The journalistic Super Bowl: Content vs. Technology in an age of Digital Photojournalism

With the advent of digital technologies, the role of the nomad journalist has changed course. Reading Cheryl Diaz Meyer’s description of life as a backpack journalist in Afghanistan, I was taken aback by some of the grass-roots, on-field reporting difficulties. When viewing photos of a war-ridden place, consumers of news often focus on the elements in the picture. But as a klutzy person myself, I had never recognized that there was such a complex mixture of tools for the story coupled with tools for survival. In viewing photojournalism stories of barren lands, I’ve always anticipated that the journalists would have to carry pounds of video and photo equipment. But 90 liters of water? Not the first thing that comes to mind.

Field reporting begins with the journalist’s personal experience. But once the story begins to unfold, it is a product of public interaction. Meyer points out that Afghan soldiers and citizens were anxious for contact with the outside world. She cites difficulty in codes attempting to contact members in other Middle Eastern countries. But what problems existed beyond technical difficulties? Meyer gives little inkling of how citizens reacted to the presence of digital equipment. In a land where caves are searched for terrorists, how did the Northern Alliance react to a photo taken of a soldier standing on a tank? How did locals react to digital photos being taken? What were the differences in opinion between civilians and the military?

In an age where digital photojournalism is growing stronger, content still remains the staple of an effective story. Belo Capital Bureau President George Rodrigue emphasized that the chaos of the war and the role of political groups like the Taliban was the primary focus of the coverage. If a journalist knows how to use multimedia capable equipment, then the story’s visual effects are enhanced. Readers can tie their understanding of a story to a series of photos rather than having to absorb the meaning of words on paper. Yet, it is crucial for those words to capture the key points of a story.

And as the technology behind the content increases, editors and writers will have to keep pace. When logging onto the website of a major newspaper, multimedia bars with video options are now appearing before links to print stories. As Meyer points out, digital journalism allows photo and video to be uploaded within a matter of minutes. Photo editors who once edited 36 photos on a roll of film may now face 36,000 photos on a digital drive. Faster production time and a greater variety of content may enhance the presentation of a story. But journalism is a trade where the reporter, not the technology, is the primary relayer of the story. Editors will now face greater strains to ensure that the accuracy of the content projected parallels the expedience with which it is made available.