The Morris Berman Lecture Series tapes are presentations from the 1993-1997 NPPA Flying Short Courses and 1994 National Convention. They are being offered through a grant from Morris Berman, a Charter/Life Member and former president of NPPA. Berman, now of Sun City, Arizona, worked as a photographer at the Pittsburgh Post-Gazette for 42 years and was also a former president of the Press Photographers Association of Greater Pittsburgh, PA. The videos were produced by Mike Venso, of the Lewiston (Idaho) Morning Tribune and former chair of the NPPA's Audio-Visual Committee.
141. Portfolio by Jerry Gay (1975) This program highlights the photographs of Pulitzer Prize-winning photographer Jerry Gay. He discusses his philosophy, education and professional background as a news photographer. 14 minutes; 80 slides. Formerly #104.
145. Through Our Eyes (1976) produced by James Gordon. This program features the work and philosophy of six outstanding photographers at the Lorain (Ohio) Journal. The editor of the paper introduces the show and discusses the pictures as poems without words. 20 minutes; 140 slides. Formerly #105
161. Prize-Winning Daily Assignments (1982) by Dan Dry. The 1981 Newspaper Photographer of the Year talks about and shows the day-to-day photography that formed his prize-winning portfolio. He discusses enterprise and encourages photographers to experiment with different ideas and angles on local and national stories. 18 minutes; 63 slides. Formerly #142.
162. The Technical Aesthetic Mix (1982) by Jay Dickman. This prize-winning photographer for The Dallas Times Herald shows how coverage of the routine and not-so-routine assignments can prepare a photographer to cover dramatic assignments such as the fighting in El Salvador. 24 minutes; 77 slides. Formerly #145.
163. Photojournalistic Responsibility (1983) by Jay Mather. Mather, a Pulitzer Prize-winning photographer, demonstrates his photographic philosophy with pictures of Cambodia, the Mennonites, and daily assignments. He talks about staying self-motivated and being responsible towards your employer, your subjects, and yourself. 32 minutes; 120 slides. Formerly #152.
164. Shooting from the Heart (1984) by Eli Reed. Reed, a member of Magnum and winner of several international awards, challenges photographers to take emotionally meaningful pictures by having empathy towards subjects. His attitude towards his work is truly inspirational, as are his pictures of a housing project in San Francisco and Central America. 10 minutes; 36 slides. Formerly #187.
165. The Everyday Assignment (1985) by Bill Luster. A photographer for the Louisville (KY) Courier-Journal, Luster demonstrates his approach to the bread-and-butter assignments every news photographer is expected to execute. 25 minutes; 115 slides. Formerly #173.
166. Humor in Photojournalism (1985) by Bob Modersohn. A photographer for the Des Moines (IA) Register, Modersohn shows and discusses the photographs that have earned him a reputation as, not a funny photographer, but a photographer who makes funny pictures. 24 minutes; 85 slides. Formerly #171.
168. Secrets of a Street Photographer (1985) by Stan Grossfeld. The chief photographer of The Boston Globe shows through photographs the professional philosophy that brought him two Pulitzer Prizes. His discussion focuses on making the extra effort even on mediocre assignments, creative approaches to getting the shot, and journalistic compassion. 33 minutes; 74 slides. Formerly #170.
181. Myth and Reality (1992) by Linda Creighton. Creighton, former freelance photographer in London, now with US News & World Report, shows her photographs and picture stories. She tells the stories behind the photographs and what she tried to accomplish in each shot. Creighton believes in getting emotionally involved and doing personal stories. 40 minutes; 77 slides. Available in one tray or two-tray dissolve set. Formerly #251.
182. From Paoli to Pittsburgh (1993) by Melissa Farlow. Farlow, a freelance photojournalist, shows her photographs spanning from her first picture (of her cat) to a recent assignment for National Geographic. She discusses the choices and mistakes ashes made in her career and how she stays motivated. 55 minutes; 172 slides in 2 trays. Formerly #339.
200. PIEA International Student-Teacher Photo Exhibition and Competition Winners (2000). This presentation features the winning images from the annual competition sponsored by the Photo Imaging Education Association. There is no audio soundtrack. 83 slides.
