks also to those who made the atmosphere at the Swinburne Institute of Social Research friendly and welcoming, and for the kind support of colleagues and those co-workers who have made the PhD journey with me. Thanks to all the people who shared their knowledge, passion and interest in photography and the media, including the research participants (see Part 2), as well as to those people whose information I did not use, but which still influenced the development of my project. They include: Ann Chesterman, Anya Trybala, Anthea Rafferty, Benj Binks, Beth Wildgoose, Bruce Cumming, Cath Dwyer, Carla Gottgens, Colleen Hughson, Diana Schmidt, Daniel Bickers, Eugine Hyland, Ingo Taubhorn, Jane Martin, Jacob Colliver, Jochen Schlevoigt, John Levy, Joice Evans, Jon Milligan, Julie Davies, Kim Lawler, Kate Gane, Larry Schwartz, Maya Haviland, Naomi Cass, Patrick Pount, Phoebe Adams, Serana Hunt, Susan van Wyk and Tanja Loewe. I also want to thank all the amateur photographers whose pictures I included in the Appendix, which, due to copyright reasons, will not be published in the online version of this thesis. Thanks to Cornelius Pelzing, Mark Condina and especially Matt Holden, who proofread the following chapters, and helped me to improve my ability to express myself better in English. Many thanks also to Jillian Graham, who edited the final version of my thesis. Last but not least, warmest thanks to my partner Matthias Pelzing, who got up during the night on many occasions to comfort our baby son Neo, born on 29 December 2012, during the time of this project. Thanks also to our three older children Cornelius, Caroline and Vivian for all their help, as well as to our extended family and friends, in particular to my parents Heidi and Gerald Schmieder, our au pair Joanna Jedrol who lived with us for three months in 2013, the staff members at the local child care centre and the Benjamin family (especially Indiana), who looked after little Neo so that I could work. I started this project at a difficult time, as my brother sadly committed suicide. I am grateful for the support of Grace Couchman and everyone who encouraged me to accept this loss, to embrace the challenges and to believe in what I do. I dedicate this thesis to the memory of my brother Frank Schmieder and the people who accompanied me during the time of this project. Declaration This thesis contains no material that has been accepted for the award to the candidate of any other degree or diploma. To the best of my knowledge it contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome. The thesis has been copy-edited and proofread by Dr Jillian Graham (Articulate Writing Solutions), whose services are consistent with those outlined in Section D of the Australian Standards for Editing Practice (ASEP). Dr Graham’s own fields of study encompass Musicology, Social History, Women’s Studies and Psychoanalysis. Signed _______________ Date _______________ Table of contents INTRODUCTION 6! THE RISE OF THE AMATEUR 6 RESEARCH QUESTIONS 7 THE RELEVANCE OF PROFESSIONAL NEWS MEDIA 8 THE PRACTICE OF SOURCING 9 APPROACH 11 CHAPTER OUTLINE! 