News Archive

NPPA Life Member Michael Evans, 61, Dies In Atlanta

By Peter Junker

ATLANTA, GA - Michael A. W. Evans, a noted newspaper, magazine, and White House photojournalist and early developer of software systems for cataloging photography collections, died on December 1, 2005, at his home in Atlanta. Mr. Evans succumbed at the age of 61 after a four-year fight against cancer. At the time of his death he was surrounded by his family. Story Evans, his wife, this morning wrote, "The presence of God and the community of our friends sustained him to the very end. For that we will be eternally grateful."

A memorial service will be held on Tuesday, December 6, 2005 at 3:45 p.m. at St. Anne’s Episcopal Church, 3098 St. Anne’s Lane, Atlanta, GA.

Mike Evans with four presidentsThe child of a Canadian diplomat and a registered nurse who were stationed in Havana during the Cuban revolution and Capetown, South Africa, during the quickening of the apartheid resistance, Evans took an early interest in political philosophy and world events. Among his peers Evans was highly regarded as a complete photographer, with mastery of a broad range of assignments, including daily news, portraiture, documentary photography and sports. To the larger world, his best known shots are the iconic images of presidential candidate Ronald Reagan, begun on assignment for Time magazine in 1975, and, later, his revealing record of life and politics behind the scenes of the Reagan Administration.

Evans’ photojournalism career began in Ontario at the Port Hope Evening Guide in 1959, when he was 15. “They paid me two dollars for a photograph and ten cents an inch for the stories I wrote on the [school] football games,” Evans said. “I wrote very long stories.” Evans joined NPPA in August, 1965.

His chosen profession eventually took him to the Plain Dealer in Cleveland, OH, in 1964 and shortly thereafter to The New York Timesand Time magazine. It was John G. Morris, now the eminence gris of picture editors, who brought Mr. Evans to the Times in 1967. Newly arrived at the paper himself, Morris wanted to solidify its photojournalistic preeminence by staffing it with the best and brightest shooters. He had been pursuing Eddie Adams, the veteran Associated Press and magazine photographer whose large body of work included dramatic moments of social unrest and foreign conflict. Adams’ reputation allowed him to flourish as a freelance however, and he declined Morris’s offers. (Adams was awarded the Pulitzer Prize the following year for his photograph of a prisoner execution in South Vietnam.) Evans—10 years Adams’ junior and already amassing an impressive portfolio—was Morris’s other choice. “He was a damned good photographer. I’ve always been proud that he was my first hire,” Morris said.

Eddie Adams, Mike Evans, Ronald ReaganDonald R. Winslow, Evans’ long-time friend and editor of NewsPhotographer magazine, recently published an appreciation of Evans’ early work in Cleveland and New York, contrasting it with today’s “boring” pictures of staged events, press conferences and posed photo-ops. “They were real pictures,” Winslow wrote, “[like the] picture from a city hall meeting where a firefighters’ union representative, at the bargaining table, pounds a blurred fist on the table in frustration with the lack of progress in the labor negotiations. That picture didn’t just happen during a photo opportunity or at a press conference. It happened because [Evans] spent hours waiting and watching for it.”

"Mike Evans was a skilled photographer, but his genius was storytelling,” Winslow said at Evans’ passing. “Mike took the potential for telling stories with pictures to a new level. You can see his eye and his intellect in picture after picture and his integrity in the choices he made. You see him thinking, 'What is important here and how will my picture tell the truth about it?'"

For Time, Evans was on the road covering the Reagan campaign solidly from late August, 1979, until Christmas, 1980. When Reagan defeated Jimmy Carter in the 1980 election, Evans was offered a position as personal photographer to the new President. He would be independent of the White House press office and given unparalleled access to the President. Although he had more lucrative opportunities, he accepted the offer and spent the next four years making a pictorial record of the administration and its chief executive. Lois Romano, a staff writer at TheWashington Post aptly described Evans’ position in 1985 as “a job that requires him to be both ubiquitous and invisible.”

Evans also led a small team of photographers and picture editors, oversaw a photo lab in the White House basement, and occasionally interceded with administration officials on behalf of his colleagues in the media.

In 1982 Evans established “The Portrait Project,” a nonprofit for which he assumed the audacious task of photographing all the individuals he considered to be the era’s movers and shakers in Washington. In the end, 595 subjects agreed to sit for their portraits, an unpartisan selection that included the Chief Justice, members of Congress and socialites as well as journalists, a secretary, and a senior Capitol janitor. The project culminated in an exhibition at the Corcoran Gallery of the Smithsonian Institution titled People and Power: Portraits from the Federal Village and a book of the same name. Evans said he made an explicit egalitarian statement in titling the project People and Power, not in, of, or with power, and that he wanted to preserve a “geological record” of government in a single moment of time for future citizens. Some of the show’s prints are in the Library of Congress while the negatives are now housed in the National Archives.

George Will noted the equalizing urge behind People and Power, writing, "Representative governments are, well, awfully representative, at least in this sense: They are made up of folks who look like and are like most other folks. [Evans’] portraits testify, I think, to democracies' pleasantness."

In Washington, Evans met his future spouse, Story Shem, a former Carter administration aide and founding partner of Arrive, a Washington communications firm with an all-woman staff. One of Arrive’s clients was Chinese leader Deng Xiaoping, who was making his first visit to the U.S. to meet the President.

Evans promptly enlisted Shem to help organize his ambitious portrait project and coax a number of notable holdouts to schedule photo sessions. The couple married in 1983 and moved to Atlanta where Michael briefly served as photography editor for the Atlanta Journal-Constitution.

Mike Evans In New York City, 2004Evans stopped taking pictures but stayed deeply involved in advancing the profession for new generations of photographers. Seeing a vast unmet need for efficiently conserving and cataloging photo archives, Evans developed proprietary software with a system of coding photographs that enabled speedy digital searches of large collections. Getty Press, of the J. Paul Getty Museum, was among his clients. Another was ZUMA Press, the independent picture agency and wire service that Evans served as chief technology officer. (ZUMA Press represents Evans’ photo collection.)