1105. Four Days, Four Photographers (1986) With a grant from Ohio State University, photojournalism instructor Tom Hubbard brings together Photographer of the Year winners Fred Comegys, Ray Gehman, Gary Parker and Steve Ringman. Hubbard follows the photographers around on an average day and to an average assignment. The photographers describe their thoughts on winning the national award. 31 minutes. Formerly #206.
1135. From Paoli to Pittsburgh (1993) by Melissa Farlow. Farlow, a freelance photojournalist, shows her photographs spanning from her first picture (of her cat) to a recent assignment for National Geographic. She discusses the choices and mistakes she's made in her career and how she stays motivated. Morris Berman Lecture Series. 55 minutes. Formerly #321.
1140. Life, Family and Photojournalism (1995) by Cathaleen Curtiss and Rick Kozak. Curtiss, director of photography at AOL, and Kozak, freelance photojournalist, put on a slide show illustrating the joys and pitfalls of balancing children and a career in photojournalism. The couple share stories about how everything has come together in their family. Morris Berman Lecture Series. 44 minutes. Formerly #350.
1145. Lyrical Moments (1997) by David Alan Harvey. Harvey has traveled all over the world as a photographer for National Geographic and Magnum. His style is very unobtrusive; he spends time with his subjects and becomes like them. He gives himself assignments and often finds great pictures by just wandering around. Although his photographs portray non-events, his work captures the beauty and passion of other cultures. Morris Berman Lecture Series. 60 minutes. Formerly #367.
1146. Tainted Intentions (1997) by Jim Gensheimer. Gensheimer, photographer at the San Jose Mercury-News, urges photographers not to do stories for the wrong reasons. Chasing money and glory should not be the first priority, instead do stories that mean something and make a difference. Gensheimer shows his pictures of Olympians, North Korea, Vietnam, and a housing project in San Jose. Morris Berman Lecture Series. 55 minutes. Formerly #361.
1150. College Photographer of the Year (1998) by Penny De Los Santos. De Los Santos tells her moving personal story and shows the pictures that won her the College Photographer of the Year award in 1998. She talks about sources of inspiration, persevering through rejection, and learning from other photographers. De Los Santos is now a staff photographer at the San Jose Mercury News. 32 minutes.
1151. Simplicity (1998) by Brian Plonka. Plonka, now a photographer at the Spokane (WA) Spokesman Review, captures the hidden subtleties and little pleasantries in his community. He finds pictures in everyday events by stepping back and taking a different look. He discuses what readers of community papers want to see and how to portray a community's natural resources. 35 minutes.
1152. NSC Presentation (2005) by David Burnett. Burnett, an award-winning photojournalist with Contact Press Images, talks to the attendees at the 2005 Northern Short Course.
325. Picture Editing (1967) by D.K. Wooley. Wooley discusses the who, what, when, where, why, and how of picture editing. He covers audience demographics and the effectiveness of picture size, what makes a good picture, when it's appropriate to use certain pictures, where good resource information can be found, and picture cropping. 35 minutes; 79 slides. Formerly #55.
343. Anatomy of a Geographic Story (1978). This show eavesdrops on an editorial session at the National Geographic Society headquarters in Washington, D.C. The participants (two editors, the writer and the photographer) are discussing the editorial decisions involved in selecting and laying out the pictures to be used in the South Africa story in the June 1977 issue. 18 minutes; 65 slides. Formerly #111.
344. Stern & Geo (1978) produced by Dieter Steiner. Steiner, the picture editor for the German magazine Stern, discusses the philosophy of the classic Stern and the newer Geo magazine. 24 minutes; 80 slides. Formerly #110.
361. An Editor's Perspective (1982) by Katherine M. Borchers. James Gordon, the editor of NPPA's monthly national magazine News Photographer, discusses his philosophy of working on the magazine. He tries for an assortment of articles on ethics, trends, and current issues in the profession. 15 minutes; 140 slides. Formerly #156.
