March 6th, 2014

PDN Video Pick: Making an Award-Winning Story of One Woman’s Resilience

Sensei from ora on Vimeo.

Ora DeKornfeld, a communications major at the University of North Carolina at Chapel Hill, won first prize for her video “Sensei” in the Multimedia Feature category of the 2014 Pictures of the Year International competition. Brilliantly shot and edited, DeKornfeld’s video tells the powerful story of a rape victim’s survival, resilience and determination. DeKornfeld explains how she won her subject’s trust, found a way to portray events in the past through evocative imagery, and produced a tight, dramatic narrative.

PDN: What was this project was for? How did it get started?
Ora DeKornfeld: That project was made as a final documentary piece for a journalism class. The assignment was to make a vérité documentary. It was a challenge for us to [record] something actually happening, instead of fully relying on B-roll over interview audio. My professor [Chad Stevens] assigned the project knowing that was unrealistic, so this project deviated greatly from that initial assignment, but that’s how it started.

PDN: How did you find this subject, and how get her to open up?
OD: I went to this neighborhood in Durham (North Carolina)–a pretty dynamic low-income neighborhood, and I saw a flyer for self-defense classes and that’s something I have always been personally interested in, and I wanted to do a piece that touched on women’s issues. So I called the number and ended up talking to Brenda, the subject, and she was immediately open. She told me that the reason she got into martial arts was because she was a victim of a violent crime. I didn’t push that at the time, but it was an immediate indicator that she had a real deep experience that motivated her. So I said, would it be OK if I made a documentary about you? She was really open to it.
I went to her karate class on Tuesday and Saturday for two weeks, then I asked if I could come to her house, meet her family and start hanging out with her there. And I kind of just stayed until she said, “OK, Ora, you need to get out of my house.” But through that experience we bonded. (more…)

February 26th, 2014

Brent McDonald Named 2014 POYi Multimedia Photographer of the Year

Video journalist Brent McDonald of The New York Times has won 2014 Multimedia Photographer of the Year at the Pictures of the Year International competition, organizers have announced. He won for a portfolio that included a video called “A Deadly Dance” about a surge of heroin use in Portland, Maine; and a story about Christine Quinn’s campaign for mayor of New York.

A Deadly Dance from The New York Times – Video on Vimeo.

Documentary Project of the Year honors went to NPR’s Planet Money team for a project called “Planet Money Makes a T-Shirt.” The project also won first prize for Documentary Journalism (multimedia).

National Geographic won Best eBook (app) honors for “The Photography Issue, October 2013.”  The Best Website award went to Narratively.

Adam Panczuk won the Best Photography Book award for “Karczeby,” about the people of a region of east Poland with a strong cultural attachment to the land.

Contest organizers also announced on Monday that The New York Times won Best Newspaper honors, while National Geographic won for Best Magazine.

Judging for the competition, which began February 5, ended today. Various teams of jurors judged entries in five separate divisions: News, Sports, Reportage, Editing, and Multimedia. (Click links to see our stories on category winners in each division.)

Related:

Who’s Winning at POYi? PDN Links to First Place Entries in Editing and Multimedia Categories
Daniel Berehulak Named 2014 POYi Freelance Photographer of the Year
Barabara Davidson Named 2014 POYi Newspaper Photographer of the Year
Patrick Smith Named 2014 POYi Sports Photographer of the Year

February 24th, 2014

Who’s Winning at POYi? PDN Links to First Place Entries in Editing and Multimedia Categories

©The Denver Post/Craig F. Walker. From "Cecil & Carl," first place winner of POYi's Newspaper Feature Story Editing category.

©The Denver Post/Craig F. Walker. From “Cecil & Carl,” first place winner of POYi’s Newspaper Feature Story Editing category.

After naming Newspaper and Freelance Photographers of the Year and winners of various other categories during the past three weeks, the Pictures of the Year International competition continues to release results in other categories.

Jurors have weighed entries for the Editing and Multimedia Division categories this past week. Here’s a round-up of winners in those categories so far, with links to online versions of the stories and videos:

Editing Division:
News & Issue Story Editing (newspaper): The Washington Post, “Never the Same: Refuge Stories from the Syrian Exodus.” The entry features photography by Linda Davidson.

Feature Story Editing (newspaper): The Denver Post, “Cecil & Carl,” featuring photography by Craig F. Walker.

News & Issue Story Editing (magazine): National Geographic, “The New Oil Landscape,” featuring photography by Eugene Richards.

