JPROF celebrates fourth anniversary

The last day of the year holds a special place on the JPROF.com calendar. It's the day in 2004 that the site went live. Thus, we celebrate our fourth anniversary today.

The site has come a long way from that small study and cold winter in Emory, Virginia, where it was first conceived and built.

I had finished that fall writing the manuscript for Journalism: Who, What, When, Where, Why and How, an introductory journalism text, and had been working on the web site for the book that the publishers, Allyn and Bacon, wanted. The idea came to me that the book's web site could be broadened into something even larger (since the book was 26 chapters, the site for it was pretty big) and more comprehensive. I had a couple of other texts on the market at the time, so the idea of a site that concentrated on teaching journalism grew like a weed in well-tilled soil.

Then there was the name.

I played around with a couple of things and can't remember how the idea of "jprof" struck. I know I was after something short. When those five letters came together in my head, I checked on the URL availability and, to my utter amazement, found that combination available.

It was a sign. The site had to be built.

Four years later, the site finds itself at the top of the hit list when you do a Google search for "teaching journalism."

I have heard from people all over the world who have found the site and used its contents. I am grateful to all of them and to all those who recommend the site. I plan for it to keep growing. This year, 2008, was certainly one of growth -- some in ways that I never could have imagined when the site was first built.

First, we saw the publication of two new books plus the seventh edition of the venerable Writing for the Mass Media. The new books are:

• The Writing Wright, a book of essays, quotations and ponderings about journalism, writing and the writing life, and
  
  
• Kill the Quarterback, a mystery novel published by Bushido Press/Greyhound Books.

Both of these books have separate URLs, but the web sites are housed under the JPROF rubric. JPROF has also become the home for the Writing for the Mass Media web site in light of the publisher's decision to stop hosting web sites for their books (a decision I find odd and puzzling).

Bigger changes are afoot.

During the last couple of weeks, I have been developing a new model for a news web site based on the concept of link journalism. This concept posits that there is much good information on the web and part of the responsibility of a journalist is to bring that to readers through the power of links. An outfit in Reston, Virginia -- Publish2 -- has developed software that makes it easy to gather links, organize them and publish them on a web site.

So, what we are doing is taking the Publish2 software and feeding it into some specialty sites:

• BeePROF.com, all things bees
  
  
• BooksPROF.com, all about books
  
  
• SmallChurchPROF.com, everything about small churches (with my old friend Chuck Warnock)

The next possibility is GrowPROF.com, which will deal with everything from gardening to agriculture. Other ideas are in the wings.

These sites are within the JPROF site but have their own URLs to make them easier to find. In the year 2009, we hope folks will show up. We'll be posting more about this idea and these sites in the coming days.

And there's more to talk about, but as usual, I ramble on too much already. So, it being New Year's Eve, party on!

Journalism 5W - the Chinese edition

It was quite a surprise that awaited me the other day at the door of the farm house -- a box full of the Chinese edition of Journalism: Who, What, Where, When, Why and How. (Here's the book's Allyn and Bacon web site.)

My publisher, Allyn and Bacon, had told me nothing about this.

But there it was, five copies of the book with a completely different cover containing Chinese lettering and the first pages inside also contained Chinese letters. After that, the thing is in English.

The cover of the book says it is published by Peking University Press.

The publisher's letter that accompanied these books said it had been produced by Pearson's (Allyn and Bacon's parent company) Asia division.

Beyond that, I know nothing -- except that there are lots of people in China. I hope they're interested in journalism, American style.

Re-thinking the old media forms

Yes, you can do the old forms on the web. But should you?

This "old media" type says we should re-think the forms of our content. This New York Times article by Virginia Heffernan is bit depressing but very perceptive.

She writes:

. . .they should think about what content suits these new modes of distribution and could evolve in tandem with them. For old-media types, mental flexibility could be the No. 1 happiness secret we have been missing.

Stories behind the Frost/Nixon movie, confrontation

The stories behind the 1977 verbal confrontation between Richard Nixon and David Frost continue to fascinate. The release of the Ron Howard movie Frost/Nixon has given us some great stories from that era. We looked at the transformation of David Frost from satirist to journalist a bit in an earlier post.

National Public Radio's Fresh Air program yesterday had James Reston Jr. as a guest. Reston was one of the researchers that helped David Frost prepare for the interviews, and he told some throat-grabbing stories about the information that he was able to come up with when he interviewed presidential aide Charles Colson.

Reston was one of the people who believed Nixon had committed crimes and that this set of interviews was going to be the only trial he would ever get. He was satisfied with the outcome, and he later wrote about it in The Conviction of Richard Nixon: The Untold Story of the Frost/Nixon Interviews. A play was based on the book, and the current movie is based on the play.

The interview is online. It's only 18 minutes long (for those of us old enough -- remember the 18-minute gap?) and well worth listening to.

Pulitzers to include online news organizations

This pretty much speaks for itself and can be filed under the "it's about time" category:

Prizes broadened to include online-only publications primarily devoted to original news reporting

The Pulitzer Prizes in journalism have been expanded to include many text-based newspapers and news organizations that publish only on the Internet.