In addition to his wife, Story, Evans is survived by six children, two brothers, and a sister. Oldest son Ewen Riddell lives in Raleigh, NC; son Drew Evans lives in Los Angeles, CA; daughter Megan Evanslives in Toronto; daughter Amanda Evans lives in Monterey, CA; daughter Abigail Evans is at Davidson College in Davidson, NC; andMadeleine Evans lives at home in Atlanta. Evans' sisters, EsmeComfort and Judy Evans, and his brother, Tony Evans, reside in Canada. In Atlanta, the Evans family is active in St. Anne's Episcopal parish in the Buckhead neighborhood. Friends of the family in Georgia remember Michael as a proud and supportive parent, an insatiable reader, and an especially well-informed raconteur with an unflagging sense of curiosity.

Newsweek cover, Evans photo of ReaganWhile Evans’ newspaper work, portrait project, and software company required countless hours of persistent effort, he shot his most celebrated photograph while engaged in informal banter with his subject in the hills of Santa Barbara, CA. It is the image that has come to represent Ronald Reagan to many Americans: the cowboy with a working man’s tan, lined face and well-worn hat; the affecting, slightly crooked smile and confident, clear eyes that belied both his age and his political zeal. The picture rivals Matthew Brady’s image of Abraham Lincoln’s ethereal, weary, wartime gaze as one of the most recognized in the history of presidential portraiture. It is so quintessentially Reagan that at the time of the former President’s death it became the only photograph to be used as the cover of Time, Newsweek, and People magazines in the same week. Evans sometimes referred to it as “the picture.”

Winslow reflected on a telling aspect of “the picture’s” ascension to emblematic status: Evans made it when Reagan was still considered by many a fringe player in his party — a retired actor with a following in his home state of California, but an also-ran to President Gerald Ford in the Republican primaries. Despite the fact that his editors’ interest in Reagan was at first limited to a one-day assignment, Evans saw something intriguing in his subject. Following a hunch about Reagan’s appeal, he stayed at the ranch beyond the term of his magazine assignment. He was on his own time when he took the photo that captured the character and image of a man the world would soon come to know. The picture continues to be the most appreciated among many examples of Michael Evans’ knack of foresight and his skill as a storyteller.

Donations may be made to the Michael Evans Memorial Library Fund at St. Anne’s Episcopal Church, to the Arts and Photography programs at Davidson College, to the Woodward Academy, or to Hospice Atlanta.

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Election Results For Odd-Numbered Regions Announced

The National Press Photographer Association's national secretary Sean D. Elliot has announced results of a month-long November election to select directors and associate directors for Regions 3, 5, 9 and 11. Newly elected officers will begin their terms on January 1, 2006.

Elliot said he called candidates to inform them of results and to thank them for running, encouraging candidates who ran without winning to remain active in NPPA. Elliot also reported that Region 3 tallied the highest voter turnout, and that he will have a more complete report on the election for the board as time permits.

In Region 3, Tom Costello was elected regional director with 110 votes against candidates Ron Soliman and Dylan Moore. Linda Epsteinwas elected associate director with 115 votes against candidate Dylan Moore.

In Region 5, Chris Birks was elected regional director with 56 votes against candidate Mike Borland, and Gregory Morley was elected associate director with 46 votes against candidate Nathan Pier.

In Region 9, Pete Soby was elected regional director with 45 votes against candidate Mel Stone, and Ray Meints was elected associate director with 49 votes against candidate Craig Moore.

In Region 11, Russ Kendall was elected regional director with 43 votes against candidate Adam Amato, and Kurt Austin was elected associate director with 41 votes against candidates Bill Goetz and Jim Lavrakas.

Birks, Morley, and Soby are new to the board, while Costello, Epstein, Meints, Kendall, and Austin have served previously as directors, associate directors, or in other national posts.

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Best Use of Photography: 3rd Quarter 2005 Results For News, Feature, Picture Pages, Sports, Multi-Page

Because of the extensive coverage of Hurricane Katrina, there were added categories for the 3rd Quarter Best Use of Photography contest.

 There is precedence for this: categories were added for the Atlanta Olympics in 1996 and for 9/11 coverage in 2001. If you have any questions, callMarkEdelsonat +1.561.820,4490 or eMail him at [email protected].


2005 3rd Quarter BUP Results

Sports, Picture Page, and Katrina Multiple-page entrieswere judged at Ohio University School of Communication by faculty members Stan Alost, Bill Schneider, Larry Hamel-Lambert, Terence Oliver, Julie Elman, Bruce Strong, and Marcy Nighswander.

Multiple-page and Katrina 1A entrieswere judged at the Detroit Free Press by Nancy Andrews, Rose Ann McKean, Jessica Trevino, William Archie, and Mandi Wright.

News, Feature, and Katrina single page (other than 1A) entrieswere judged at Getty Images in New York by Mike Sargent, Chris Hondros, Mario Tama, Spencer Platt, Mike Heiman, Sandy Ciric, Craig Allen, Preston Rescigno, and Beth A. Keiser.


NEWS:

Page1st: Los Angeles Times, August 19, 2005
“Holding out until the end"
Steve Stroud, Alan Hagman, Brian Vander Brug and Michael Whitley
Judges’ comments: Very good use of staff work... takes a complicated story and distills it into a very accessible package. Overall the strongest category of the three we judged. Busy news month and lots of competition for limited space.

2nd:The Orlando Sentinel, July 27, 2005
"Good luck, Godspeed"
Team
Judges’ comments: Strong design and use of single dominant image.

3rd:The Hartford Courant, August 24, 2005,
"In rural Texas, war debate gathers steam"
Bruce Moyer, Suzette Moyer, L.M. Otero (AP) and Joe Raedle (Getty)
Judges’ comments: Mix of reaction to this layout, some felt strongly that it was a very good attempt to be different and challenge the traditional A1 layout.

HM:Cleveland Plain Dealer, August 4th, 2005,
"War hits Ohio hard"
Team

HM:Orlando Sentinel, July 8th, 2005,
"We shall prevail"
Team

HM:The Tacoma News Tribune, July 3rd, 2005,
"Tall ships in Tacoma"
Janet Jensen, Jeremy Harrison, Craig Sailor and Drew Perine

HM:The Concord Monitor, July 5th, 2005,
"Underwater world"
Elyse Butler, Dan Habib


FEATURE:

Page1st:Los Angeles Times, August 23, 2005,

"The Sierra Surfers"
Hal Wells, Kirk McKoy, Megan Spelman, Wes Bausmith
Judges’ comments: Great page, very bold use of images and layout

2nd:The Virginian Pilot, September 5, 2005,

“The hands of labor"
Team
Judges’ comments: Strong use of white space and letting the page be centered on portraits that do not use the subjects face..

