tell me stories

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I’ll make this short: the thing you’re doing now, reading prose on a screen, is going out of fashion.
in "Welcome to the Post-Text Future" 9 fev 2017

Nós a acusar os art comics de quererem acabar com os literários em prol dos visuais, e aqui vêm os jornas fazer a mesma coisa.

We’re taking stock of the internet right now, with writers who cover the digital world cataloging some of the most consequential currents shaping it. If you probe those currents and look ahead to the coming year online, one truth becomes clear. The defining narrative of our online moment concerns the decline of text, and the exploding reach and power of audio and video. Photos, videos, graphics and more are taking over our online experience. And in response, companies and publishers are all pouring money into developing even more multimedia for us to consume.
in "Welcome to the Post-Text Future" 9 fev 2017

Pouring money into more multimedia para vcs consumirem. $$$-$$$-$$$--- Mas este "Becoming Engulfed by Digital Multimedia" entre publishers torna-se muito caricato quando cruzamos leituras para lá da cortina. Espreitando atrás desta, nesse mesmo dia um pequeno-gigante drama tomava forma no Poynter em reação a uma peça publicada no dia anterior 8 fev 2018, um how-to para jornalistas em recursos digitais, especificamente o uso prático de bancos de imagens online. Desconhecemos o pecado maior aos olhos dos seus pares: a sugestão do uso de imagens stock / genéricas, ou que estas fossem gratuitas. Either way, contrariamente ao hype do NYT e do fim do texto, a realidade das redações de jornais — e reacções de foto-jornalistas — recorda-nos que o texto rules supreme, ainda. Importa-nos a análise onde esta implica os comics e se a relação não te é evidente, no final será insinuada. Antes, ajudem-nos a discernir o que mais irra os profissionais de imagem: o valor dessas, ou o que elas valem?

Mashup do drama em acelerado.
Neste canto, a Poynter parece repetir o enfâse do NYT:

On Thursday, Poynter reporters published an article about how journalists can use a variety of websites to add visuals to their work for free. Undoubtedly, the economic and technological transformation that has changed journalism over the past two decades has led to an extensive calibration of different kinds of content. The reality of digital storytelling is that articles without images are not as competitive. They’re significantly less attractive to audiences on web pages, and social media sites often penalize them (or render them ugly). Text needs imagery to exist on the modern web. At minimum, we should be clear: The web is a visual medium, and suggesting the primacy of the text is old, flawed thinking.
in "We wrote about free photo sites. Many journalists were outraged. Now what?" 9 fev 2018

Uma importância partilhada em outras peças:

Visuals advance our understanding of our communities

The premise of the piece is that in a rushed atmosphere, visuals are forgotten about and sought as a last step. That's paired with the acknowledgment that visuals increase engagement on all platforms. To sum, we don't think about visuals BUT visuals are critically important. Flip it around — what if there were generic quotes inserted into a story? They wouldn't advance the narrative at all, they would just act as filler. Well crafted visuals illustrate, they educate and they resonate — they make you feel something. That means using images that are accurate, truthful and accountable.
in "Article about free images 'contradicts everything I hold true about journalism'" 9 fev 2018

Notámos o accurate, truthful and accountable.

Art matters. Images matter.

Note to the world: Photojournalism is not art; photojournalism is content. Photographs are not window dressing for text; they are content. Visuals are critical, so let’s not treat them as an afterthought. Let’s make them part of the process.
in "A photo editor's plea: Let’s be solution-based instead of an echo chamber" 10 fev 2018

Primeira ponte aos cómicos: também julgamos que boneco sem estória não faz sentido. Do outro canto, a necessidade de o tornar parte do processo recorda-nos que, não fazem parte do processo. Ou, como comenta alguém do desinvestimento geral em visuais que devasta a imprensa escrita:

We live in a visual world, and yet newspapers can't understand why they are losing relevance, when they are increasingly becoming weaker visually.
in "We wrote about free photo sites. Many journalists were outraged. Now what?" 9 fev 2018

$$$, mas ao contrário: o necessário para produzir o que eles te querem a consumir. Continuamos de comentários ao debate:

Address the more dire fundamentals of online media. The first question should be whether a business model exists for adequately supporting the cost of quality words and pictures online.
in "We wrote about free photo sites. Many journalists were outraged. Now what?" 9 fev 2018


It’s time to stop and take inventory.