362. Bring Good Photography to Your Paper (1982) by Bert Fox. The 1981 Newspaper Picture Editor of the Year shows how a small town daily, the Medford Mail Tribune, learned about good photography. Fox got out of the darkroom and into the newsroom to diplomatically fight for change and educate his editors. He gives practical, helpful advice to photographers who wish to change picture usage at their newspapers. 25 minutes; 80 slides. Formerly #143.
363. State of the Art (1983) by Angus McDougall. A professor emeritus at the University of Missouri School of Journalism, McDougall shows and discusses day-to-day picture use in American newspapers. Newspapers are often guilty of bad taste and errors in judgment, including arbitrary use of color to bad juxtaposition of photographs to picture mutilation. McDougall also criticizes photographers for taking pictures weak in content and with a snapshot quality. 30 minutes; 140 slides. Formerly #151.
364. Success Story of the One Man Staff (1984) by Richard Murphy. Murphy was the sole photographer of the small weekly newspaper the Jackson Hole News. He discusses planning of the photographic coverage; the paper focuses on strong local stories with pictures that appeal to tourists. The paper won Best Use of Photographs in the 1983 Pictures of the Year competition. 30 minutes; 58 slides. Formerly #186.
381. The Minority Photographer (1991) by Jacques Chenet. Chenet, a photographer for Newsweek, addresses the issues that concern minority photographers in today's market. He views the role of the minority photographer as The Bleak Picture: discrimination is overt and widespread. 23 minutes; 24 slides. (The slides are shown in the last 5 minutes of the presentation). Formerly #248.
1335. A Writer's View of Photojournalism (1993) by Elinor Brecher. Brecher, a reporter for The Miami Herald, attempts to make peace between writers and photographers. She addresses some common stereotypes and misunderstandings and provides tips on how the two groups can get along and help each other. Morris Berman Lecture Series. 48 minutes. Formerly #303.
1337. Making Your Job Work for You (1993) by Mary Jo Moss. Moss, a former newspaper photo editor and now the White Cloud Workshop CO-director, urges photographers to be proactive, creative, and to become involved in news-making decisions. As technology changes, photographers must be responsible for keeping picture standards high. Moss encourages photographers to broaden their horizons by engaging in cross-training in other newspaper disciplines. Morris Berman Lecture Series. 38 minutes. Formerly #306.
1340. Creativity in the Newsroom (1994) by Paula Ellis. Ellis, managing editor at the Columbia (SC) The State, shows the work of award-winning photographers at her newspaper. With improved page design and creative photographers, pictures at The State began to have a much greater impact on the reader. Morris Berman Lecture Series. 51 minutes. Formerly #325.
1341. How to Kill Photojournalism At Your Paper (1994) by Neal Pattison. Pattison, then managing editor at the Albuquerque Tribune, gives a lively talk about the problems in today's newsrooms. Photojournalism will die if photographers aren't allowed to pursue personal vision and if their ideas and time aren't valued. Morris Berman Lecture Series. 51 minutes. Formerly #330.
1342. Taking the Darkroom into Photoshop (1994) by Karl Kuntz. Kuntz, managing editor at the Columbus Dispatch, presents some tips and tricks for working with Adobe Photoshop in this hands-on program. He discusses setting up preferences for printers and monitors, picture editing, burning backgrounds, etc. The computer screen he works on is difficult to see on the video. Morris Berman Lecture Series. 65 minutes. Formerly #331.
1345. Develop a Multicultural Lens (1995) by Jeff Rivers. Rivers, associate editor and columnist at the Hartford Courant, challenges photographers to portray all people in a variety of settings. No group of people should become a personification of social ills. Pictures should steer clear of an insulting vocabulary while attempting to engage as many people as possible. Morris Berman Lecture Series. 48 minutes. Formerly #354.
1350. Sports a Different Way (1997) by Steve Fine. Fine, director of photography at Sports Illustrated, dispels some of the myths about the magazine. He also illustrates what the magazine looks for in images:pictures that tell the story of sport through the crunch, the grace, the tears, and the cheers. Please note: the opening credits mistakenly read David Harvey. Morris Berman Lecture Series. 60 minutes. Formerly #363.