11 PART 1 LITERATURE REVIEW 17! 1.1 THE AMATEUR IN PHOTOGRAPHY – HISTORICAL TRAJECTORIES 17 THE FIRST AMATEURS IN PHOTOGRAPHY 17 INFORMAL AND FORMAL LEARNING PRACTICES 20 TOWARDS EVERYONE 22 PROFESSIONALS, AMATEURS, SNAPPERS 24 THE AMATEUR WITHIN THE PROFESSIONAL DOMAIN 26 DIGITAL PHOTOGRAPHY AND THE RISE OF THE AMATEUR 28 THE CATEGORY ‘AMATEUR’ IN THIS STUDY 30 CONCLUSION 31 1.2 PICTURE PRODUCTION IN THE PROFESSIONAL NEWS MEDIA 33 VISUAL REPORTING 33 THE PRINCIPLES OF (PHOTO)JOURNALISM 35 MULTIPLE PURPOSES 38 THE FOCUS ON WARS, PICTURES AND PHOTOGRAPHERS 39 THE PROFESSIONALS’ APPROACH 41 CONTEXT VERSUS PURPOSE 44 A CHANGING PRACTICE 45 CONCLUSION 49 1.3 THE EMERGENCE OF ONLINE AMATEUR CONTENT 51 EMERGENCE AND INDEPENDENCE 51 RESISTANCE AND CHANGE 54 AMATEUR PHOTOGRAPHY IN THE PROFESSIONAL NEWS MEDIA 57 THE NEWNESS OF THE AMATEUR 62 CONCLUSION 65 PART 2 RESEARCH DESIGN 67! INVESTIGATING THE SOURCING PRACTICE 67 IN-DEPTH STUDY AT THE LOCAL LEADER COMMUNITY NEWSPAPERS 69 BEYOND THE LEADER COMMUNITY NEWSPAPERS 73 CONDUCTING INTERVIEWS 76 THE INCLUSION OF FURTHER SOURCES AND METHODS 80 OVERVIEW OF FURTHER INTERVIEWEES IN THIS PROJECT 82 CONCLUSION 85 ! "! PART 3 RESULTS 86! 3.1 AMATEUR PHOTOGRAPHS AS VISUAL QUOTES 86 THE PRACTICE OF SOURCING 87 VISUAL QUOTES 90 ELEMENTS OF A STORY 93 RAW MATERIALS 94 RHETORICAL DISTANCE 96 FURTHER DISTANCING 98 CONCLUSION 103 3.2 NEWS VALUES OF AMATEUR PHOTOGRAPHS 105 PREFERENCES 106 NEWS FACTORS AND NEWS VALUE 108 UNPREDICTABLE NEWS EVENTS 110 AMPLITUDE AND MULTIPLICITY 114 THE VALUE OF PROXIMITY 116 THE ADVANTAGE OF ACCESS 119 NEGATIVITY AND CONFLICT 121 HUMAN-INTEREST AND ELITISM 123 THE DOMAIN OF PROFESSIONAL PHOTOGRAPHY 125 CONCLUSION 127 3.3 THE SOURCING OF AMATEUR PHOTOGRAPHS FROM PERSONAL ONLINE ARCHIVES 129 PERSONAL ARCHIVES 129 PORTRAITS OF DEAD OR MISSING PEOPLE 132 PHOTOGRAPHS OF PLACES AND BUILDINGS 136 THE INFLUENCE OF WRITERS AND EDITORS 139 THE ROLE OF NEWS AGENCIES 141 THE VALUE OF A LUCKY SHOT 143 STOCK AGENCIES AND NEWS MEDIA 144 CONCLUSION 147 3.4 TRUST AND MISTRUST IN AMATEUR PHOTOGRAPHS 149 THE IMPORTANCE OF CREDIBILITY AND TRUST 149 THE MANIPULABILITY OF DIGITAL PHOTOGRAPHY 150 THE AMBIGUITY OF PHOTOGRAPHY 152 SOURCE BIAS AND ANONYMITY 154 METHODS OF VERIFYING AMATEUR PHOTOGRAPHS 158 SPEED AND THE APPEARANCE OF AUTHENTICITY 160 DEALING WITH THE CONSEQUENCES… LATER 162 TRANSPARENCY AND DISTANCE 163 WHAT SHOULD BE SHOWN, WHAT SHOULD NOT 165 CONCLUSION 169 3.5 THE IMPORTANCE OF QUALITY FOR THE SOURCING OF AMATEUR PHOTOGRAPHS 170 POOR VERSUS HIGH QUALITY 170 GOOD ENOUGH QUALITY 175 QUITE DECENT PHOTOGRAPHS 178 THE VALUE OF AUTHENTICITY 180 THE SEPARATION OF BEAUTY AND TRUTH 182 THE NEED FOR BEAUTIFUL-LOOKING PHOTOGRAPHS 184 CONCLUSION 187 3.6 THE RELEVANCE OF AMATEUR PHOTOGRAPHS FOR ONLINE PUBLISHING 188 PRINT VERSUS ONLINE 189 THE DEMAND FOR MORE PHOTOGRAPHS
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