3rd:Los Angeles Times, July 7, 2005,

“There's a real art to their crafts"
Iris Schneider, Steve Banks, Al Schaben
Judges’ comments: Interesting use of light on a subject that is difficult to illustrate.

HM:The Orlando Sentinel, September 4, 2005,

“Uptown elan"
Team

HM:Los Angeles Times, July 17, 2005,

“Colorado's supersized sandbox"
Richard Derk, Ann Moonen, Hal Stoelzle


PICTURE PAGE:

Page1st:The Orlando Sentinel, July 27, 2005,
"Shuttle Launch"
Bill Sikes, Tom Burton, Lee Fiedler, Kenneth D. Lyons, Hilda M. Perez
Judges’ comments: This package worked well for the readers of this paper. It broadened the understanding of the scope of the launch of the shuttle across the country. In addition, it lead with the image that was different and at the same time harked back to the images of the Challenger launch. The complaints were that the crops sometimes felt as if they were driven by the design. Overall, though, it was a good page that made use of multiple sources.

2nd:The Virginian Pilot, August 14, 2005,
"Haiku"
Team
Judges’ comments: This page drew mixed reviews. Ultimately, it was recognized because the concept was well seen and executed. The variety in the images created from different lens use helped move the reader through the package.

3rd:The Orlando Sentinel, July 8, 2005,
"London Bombing"
Bill Sikes, Tom Burton, Lee Fiedler, Kenneth D. Lyons, Hilda M. Perez
Judges’ comments: This was a surprising devotion of resources to an event without a direct local connection. How bold of them to give an international story so much space. Yet, in the attempt to include all aspects of the event, the secondary images became week and repetitive.

HM:TheOregonian, August 14, 2005,
"Fair Play in Clark County"
Jamie Francis, Mike Davis, Beth Weismann, Chris Hun and Nancy Casey
Judges’ comments: There were some wonderful moments and images in this package. Most of the images were well seen. There was considerable debate over whether or not some of the images had been cropped to fit a design. Even if they weren’t, the placement and design oozed with that perception.


SPORTS:

Page1st:The Palm BeachPost, July 23, 2005,
"Still the One"
Mark Edelson, Getty Images and The Associated Press, Chris Rukan, Nick Moschella
Judges’ comments: This was by far the best page. It broke with a traditional dominant image approach and was successful. While some of the judges cringed at the design-driven presentation, we all agreed that the page attracted attention, and then rewarded readers with images that compelled, informed, and entertained. One of the reasons this page worked is that the images seemed created in the extreme horizontal format. We have seen the same design strategy applied (a bunch now) in other situations where the images lose value and information. Overall, the category included some very good pages. There were strong images played well for readers, and it was clear that picture editors were involved in making the visual presentation communicate engaging and pertinent information. For the others, the shortcoming that crippled most entries was image redundancy, second only to poor images played large.

2nd:Cleveland Plain Dealer, September 9, 2005
“Tribe wild card? Power"
Team
Judges’ comments: Here was an example of how images and text work well together. Beyond the headline and the dominant image, the other images on the page were played at an appropriate size to complete their supporting function.

3rd:The Virginian Pilot, August 22, 2005,
"Nascar"
Team
Judges’ comments: This was a bold choice for a picture editor. The atypical NASCAR winner image attracted attention and provided a good entry point that the other images could build on. The area of the page that bothered the judges most, was the risky multi-image presentation at the top of the page that needed some way to signal readers that those images were not connected to the images below.


MULTIPLE PAGE:

Page1st:The Hartford Courant, September 4, 2005,
"Crimes Against us"
Bruce Moyer, Melanie Shaffer and Adam Nadel
Judges' comments: After looking at so many entries, when we came across the striking pages of "crimes against us: THE HORRORS OF WAR AND GENOCIDE AGAINST PEOPLES OF THE WORLD... IN THEIR OWN WORDS," we immediately stopped and took notice. And, we think readers would probably have the same reaction.
The pictures were striking in their simplicity, clean and evocative. The design and typography matched the content to create a soulful experience of this weighty topic. The use of negative space in the design complimented the use of space in the images.

2nd:Dallas Morning News, July 24, 2005,
"Little rest for the homeless"
Mona Reeder, Leslie White and Cindy Smith
Judges' comments: This package on homeless teens showed us scenes we didn't expect to see, such as the overall of the overcrowding at a shelter and the intimacy of being there at a fight. An important topic and well executed.

3rd:The Palm Beach Post, Sept 2005,
"Hurricane Rita"
Team
Judges' comments: The Post produced pages with an edit that gave variety to the images and storytelling --- moving from tight and emotional to wide and informational. It was a good mix on a big news story and combined well with graphics and headlines.

HM:The Gainesville Sun, September 2005,
"Gator Vision"
Brian Kratzer, Missi Koenigsberg and staff
Judges' comments: We loved the every game is our Super Bowl kind of treatment that Gainesville gives the reader for Gator coverage. Though we do wonder why the section comes out on Monday not Sunday, even the Georgia Bulldog in the group had to say hats off to the efforts. Gainesville was able to run some of those pictures you just don't see in sports coverage scenes like the fans in a variety of ways, off the field moments and the team arriving on the field for play - All these images add to the pageantry of the game and it's something papers often miss with game coverage.

HM:The Naples Daily News, July 24, 2005,
"Havana"
Eric Strachan and Darron Silva
Judges' comments: The photography and layout was beautiful, with nice subtle moments and good choice of images... it made us want to go to Havana. It's only an HM because we didn't feel like it moved the Havana story beyond the expected.

HM:The Concord Monitor, July 24, 2005,
"Pictures from an institution"
Dan Habib, Lori Duff, Danielle Kronk
Judges'comments: Here's one where we wanted to reward the initiative to photograph an abandoned building in such an artful way, but we thought the design hurt the package. The pictures were crammed together, and not that each needed a cutline, but each needed space to breathe and there needed to be some type of information on the jump page.


