Tackling Convergence and Curriculum Issues

Winter 2003 Viewpoints Vol. 10, No. 1 The official newsletter of the Visual Communication Division of AEJMC Tackling convergence and curriculum issues By Kim Bissell, University of Alabama Division Head s I write this column and start preparing for classes, I am A forced to think about “old versus new” with regard to media and with regard to the way to handle this in teaching. Issues of convergence and new media have been worked into departmental curricula across the country. If dramatic curriculum adjustments haven’t been made, I would venture a guess that all of us at least address issues of convergence in our classes. But in light of the recent announcements coming from UT-Austin (see page 6), I began to wonder if this action is a sign of what’s to come. photo courtesy of the Convention and Visitors Bureau of Greater Kansas City It was only a year ago that Dirck Kansas City will be the site of the 2003 summer AEJMC convention, July 29-Aug. 2. Halstead, publisher of The Digital For current graduate students and Journalist (www.digitaljournalist.com), those coming along in the next few Inside announced at a Poynter Institute years who want to teach visual seminar that film was dead, and still classes, it is hard to know exactly 3 Convention Schedule photography was on its way out. I how to prepare them. Who can say Take an early peek at the variety of panels nodded in agreement about film, and what type of visual courses will be being offered at the summer convention. questioned whether still photogra- offered at universities and colleges phy would be obsolete in a few across the country, and we can only years, but I had never interpreted make educated guesses about what 4 Historic Photographs this announcement as something we’ll need to be teaching in five Kansas City’s Hallmark Cards boasts an that would affect the classes I years. impressive photography collection. taught. However, now I wonder, In considering how to incorporate what am I going to be teaching five convergence into the curriculum and 5 Pondering Portfolios years from now? how this affects visual courses, I Sam Winch discusses the changing roles and So, in an attempt to accomplish think we are grappling with multiple formats of traditional portfolios. two of my goals for this year (pro- concerns: vide better outreach to graduate stu- 1. How can we best prepare our Perils and Promises dents and engage them in discus- students to be effective and competi- 6 sions and activities; continue to tive in entering the media market if Jean Trumbo explores the common challenges improve communication efforts with they are not in a converged pro- facing photojournalism programs. division members), I thought it gram? If students are part of a con- would be helpful for us to address a verged program, how can we be sure 7 Deadlines and Details few questions and make a concerted they have the appropriate skills to Find out how to enter the research paper, effort to engage graduate students in be competitive? creative projects,Web and logo competitions. the discussion. continued on page 2 continued from page 1 walked away from that meeting Visual Communication Division 2. How can we balance helping excited about the panels we have Officers 2002-2003 students learn the fundamentals of lined up, and I think all of you will Head photojournalism, visual journalism, agree that our division will have a KIMBERLY BISSELL Department of Journalism, University of Alabama broadcast, etc., plus teach them how strong conference in August (see (205) 348-8247; [email protected] to prepare and produce page 3 for a sched- st content for the Web? 1 Vice Head/Program Chair ule). Our goals were KIMBERLY SULTZE 3. How can we to select panels that Department of Journalism develop effective How do we, the & Mass Communication, St. Michael’s College covered topics we (802) 654-2257; [email protected] teaching/learning mod- hadn’t covered in a faculty, decide nd els for our programs few years and to take 2 Vice Head SHAWN MCKINNEY considering the limita- what has to be advantage of our School of Journalism, University of Texas at Austin (512) 232-5986; [email protected] tions of university and taught in the location. We have college budgets? arranged to tour the PF&R Committee Chair 4. How can we, the photographic collec- LORET GNIVECKI STEINBERG classroom and Rochester Institute of Technology faculty, best teach tions of Hallmark in (585) 475-2742; [email protected] skills that were not a what can be small groups on Teaching Standards Committee Chair part of our own profes- August 1; we are SAM WINCH sional experiences? learned in the bringing in Keith School of Humanities, Penn State Harrisburg 5. How do we, the industry? Davis, Fine Arts (717) 948-6391; [email protected] faculty, decide what Program Director at Research Paper Competition Chair MICHELLE SEELIG has to be taught in the Hallmark, to be a School of Communication, University of Miami classroom and what can be learned panelist on our “Photojournalism (305) 284-5211; [email protected] in the industry? Do we have to find into Art: The Image in Exhibits, Newsletter Co-editors the money to buy digital cameras Archives, and History” panel; and we RENEE MARTIN KRATZER and accessories and buy Web soft- are planning a teaching pre-confer- School of Journalism, University of Missouri (573) 884-6753; [email protected] ware like Dreamweaver and Flash? ence titled, “Taking Care of I know many of you are in pro- Business: Preparing Students for the BRIAN KRATZER School of Journalism, University of Missouri grams dealing with these questions. Professional World,” scheduled for (573) 424-9054; [email protected] What I propose is a virtual discus- July 29. The presenters for our Creative Projects Chair sion. Once this newsletter lands in planned sessions are not all sched- JOHN FREEMAN my mailbox, I’ll post these questions uled, so if you have expertise in a Department of Journalism, University of Florida (352) 392-0430; [email protected] on the Vis Comm listserv particular area or know of someone ([email protected]), and I who does, please feel free to contact Best of the Web Co-chairs ELIZABETH SKEWES invite you to engage in a discussion Kimberly Sultze ([email protected]). School of Journalism & Mass Communication that may be useful to all of us. I will Finally, be sure to encourage col- University of Colorado sort through the list of division leagues and graduate students to (303) 735-1096; [email protected] members and send out e-mails to all submit research papers, creative SHAHIRA FAHMY graduate students on the list, School of Journalism, University of Missouri projects, and Web sites to our vari- (573) 771-0393; [email protected] encouraging them to join the discus- ous competitions. Our submissions sion on the listserv. Then I’d like to last year increased slightly, but we’d Co-webmasters KEITH GREENWOOD compile your answers to these ques- like to see even more this year. University of Oklahoma tions and post them again in an Please note the earlier deadline for (405) 325-5229; [email protected]