Feature Story Editing (magazine): TIME magazine, “A Portrait of Domestic Violence,” featuring photography by Sara Naomi Lewkowicz.

Series or Special Section: The New York Times, “The Lady Jaguars–Year 2,” featuring photography by Ruth Fremson.

Editing Portfolio (newspaper): Becky Hanger and Jeffrey Furticella, The New York Times.

Editing Portfolio (magazine): Kira Pollack, Time Magazine.

McDougall Overall in Excellence in Editing Award: The New York Times.

Best Newspaper and Best Magazine winners have yet to be named.

Multimedia Division:

Feature: “Sensei” by freelancer Ora DeKornfeld.

Sports Feature: “The Lights Go Out: the final season of Hollywood Park” by a team from the Los Angeles Times, including videographers Spencer Bakalar and Bethany Mollenkof.

News: “Spanish Bank Scandal Wipes Out Savings,” by freelancers Almudena Toral, Suzanne Daley and Rachel Chaundler.

Issue Reporting: “The Last Clinic,” by Maisie Crow (See Maisie Crow’s web site for the trailer and photographs).

Jurors will select winners of the Documentary Journalism category today. Tomorrow, jurors will select Documentary Project of the Year, Best eBook, Best Website and Multimedia Photographer of the Year.

Related:

Daniel Berehulak Named 2014 POYI Freelance Photographer of the Year

Barbara Davidson Named 2014 POYi Newspaper Photographer of the Year

Patrick Smith Named POYi’s 2014 Sports Photographer of the Year

February 18th, 2014

Daniel Berehulak Named 2014 POYi Freelance Photographer of the Year

©Daniel Berehulak from his project "Maha Kumbh Mela"

©Daniel Berehulak from his project “Maha Kumbh Mela”

Daniel Berehulak has been named Photographer of the Year–Freelance at the 2014 Pictures of the Year International Competition. Berehulak, who is based in New Delhi, India, won the honor for a portfolio that includes stories about malnutrition and drug addiction in Afghanistan, the Hindu pilgrimage Maha Kumbh Mela, and celebrations by South Africans of Nelson Mandela just after his death last December.

The prize, which was decided yesterday and announced today, were part of the Reportage Division of the POYi competition. Yesterday, POYi announced on its web site that Annalisa Natali Murri won the Community Awareness Award her project “Len’s Daughters,” about women still struggling to survive after a massive earthquake in Armenia in 1988. Robin Hammond won the World Understanding Award for his project “Condemned,” about the neglect and abuse of the mentally ill in war-torn African countries.

PDN posted a story yesterday identifying other winners of Reportage Division categories.

Jurors for the Reportage Division included Danny Wilcox Frazier, Renée C. Byer, Richard Cahan, and Lara Solt.

Judging of POYi’s Editing Division entries began today. Multimedia Division judging begins on Saturday.

Related articles:

Robin Hammond Wins 2014 POYi World Understanding Award

Robin Hammond Wins $30,000 W. Eugene Smith Fund Grant (subscription required)

National Geographic Experiments with a New Form of Digital Storytelling
(Nick Nichols’ Serengeti Lions)

Barbara Davidson Names 2014 POYi Newspaper Photographer of the Year

Patrick Smith Named POYi’s 2014 Sports Photographer of the Year

February 14th, 2014

Patrick Smith Named POYi’s 2014 Sports Photographer of the Year

©Patrick Smith

©Patrick Smith

Freelance photographer Patrick Smith has won Sports Photographer of the Year honors at the 2014 Pictures of the Year International competition (POYi). Smith won for a diverse portfolio that emphasized his NASCAR coverage, but included sports action, portraits and feature photos of athletes and fans of various sports.

National Geographic magazine has won the top prize in the Sports Story Editing category for a story titled “On the Trail with the First Skiers,” a story about skiers in a remote area of China and the clues they offer about the evolution of the sport. The story was photographed by Jonas Bendiksen.

Other categories in the 2014 POYi Sports Division contest and their first-place winners include:

Sports Action: Mark J. Terrill of Associated Press for his photograph of welterweight boxer Pablo Cesar Cano landing a punch on the face of opponent Ashley Theophane.

Sports Feature: Jabin Botsford, a student at Western Kentucky University, for an image he shot at a Kentucky high school cheerleading competition.

Recreational Sports: Alex Goodlett of the Daily Herald (Provo, Utah), for an image he shot at a high school volleyball match.

Sports Picture Story:  Daniel Ochoa De Olza for a story about bullfighting in Spain.