KATRINA FRONT PAGES:

Page1st:The Orlando Sentinel, August 31, 2005
Team
Judges’ comments: Katrina was such a huge story in so many ways, we found the single photo display on those first days did not allow the page to cover the entire scope of the story. We were drawn first to those pages that attempted to give more than one image as an entry point and tell more than one aspect of the story. We felt this Orlando page did it best, and we liked leading with the poignant Eric Gay image that so many papers used. It was very interesting to see the mix of the same pictures among papers with some having their own staff images to use as well. We ended up organizing the pages by day so we could compare apples to apples then the apples to the oranges.

2nd:San Antonio Express-News, September 4, 2005
Doug Sehres, Anita Baca, Joe Barrera Jr., Ron Jaap
Judges’ comments: Now almost a week out. This page gave emotion and information and we think really succeeded with a thoughtful and simple layout that was clean to read and highlighted the three images that combined told the story.

3rd:Los Angeles Times, September 1, 2005
Colin Crawford, Mary Cooney, Steve Stroud and Julie Rogers
Judges’ comments: The page told the dual stories of the day with two compelling pictures. We also applaud the Times' effort to give the Katrina story the presence it had and getting other story subjects on the page.

HM:Cleveland Plain Dealer, September 1, 2005
Team

HM:The Oregonian, August 31, 2005
Patty Reksten, Randy Rasmussen, Mark Friesen

HM:The Houston Chronicle, August 30, 2005
Team

HM:The Raleigh News & Observer, September 5, 2005
Kevin Keister, Ethan Hyman, Chuck Liddy, staff

HM:The Houston Chronicle, September 18, 2005
Team


KATRINA SINGLE PAGES (OTHER THAN FRONTS):

Page1st:Naples Daily News, August 31, 2005
“Slowly, gradually, we will recover"
Eric Strachan, Associated Press and Cox News Service photos
Judges’ comments: Smart News page with a definite awareness of how pictures play against each other on a page.

2nd:Dallas Morning News, September 4, 2005
"Fear, chaos and grief"
Team
Judges’ comments: Very strong use of graphic image carries double truck. You can almost feel yourself hovering over the city.

3rd:Dallas Morning News, September 11, 2005,
"There's nothing here for me anymore"
Team
Judges’ comments: Very nice story that is told with compassion by the photographer.

HM:Dallas Morning News, September 18, 2005,
"Aerials"
Team

HM:Dallas Morning News, August 31, 2005,
"It's just heartbreaking"
Team


KATRINA MULTIPLE PAGES:

1st:Los Angeles Times, August 30 - September 13, 2005
Team
Judges’ comments:This entrydid a good job of covering the wide scope of destruction, the human cost of the catastrophe, and took the reader into the mayhem. While there were some redundancies, and the images did not pair as well as in other entries, the types of images and the way they were presented provided something for the Los Angeles Times' readers that others did not get. This category drew the most debate. For starters, the entries were large and seemed to lack cohesion. Second, the inclusion of some presentations that were cumulative (A week in pictures) was hard to measure against the daily grind entrees. In the end, we went with the presentation that we felt took the readers into the incredible destruction.

2nd:The Palm Beach Post, August 26 - September 18, 2005
Team
Judges’ comments: This entry did a much better job of grouping images in ways that added value to the images seen together. Yet, one of the killer drawbacks was use of the cropped, extreme horizontal images that were more about design than communication.

3rd:Dallas Morning News, August 30 - September 8, 2005
Team
Judges’ comments: There was considerable debate and mixed opinion between this entry and the eight-page special section that the San Jose Mercury News entered that received an honorable mention. In the end, the work on the daily paper won over the efforts at the end of the week. One of the weaknesses of this entry was the front-page image that captured neither numbers of people effected, nor the scope of the destruction. It did convey danger and the depth of the flooding.

HM:San Jose Mercury News, September 4, 2005
Team
Judges’ comments: This package of images was very well done and represents a financial commitment for their readers that is unexpected. As a package, it helped their readers understand the scope of the event in a way that was of real value. The editing gave each image the space and placement that it needed to communicate, and it resisted the urge to be repetitive.

1st quarter 2005 BUP results

2nd quarter 2005 BUP results

Comments? Corrections? More information? Next quarter's deadline? Contact BUP contest chair Mark Edelson at [email protected].

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NCAA Decides Portfolio Shots On SportsShooter.com Are Editorial, Not Commercial, Use By Photographers

By Sedda Kreabs

LOS ANGELES - The NCAA has determined that use of student athlete images within portfolios posted on theWeb site SportsShooter.com constitutes an editorial use, and therefore does not threaten a player’s NCAA amateur eligibility status.

The athletic communications director at Syracuse University had raised the question in recent weeks after a student photojournalist and other professionals had posted portfolio photographs from recent Syracuse football games within their paid Web space on SportsShooter.com. Photojournalists who subscribe to the site post their photography to obtain peer critiques and recommendations for freelance jobs.

“It’s pretty hard to view SportsShooter.com in any other way but in an editorial light,” said Kirk Irwin, a Syracuse graduate student who had been asked to remove his portfolio shots of Syracuse football action from the site. “To hear that the NCAA also sees it as editorial usage wasn’t surprising - but I’m glad that it’s finally resolved.”

Susan Edson, director of athletic communications at Syracuse University, had threatened to revoke a photography credential issued to the school’s newspaper and to a local newspaper if staff photographers didn't remove images posted to a member portfolio area on SportsShooter.com. She cited concerns that the images were being used commercially on the Web site, and a fear that their use could affect the privacy and NCAA standing of the Syracuse athletes who were pictured.

“We’re all happy that we were able to come to a conclusion that worked for everybody,” Edson told News Photographer magazine today, after the NCAA’s decision was announced.

Edson’s initial concerns were based in NCAA rule 15.5.2.2 stating that to retain a student athlete’s eligibility, the player or his or her institution must take steps to stop the publication of the athlete’s name or picture “on commercial items (e.g. shirts, sweatshirts, serving trays, playing cards, posters or is used to promote a commercial product sold by an individual or agency without the student-athlete's knowledge or permission.) … Such steps are not required in cases in which a student-athlete's photograph is sold by an individual or agency (e.g., private photographer, news agency) for private use.”