organized fashion, so division mem- the Best of the Web submissions. MICHAEL KENNEDY bers and graduate students can see Submissions must be sent by March Zayed University, Dubai, U.A.E 011-971-4-355-7028; [email protected] how everyone is addressing these 1 to Elizabeth Skewes at concerns. Thanks in advance for [email protected]. Logo Competition Chair FAB DARLING-WOLFE your participation! I hope you had a wonderful holi- Temple University Convention Update day, and I hope you found time to (215) 204-2077; [email protected]

Over the first weekend in rest and enjoy life between classes. Viewpoints is the official newsletter of the Visual December, program chair Kimberly Please don’t hesitate to contact Communication Divison of the Association for the Education in Journalism and Mass Communication and is Sultze and I were in Palo Alto to pro- me if you have any comments, ques- published three times a year.Articles and letters to the edi- gram this summer’s conference. We tions or suggestions at tor are encouraged. Opinions expressed in all submissions received numerous great panel belong to the authors and not the Viewpoints editorial [email protected]. staff, the officers of the Visual Communication Division or ideas, and I thank all of you for Take care! the officers of AEJMC. Please mail your submissions to those contributions. Kimberly and I Kim Renee & Brian Kratzer, 1614 Secretariat Drive, Columbia, MO 65202 or send by e-mail to [email protected]. 2 AEJMC Summer Conference Schedule By Kimberly Sultze, St. Michael’s College Teaching Panel with Radio-Television Vis Comm Refereed Research Program Chair Integrating Art in Photojournalism:Teaching 1:30 to 3 p.m.Thursday, July 31 Mark your calendars for July 29 to Visual Storytelling as News and Art August 2, 2003.These are the dates for the 8:15 to 9:45 a.m.Wednesday, July 30 PF&R Panel with Entertainment Studies AEJMC Convention and pre-convention Interest Group activities in Kansas City.The convention PF&R Panel News for the Next Generation:Where Will theme is “Ethics in Research and Teaching.” Unedited Film? Continuing Questions about Entertaining and Interactive News Lead Us? And yes, activities are starting a bit earlier Digital Reality and Editing News Images 3:15 to 4:45 p.m.Thursday, July 31 than usual. 10 to 11:30 a.m.Wednesday, July 30 The Vis Comm division has a number of Refereed Research, Best of the Web, with excellent panels and sessions planned for Vis Comm Refereed Research Communication Technology and Policy the convention. Below is brief look at the 11:45 a.m. to 1:15 p.m.Wednesday, July 30 5 to 6:30 p.m.Thursday, July 31 schedule, as well as the divisions we are working with to co-sponsor. If you have sug- PF&R Panel with Internship and Careers Visual Communication Division gestions or questions, please contact me at Interest Group Members Meeting [email protected]. I'm looking forward to Race and Sex in the Academy and Careers 8:30 to 10 p.m.Thursday, July 31 seeing you all in Kansas City! 1:30 to 3 p.m.Wednesday, July 30 Visual Communication Division Pre-Convention Workshop Mini-Plenary Session with Cultural and Executive Meeting Taking Care of Business: Preparing Students Critical Studies and Civic Journalism 10:15 to 11:15 p.m.Thursday, July 31 for the Professional World Designing the News for a Community 6 to 10 p.m.Tuesday, July 29 Narrative: Listening to the People We Look at Research Panel with Magazine Division The business of mass communication is 3:15 to 4:45 p.m.Wednesday, July 30 Recent Trends in Print Publication Design changing as more and more companies are 5 to 6:30 p.m. Friday,August 1 eliminating staff positions in favor of free- Vis Comm Refereed Research lance subcontractors. Because the next gen- 5 to 6:30 p.m.Wednesday, July 30 Visual Communication Off-site Dinner eration of student journalists will need to 6:45 to 8:15 p.m. Friday,August 1 have a fundamental understanding of busi- Vis Comm Refereed Research ness practices and freelancing, we as educa- 8:15 to 9:45 a.m.Thursday, July 31 Teaching Panel with Public Relations tors need to evaluate the importance of Incorporating Visual Literacy in the teaching such skills as contract and rights Research Panel with Small Programs Curriculum negotiation, copyright protection, portfolio Interest Group 10 to 11:30 a.m. Saturday,August 2 presentation, etc., in our classes.This panel Photojournalism into Art:The Image in will examine ways of including business Exhibits,Archives and History Vis Comm Refereed Research practices as part of the curriculum. 