At a time of cost cutting for media budgets, lots of news organizations imagine that user-generated content can fill the void. But the recent failure of crowd-sourced news photos of Hurricane Sandy, and the shortage of coverage of other climate change-fueled disasters around the world, demonstrate how far we are from truly democratizing the medium of photography. Photographers worry that the lowering of technological barriers means “everyone’s a photographer now,” but in fact, the number of people who can take and share news photos is still limited by economics, infrastructure and geography.
Now that news organizations have quit crowd-sourcing instantaneous images of the approaching storm, we are seeing enterprising professional photojournalists who are focused less on flooded tunnels and wrecked cars, and have been seeking out the less obvious stories behind the slow process of rebuilding, rehousing the displaced, and supporting those underserved by relief efforts. (The New York Times photographer Ruth Fremson’s November 2 coverage of people coping without power, elevators, heat or a sense of security on the upper floors of public housing projects is one example.)
Among the critics of the media’s immediate response to the storm, photographer Kenneth Jarecke and Prison Photography’s Pete Brook (who gathered a round-up of storm coverage) seem most irked by the poor quality of many of the images editors chose to publish (by professionals commissioned to shoot on iPhones and by amateurs). “Most of the photographs are REALLY bad,” Jarecke wrote. “It’s history. It changes people’s lives. You’re not allowed to make excuses or drop the ball, but sadly most of you did.”
As a New Yorker who was seeking up-to-date information about friends and loved ones the day after the storm made landfall, I’ll forgive esthetic lapses in favor of timely and useful information. The problem was, amateur photographers don’t seem to know how to write captions, and they lack journalistic instincts.