Judges for the Sports Division entries were James Colton, Elsa Garrison, and John McDonnell

Judging for the Reportage Division (formerly Magazine Division) entries begins tomorrow and continues through this weekend. Editing and Multimedia Division entries will be judged next week.

Related
Barbara Davidson Named 2014 POYi Newspaper Photographer of the Year

POYi Posts Winning Entries for Its Newspaper Division Contest (And PDN Names the Photographers)

February 11th, 2014

Barbara Davidson Named 2014 POYi Newspaper Photographer of the Year

Los Angeles Times photographer Barbara Davidson has won Newspaper Photographer of the Year honors in the 2014 Pictures of the Year International (POYi) competition, contest organizers announced this afternoon.

“[T]he judges noted a strong balance of powerful aesthetic with solid journalistic content” in Davidson’s portfolio, POYi organizers said in a prepared statement. Her portfolio included two picture stories: “A Healing Bond,” about a girl from Afghanistan who came to the US for medical treatment; and “LA’s Shooting Season,” about the trauma team at Harbor-UCLA Medical Center.

Runners up for Newspaper Photographer of the Year honors were James Oatway of The Sunday Times (Johannesburg) and Lacy Atkins of the San Francisco Chronicle.

Winners of all the POYi Newspaper Division categories were identified by PDN earlier today.

Meanwhile, POYi judges also selected winners in two Sports Division categories today. They include Alex Goodlett of the Daily Herald (Provo, Utah), who won first prize in the Recreational Sports category; and Daniel Ochoa De Olza won first prize for Sports Picture Story.

Related:
POYi Posts Winning Entries for Its Newspaper Division Contest (And PDN Names the Photographers)

February 11th, 2014

POYi Posts Winning Entries for Its Newspaper Division Contest (And PDN Names the Photographers)

 

©Taslima Akhter

©Taslima Akhter

Taslima Akhter of Bangladesh has won first prize in Spot News category of the Newspaper Division in the Picture of the Year International (POYi) competition, and Niclas Hammarström has won top prize for the General News category.

POYi organizers have not yet announced the names of the winners, pending completion of judging in all divisions and categories of the competition on February 25. But POYi is posting the winning entries on its web site as they are selected, enabling visitors to the site to figure out who they are. (The Newspaper Photographer of the Year entry has not been posted, however.)

Akhter and Hammarström both won prizes for heartbreaking images. Akhter’s image (shown here), called “Final Embrace,” shows two garment workers who died embracing each other in the collapse of a factory building in Dhaka, Bangladesh last April. Hammarström’s prize-winning photograph, from Aleppo, Syria, shows the badly burned face of a child.

Other categories and first prize winners for the Newspaper Division include:

Feature Pictures Story: Lacy Atkins (San Francisco Chronicle) for “100 Black Men Community Charter School.” (original story here.)
Issue Reporting Picture Story:  Lisa Krantz (San Antonio Express News) for “Twice Betrayed: Military Sexual Trauma.”
News Picture Story:  Tyler Hicks (The New York Times) for “Massacre at a Kenyan Mall.” (see Lens Blog)
Portrait Series: Sara Brincher Galbiati for “Circus Kids of Kabul.”
Portrait: Magnus Wennman (Aftonbladet) for “Merullah.” (Fourth slide in gallery here.)
Feature: John Stanmeyer for “Signal.” (lead and second image here.)
Natural Disaster: Philippe Lopez (AFP/Getty) for “Philippines Weather Typhoon.

Judging for the POYi Sports Division began yesterday. Mark J. Terrill of Associated Press won first prize for Sports Action for his photograph of welterweight boxer Pablo Cesar Cano landing a punch on the face of opponent Ashley Theophane. Jabin Botsford, a student at Western Kentucky University, won first prize in the Sports Feature for an image he shot at a Kentucky high school cheerleading competition.

Other Sports Division category winners will be selected today and tomorrow. Judging for the Reportage Division (formerly Magazine Division) entries begins on Friday and continues through this weekend. Editing and Multimedia Division entries will be judged next week.

February 27th, 2013

POYi Punts on Pellegrin Controversy

©Paolo Pellegrin

©Paolo Pellegrin

Pictures of the Year International organizers have finally weighed in on the controversy surrounding Paolo Pellegrin’s prize-winning contest entry. And they dodged the issue that is central to the debate: the legitimacy of one particular documentary-like image of a subject posing with a gun in a parking garage–at Pellegrin’s request. (The subject told PDN that the image “put him in a bad light.”)