1355. Sports Illustrated (1998) by Heinz Kluetmeier. Kluetmeier, staff photographer at Sports Illustrated, tells the stories behind the magazine covers. He talks about the magazine's picture philosophy and shows some of the more memorable photographs. 50 minutes.
1356. US News and World Report (1998) by Mary Ann Golon. Golon, picture editor for US News and World Report, talks about the magazine's picture philosophy. She strives to show dignified pictures that reveal new sides of people. She also instructs her photographers to pull back and let people see the scene. 45 minutes.
541. Yoichi Okamoto and LBJ (1970) by Yoichi Okamoto. Okamoto tells of his six years as one of the men closest to President Lyndon B. Johnson, accounting many entertaining and interesting moments. He compiled an historical pictorial documentary of the nations highest office. 22 minutes; 71 slides. Formerly #66.
546. Before Life, the Camera Was a Man (1977) by Dr. R. Smith Schuneman. Schuneman, formerly of the University of Minnesota, gives a revealing look at early European photojournalism and its influence. He also discusses the development of the 35mm camera. 37 minutes; 80 slides. Formerly #137.
547. South Africa (1977) by James Blair. Blair spent 4 months in South Africa taking pictures for a June 1977 National Geographic story. He discusses the planning for the story and narrates the photography. 25 minutes; 140 slides. Formerly #113.
561. The Greatest Documentary Project of all Time (1980). Three of the Farm Security Administration photographers, Arthur Rothstein, Carl Mydans and Russell Lee, talk about their experiences during the depression and dust bowl days of the 1930s. Photographs are from the Library of Congress collection of the 11 FSA photographers who worked under Roy Stryker from 1935 to 1943. 24 minutes; 131 slides. Formerly #124.
562. The Image Speaks (1980) by Chris Johns. Thirteen people describe their feelings and reactions on seeing news stories and photographs about themselves. The stories were photographed by Chris Johns, then staff photographer with the Topeka Capital-Journal and the 1979 Newspaper Photographer of the Year. 30 minutes; 140 slides. Formerly #131.
563. Reflections From Cuba, Kansas (1982) by Jim Richardson. Richardson, who has worked for the Topeka Capital Journal and the Denver Post, talks about his love affair with a small Kansas community. 13 minutes; 80 slides. Formerly #144.
581. The Coup in Russia (1991) by Michael Rondou. Rondou blames his wife, then acting AP Moscow bureau chief Olga Shalygin, for landing him in the middle of the Soviet coup attempt on his summer vacation in 1991. Rondou, staff photographer at the San Jose Mercury News, illustrates the turbulent days in the former Soviet Union during this great change. 18 minutes; 30 slides. Formerly #250.
583. Lest We Forget (1993) by Maryann Bates. Bates, a Macon, GA, newspaper photographer, documents her father's battle with Alzheimer's disease. Her moving pictures reveal the tragedy of the disease. 5 minutes; 39 slides. Formerly #346.
1535. LA Riots: Coverage and Concerns (1993) by Kirk McCoy. McCoy, staff photographer at the Los Angeles Times, offers a firsthand account of the rioting in Los Angeles. He narrates how he ended up in the middle of the fray and describes the pictures he was able to get as a result. Morris Berman Lecture Series. 44 minutes. Formerly #308.
1537. Lest We Forget (1993) Maryann Bates, a Macon, GA newspaper photographer, documented her father's 7-year battle with Alzheimer's disease. Her pictures reveal the tragedy of the disease. The presentation begins with a television news story about Bates, photographed by Scott Rensberger, and then displays Bates' photographs of her father. Morris Berman Lecture Series. 15 minutes. Formerly #305.
1540. Asian Gangs/Illegal Immigration (1994) by Paul Kuroda. This presentation features two photo essays. Asian Gangs portrays youths torn between two contrasting cultures who leave home to run with gangs in Orange County. Illegal Immigration pictures Mexicans, Central and South Americans coming to the Tijuana border to make their desperate dash into Southern California. 11 minutes. Formerly #212.