At a meeting before the Thanksgiving holiday, Edson met with photographer Irwin, professors from the university, other athletic communications staff, and NPPA chapter representative Angela Baldridge to discuss the matter. The group agreed to credit images made of Syracuse athletes with a readable watermark embedded into the original image, pending the NCAA decision on whether image use on the site was seen as commercial or editorial. The embedded credit would include the photographer’s name and the credentialing publication’s name.

Mandatory crediting of images as a term of use is a longstanding practice frequently used within the industry, however, requiring mandatory credit text to appear within the image is a new development in the rights and copyright arena.

“We asked that the students do that — both The Daily Orange and the Newhouse students — and the photography professors seemed to think it’s a good idea,” Edson said about the watermark credit. “It also protects the student photographers’ rights and copyrights to the photograph. It also gives us help in the issue of the freelance photography and the space on the sidelines.”

The Syracuse athletic communications department issues credentials for events in the Carrier Dome only to media outlets due to space limitations on the sidelines. Freelancers requesting credentials for shooting “on spec” or only to enhance their portfolios are frequently turned down.

A freelancer who had been denied a credential had initially brought the question of Carrier Dome access to the athletic department in this case, after seeing Syracuse images shot on a staff media outlet credential in SportsShooter.com portfolios on the site, and believing them to be freelance work.

“One of the problems was that the athletic department was getting (credential) requests from local freelancers, and (crediting the publication in online images) shows that I’m credentialed through that outlet as opposed to some freelancer shooting for myself,” Irwin explained.

Irwin says that compromising his portfolio images by embedding credit watermarks is not an ideal solution, but he is relieved that he can restore his online portfolio at SportsShooter.com.

“It’s a tough thing right now,” Irwin said. “In a sense (the watermark credit) does bring a resolution to it. It’s not 100 percent favorable; it’s not the best outcome I would have chosen… But it’s better than where we were when we started, that’s for sure,” he said.

Please see these earlier, related stories: Syracuse University's Credential Threat Raises Copyright Ownership Questions; and College Athletics v. Photojournalists, A Matchup Of Property Rights.

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Pete Souza: Surviving Prostate Cancer

NPPA member Pete Souza was President Ronald Reagan’s photographer during the Gipper’s second term. He’s photographed stories for National Geographic and LIFE magazine, and in the early 1980s he was a staff photojournalist for the Chicago Sun-Times. Today he’s the Chicago Tribune’s national photographer based in Washington, DC, and this year he’s been battling prostate cancer. Souza told News Photographer magazine today what he’s learned from the experience, information that we need to know for our own health.

By Pete Souza

WASHINGTON, DC - When the doctor told me earlier this year that I had cancer, all I could think to ask him was, “What should we do?”

At the time, I felt little emotion. My dad died of prostate cancer in 1999, and now I had it. I knew it was supposedly a slow-growing disease but also knew first-hand that not everyone survived it. Yet I soon discovered I didn’t know as much about prostate cancer as I thought I did.

Internalizing emotion for weeks, I researched the disease in depth, read about potential treatments, met with many doctors, informed family and friends about my cancer, and then finally made my decision on which treatment to use.

The emotion of having (or hopefully, having had) cancer is beginning to catch up with me as I reflect back on the past several months. I’ve learned so much, met so many great people, and received such great support from family, friends, and fellow patients.

Conversely, I look back and remember that I was also thoroughly confused at times trying to decide which treatment was best for me. Different doctors proposed completely contradictory advice. (“You should definitely have surgery, not radiation,” said one. “You should absolutely have radiation, not surgery,” said another.) I had the distinct impression that some doctors advised what was best for them, not for me.

In the end, I decided the best treatment for me was to have brachytherapy (radioactive seed implant) preceded by five weeks of external radiation. I chose this dual treatment for many reasons but mainly because I felt this offered me the best hope for staying alive indefinitely. Because each case of prostate cancer can be vastly different, it may not be the best option for everyone.

My treatment is now complete. The physical side effects continue, though very mildly. But sleep doesn’t come as easily. In the middle of the night, I lie awake wondering whether the treatment for my cancer – now in apparent remission – eradicated all the cancer cells. It’s not a sure thing; only time will tell.

I can’t erase the vision of my father drawing his final breath at home as he succumbed to a prostate cancer that had metastasized throughout his body resulting in a painful death. I don’t want to meet his fate.

It’s at times like these that you wonder what your purpose in life is. Photojournalism gave me a front-row seat to watching history unfold. I am forever grateful for the experiences I’ve had. But now I’ve also become more committed to championing other photojournalists whose work truly inspires me. And though many newspapers think they aren’t doing too well these days, there is no doubt that good photojournalism is alive and well.

Also, I feel an obligation to educate as many people as possible about prostate cancer because there is so much misleading information published in the mainstream media. Not only that – and this will sound arrogant – but I also believe I know more about prostate cancer than some family doctors. So, if you’re a man (or a man’s wife), read the following adapted version of the eMail I sent to friends and family.

Myth #1: “Few men die from prostate cancer.” 
In fact, prostate cancer is the second leading cause of cancer death in men. More than 30,000 died from it last year alone. The key factor to survival is to diagnose prostate cancer early enough before it has spread outside the prostate. If it’s metastasized in the bones or blood stream, the cancer can be treated but probably not cured; i.e., you will eventually die from it.

Myth #2: “Prostate cancer is an old man’s disease.”
Most cases of prostate cancer occur in men over 65. But I am certainly proof that it can occur much earlier. I was 49 when blood tests indicated that something was amiss. One doctor I know has several patients in their 30s with aggressive prostate cancer.

Myth #3: “I’m in good shape, eat healthy, don’t smoke, so I’ve got nothing to worry about.”
The truth is no one knows what causes prostate cancer. I’m in pretty good shape, I’ve never smoked, and I eat healthy, so it didn’t work for me. There seems to be a hereditary link, so if you have a father (like me) or brother who had prostate cancer, you’re much, much more likely to have it. African Americans also have prostate cancer at a much higher rate than white men. Asians have it at a much smaller rate but strangely enough, Asians in the U.S. have it at the same rate as everyone else. So that is some indication that diet plays a role.