Instead, POYi addresses only the less complicated issues about the sloppiness of Pellegrin’s captions for the story.

POYi’s statement about entry, posted in the POYi Winners Gallery below Pellegrin’s story, reads as follows:

“The spirit of Pictures of the Year International is to honor photojournalists and celebrate their outstanding documentary photography. We do not probe for reasons to disqualify work. POY understands that errors may occur in captions submitted by photographers. We are happy to make corrections and acknowledge the errors. Story summaries and captions are ‘published’ when posted on the POY website. Any misunderstanding regarding self-authorship for ‘published’ captions or story summaries will be corrected by the photographer. POY affirms the awards.”

That response to the controversy is even more tepid than that of the organizers of World Press Photo, which at least addressed the guy-with-gun image directly when they issued their statement about it yesterday:

“The jury is of the opinion that although a more complete and accurate introduction and captions should have been made available by the photographer, the jury was not fundamentally mislead by the picture in the story or the caption that was included with it.”

Asked what safeguards they have in place to vet winning entries for manipulation, World Press Photo told PDN today that they reserve the right “to ask for raw files or untoned scans and consult an external photo expert to advise on possible manipulation. This analysis focuses only on technical facts.”

Rick Shaw, director of POYi, did not immediately respond to PDN’s request for an interview about the POYi statement.

But what the POYi and WPP statements about the Pellegrin entry suggest is that the photo contests are equipped by their rules to deal perfectly well with black and white issues, and less well-equipped to deal with any ethical gray areas.

It is, after all, easier to come up with guidelines about technical questions of how much image manipulation is too much, than it is to make rules about what kinds of actions on the part of a photographer might be misleading or damaging to the subject.

But until the contests are willing to take on such ethical gray areas when they arise, they’re leaving photographers a lot of room to “make things happen,” as long as it doesn’t happen in Photoshop, and as long as the captions pass a basic smell test.

Related:
World Press Hits Pellegrin with Wet Noodle (And Other Contest Scandals)

Paolo Pellegrin and His Subject at Odds Over Photograph

February 25th, 2013

POYi Update: The New York Times and The Denver Post Excel

©The Denver Post

©The Denver Post

The New York Times and The Denver Post have both won two top prizes so far in the Multimedia Division of the Pictures of the Year International competition. Multimedia judging began on Friday. It is the final division for the competition, which ends tomorrow.

The New York Times won first prize in both the News Multimedia Story and the Feature Multimedia categories. The winning news multimedia entry, about Syrian rebel fighters, was shot by freelance video journalist Ben Solomon. The feature multimedia entry, about a couple’s struggle with the husband’s dementia, was part of the paper’s series called The Vanishing Mind, and included photographs by freelancer Béatrice de Géa.

Last week, the Times won top prize in for Best Newspaper, a POYi Editing Division category. Runners up for Best Newspaper were The Los Angeles Times and The Washington Post, respectively.

The Denver Post, meanwhile, won the MacDougall Overall Excellence in Editing Award (also part of the Editing Division categories judged last week), as well as first prize in the Issue Reporting Multimedia Story and Sports Multimedia Story categories.

The issue reporting prize was for a project by Mahala Gaylord, Joe Amon, Meghan Lyden, and Tim Rasmussen about two heroin addicts struggling to get by on the streets of Denver. (Still photos from the project also won second prize in the Issue Reporting Picture Story category during the first week of the competition.)

The paper won the Sports Multimedia Story prize for a  project by Mahala Gaylord titled “Trey’s Team,” about a high school football player’s recovery from a head injury.

In the Campaign 2012 Multimedia Story category, Jason Reed and Larry Downing of Reuters won first prize for their story titled “Chasing Obama.”

Among other POYi prize winners in recent days was National Geographic, which won first place for Best Magazine, a POYi Editing Division category.  Runners up for the prize were New York magazine and GEOthema, which took second and third prize, respectively.

TIME magazine won first prize in the Editing Portfolio–Magazine category for its Person of the Year feature about Barack Obama, photographed by Nadav Kander.

POYi Jurors will weigh Documentary Project of the Year entries today. The POYi judging ends tomorrow with the selection of winners in Best eBook & eProject, Best Website, and Multimedia Photographer of the Year categories.

