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Date & time Oct 13
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Reader Questions and Answers

Assistant Managing Editor Michele McNally, who oversees photography for The New York Times, answered questions from readers June 22 26. She previously answered questions in July 2006.

Ms. McNally joined The Times as director of photography in June 2004 and was promoted to assistant managing editor in July 2005.

Before joining The Times, Ms. McNally was picture editor of Fortune Magazine from November 1986 until May 2004. Previously, she was picture editor of Time Life's Magazine Development Group. She began her career as a sales representative for Sygma Photo News in 1977.

Ms. McNally has judged numerous photography contests, including Pictures of the Year, Overseas Press Club, White House News Photographers, American Photography and Best of Photojournalism, Getty Grants. fake necklace cartier love She was chairman of the World Presss Photo jury in 2007. She was on the Pulitzer photo jury in 2008 and 2009. She has participated in many workshops, including The Flying Short Course in Photojournalism, the World Press Master Class, the Women's Conference in Photojournalism and the Eddie Adams Workshop. She has taught classes at various universities and has been a visiting professor at Syracuse University and The International Center of Photography.

As picture editor of Fortune and The New York Times, Ms. McNally earned awards from American Photography, Pictures of the Year, World Press, Overseas Press Club, Communication Arts, Page Design and the Society of Publication Design. She has also won picture editing awards at Pictures of the Year and Best of Photojournalism. She was named the recipient of the Jim Gordon Award and Picture Editor of the Year by the Lucie Foundation's International Photography Awards. This year Damon Winter of The Times won the Pulitzer prize for feature photography. The award for Best Use of Photography in a newspaper went to The New York Times from both Pictures of the Year POYi and the Best of Photojournalism.

Other Times staff members have answered questions in this column, including Executive Editor Bill Keller, Managing Editor Jill Abramson, Managing Editor John Geddes, Deputy Managing Editor Jonathan Landman, Assistant Managing Editor Richard L. Berke, Assistant Managing Editor Glenn Kramon, Associate Managing Editor Charles Strum, Business Editor Larry Ingrassia, Obituaries Editor knock off necklace love cartier Bill McDonald, Metropolitan Editor Joe Sexton, Living Editor Trish Hall, Investigations Editor Matthew Purdy, Foreign Editor Susan Chira, National Editor Suzanne Daley, Sports Editor Tom Jolly and Culture Editor Sam Sifton. Their responses and those of other Times staff members are on the Talk to the Newsroom page.

These discussions will continue in future weeks with other Times editors and reporters.

The Future of Photography

Q. As a documentary moving/still/audio image maker, I have been thinking

about how we are going to experience media in the future and wondering what does the future of photography look like from where you sit. I'm an aspiring multimedia journalist at Stanford who has been inspired by a great many photos that have come through your desk. In the past, the photographer's fake cartier chain ring voice was heard only through her/his image and her/his public identity was limited to the photo byline. Today, as format becomes more diverse, there are new opportunities to hear from these important contributors. How do you project the role and public voice of the photographer will change as news presentation morphs in the coming years (I'm thinking of more photo centric presentation projects like the Lens Blog)? Will we start to hear more from the photographer as part of the storytelling team than strictly through her/his images and how will that change the photographer's place in the newsroom?

A. Mr. Martinet: I am glad to hear you find the pictures inspiring.

I believe that the role of the photographer has already changed. Whereas photographers were always crucial in making events tangible and enhancing storytelling, now they explore a subject on multiple platforms. For years newspapers have had photo columns that were always in the photographer's voice, now the photographer can do audio over the pictures truly in his or her own voice. A fine example of this is Bill Cunningham. He took the pictures, recorded the audio and wrote about his experience.

The newsroom is an ever changing place and traditional roles no longer apply. The photojournalist of the future needs to be flexible and ready to go in any direction.

Thanks for your good question.

Times Photos vs. Agency Photos

Q. Does The New York Times try to publish its own photographic works first before those of agencies like The Associated Press, Reuters and Agence France Presse? In fact, what is your relationship with those agencies? Also, how do you see the evolution of Internet video news that is becoming more and more popular on newspaper Web sites, including The Times? Is that a threat to the art of photography?

A. Here's a list, not necessarily in order. An ability to assess talent in others so you can surround yourself with great people. And an ability to build the team, get the team members excited and let them grow. Gaining the trust of the team is also important. A love and a nose for news and endless curiosity. The ability to handle extremely stressful situations the hardest being when you have people in dangerous places. Being flexible and ready to go in any direction at any time in an ever changing world. Being collaborative. Being willing to take risks and being unafraid of failure. Lastly, the housekeeping of managing a budget.

The Difference Between Good and Great

Q. What makes a photojournalist grow from making very good images to making brilliant ones?

A. I think the best photojournalists have a philosophical, psychological, and emotional clarity in what they are trying to say with their pictures. They have done their existential homework and have achieved the ability to reach real emotional truthfulness in their images using narrative, gesture, light and composition. They also recognize that what they get to see and do is very special and important to viewers and their subjects. I'd also say, hard work.

A. We strip out the caption information to make sure we do not accidentally publish any confidential information about sources, or the addresses of subjects, their phone numbers, etc. In 2006, The

Washington Post did not strip out all of the metadata associated with a photograph of an anonymous source, and necklace love cartier knock off using that information, readers were able to find out the town and state he lived in.

As for the technical details of the camera and the shutter speed/aperture/ISO settings the photographer used, because of the program we use to strip out the caption information, it strips all IPTC fields as a byproduct. We could keep that metadata, like the camera model, shutter speed and aperture if we really wanted to. It just would mean we'd have to change the script that strips that out. Nowadays everyone is a photographer it seems and newspapers are encouraging the public to send in their on the spot photos for publication. What, then, is the future of photography? Will there be professional photographers in 10 or 20 years? If so, how competitive will the field be and how would you recommend someone get his foot in the door?
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