11:45 a.m. to 1:15 p.m.Thursday, July 31 11:45 a.m. to 1:15 p.m. Saturday,August 2 Visual Communications: Beyond White and Black By Loret Gnivecki Steinberg, R.I.T. Some faculty asked why the sub- fact that as students learn, they inte- PF&R Committee Chair ject of diverse representation is so grate knowledge into their identities. This is the second article discussing important; strong teachers are strong Real learning is internalized. diversity. The first article was pub- teachers, no matter what their ethnic- Familiarity, personal life resonance lished in the fall issue of ViewPoints. ity is. Others, though, valued the and affirmation of self is important, “I have noticed at our annual con- exposure to perspectives that can and if the student body is multicultur- ference that diversity is not one of only be offered by multicultural facul- al and mixed in gender, students will our strong suits. Why are we so ty. “It’s not that white folks are racist feel more comfortable in an environ- white? And whose voices are not in presenting a narrow view of the ment that reflects their own experi- being heard in the classroom because world,” a friend pointed out, “but you ences. of this? Can a group of educators can only be where you’re from.” On the first day of classes last year, who are monochromatic really pro- Universities used to act as if their a new student named Rebecca stayed vide multicultural perspectives to our only role was to provide the best in after everyone had left to tell me “you students?” teaching and facilities and a place for just don’t know what it means to me Taking Jean Trumbo’s (University students to live while they’re com- to hear a woman teacher after two of Nevada, Reno) questions to faculty pleting their programs. They are years of nothing but men.” and working professionals in the field beginning to see, though, that educa- Rebecca’s classmates included two of visual communications resulted in tion is more than the dissemination Asians, an African-American, one some surprising — and not so sur- of information and technology. Latino and two deaf women. prising — answers. There’s increasing sensitivity to the continued on page 8 3 Photojournalism and Fine Art he lines between fine art and Tphotojournalism have blurred over the past 40 years as more and more photographers have exhibited their work on museum walls and published their work in exhibition catalogues and coffee-table books. Professor Dona Schwartz of the University of Minnesota has written about this phenomenon, and Keith F. Davis of the Hallmark Photographic Collection in Kansas City (the nation’s oldest corporate holding of fine-art photography) is an example of a curator who has contributed to this blurring by collecting and exhibiting a variety of photographers. The Hallmark Photographic Collection currently includes nearly 5,000 works by 750 artists, with an emphasis on the history of American photography from 1839 to the pres- ent. Over the years, they have added prints by a number of important photographers including Jacob Riis, Alfred Stieglitz, Lewis Hine, Edward Steichen, Edward Weston, Ansel Adams, André Kertész, Dorothea Lange, Margaret Bourke-White, Photo by Dorothea Lang Walker Evans, Joe Rosenthal, Gordon Parks, Weegee, W. Eugene Smith, Robert Frank, Ricard Avedon, Harry Callahan, Irving Penn, Charles Moore, Larry Burrows and Annie Leibovitz. A research panel called “Photojournalism into Art: The Image in Exhibits, Archives, and History” will be offered at the annual convention in Kansas City on Thursday, July 31. Join in the discussion as the panelists explore this issue. Photo by Harry Callahan, Eleanor, 1948 These three photographs are part of the extensive Hallmark Photographic Collection and appear courtesy of Hallmark Cards, Inc., Kansas City, Missouri. Pho 4 Expanding the Use of Portfolios By Sam Winch, Penn State Harrisburg papers conveys the intensity and serious- Teaching Chair ness of the revisions, the ability to see or many years, it has been a tradition- problems and a willingness to improve. al teaching practice to require stu- Syllabi and other teaching documents that Fdents in photography and graphic demonstrate an elegant design style show design courses to assemble portfolios of that the faculty member practices what he their best work.This was seen as impor- or she preaches. tant preparation for the job search.The One of the old limitations of 35mm portfolios are a good way for students to slide portfolios was that slide protector demonstrate their abilities to prospective sheets hold only 20 images, so photogra- employers. But now many other areas in phers were often advised to limit the num- academia are discovering the usefulness of ber of their portfolio images to 20, or to portfolios. have 20 plus a couple of photo stories on a For instance, several of my colleagues second sheet.This limitation imposed a few who teach writing in the humanities now serious restrictions. First, photographers require their students to compile