1541. Covering the Great Floods of 1993 (1994) by Karen Mitchell. When downtown Des Moines flooded in 1993, much of the city was without water and electricity. Mitchell, photographer at the Des Moines Register, tells how the staff managed to put out a newspaper in such strenuous working conditions. She shows photographs of the paper's coverage of the flood. Morris Berman Lecture Series. 41 minutes. Formerly #335.
1555. Inside the White House (1998) by Callie Shell. Shell, vice-president Al Gore's documentary photographer, approached her job as one long picture story. She shows her pictures and discusses educating the White House staff. She attempted to capture events and people other than the president and vice-president. 54 minutes.
1560. American Photography: a Century of Images (1999). This PBS documentary traces how photography has affected American history from the beginning of the 20th century to the present. A century of change produced many memorable images, from artistic treasures to everyday snapshots to records of momentous historical events. The camera not only documented the past century, it helped create it. 161 minutes; 3 tapes. $25 members, $30 nonmembers.
724. Enterprise in Photography (1964) by George Honeycutt. Enterprise in photography produces not only prize-winning pictures but prized pictures. Photographers at the Charlotte (NC) News and Observer have won numerous NPPA awards by showing initiative, perseverance and creativity, looking for the better than average picture, and thinking before they shot. George Honeycutt, 1962 Newspaper Photographer of the Year, highlights their efforts and provides practical suggestions. 28 minutes; 70 slides. Formerly #44.
742. Shooting the Picture Story (1975) by Harvey Weber. The former chief photographer of Newsday discusses techniques. 40 minutes; 80 slides. Formerly #78.
747. Moments Within Us: Exploring the Photographic Essay (1977) by William Albert Allard. Allard, formerly of National Geographic, explains how he reaches out and is accepted by the people he photographs. Using examples from his photographs of the Basque people, he shows how he tunes his perceptions to these people and their environment. 17 minutes; 68 slides. Formerly #138.
748. Rich Clarkson Anatomy of a Photo Director (1978) Rich Clarkson, former director of photography at National Geographic, has been responsible for 'grooming' more Photographers of the Year than anyone else in the business. In this presentation, Clarkson critiques a portfolio from Phil Schermeister, highlighting the good elements and pointing out areas for improvement. Clarkson also discusses professional behavior and motivation with commentary from Chris Johns, former Newspaper Photographer of the Year. 22 minutes; 80 slides. Formerly #132.
762. Photo Access to the News (1982) by Bill Seymour. Bill Seymour, a professor at West Virginia University and former NPPA Freedom of Information chair, looks at problems that news photographers encounter with law enforcement. He discusses access problems, First Amendment issues, and the police/press guidelines adopted by the NPPA. 32 minutes; 106 slides. Formerly #140.
763. Successful Freelance Photography (1983) by Rohn Engh. Working out of his Wisconsin farm since 1966, Engh has supplied publications around the nation with his freelance photographs. He gives advice on every aspect of freelancing from finding markets to tax write-offs. 23 minutes; 40 slides. Formerly #150.
766. Long Term Projects: a Photographer's Passport to Experience (1986) by Natalie Fobes. Natalie Fobes, now a freelance photographer, views long term projects as powerful devices to inspire, educate, and challenge the reader. She discusses the construction and planning, the ethical considerations, the legal issues, and the impact of several different long term projects completed for the Cincinatti Inquirer and the Seattle Times. 25 minutes; 100 slides. Formerly #182.
781. Passion in Photojournalism (1991) by Dave LaBelle. Sounding like a fire-and-brimstone preacher (which he is), Dave LaBelle, director of photography at the Ventura County Star, employs his trademark enthusiasm and passion in this presentation. He discusses the joys and pitfalls of working in smaller newspaper markets and how to stay passionate for your photography. 42 minutes; 76 slides. Formerly #249.
