Notes from the VisCom Classroom: The Multitasking Generation

June 4th, 2010
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Great article about how the web is creating a society of individuals who are shallow thinkers and easily distrac.... mmmmm... Sausage McMuffin.


Most of my students in the School of Journalism and Mass Communications at the University of South Carolina are consummate multitaskers.

They came of age as the Internet was hitting its stride, as devices such as MP3 players and smart phones became ubiquitous, and as multimedia on the Web began to replace print journalism as their primary source of information.

In fact, I hardly ever see students doing just one thing. In class, many of them have laptops up and running, and I would bet that not all are being used to take notes.

It is rare to see a student working in the computer lab without a phone or MP3 player available for music and texting, not to mention frequent forays to check Facebook and pick up e-mail.

Even walking down the halls between classes, students seem to require some form of stimulation, whether from earbuds or from their friends via text messages.

Multitasking Is Good, Right?

When I teach visual communications, I tend to stress the advantages of multimedia — pictures, words, text, and music. It just seems to make sense that the most successful storytelling would involve multiple categories of sensory input.

In other words, if reading a story in print conveys a certain amount of information, wouldn’t you be able to convey more information if you add visuals? And if you have photographs, wouldn’t they be more powerful combined with words and music?

Therefore, we should applaud multitasking, because that is precisely what we are asking our brains to do when we respond to multimedia — attend to multiple streams of information simultaneously.

Based on their embrace of multitasking, this generation of students would seem ideally situated to take advantage of everything the brave new world of communications has to offer.

Not Such a Rosy Picture

Well, the picture may not be as rosy as it appears. An article by Nicholas Carr in the June 2010 issue of Wired — adapted from his new book, The Shallows: What the Internet Is Doing to Our Brains — serves up a dose of reality when it comes to multitasking.

Carr has reviewed a number of scientific studies on brain function and multitasking, and his conclusions are troubling.

First of all, according to a 2007 study by UCLA psychiatry professor Gary Small, intensive Internet use actually rewires certain neural pathways in the brain of the user. And this can happen over a short period of time.

In other words, all that Web surfing and Googling has a physiological effect on your brain.

Now, is this good or bad? If the Internet-aided neural rewiring actually improves cognitive and analytical functions, that would be a cause for celebration, right?

The reality, however, seems to be just the opposite. As Carr writes:

Dozens of studies by psychologists, neurobiologists, and educators point to the same conclusion: When we go online, we enter an environment that promotes cursory reading, hurried and distracted thinking, and superficial learning. Even as the Internet grants us easy access to vast amounts of information, it is turning us into shallower thinkers, literally changing the structure of our brain.

Hyperlink or Hype?

One of the most highly touted features of the Internet is its ability to hyperlink — you can follow a thread of thought from one document to the next via links embedded in the on-screen text.

Yet a 2001 study from Canada by David S. Miall and Teresa Dobson, cited by Carr, suggests that such links may actually impede understanding.

Two study groups read the same short story online. One group simply moved linearly from page to page by clicking the word “next.” The other group clicked on highlighted words in the text to proceed.

The study found that the hypertext group took longer to read the story. But what’s worse, members of the hypertext group were seven times more likely than members of the linear group to report that they didn’t understand what they had read.

Multimedia — Hero or Villain?

If simple embedded text links can create hurdles to comprehension, what is the effect of embedded visual images, including still photographs and video? After all, isn’t the ability to integrate multimedia one of the characteristics of the Web that makes it seem superior to print?

Again, the science seems to raise red flags. The journal Media Psychology published a study designed to test the effect of embedding video in an online factual presentation.

More than 100 volunteers took part in the study. One group watched a text-only presentation about the African country of Mali. The other group watched a presentation that included video.

Both groups were tested on factual recall. The text-only group did significantly better, Carr writes. Also, members of the text-only group said they found the presentation “more interesting, more educational, more understandable, and more enjoyable.”

Disturbing Result

This result flies in the face of what I and my colleagues are teaching our students — namely, that if you want to capture and hold an audience’s interest to convey information, use multimedia.

The result also seems to run counter to the pedagogical trend toward using multimedia in the classroom as a way to keep students interested and engaged — let’s call it “edutainment.”