writing were advised to show a variety of subjects portfolios.This is a useful learning tool and techniques and to avoid redundancy because it helps students understand and and repetition. Photojournalists tried to appreciate their own progress.These include various subjects such as sports, professors typically have their students general news, spot news, portraits and fea- work on multiple drafts of each paper. tures; and to show a variety of abilities Then they ask the students to include the such as stop action, electronic flash, and drafts and revisions in the portfolio. studio and location lighting. Students also write an introduction that Likewise, teaching portfolios should contextualizes the various stages and include a wide range of materials to show drafts, explaining the evolution of each the variety of subjects taught and the project. For these students, the portfolio is achievements of students, as well as evolving from a tool for impressing demonstrating versatility in teaching meth- prospective employers into a way to docu- ods. Screen shots of course Web sites as ment the process of self-improvement, well as printed versions of other multime- placing it in a narrative structure with con- dia presentation materials help document text and supporting evidence. technical skills and abilities that are now Also, professors at my university now important in teaching. assemble teaching portfolios as part of the Video portfolios are a new requirement tenure review process.They include docu- in our video production courses. Next ments such as syllabi, statements of teach- semester, students will be required to burn e: By the Chinaberry Tree,Tipton, Georgia, 1938 ing philosophy, student evaluations of all their video productions onto a DVD at teaching, sample assignments, peer evalua- the end of the semester. tions of teaching, summaries of teaching For several years, photography students practices, outstanding student work, awards have been burning CD portfolios instead of won by students, etc. using 35mm transparency slides.When It might be useful to consider the way meeting with a prospective employer, how- we’ve used portfolios in visual communica- ever, neither of these are as impressive as a tion to get ideas about how they can be leather case with 8”x10” glossy prints or used in other contexts. For instance, pho- 8.5”x11” inkjet prints. tographers are very deliberate in the way Web site portfolios for photographers pictures are selected and edited in order are also popular and have the added bene- to convey a certain “style” or philosophy. fit of instant worldwide accessibility and Black and white photographs with the bor- the potential for unlimited exposure. ders of the negative frames showing is a Sometimes this is not an advantage if you sort of visual shorthand indication that the do not want to allow unfettered access to photographer wants to project a pure doc- your images. It is also not as much of an umentary style — nothing from the origi- advantage for writers because, to para- nal frame is cropped-out. phrase the designer Roger Black:“No one Similarly, the way documents are pre- except your grandmother will ever read sented in a writing or teaching portfolio anything on your Web site.” says a lot about the style the person wants E-mail comments on how you use portfo- to convey. Including marked-up drafts of oto by Andre Kertesz: Chagall Family, Paris, 1933 lios to Sam Winch at [email protected]. 5 The Perils and Promise of Photojournalism Programs By Jean Trumbo, Associate Professor offices. Many colleagues noted that you lose the journalism base — a pho- University of Nevada, Reno the real problems are cultural more tojournalist is a journalist first and a ast semester an Associated Press than geographic. Converging tech- photographer second.” When asked article, “UT considers adjusting nologies call for more cooperation what is lost or gained when photo- L photojournalism focus,” circu- than ever among colleagues. One pro- journalism programs are merged into lated on the discussion list describing fessor noted that students in photo- broad-based programs, Zavoina proposed changes in the undergradu- journalism want to learn to edit video, writes, “the skill to take still and video ate photojournalism program at the but she laments, “My colleagues in is being added to most programs University of Texas (UT), Austin. radio and TV do not play well with because of online publication, but this Specifically, the journalism school others and do not let us share equip- can be taught in addition to a tradi- is considering cutting the undergradu- ment or space, so we went around tional journalism background. That ate photojournalism program to pro- them and got our own.” old saying ‘don’t throw the baby