Myth #4: “If my digital rectum exam is normal, I don’t need the PSA blood test.”
Think again. There has never been anything really abnormal during any of my annual DREs. Since 1999, I’ve supplemented the DRE by also having a PSA (prostate specific antigen) blood test. (The test itself is a simple blood test that can be done at the same time that your doctor is checking your cholesterol.) The PSA test measures a substance emitted both by the normal prostate gland and by cancerous tissue in the prostate gland. My PSA was much higher than normal during the last physical exam with my general physician. Because of the high PSA, my urologist performed a biopsy in early March. The results showed the cancer.

Most medical experts say to start having a DRE at 40 and PSA blood test at 50. Many now believe that those with a family history of prostate cancer or who are African American should have the PSA test beginning at 40. I began my PSA blood tests in my early 40s. My doctor resisted, but I insisted. You should too.

Recent studies have caused some controversy about the effectiveness of the PSA test, resulting in headlines like “Study Casts Doubt on Prostate Cancer Test.” In the past, “4” was always the magic number. That is, if the PSA reading is higher than 4.0 milligrams per milliliter of blood, then a urologist would perform a biopsy (which, unlike the PSA test, is somewhat painful and invasive). The new studies show that many men with PSAs higher than 4 have had biopsies that show no cancer. So the conclusion (wrong, in my mind) is that these ultimately unnecessary biopsies prove that PSA is not a good test for prostate cancer.

While not perfect, the PSA is still a very important test. Just as important is having a doctor who knows how to interpret the results of the test. Everyone’s anatomy is different. Everyone’s prostate is a different size. Educated urologists are looking not just at the number, but if and how fast the PSA is rising year to year. This is why it’s crucial to begin having an annual PSA test – so results can be compared from year to year. 

For example, someone might have a PSA higher than 4, but it might not be indicative of prostate cancer if the PSA is not rising or only rising incrementally year to year. Conversely, someone who has a PSA lower than 4 could have cancer if their PSA is rising significantly year to year. The so-called “PSA doubling time” (the rate of increase in PSA levels, expressed as the time it would take for a patient’s PSA level to double) has become an important marker in the progression of prostate cancer cells.

“Since prostate cancer is such a slow-growing cancer, is treatment really necessary?”
Prostate cancer IS slow growing. Many men in their 70s and 80s who are diagnosed with an early stage of prostate cancer do not have treatment because they are more likely to die of other causes before the prostate cancer kicks into high gear. But when you get high-grade prostate cancer at a young age and/or a biopsy shows aggressive cancer then you definitely need treatment right away if you want to live another 5 or 10 or 20 years.

“I heard surgery to remove the prostate is the ‘gold standard’ treatment for prostate cancer?”
Every case of prostate cancer is different, and treatment decisions must factor in age, health, stage of cancer, grade of cancer, chance of reoccurrence, life expectancy, side effects, etc. Surgery to treat prostate cancer has been the “gold standard” for many years.

Brachytherapy, where radiation seeds are implanted in the prostate, has become another “gold standard” treatment with survival rates similar to surgery. Sometimes brachytherapy is used in conjunction with external radiation to treat highly aggressive prostate cancer. There are several newer treatments as well.

“If a biopsy shows that you have prostate cancer, you should start your treatment right away!”
Waiting was one of the most difficult psychological challenges for me. I knew that I had cancer, that a tumor is growing bigger every day. “Let’s treat it now!” was my obvious first reaction. But as I said, every case of prostate cancer is different. I was better off taking the time to educate myself about prostate cancer and the possible treatments, to meet with various doctors, to undergo additional tests to determine the exact specifics of my cancer, and to talk with other prostate cancer patients via email, on the phone, and at support groups.

The decision-making process was the most stressful part of having prostate cancer. It is difficult to determine THE best treatment. My main goal, of course, was for long-term survival. But, as I wrote earlier, different doctors gave different advice about which treatment was best for me. Each treatment is a risk in some respects, and each treatment has adverse side effects. Scientific studies on different treatments provide similar success rates. And I’ve received both positive and negative testimonials from patients who have used the identical treatments. All these factors need to be weighed carefully.

Myth #5: “Trust your urologist.”
Like my former boss (President Ronald Reagan) used to say about his Soviet counterpart, “Trust, but verify.” Your urologist is likely a surgeon and if he discovers prostate cancer, he will likely recommend surgery. My urologist suggested either surgery or seed implants, but gave little information other than a basic synopsis of the two treatments. Other than performing a biopsy, he offered no additional testing. I discovered there were several tests (endorectal MRI and bone scan, to name just two) to better define whether my cancer had spread outside the prostate. I also educated myself by seeking other opinions not only with urologists but also with radiation oncologists.

In conclusion, if you have a history of prostate cancer in your family, and you’re older than 40, you should insist on having a PSA blood test in addition to the yearly DRE. African Americans should be tested early too. And even if you’re not in these two groups, consider having a PSA blood test earlier than your doctor recommends. Whatever you do, please have an annual physical exam.

Pete Souza’s photography can be seen online at www.petesouza.com. He's been an NPPA member since 1977.

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December Deadline For Katrina Relief Fund Applications, Donations

DURHAM, NC – The deadline for photojournalists to apply for relief from the NPPA/NPPF’s Hurricane Katrina Relief Fund is December 2, 2005, NPPA past president Bob Gould said today, and donations to the fund will also be accepted until then.

The fund was established to help photojournalists who lost their homes, or lost their jobs, or may have been separated from their families because of Hurricane Katrina.

“The NPPA and the NPPF really want to help those affected by Hurricane Katrina. We realize that many of those affected may not realize this fund has been set up, so we are extending the deadline for donating as well as requests for funds. Many displaced and affected photojournalists are finally returning their lives to some sort of normalcy, but still are in need of money to help get them back on their feet," Gould said.

An application for consideration for relief is available as a downloadable Acrobat .PDF file here. Those wishing to apply for funds should download the form, print it out, answer the brief questions, and send in the request as soon as possible. Complete instructions are on the form.

This is also one last opportunity to ask people to support the fund with their tax-deductible donation. NPPA and NPPF solicited donations from the journalism community and the public to create the fund. The NPPF, often referred to simply as “the Foundation,” is an IRS-approved 501(c)(3) charity; all donations to the NPPF and to the Katrina Relief Fund are tax deductible.

Those who wish to donate money to the NPPF/Hurricane Katrina Relief Fund can click here to download an Acrobat .PDF version of the donation form. The form has instructions about how to make a donation via check, credit card, or PayPal and where to send the donation. PayPal members will be given an online link to use for their donation.