We’ve got a problem. It’s 2018, but it feels like 1975 in the land of visuals. What’s old is new again: a nearly nonexistence of visual judgment in newsrooms. Who would have thought that the phenomenal benefits of technology would negate the common sense of picture selection? The role of the photo editor has nearly disintegrated in most newsrooms. I think we can all agree on a couple of points in our digital age: We’re under extreme pressure to produce fast and thoughtful journalism with few(er) experienced minds to do it. Let’s use this as an opportunity to create a more efficient and productive process to make visual editing part of the workflow instead of a last-minute engine search.
in "A photo editor's plea: Let’s be solution-based instead of an echo chamber" 10 fev 2018

Se demasiado subtil, clarifiquemos. Há que deixar a coisa aos profissionais. Porque eles têm as melhores competências para o fazer. Mas, da razão porque o fazem não pode haver enganos.

And then there are the moral principles of paying professionals for their work.
in "A photo editor's plea: Let’s be solution-based instead of an echo chamber" 10 fev 2018

Aqui passamos directamente o microfone à National Press Photographers Association:

We represent thousands of visual journalists, photo editors, educators and newsroom leaders. We join them in profound disappointment in The Poynter Institute's recent article that casually advised journalists to select free stock photos for their articles.
in "Visuals Have Value And So Do Visual Journalists" 12 fev 2018

Palavra chave: "free"? Continuando,

Let's start where we can agree: Photography is valuable. The Poynter article dismissed and degraded the power of authentic visual journalism. We need to talk about visuals being part of the discussion from the beginning of a story idea to publication and promotion. We need to talk about ways newsrooms can better respect visuals as integral to the storytelling process. A great image captures attention. It can inform, enlighten and evoke an emotional response. In print, broadcast, online, and on social media, images have the power to draw people into a story and multiply its impact. That power is awesome and has quantifiable value.Publishing photographs as mere "art" elements to accompany stories fails to view journalism as a multidisciplinary practice that relies on the pairing of visuals and words to impact our audiences in meaningful ways.
in "Visuals Have Value And So Do Visual Journalists" 12 fev 2018

Yeah, fuck art, e roçamos autenticidade, sempre entrolado na lama com o resto.

It's not good enough to simply have a photo with your story. The content of images and captions matter. Not fully considering the interaction between an image and the story may lead to a false implication about the subject. This can damage a publication's credibility and reputation. By not licensing images from a reputable visual journalist or other trusted contributors, one runs a far greater risk of obtaining an image that has been manipulated, has a caption that is inaccurate or misleading, or passes off a staged moment as genuine.
in "Visuals Have Value And So Do Visual Journalists" 12 fev 2018

Mas... autenticidade, com licenças e copyright, pensavam que falavamos de quê?

Using photographs from unverified sources erodes our credibility as truth-tellers
in "Visuals Have Value And So Do Visual Journalists" 12 fev 2018

Quando autenticidade significa licença. O bottom line não precisamos de insinuar, são claros no seu apelo:

Placing little or no monetary value on the images we use further erodes photographers' livelihoods and threatens the long-term viability of the photojournalism profession and, more broadly, journalism itself. We are calling on Poynter, publishers, station managers, editors and others to regularly seek out experienced visual leaders. Hire us. Promote us. Include us.
in "Visuals Have Value And So Do Visual Journalists" 12 fev 2018

Elevemo-nos agora momentaneamente de petty questões materiais e voltemos o debate à BD, no genérico, em stock. 1) este diálogo parece familiar em outras frentes:

As a photojournalist, I have had the privilege to work with many exceptional writers, who understand the value of strong photography. I have also had the misfortune of working with many writers who feel that photos simply take space away from more words.
in "We wrote about free photo sites. Many journalists were outraged. Now what?" 9 fev 2018

A razão pela qual sempre desconfiámos de comics que dividem argumento e arte. 2) Fotografia? Visuais, gráficos, ehem, e comix?

Why limit it to photos. What about accompanying hand rendered art. Sometimes it is even more powerful. How many editorial cartoons are tacked to walls and refrigerators? More then news stories.
in "We wrote about free photo sites. Many journalists were outraged. Now what?" 9 fev 2018

Particularmente, acrescentamos, quando a nova realidade que nos toca a todos não é tão dada à fotografia como ao desenho. Aquilo do autentico, quando o real e a realidade não coincidem.

Like many digital newsrooms we write about abstract concepts, tips and tools that exist solely in digital and don’t have any visual elements.
in "We wrote about free photo sites. Many journalists were outraged. Now what?" 9 fev 2018

O que nos devolve ao início da peça e a diferença entre o que é dito para fora, e como o fazem lá dentro. O NYT publica todo um especial pelo futuro dos media in visual. Já sobre os que serão responsáveis por toda essa produção gráfica por vir, novamente apenas nos comentários se tocam em factos:

Graphic designers on contract, to be used sparingly and mainly for layouts.
in "Welcome to the Post-Text Future" 9 fev 2017

estórias amputadas