The Thimble Theory

How to explain this conundrum? Carr writes that “The depth of our intelligence hinges on our ability to transfer information from working memory, the scratch pad of consciousness, to long-term memory, the mind’s filling system.”

He likens this transfer of information to filling a bathtub from a faucet with a thimble.

If we can regulate the flow of the faucet, we can transfer all the water into the bathtub — although it may take a while. This is what happens when we read a book, Carr says. We can vary the pace of our reading to make sure nothing gets lost.

Now picture the Internet — Carr’s metaphor is “many information faucets, all going full blast.” Simply put, the information load overwhelms our brain’s capability, and much useful information gets lost, ignored, or misunderstood.

I Hate to Interrupt, But…

Information overload seems to be a problem inherent in the Internet — which was specifically designed to provide easy access to all the world’s knowledge. But couple this with another seemingly unavoidable characteristic of our daily online experience — constant interruptions.

As Carr writes, “The Internet is an interruption system. It seizes our attention only to scramble it.” Multitasking — supposedly a valuable skill possessed by today’s young people — can also be thought of as multiple interruptions.

There is a cognitive cost to constantly bouncing back and forth between text, video, e-mail, Facebook, and other sensory input. Carr says these “switching costs” strain our brains, making us more likely to “overlook or misinterpret important information.”

Good News and Bad News

Yes, there are benefits that accrue to users of computers and the Internet, including improved hand-eye coordination, reflex response, and processing visual cues, Carr writes. A 2003 study in Nature pointed out the benefits of playing video games on the player’s ability to “shift their visual focus between various images and tasks.”

However, a Science article from 2009 that looked at more than 40 studies of media use, learning, and intelligence suggests that Internet use has improved “visual-spatial skills” at the expense of “mindful knowledge acquisition, inductive analysis, critical thinking, imagination, and reflection,” in the words of the article’s author, Patricia Greenfield, a developmental psychologist.

So what’s the final verdict on multitasking — will the seeming ability to do many things at once help or hurt my students in the long run? Is the neural rewiring that is daily taking place in their brains improving or degrading their minds?

A 2009 study conducted at Stanford University and cited by Carr is not encouraging. Comparing “heavy media multitaskers” with “relatively light ones,” the study found the heavy multitaskers had trouble concentrating on a task, were easily distracted, and had memory problems — as compared with the light multitaskers.

Prophets of Doom?

So perhaps the prophets of doom are right: the Internet really does have its tentacles deep in our cerebral cortex. But the threat is not from the purloining of our personal data, the monitoring of our whereabouts, or the access to our sexual and retail preferences. “We are training our brains to pay attention to the crap,” says Michael Merzenich, a noted brain researcher quoted in Carr’s article.

Think about that, the next time you log on. And as always, please share your thoughts.

How To Take Photographs Through Opaque Objects

May 25th, 2010
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X-ray vision like Superman is cool but remember, wearing your underpants on the outside is not.

Photo Essay: Maostalgia – By Tomas Van Houtryve | Foreign Policy

May 25th, 2010

Ohhhh… Please Mr Google

May 24th, 2010

Yes! I have resorted to begging–it’s pitiful but necessary. I use Picasa …I use it a lot. And just the other day when I decided I was sick of all the paper bills cluttering my folders, draws and etc I thought…. Hmmm…. you know who’d be a perfect candidate for this task (No… not iMatch) Google’s own Picasa!!!!

I could scan all of my bills to pdf’s, have Picasa automatically scan them in, add them to web albums like , phone, electricity car insurance etc. and publish them to private web albums on Picasa web …but nooooooooooo… Even though every publishing and printing house supports the venerable PDF format for images especially composites, Picasa unfortunately doesn’t.

Nikon | Imaging Products | NIKKOR Lenses Simulator

May 22nd, 2010
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So what is the field of view difference between 200 and 300mm? Use this tool and find out--visually :)

The Oil Spill: A Conservation Photographer’s Reaction – NPR (blog)

May 21st, 2010
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A timely reminder of William Jackson's role as a great conservation photographer who's efforts led to Congress proclaiming the worlds first national park--Yellowstone.

The Oil Spill: A Conservation Photographer's Reaction
NPR (blog)
by Claire O'Neill Florian Schulz, nature and wildlife photographer, is a founding member of the International League of Conservation Photographers. ...