“We hope to award the financial grants around Christmas,” Gould said.

A committee was established to receive and review the requests for aid. Those on the committee include Gould at WZZM-TV in Grand Rapids, MI; John Ballance at The Advocate in Baton Rouge, LA; and Tim Mueller at The Advocate. Gould says that funds will be distributed based on need, affiliation with NPPA, and how much money is in the relief fund. NPPA members will be given first priority.

During the 48th annual NPPA Flying Short Course, print auctions in Boston, Austin, and Eugene raised cash for the NPPA/NPPF Katrina Relief Fund. The print auction in Eugene raised $1,854 according to NPPA vice president Tony Overman, and the print auction in Austin raised $1,425 according to NPPA president Alicia Wagner Calzada.

New York and New Jersey news photographers raised $1,325 at a fundraiser in late September when eight metropolitan-based photographers showed their photographs of the destruction and human suffering in New Orleans and Mississippi caused by Hurricane Katrina. The money was presented to NPPA Region 2 director Harry DiOrio, who placed it in the NPPA/NPPF Katrina Relief Fund.

For more information contact Gould at [email protected].

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Six Decades Behind A Camera Ends: Elwood P. Smith Retires From Philly's Daily News

(November 18, 2005) – Today is a bittersweet day for staff photojournalist Elwood P. Smith of the Philadelphia Daily News. It’s his last day of work at the newspaper. After 68 years in the business. After 60 years at the Daily News. After being a charter NPPA member from the organization’s very beginning in the summer of 1946, with a membership card signed by NPPA founder Joseph Costa himself, a 50-year NPPA medallion, and a lifetime membership.

Smith is 86 years old, and with the changes in the newspaper, the industry, Knight Ridder, and the recent buyouts offered for editorial jobs at the Philadelphia Inquirer and the Daily News, now seemed as good a time as any to say goodbye. Today, Friday, 25 people (including Smith) will clear out of the Daily News as a result of the buyouts. The Inquirer is supposed to lose 75 people.

Elwood P. Smith and Wayne BushBuyouts are going on at other big newsrooms too, as newspapers who are still making money – good money, by Wall Street standards – are pressured by owners and investors to make the margins even bigger. It’s a tough time for newspapers, a business Smith has watch go up and down several times, and change from family ownership to corporate suits, for more than six decades now.

So come this Friday night there will be a lot fewer people in the Daily News offices. But on Thursday night many of them were still there on Smith’s next-to-last shift on the nightside, and the staff of the Daily News had a little celebration in the newsroom to recognize him, and to honor a career that started in 1937 when he was a rookie copy boy.

The photographers set up a “prom backdrop” and took turns posing for pictures with him. DailyNews photojournalist Alejandro Alvarez kept Smith in his viewfinder as the evening unfolded. There was cake, some gifts, a late dinner, a big signed drawing, maybe even a few drinks – and, of course, hugs and a few tears.

Thursday evening at the beginning of the party, on the phone with News Photographer, he couldn’t quite recall what his NPPA membership number is, but since he was there at NPPA’s beginning the odds are pretty good that it’s a fairly low digit. “I’ve got my card here somewhere,” he said. “Oh, I can’t find it right now.”

Smith’s career started with 4x5 Speed Graphic cameras and film holders and flash bulbs and evolved to 35mm film SLR cameras before ending in the digital era. He photographed Philadelphia politicians in the 1960s like The Mayor, Frank Rizzo, and in 1970 he photographed revolutionary Black Panthers being raided and strip searched by Philly police.

He’s been working on assignments right up through this week, a man who is a product of the Depression era who survived it to go on and fight in World War II, who survived war to go on and survive a 60-plus year career in newspapers - and in big, tough Philadelphia at that.

Another photographer, his coworker David Maialetti of the Daily News, has shadowed Smith during this last week on the job. Maialetti has documented the last days of one man’s long photojournalistic career in a picture essay that followed Smith through work, his daily life, and at home, pictures we hope to see in January’s issue of News Photographer magazine.

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UPDIG Digital Imaging Guidelines Aim To Smooth Image Reproduction Issues

Guidelines that address key issues affecting accurate photographic reproduction and the management of digital image files for photographers and anyone working with digital images were developed over the course of the past year and released this fall at PhotoPlus Expo in New York City. The newUniversal Photographic Digital Imaging Guidelines are public, free, and available online at www.updig.org.

UPDIG organized itself as a group to establish reproduction and image management standards more than a year ago at PhotoPlus during a “digital summit.” The 15 guidelines are the result of a collaborative effort by members of roughly a dozen photographers’ groups, including theNational Press Photographers Association as represented by Greg Smith, chairperson of NPPA’s business practices committee.

The 15 guidelines – along with accompanying Best Practices documents – are intended to clarify issues affecting accurate reproduction and management of digital image files. Although the documents were created from a photographer’s perspective, Smith said that the group has worked hard to incorporate the concerns of everyone involved in the process of reproducing digital images and that anyone working with digital images should find them useful.

Smith said the guidelines have three primary goals:

  1. Digital images look the same as they transfer between devices, platforms, and vendors.
  2. Digital images are prepared in the correct resolution, at the correct size, for the device(s) on which they will be viewed or printed.
  3. Digital images have metadata embedded that conform to the IPTC standards, making the images searchable, providing usage and contact information, and stating their creators or copyright owners.

At the “digital summit” more than a year ago, George Fulton, president of Advertising Photographers of America, proposed a set of step-by-step guidelines, Smith said, and those attending agreed that it was a worthy goal. Several members stepped up to move the guideline project forward, and the group established an online forum for communications. By early 2005, they agreed on the name Universal Photographic Digital Imaging Guidelines, and drafts of ideas were circulating. David Riecks, chairman of both American Society of Media Photographers' Digital Photography Standards and Practices committee and Stock Artists Alliance's Imaging Technology Systems, set up a Web site for UPDIG.

Smith says that by early 2005, Richard Anderson, now a national board member for ASMP, had stepped in to organize and write the Guidelines. Smith and Anderson edited the documents and others contributed critiques and ideas. ASMP’s Peter Dyson crafted a draft Web version of the guidelines, which later grew into the current Web presentation and downloadable Acrobat .PDF file.