February 22nd, 2013

Paolo Pellegrin and His Subject At Odds Over Photograph

Pellegrin-Shane-Keller

© Paolo Pellegrin/Magnum Photos

In response to allegations that he staged a photograph and plagiarized captions for his prize-winning story about the underside of Rochester, New York, Paolo Pellegrin has defended the work in a statement distributed by Magnum, his agency. The full text of the statement is below.

On the BagNews Notes blog, Pellegrin was accused of staging the photo shown above and plagiarizing the captions for the story, which recently won prizes in both the World Press Photo and POYi competitions. In the POYi competition, Pellegrin was named Freelance Photographer of the Year for a portfolio of images that included the Rochester story, called “The Crescent. Rochester USA 2012.” The Crescent is a section of Rochester where crime rates are high.

The subject of the photograph in question, Shane Keller, told PDN that he raised questions about the photograph in an e-mail to Loret Steinberg, a professor Keller had while studying photography at RIT. Steinberg approached Michael Shaw, editor of the BagNews Notes blog, who posted an article that quoted extensively from Keller’s original e-mail.

Keller told PDN today that it is not clear that the photo was staged. Pellegrin had asked him to pose for portraits with firearms, and Keller agreed to do that. Keller went on to say that he’s not sure he was in the act of posing for the portraits when Pellegrin took the photograph above.

“It looks like he happened to be there, in the right place, at the right moment. It looks like spot news photograph,” says Keller, who now lives in Dover, Pennsylvania. “It’s in a gray area, where if we don’t view it as a portrait photograph, then it’s on the gray line: Would it be considered a staged photograph?”

Brett Carlsen, a friend and former RIT classmate, was on the scene as Pellegrin’s assistant. He told PDN that Pellegrin had asked Carlsen to help him find gun owners to photograph in Rochester. “He was trying to find the underbelly of Rochester. He wanted to look at gun culture, and [photograph] gun owners,” Carlsen says.

Carlsen knew that Keller had guns, and called him up to ask on Pellegrin’s behalf if they could come over to take pictures. After shooting some portraits against a wall in Keller’s apartment, Pellegrin asked if he could photograph them at a shooting range where Keller was a member.

Keller says he agreed, and that Pellegrin asked if he could take more portraits once they entered the garage attached to Keller’s residence. According to Carlsen, when they entered the garage, “The light caught [Keller], Paolo told me to get out of the way, and he started taking pictures.”

Keller believes the photograph misrepresents him, and he would like to see it removed from the series.

“What bothered me more [then the question of whether it was staged] was my being associated with the Rochester Crescent. I lived in a nice and safe neighborhood. That photograph goes with a story talking about the gang and drug violence. It’s associating me with these problems in Rochester, when in reality I had nothing to do with that situation. It paints me in a bad light. I don’t look at a photograph of person with a firearm and assume they’re a bad person, but in a collection of other photographs about violence and drug issues, it paints me in a bad light.”

But Carlsen sees it differently. He acknowledged that Keller doesn’t live in a violent, crime-ridden area, but he lives a few minutes’ drive away, Carlsen says. Pellegrin’s images, he continues, “Shows that people keep guns to keep violence out of their homes. From an ethics standpoint, I think it fits. I don’t see a problem. Those  guns are in [Keller's] house to keep other people in the story out of his house.”

Pellegrin did not respond directly to a request for an interview, but the statement he provided through Magnum is reproduced below:

I’m sorry that Michael Shaw, Loret Steinberg and Shane Keller don’t like
my pictures from Rochester.  It’s not uncommon for people living in a
community to disagree with an outsider’s take. We all know that.  They
find my work “heavy handed.”  I found many of the things I witnessed in
Rochester shocking.  Part of a documentary photographer’s job is
sometimes revealing things that local elites would rather not have
discussed quite so openly.  In my experience, it was particularly true
in Rochester that certain portions of the population were disinclined to
have an open conversation about race, poverty and crime.

Shane doesn’t like the caption of the portrait I made of him.  (He does
acknowledge, however, that this picture was a portrait, and I’ve never
indicated otherwise.)  Here is the caption for that picture:
“Rochester, NY, USA.  A former US Marine corps sniper with his weapon.”
Shane agrees that he is a former Marine and that he is standing with his
weapon in Rochester.  My firm recollection is that Shane described
himself that day as a sniper.  He may have misspoken; I may have
misunderstood; or he may have used the word “sniper” in a manner that
was not meant to imply formal status as a Marine Corps Sniper (he spoke
for a long time about sniping).  In any event, if Shane was not actually
a Sniper in the Marine Corps the caption should be changed to read
“Rochester, NY, USA.  A former US Marine Corps member with his weapon.”