Online Magazines Are Energizing Photojournalism

May 20th, 2010
Shared by Wildframe
...a veritable bevy of good websites here to check out.


Last month, I was fortunate to receive a Certificate of Special Merit at the Human Rights Press Awards from the Foreign Correspondents’ Club and Amnesty International in Hong Kong. I won the award based on the publication of images in a Black Star Rising piece on Chinese coal miners.

I share this with you to let you know that as the world of photojournalism changes, the story is not only one of doom and gloom. Yes, many print newspapers and magazines are slimming down or shuttering altogether. But new opportunities are arising, too.

And one of these opportunities is to publish your work in online magazines.

Passionate, Powerful Images

We no longer have the number of magazines that were available in the 1990s and earlier, but we do have a multitude of Web sites that display stunning, passionate and powerful images.

Here are a few of my favorites:

Even in China, where we hear many stories about the blockage of the Internet, you can look at a site like Beaugeste Photo Gallery and see wonderful social documentary photography.

It may not be the same sensation as feeling the glossiness of the magazine pages or smelling the newsprint, but I sure get a kick out of sitting down in the morning with a cup of coffee and traveling the world by Internet to be assailed by passionate, fresh photography.

What are some of your favorite places to find photojournalism online?

It’s Time to Set a Price Floor for Rights-Managed Photography

May 19th, 2010


Is it time to institute a system of floor prices for the use of rights-managed images for editorial purposes? Is there any price so low — $50, $30 or $20 — that the image creator would prefer not to make the sale?

Given where pricing based on usage seems to be headed — particularly for editorial usages — it is time to start asking these questions. It is time to consider whether there is any possible solution to the problem.

Making It Up in Volume

When I started in the stock photo business, the theory was that stock agencies always acted in the best interest of their photographers, because it was in the agency’s best interest to get the maximum they could for any given sale.

The idea that they would make it up on volume, by selling huge quantities at much lower prices, was not a major factor driving prices.

At that time, the road to increasing volume was to have better quality images. Agencies would sometimes negotiate lower prices, but at a 50/50 split if they cut the price, they were cutting their fee by the same amount.

Today, as a result of buyer consolidation, there are fewer customers and many purchase a significant number of images on an annual basis. In addition, there is competition from microstock. These pressures have driven agencies to reduce prices for editorial use to microstock levels in the hopes of capturing sales.

Photographers who want to license their image based on how the image will be used need to ask themselves if they want to make a sale at any cost — even at microstock price levels. Is there some minimum price below which they would rather not make the sale?

Some photographers may say, “Sell my images for whatever you can get. I want to maximize the number of times my images are licensed.” Others may counter: “I do not want to allow my images to be used, unless the customer is willing to pay a certain minimum amount for such rights.”

Giving Photographers a Say

Either way, photographers ought to have more say with regard to the fees charged for using their images. With current advances in technology, that is not as difficult as it sounds.

Many photographers are currently receiving so little for magazine, newspaper and book uses that many would be willing to risk losing some sales for the chance to guarantee that they would receive a more reasonable payment if and when their images were used.

How could such a system work?

The biggest problem areas today are magazine, newspaper and book uses. Therefore, I would recommend continuing to allow agents total flexibility to negotiate rights for commercial uses. The floor prices I am recommending would be limited to editorial uses, at least in the beginning.

To illustrate what I have in mind, the table below presents a sample schedule of floor prices for the use of an image in a consumer magazine based on the circulation of that magazine (assuming the photographer receives a 40 percent royalty). Newspapers and book uses would have different numbers.

Thus, if the magazine publisher wants rights to print 250,000 copies of the magazine, then the photographer would be guaranteed to receive at least $136 for the usage of his image. The agent might negotiate for a higher fee if the image were used larger than a quarter page, or if it happened to be very unique in one way or another — but the photographer would never be paid less than the $136 for that usage.

If the buyer were one of the agent’s very good customers, the agent would have the freedom to license the image for less to that customer, but the agent would still pay the photographer his $136 floor price for the usage.

Let’s say that the agent decides to sell the image to the customer for $250. The agent pays the photographer $136 for the usage, and he keeps $114. If the agent charges more than $340, the photographer gets 40 percent of whatever fee is paid. Obviously, the agent has a huge incentive to hold the line on pricing.