out vide a focus on the graduate level that with the bath water’ comes to mind. emphasizes video production and Visual Communication vs. Multimedia is just another way of pre- new media. These changes are still on Photojournalism senting content that requires addition- the table, but they are not unique dis- Full disclosure requires me to al tools and skills. But programs can cussions within journalism programs. admit that I am primarily a designer teach this without throwing other This article will scratch the surface of with both a print media and multime- course content out.” the issues raised by colleagues. dia orientation. I recently posed the following ques- Undergraduate vs. Graduate Making a Change tion to participants on the visual com- Efforts to provide new media skills Professor Zoe Smith, University of munication discussion list: If under- and/or computer mediated communi- Missouri, explained that the shift to graduate photojournalism majors are cation research and theory to a gradu- digital media prompted a number of being scooped into a broader-based ate program does not necessarily schools to opt out of offering a photo- visual communication program, what need to undermine efforts on the journalism major and instead provide skills are being lost or gained? undergraduate level. Here again, a service course or two. Money is one A number of colleagues responded resource allocation becomes an issue. obvious consideration. Many pro- that this curriculum question is an Undergraduate education in photo- grams simply cannot afford to make a important one. Kim Bissell’s response journalism is still the heart and soul change from a wet darkroom to a summarizes these concerns: “I do of the discipline. Maria Santana, room full of computers. think we lose some things as we Central Florida, writes: “It is a shame A number of colleagues mentioned merge students into these broader- that undergraduate education is kept that investment in inexpensive digital based visual communication pro- on the back burner. In 10 years, many equipment is a temptation for many grams. Now, I also think that students universities will be sorry.” departments. Finding money to make get something very valuable from this a quality change is difficult. that they didn’t get before. But the So,What Now? Another challenge cited is that issue is no different: Do we allow our- This discussion only scratches the many departments try to address pri- selves to become a skills-only depart- surface for those of us involved in orities by putting money into a gener- ment and drop the theory-based curriculum building designed to meet al service computer lab to serve the courses? I don’t have a good solution the needs of changing media indus- needs of students in all sequences. here because I think they need both. tries. The challenge is to determine The particular software and hardware That said, I believe that in photojour- how to provide insight into the rich needed to support a photojournalism nalism, skill might prevail in the tradition of story telling within photo- sequence may not be considered. industry. A student can know all journalism. We have no such legacy My own feeling is that labs are sim- about the practice of photojournal- with new media in spite of its sexy ply resources; they do not solve cur- ism, but if he/she can’t use a digital potential. At the risk of using one too ricular issues brought about by camera, can’t figure out Photoshop, many metaphors, we are wrong to put changes in technology. and doesn’t have a good eye, that stu- all of our eggs in the new media bas- dent won’t land a job. So, it’s possible ket without thinking seriously about Breaking Down Walls that we need to find a balance the history, relevance and promise “Real Estate” on campuses is a par- between skills and theory courses, that photojournalism provides to jour- ticularly sticky issue. Many programs with a greater emphasis on skills.” nalism education. have recouped darkroom space by Susan Zavoina, University of North New media doesn’t tell stories; turning labs into classrooms and Texas, puts it more succinctly, “I think journalists do. 6 Research Paper Entry Rules for Logo Competition Submission Guidelines By Fab Darling-Wolfe, Temple University Logo Competition Chair By Michelle Seelig, University of Miami Research Chair The logo competition took an international turn this summer, as judging The Visual Communication Division was conducted in Tokyo, Japan. The judges — Toyo Ito, internationally of AEJMC invites faculty and students to renown architect and designer; Ken Tsubakihara, submit competitive papers devoted to curator of Tsubaki Modern Galley; and theoretically based studies of visual Miwako Kato, designer at Blooming communication and to issues