Shane also points out that I took his portrait.  This is true, and his
account of how we were introduced by Brett, who was assisting me, is
also substantially accurate.  I had been spending the majority of my
time riding along with the Rochester police in the Crescent and
otherwise interacting with the community there.  I approached the work
through a combination of reportage, portraiture, and even landscapes.  I
also realized that to tell more fully the story of gun violence in
Rochester, as exemplified by what I was seeing in the Crescent, I wanted
to make some portraits of gun aficionados.  Like any journalist, I
worked with my assistant to locate such people, and Shane was one of the
people we located.  I think his portrait, and even his reaction to it,
add an interesting dimension to the story.  Shane thinks he and his guns
have nothing to do with the violence in the Crescent; I disagree.  (For
what it’s worth, there is no firm agreement in Rochester as to what
constitutes the “Crescent;” it sometimes seems to be a conceptual
designation as much as  a geographical one.  I actually didn’t know
where precisely Brett had driven me to meet Shane, which is one of the
reasons I captioned the picture simply, “Rochester.”)

I have no idea why Shaw et al. appear to think there is something wrong
with making a portrait, or that making a portrait is not “authentic”.
As photojournalists, we make portraits all the time.  Are my portraits
from Gaza any less “authentic” because they’re portraits?  Of course
not.  It’s ridiculous.

There is one element of the Bag News Notes story that is worthy of
discussion in the face of a changing photojournalistic landscape,
however:  The relationship between my captions, such as, “Rochester, NY,
USA.  A former US Marine corps sniper with his weapon,” and the
background text about the story that accompanies them.  Traditionally,
when photographers like me produced work freelance, our agencies – in my
case, Magnum – would distribute the photographs to publications with a
background or “distro” text and a series of captions.  The captions were
meant for publication; the distro text was for editors, who, if they
took the work, would assign a writer to produce a text that would
accompany the captioned pictures.

In Rochester, I produced the work directly as part of a collaborative,
freelance project with a number of my colleagues, and the work ended up
winning awards without ever having been mediated by the English-language
press.  (Some of the work did appear in Zeit in Germany, although
Shane’s picture did not.)  Thus, my photo captions are accompanied on
the World Press Photo and POYi sites by the kind of background text that
ordinarily would not be published. (Zeit, for instance, didn’t publish
it.)  This distinction between captions and background information is,
in my mind, quite important.

My picture captions are my authored work, based on my individual work in
the field, and I stand fully behind them.  (If a small correction
sometimes needs to be made — like clarifying that Shane was a Marine
but not a sniper in the Marine Corps — so be it.)

The background text, which traditionally would be for internal uses, and
not for the public, is something I gathered from various sources in
Rochester and from the internet, including the New York Times.  Factual
background sentences like, “The Crescent is home to 27 percent of the
city’s residents and 80 percent of the city’s homicides” are frequently
repeated in the neighborhoods I was working in; I believe I first
encountered the statement in connection with the House of Mercy and the
amazing Sister Grace, with whom I spent a considerable amount of time.
(The sentence is on House of Mercy’s facebook page, for instance.)  I
confirmed my background information in various interviews with the
Rochester police, the House of Mercy, and many others – but that doesn’t
change the fact that it was intended as background information, i.e.,
the starting point for someone else’s authored work.  I’m a
photographer, and I produced a body of photographic work.

Looking at the presentation on the World Press Photo and POYi sites, I
do regret the formulation, “where these pictures were taken” in the
background text in relation to Shane’s picture.  Shane’s picture is not
captioned the Crescent, and I wouldn’t have captioned it the Crescent,
because I wasn’t sure it was taken there (as stated above:  I wasn’t
sure exactly where in Rochester Brett had driven me to meet Shane).  I
captioned the picture “Rochester, NY, USA.”  But the juxtaposition with
the background text is confusing and should be fixed.  The story is
about the Crescent, and I continue to believe that Shane’s picture tells
an important part of the story about Rochester, guns, and gun violence
(whether Shane agrees or not), but I don’t want there to be any
confusion.  For purposes of clarity, I don’t have any problem with the
picture itself, how it was made, or its inclusion in my story.

One final thought:  Neither Shaw, Steinberg nor Keller ever attempted to
contact me.  They do not quote Brett, anyone in the Crescent, the police
officers I spent so much time with, etc.  It seems somewhat strange to
me that while mounting a purported journalistic high horse they
themselves did not follow the basic tenets of fair and professional
journalism.