Floor prices should be published so photographers represented by the agency know the minimum they will receive if one of their images is licensed for use in a magazine. Each agency can have a different set of numbers, but if the numbers are published, the agency’s photographers can make rational decisions as to whether they want to submit more work to the agency.

Photographers should also be able to compare the floor prices of various agencies to determine who offers the best deal. It should be recognized that going with the agency with the lowest floor price does not necessarily mean the photographer will make more sales. Having the right image to fulfill a customer’s needs is still important, and the agent may price the image higher than the base price depending on other factors (size of use, uniqueness, etc.) related to the use of the image.

Each agency would probably have a single set of floor prices. But they could easily offer additional options to photographers and image suppliers. Photographers might be allowed to price their images at 1.2 times the floor price, or 0.8 times if they think they will make more sales by offering a lower price. But it would be the photographer’s decision.

Photographers should also have the choice of giving the agency full freedom to negotiate any price they want for use of their images or to opt out entirely from editorial and book sales and to only make their images available for commercial uses.

Would Agencies Go for It?

Making such a system reality is not as complex as it sounds. Most agencies already have different price schedules for various image partners. Giving image partners a little more choice in how their images are priced could make many of those who are increasingly dissatisfied with their relationships with primary selling agencies much happier.

The work of individual photographers could be coded to fall into one of several groups, which might include: (1) unavailable for editorial use; (2) standard floor pricing; (3) floor pricing times 1.2; (4) floor pricing times 1.4; (5) floor price times 0.9 and (6) floor price times 0.8.

I’m sure most of you who have read this far are thinking that agencies will never go for this. That may be true at the moment– but agencies are not gaining customers by lowering prices. At best they are holding even on the number of units licensed, and because they are charging less their gross revenue continues to decline.

Maybe — if they charged the people who really need the images a more reasonable price based on value received — they could earn the same amount of money they have been earning while licensing rights to fewer units.

Just cutting prices does not seem to be increasing rights-managed sales, so maybe it is time for agencies to do what RM photographers want: offer a premium product at a premium price. The agencies also need to take into consideration the growing number of photographers that have stopped producing new images of the type needed by the editorial market.

Before rushing to adopt this strategy, photographers needs to think carefully about the kind of imagery they produce. If there are hundreds or thousands of similar images on microstock sites that can be purchased for a fraction of the photographer’s floor price, the agency will probably make few sales.

In such a case, the best strategy for the photographer may be to let the agency sell for whatever it can get, or maybe put the images on microstock sites and try to benefit from the volume rights-managed sellers seem unable to get.

On the other hand, if the subject matter is truly unique, when customers need that subject matter they will pay your price.

An advantage for agencies is that their sales people would be able to tell their customers, “I’d love to be able to sell that image to you for $50, but this particular photographer hasn’t given me the contractual right to do that. However, I’ve got this other image I can sell you for the price you want to pay.”

At this point the agency looks like the good guy who is on the buyer’s side; it is the photographer who expects too much. But if buyer really wants to use the photographer’s image, he or she will need to find enough money to pay for it.

Time for a Change

Historically, agencies have always been allowed to set prices at whatever point they need to make the sale. But we have reached a point where the amount the photographer earns for many newspaper, magazine and book uses simply isn’t worth the trouble.

Maybe the agencies will not accept images from photographers unless they can license them for all purposes. For many rights-managed sellers, that would not be the end of the world. They are earning so little now that it really doesn’t make much difference whether they sell or not.

It could end up that the agency is selling at the floor price most of the time, but that still would be a lot better than the low prices they are getting now.

Maybe photographers will find this idea unacceptable. If only a handful are willing to go along with such a strategy, then introducing it would not be worth the agency’s trouble.

Agencies could easily determine the number of photographers who favor the strategy by preparing floor price charts for the three types of use and surveying their photographers. The concept would not be implemented unless a large percentage of photographers agreed to risk losing some sales in order to hold the line on more reasonable prices.

It is certainly time to consider some adjustments.

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Artscape 2010 Episode 6

May 19th, 2010
An exploration into the work of 12 Australian and American photographers. Individuality is of great importance in contemporary art and each artist in this film represents a unique way of looking at photography.

How the internet has changed photography

May 14th, 2010