Joining the session at this year’s PhotoPlus Expo to unveil the guidelines after participating in their development were representatives from the Australian Commercial and Media Photographers, the Advertising and Illustrative Photographers Association, the Association Of Photographers, Advertising Photographers of America, the American Society of Media Photographers, the American Society of Picture Professionals, the Canadian Association of Photographers and Illustrators in Communication, Editorial Photographers, NPPA, Professional Photographers of America, and the Stock Artists Alliance. Members of these groups make up UPDIG’s steering committee. Joining the session were representatives from software and hardware manufacturers, such as Canon, Adobe, and Microsoft; photo buyers and marketers, such as the Picture Agency Council of America, Getty Images, Jupiter Images, and Barnes & Noble; and several educators from Rochester Institute of Technology.

UPDIG ‘s board members and steering committee say they welcome industry feedback from anyone concerned about the issues of digital imaging and reproduction and file exchanges, and ask that ideas and inquiries be sent to [email protected]. Media seeking more information are urged to eMail Richard Anderson or David Riecks.

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Chuck Cass, 31

Chuck Cass, 31, a photojournalist for Sun Publications and The Napperville Sun in suburban Chicago and an NPPA member since 1997, died Friday after a three-year battle with non-Hodgkin’s lymphoma.

Chuck Cass“It’s so tragic. He was a talented and hardworking photographer, and a really wonderful person, too,” said Sid Hastings, assistant director of photography for the St. Louis Post-Dispatch. “Those of us who were lucky enough to know him realize what a special person he was. He had this wonderful, quiet sense of humor, and a real ability to put his subjects at ease. We say it a lot, but he really was able to develop an intimacy and an empathy with those he photographed.”

“Chuck really was the kind of employee you want someone to be, willing to work hard and follow through on what was asked of him. But he was also willing to tell you when he thought something was out of whack and needed to be addressed. And from what I could see as his manager he always was a great coworker to other folks on the staff,” Hastings told News Photographer today.

Cass learned he had cancer in early 2003 and he continued to work while getting treatment, the newspaper reports, saying that when he eventually became too weak to work he still stayed in contact with friends and coworkers and attended gatherings and parties when he could.

“And he never gave up – even while he was sick he was out there working his butt off to make great pictures. He got sick after I left The Sunfor St. Louis, but I remember being amazed at the good stuff he was doing while he was sick. That first year he probably missed six or seven months of work and still managed to be in the top ten for the Illinois clip contest.

“It’s such a cliche thing to say, but he really will be missed,” Hastings said.

Mike Davis was the visual director for Sun Publications from 1999 to 2001. Now he's the features picture editor for The Oregonian. "Occasionally we get to work with people who are just plain nice to be around and who can make photographs that are reflections of their own character," Davis toldNews Photographer. "Chuck Cass was that person - never complain, always make more of the situation than you thought was possible, come out smiling and asking questions. I'll miss him."

“He was the most patient photographer I know. He was a very patient person and an attentive listener,” friend and coworker Jonathan Miano, also a photojournalist at The Sun, told News Photographer magazine today. “Those character traits allowed chuck to capture some really wonderful moments with his camera.”

“Chuck had a joy and a peace through this midst of his physical suffering. He would attribute this unexplainable joy and contentment to his relationship to Jesus Christ,” Miano said. “Chuck knew God had a purpose for his life and this earth was only his temporary home.”

Jim Svehla, photography editor for The Sun, said Cass’s memorial service will be Friday, November 18, at 7 p.m. at the Calvary Church, 9 S200 State Route 59, Naperville, IL. The church telephone number is +1.630.851.7000.

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NPPA Charter Member J. Howard Miller, 86

 

J. Howard MillerDALLAS, TX - J. Howard Miller, a lifetime professional photographer and a charter member of the National Press Photographers Association from 1946, died November 10 in Dallas at the age of 86. Jay Miller of Dallas, his son who is also a photographer, said that NPPA founder Joe Costa signed his father’s original NPPA membership card. The Miller family represents three generations of photography, covering 104 years of making pictures.

Miller was born at Wellington, KS, in 1918 and grew up in Clovis, NM. Miller says that his father began his photography career in high school and that while in college he operated a small photofinishing shop and portrait studio. He also worked newspaper assignments for the Clovis News Journal. He graduated from Clovis High School in 1936 and attended the University of Southern California, Los Angeles City College, and Eastern New Mexico State College. While at USC, Miller says, he played baritone in the band and marched in the annual Rose Bowl Parade.

After working a KAVE radio in Carlsbad, NM, and working as a commercial photographer in Amarillo, TX, he began his newspaper career at the Amarillo Globe-News and Times. On December 8, 1941, he volunteered for the Army Air Force and was selected for photo training. He served the war years as a photographer and was honorably discharged in 1945. He returned to Amarillo as a staff photographer for the Amarillo Globe.

Miller, along with the late Woodfin Camp, operated as a legendary two-man photography team at the Amarillo Daily News and Globe-Times until 1953, when Miller left the paper to open his own commercial studio. In 1972, Miller and his late wife (Mary) moved to Houston where he became supervisor of still photography at the University of Texas M. D. Anderson Cancer Center. He retired in 1982, bringing to an end nearly 45 years as a working professional photographer and manager, and moved to Dallas in 1997 to be near his son and family.

J. Howard MillerHis son Jay Miller, a third generation professional photographer who now runs Trinity Graphics Systems in Dallas, says that his father carefully maintained his original 4x5 Speed Graphic camera until the day he died, and that his father never lost his passion for photography. “When we fully converted to digital in 2003 we bought a Canon EOS-1DS system and paid $7,000 for it, and he nearly had a heart attack,” Miller told News Photographer magazine. “After he saw the results and learned what we could do, he said it was the only way to go and that he wished he’d had this technology in his day. But I still wound up buying flash bulbs for him on eBay!”

J. Howard Miller was preceded in death by his wife in 1977. He’s survived by his son along with a daughter-in-law, Laynie Miller, and two granddaughters, Mary Kristin Miller and Lara Caitlin Miller, both of Austin, TX. He was buried with military honors at Woodlawn Cemetery in Houston. The family requests that memorials to be made to Cal Farley's Boys Ranch or to a favorite charity.

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