782. Establishing Credibility in Your Newsroom (1992) by William Snyder. Snyder, senior staff photographer at The Dallas Morning News and a two-time Pulitzer Prize winner, asserts that photographers must be journalists first. Photographers can earn respect in the newsroom by doing research, talking to writers, generating stories, and not complaining. Snyder shows his efforts at trying something different with those awful daily assignments. He also discusses special foreign projects and how he planned and funded them. Morris Berman Lecture Series. 40 minutes; 182 slides in three-tray dissolve set. Requires dissolve unit that will read 1 kHz cues. Formerly #252.
784. Developing a Point of View (1993) by Joel Sartore. Sartore is a contract photographer for National Geographic. He encourages photographers to be motivated, always do research, and behave professionally. His work focuses on clean images, good backgrounds, and layering subjects. 38 minutes; 79 slides. Formerly #344.
1710. Finelight Video I: a Week in the Life of a Studio (1985) by Dean Collins. This presentation addresses the challenges and creative potential of commercial illustration. Collins shares his tips on lighting, studio setup, set building, and special effects. He leads the viewer step-by-step through several different product shoots. 103 minutes. Formerly #201.
1711. Finelight Video II: a Week in the Life of a Studio (1985) by Dean Collins. This presentation covers the subject of contemporary portraiture. Collins discusses manipulating light in outdoor locations and in the studio, controlling background density, exposing film so as to give art directors a range of choices, and other subjects. Collins walks the viewer through several different portrait shoots. 98 minutes. Formerly #202.
1712. Finelight Video III: a Week in the Life of a Studio (1985) by Dean Collins. This presentation addresses the challenges of commercial portraiture. Collins enjoys commercial portraits because of the freedom to experiment and the camaraderie of the group effort. He addresses the issues of creating outdoor locales inside the studio, choreographing efforts, lighting, shooting in busy locations such as an airport, etc. 85 minutes. Formerly #203.
1721. There's Got to Be a Way to Do This (1993) by Bradley Clift. Clift, staff photographer at The Hartford Courant, discusses the obstacles photographers face in getting the difficult story. It is a photographer's responsibility to strive for these stories in order to portray life in a balanced manner. Morris Berman Lecture Series. 73 minutes. Formerly #307.
1726. What Makes a Picture (1994) by Larry Nighswander. Nighswander is the director of the School of Visual Communication at Ohio University and the former assistant director of illustrations at National Geographic. He gives three criteria for judging photographs: technical excellence, composition, and editorial merit. He focuses on creative devices and encourages photographers to use their brain before using the camera. Morris Berman Lecture Series. 53 minutes. Formerly #324.
1728. Content in Cyberspace (1995) by Russ Kendall. Kendall, freelance photographer and multimedia author, takes viewers on a tour of the World Wide Web and a sampling of photographer-generated CD-ROMs. He encourages photographers not to get bogged down by the technology, but to concentrate on the content. The technology is a tool for telling interesting stories and creating great presentations. Morris Berman Lecture Series. 50 minutes. Formerly #355.
1730. A Personal View (1997) by Nancy Andrews. Andrews, formerly of The Washington Post now the director of photography at the Detroit Free Press, shows how to find something different at national events such as the Republican National Convention. She looks for something that everyone else has overlooked. She encourages photographers to be aware of their personal point of view, confront stereotypes, and remember that every picture is important to someone. Morris Berman Lecture Series. 31 minutes. Formerly #362.
1731. Sanity and Survival: Staying Put and Satisfied (1997) by Steve Jessmore. Jessmore, now the chief photographer at The Flint Journal, addresses the issue of photographer burnout. After shooting the same community events for years, it's easy to become cynical and jaded. Jester finds new motivation by reminding himself that every assignment is important to someone. He demonstrates how to find great and unique things in the local community and gives suggestions for how to stay motivated and happy. Morris Berman Lecture Series. 40 minutes. Formerly #366.
1735. Freelancing: the Straight Story (1998) by Rick Rickman. Rickman gives an entertaining account of his career, from staff photographer at the Orange County Register to freelance photographer. He discusses the pros and cons of freelancing and gives practical advice to those thinking of making the change. He highlights his stories and advice with incredible pictures. This video is a must-see for anyone contemplating going freelance. 50 minutes.