concerning Nakanishi and Company — were familiar the professional practice of visual media with American culture and design. production for presentation at the asso- There were 38 entries, and after ciation’s annual convention.The division much deliberation, the winners were encourages submission of papers that David Hand of Temple University (first address a broad spectrum of methodol- ogy and application on all types of visual place), Christa Ledin of Iowa State media — advertising, broadcast, digital University (second place), and imaging, film, graphic design, multimedia Angela Harris of the University of and Web design, photojournalism, propa- Tennessee (third place). ganda images, visual images and culture, This year, the competition will move back to visual literacy, and visual aspects of polit- the United States. The postmark deadline for submission is May 14. Entries ical campaigns, etc. Both qualitative and must be the work of students enrolled in classes taught by AEJMC mem- quantitative research in media history, bers. Students may submit multiple entries, but entries are limited to 10 per law, policy, effects, processes, uses and school. Designs should be submitted on a letter-sized format no smaller than ethics are also welcome. 4"x4" and include on the same sheet the logo reduced to no larger than All submissions will be blind refereed by a panel of independent readers.A 1"x1". Entries should not be mounted. On the back of each entry, include the $100 award will be given to the top stu- student’s name, address, school and faculty sponsor. The designs should: dent contribution and the top three fac- Include the letters AEJMC and the words: August 2004, Toronto, ulty papers will be recognized in the Ontario (AEJMC should be an integral part of the logo). AEJMC annual convention program. Be adaptable to multiple uses, i.e. program book cover, nametags and Send papers by April 1 to: Michelle promotional material. Seelig, School of Communication, Reflect the diversity of interests within AEJMC. Logo objects, forms University of Miami, 5100 Brunson and images should be generic to mass communications. Drive, Coral Gables, FL 33146, Retain a sense of balance and internal integrity when typographic ele- 305.284.5211, [email protected]. ments are removed. Best of Web Contest Be reproducible in black and white and not lose impact or legibility AEJMC’s Visual Communication and when substantially reduced. Communication Technology & Policy Not use copyrighted artwork. divisions encourage faculty and graduate Entries should be sent to: Fab Darling-Wolfe, School of Communications students to submit Web sites that and Theater, JPRA Department, 2020 N. 13th Street, Temple University, advance education or research in jour- Philadelphia, PA 19122. nalism or mass communication. Sites from non-academics and sites unrelated Creative Projects Submission Guidelines to this field are not accepted. The only qualified entrants for this By John Freeman, University of Florida shipped and viewed easily.All submitted proj- competition are faculty and graduate Creative Projects Chair ects will be re-packaged and mailed to three students who (a) work for or attend an If you’re an educator involved in creative judges across the country for blind review. institution that is accredited by AEJMC, work that doesn’t fit the traditional research Send three identical copies of your proj- or (b) are current (paid) individual mold, consider entering the Vis Comm divi- ect (without identification) to: John Freeman, members of AEJMC. University and col- sion’s “Creative Projects” competition.The 3070 Weimer Hall, P.O. Box 118400, lege staff employees and undergraduate format is non-restrictive.An entry could Gainesville, FL 32611-8400. On a separate students may not enter. include original photographs, graphic design, sheet, include a 75-word abstract, your name, Entries must be submitted by March Web pages, etc.Written works that might address, e-mail, phone number, etc. 2, 2003. For more information, contact not be appropriate for the traditional The postmark deadline is April 1, 2003. Elizabeth Skewes at: research category also are welcome if you Winners will be notified by May 15. [email protected]. have visuals that relate. Questions should be e-mailed to: More detailed guidelines and the entry Your material should be accompanied by [email protected]. form can be found at: an explanation of the project that stresses its Additional information about this contest http://www.jou.ufl.edu/aejmcweb/. significance to the study of visual journalism. can be found at AEJMC’s Web site Try to package your work so it can be (www.aejmc.org.). 7 Viewpoints AEJMC VIS COMM DIVISION Renee & Brian Kratzer, co-editors School of Journalism University of Missouri