The Pulitzer Board also has decided to allow entries made up entirely of online content to be submitted in all 14 Pulitzer journalism categories.

Update: Seth Goden has a good take on this. Essentially, there's not much of a change going on.

Inside David Frost's transformation from satirist to journalist

With the release of the movie Frost/Nixon, Clive Irving (books on Amazon) describes the transformation of David Frost from satirist to journalist. Irving was on the inside of this story, and the view is fascinating.

In the summer of 1966, Irving was one of two people hired by David Frost as "creative consultants" for The Frost Programme. The other was Tony Jay:

Tony’s idea was that TV could and should be opened up as a forum for the people to engage with power, and it was Tony who insisted on doing something that nobody had risked before, having a live studio audience with a microphone swinging precariously on a boom above them so that David could pull people into the discourse when they were provoked. Thus a lot of politicians found themselves suddenly not only being cross-examined by Frost but by aggrieved members of the public. Amazing to think now how novel and dangerous that was then, in 1966, when it began.

Frost landed his biggest interview nine years later with Richard Nixon, who three years before had resigned as president of the United States. Both Frost and Nixon had a purpose for coming together, and thereby hangs the tale.

Here is a part of that interview. The video is provided by the Daily Beast (:33):

The photo above shows Frank Langella as Richard Nixon and Michael Sheen as David Frost and is from the Frost/Nixon web site.

Rules for the student photojournalist

Every journalism student should learn the fundamentals of photojournalism. They should learn how to take pictures, and they should be given specific photo assignments.

Several years ago, I put together the following "rules" for training student photojournalists. If anyone has any comments, I would like to hear them.


RULE NO. 1: TAKE LOTS OF PICTURES.

You should assign a minimum number of pictures that the student should take, and that number should be high. For instance, if the photo is for a profile story where you anticipate using only one shot, the photographer should come back with at least 10 to 15 shots. In fact, 10 to 15 shots for any assignment would be a good minimum.

Young photographers tend to shoot too few pictures. They get one shot and one angle, and they don’t think about doing anything else. Assigning a high minimum number of pictures makes the students think about shooting different shots at different angles.

Young photographers should be told: keep shooting until someone needs medical attention or until you’re about to get hit by a truck.


RULE NO. 2: A PEN AND NOTEBOOK ARE AS IMPORTANT AS A CAMERA.

Photographers have to write down what and whom they are shooting. They will have to identify people for cutline information. They cannot trust their memories for any of this. They must have a pen and notebook with them at all times, and they must use it. They must also be accurate in getting their information, especially in spelling names correctly.


RULE NO. 3: PLAN.

As an instructor, you should talk with you students about their photo assignments. Help them plan what they will shoot. Some pictures happen spontaneously; most don’t. They are shot because the photographer planned to be there to shoot them.

One thing you might do is diagram the scene of a photo assignment with the student. Help the student figure out where the action is and where he or she should be to take a good shot. Most events -- speeches, parades, sports events -- lend themselves to this kind of planning.


RULE NO. 4: GET CLOSE.


Anybody can take wide-angle, establishing shots (top photo). Real photographers get as close to the action and the people as they can (bottom photo). They get expressions, hand movements, interactions, etc. They literally get in people’s faces.

Students should be told: if you show up at an event with a camera, people expect you to take pictures. You try not to be intrusive, but sometimes you have to be, and people will understand this.


RULE NO. 5: SHOOT IN THE BEST LIGHT POSSIBLE.

If you can shoot outside, do so. Shoot near a window if possible (but be careful). If you have to use a flash, do it. Light is what makes pictures possible, and nothing makes up for an absence of light.

Pay attention to the light. Many students don't and return with rotten pictures.


RULE NO. 6: EQUIPMENT DOESN’T MATTER.

Well, it does to some degree. But, students should never be allowed to use equipment as an excuse for not taking good pictures (unless the camera simply doesn’t work, of course). A good photographer adjusts to the limitations of the camera. A good photographer learns how to use the equipment he or she has to take the best pictures possible. You might tell students that one of the laws of photojournalism (and of life) is this: Equipment will never be quite good enough.

Students don’t have to know the innards of a camera to take good pictures either. They should know how to think about taking pictures. They should know what good composition is. They should know how to plan their shots. None of this has anything to do with whether or not a camera is digital or single-lens reflex or box Brownie.


RULE NO. 7: BE CREATIVE.

Require your students to return from an assignment with shots from more than one angle. Tell them to get high, get low, move around the room. Some situations -- like sporting events -- dictate where you can be. In most other cases, they should always think about their physical proximity to the subject. A shot from a high or low angle can make a fairly standard shot much more interesting. And, you never know which perspective is best until you have tried them all. Always move around--this will show you the options you have for each situation.

More on photojournalism:

• Basic photojournalism
• Basic photojournalism for beginners
• Photo galleries without the learning curve