Columbia, MO 65211

is by listening. by is stories was silence. No criticism, no criticism, No silence. was stories ference locations. SPE and other and SPE locations. ference

the year, and the best way to show it show to way best the and year, the suggestions, feedback or personal or feedback suggestions, accessibilty to dining options at con- at options dining to accessibilty

our interest in dialogue for the rest of rest the for dialogue in interest our suprising response to my request for request my to response suprising ence roommates and always consider always and roommates ence

next year’s conference. We can show can We conference. year’s next I’m not even aware of. The most The of. aware even not I’m rates, assistance in finding confer- finding in assistance rates,

time with someone you don’t know at know don’t you someone with time But there are other reasons that reasons other are there But lists of nearby hotels with lower with hotels nearby of lists

dents. Make a point of spending some spending of point a Make dents. everybody who’s black.” who’s everybody Among other things, they’ve offered they’ve things, other Among

minority Vis Comm graduate stu- graduate Comm Vis minority And people think I’m speaking for speaking I’m think people And expensive lodging at conferences. at lodging expensive

some kind of travel assistance to assistance travel of kind some when I can only speak for myself. for speak only can I when tion and assistance in finding less finding in assistance and tion

members. As a group, we could offer could we group, a As members. times when I only speak for myself, for speak only I when times by offering scholarships for registra- for scholarships offering by

personally introduce them to other to them introduce personally once. Coppin told me “there are “there me told Coppin once. facilitate a more diverse participation diverse more a facilitate

join or attend a Vis Comm event and event Comm Vis a attend or join individual and a human being all at all being human a and individual Education, have made an attempt to attempt an made have Education,

logue. We should invite that person to person that invite should We logue. a role model, a voice of diversity, an diversity, of voice a model, role a such as the Society for Photographic for Society the as such

fessional support that invites real dia- real invites that support fessional University of Miami, find it hard to be to hard it find Miami, of University Some professional organizations, professional Some

AEJMC and offer collegiality and pro- and collegiality offer and AEJMC professor of photography at photography of professor ous answer. ous

one who hasn’t participated in participated hasn’t who one organizations, like Kerry Coppin, a Coppin, Kerry like organizations, Jean’s words. It’s not always the obvi- the always not It’s words. Jean’s

sonally. Each of us could find some- find could us of Each sonally. responsibility to maintain visibility in visibility maintain to responsibility so many places “so damn white,” in white,” damn “so places many so

at the beginning, modestly and per- and modestly beginning, the at feel a cultural and professional and cultural a feel room. We need to ask what has kept has what ask to need We room.

My only suggestion is that we begin we that is suggestion only My American colleague said. Others who Others said. colleague American about it besides look around the around look besides it about

high-sounding mission statements. mission high-sounding sional organizations, one African one organizations, sional room, then we need to do something do to need we then room,

diversity initiatives and too many too and initiatives diversity ing” to devote much time to profes- to time much devote to ing” representation in and out of the class- the of out and in representation

Perhaps there have been too many too been have there Perhaps faculty members. “I’m too busy work- busy too “I’m members. faculty Vis Comm to be more diverse in its in diverse more be to Comm Vis

anything about an important issue. important an about anything perish pressures put on untenured on put pressures perish without some hard work. If we want we If work. hard some without

with work that we can’t and won’t do won’t and can’t we that work with the teaching, advising and publish-or- and advising teaching, the we’re not going to get the opportunity the get to going not we’re

tion. Or that we’re so overwhelmed so we’re that Or tion. ity academics are often swamped by swamped often are academics ity sion and to us as human beings. But beings. human as us to and sion

the hope of a meaningful conversa- meaningful a of hope the African American and other minor- other and American African valuable to our students, our profes- our students, our to valuable

gests that we might have given up on up given have might we that gests parents could participate more easily. more participate could parents with different histories and voices is voices and histories different with

ening response of all because it sug- it because all of response ening have provided child care so single so care child provided have Entering into dialogue with those with dialogue into Entering

continued from page 3 page from continued advice. And silence is the most fright- most the is silence And advice. organizations on some occasions some on organizations NPPA Seeks New Publications Editor JOB TITLE: NPPA Publications Editor (11) Perform additional professional, technical and administrative REPORTS TO: NPPA Executive Committee duties to support the goals of NPPA, as appropriate.

BASIC FUNCTION: Oversee and manage content and editorial EQUIVALENT EDUCATION LEVEL REQUIRED: College decisions for News Photographer magazine and nppa.org. Develop education in a four-year institution or equivalent work experience. and implement innovative strategy to utilize web and print products to best serve NPPA's diverse membership — education, EXPERIENCE REQUIRED: At least five years photojournalism broadcast, internet and still (newspaper, magazine and freelance). experience, publication editing experience preferred. Create an excitement about photojournalism as it is practiced and how it should be practiced. Direct the gathering of news, features, SPECIFIC SKILLS REQUIRED, INCLUDING PHYSICAL photography, and graphics, as well as the editing and processing REQUIREMENTS OF JOB: Demonstrated ability to work as an functions, to ensure that the content and design of the magazine editor in previous employment. Good working knowledge of pho- and Web site reflect the quality, goals and values of the National tojournalism industry — print, broadcast and on-line. Excellent ver- Press Photographers Association. bal and written communication skills. Proficient typing skills with good grammar, spelling and punctuation. Proven competence with WORK PERFORMED: QuarkXpress or Adobe InDesign, Photoshop and MS Office appli- (1) Oversee and manage all aspects of editorial production of cations. Proven ability to manage multiple projects while meeting News Photographer magazine and the NPPA Web site deadlines with full accuracy and high editorial quality. Proven ability (www.nppa.org) including layout and design, coordination and to follow through on complex tasks. Good problem solving skills. assignment of stories and incorporation of photographs and graph- Strong organizational skills. High level of self-motivation working in ics.Assign stories, graphics and photographs for the magazine and home office. supervise the work in progress, editing for quality and meeting all deadlines. Plan cover stories reflecting major issues and personali- HOME OFFICE REQUIRED: NPPA will provide computer and ties in photojournalism. Cover meetings, events and stories as supporting production equipment. needed. FINANCIAL RESPONSIBILITY: Meeting budget as estab- (2) Set editorial policy in keeping with the objectives and ethics of lished by NPPA Executive Committee, handling production, staff the National Press Photographers Association. and office expenses in a timely and accurate manner.

(3) Check and review content for libel, taste, style, accuracy, fair- POSITIONS DIRECTLY SUPERVISED: Part-time administra- ness, readership appeal and relevance. tive, design and Web support staff.

(4) Establish a strong visual identity for print and online publica- TO APPLY: Send application to the NPPA headquarters tions, showcasing the best of contemporary visual journalism and ATTN: NPPA Publications Editor leading the conversation about emerging directions in the industry. National Press Photographers Association 3200 Croasdaile Drive, Suite 306 (5) Develop short and long-range plans of action for the magazine Durham, NC 27705 and Web site, establishing objectives and assigning goals. Please include resume, work samples (details below), references, (6) Direct activities of staff and freelancers. Instill a common pur- salary requirements and a statement of your vision for the content pose, spirit of mutual support and teamwork among staff and regu- of the magazine and Web site under your leadership. Outline your lar contributors to News Photographer and nppa.org. Conduct strategy to utilize Web and print products to best serve NPPA's annual performance appraisals based on measurable goals. Coach diverse membership — education, broadcast, internet and still and develop the talents of those supervised. (newspaper, magazine and freelance). Include a proposed table of contents for at least two issues and cover stories for 12 issues. (7) Work with editor of Visual Communication Quarterly to Work samples can be published or unpublished. Please include clips ensure timely inclusion in News Photographer magazine. or links to all published work.

(8) Work to continually improve relationships with readers. Seek Writing samples: columns, articles, proposals, lectures. feedback and participation in developing content for the magazine Design samples: Magazine pages, newspaper pages, books,Web and Web site. pages, interactive CDs.

(9) Coordinate layout and design for magazine and Web site. This position description is meant to describe the typical kinds of Design or supervise the design and layout of all pages using appro- duties or difficulty level that may be required of positions with this priate equipment and software. title.The use of a particular expression shall not limit or exclude other duties or difficulty levels not mentioned.This position (10) Keep abreast of industry research and trends by reading description is not meant to limit or modify The National Press research, professional journals, other newspapers, magazines and Photographers Association right to assign, direct or control the Web sites. work assigned to this position.