This Week: Washington Post Assitant Managing Editor for Photos Joe Elbert was online Wednesday, Dec. 15, at Noon ET to take your questions and comments about Post photo coverage. From breaking news to combat in Iraq, photographs can capture moments in history and bring an immediacy not always possible in a text-based news story.
How many photographers work at The Post? How does the Photo staff deal with dangerous assignments in Iraq and other hot spots around the world? Have questions? Ask The Post.
Elbert has been assistant managing editor of photography since 1988. During his stewardship his colleagues have won the ed National Press Photographers' Association's Photographer of the Year four times, won two Pulitzers and The White House Press Photographers' Association's Photographer of the Year for the past six years. In 1995 The National Press Photographers association named Elbert Editor of the Year.
After graduating from Indiana University with a degree in music he began his career as a photographer with the Courier-Tribune in Bloomington, Ind. After stints with the Daily Herald, also in Bloomington, and the Palm Beach Post, in Florida, he moved to The Miami Herald. In 1979 Elbert was promoted to picture editor and four years later named director of photography.
Editor's Note: Washingtonpost.com moderators retain editorial control over Live Online discussions and choose the most relevant questions for guests and hosts; guests and hosts can decline to answer questions.
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Washington, D.C.:
As a photographer in the D.C. media,
I'm curious to learn the Post's standards
on digital retouching of an image. Also,
do your photographers have subjects in
their images sign releases or give
consent prior to publication? How is that
handled during public events?
Thanks very much.
Joe Elbert: The secret is to not change reality. Photo enhancing is often necessary for quality reproduction. As I mentioned earlier under ethics, everyone knows what's right and wrong.
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Baltimore, Md.:
Hi. I loved some of those photos of the demonstrators in Independence Square in Kiev -- particularly the ones of people placing flowers into the police shields. But, they are not Washington Post photographers. How can I get copies of specific ones? Thanks.
Joe Elbert: If you see a twp staff published photo we sell these for personal use. A search on the web of the wire service that has a picture you like will probably give you a way to order.
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Reston, Va.:
Occasionally Post pictures are cropped so that the subject (a person, a building, an interior) tilts one direction or the other for no apparent reason. And not just in the Style section. Why is that? I don't object, and in fact, I usually find the odd perspective interesting. But I'm curious as to why it's done. Is it a merely a fad among picture editors?
Joe Elbert: Some folks try to be artistic, problem is that when it doesn't work it's really awful. Yeah, we have our breakdowns like everyone else. The secret to tilts, only when you need to get everything into the frame -- This helps most of the time.
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Washington, D.C.:
I am a member of a newly formed photography club here in D.C. -- the N/Focus Photography Project -- and am wondering about the possibility of scheduling a tour at The Post, specifically with the Photography Department, to meet and talk with some of your photographers. If that is something that can be scheduled, can you please advise on the procedures for doing so.
In case you're interested, we're a group of nine photographers, all co-workers of a local transportation association, and we're currently exhibiting some of our work at U Street's Love Cafe.
Thanks.
Joe Elbert: I love photo clubs and speak/judge their contests regularly. I'll probably join a club when I retire. Public Relations here at TWP coordinates tours , I don't have the details, sorry.
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Herndon, Va.:
I have a question about model releases. I'm assuming that you don't need a model release from photo subjects if the photo is for news purposes, correct? I ask because I was going to take some photos of some high school students visiting our office (private business) for use on our company intranet as a news item (not for PR or advertising purposes). However, I was told that I couldn't photograph the students without all of them having a model release form signed by their parents. Is that correct?
Joe Elbert: We only publish photos with names. Students who are under age require parental releases. If you're using the material for news it's a whole lot different than commercial use.
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New York, N.Y.:
if you had the chance to go back in time, what historical event would you like to photograph?
Joe Elbert: I'm trapped in my reality which is the past 30 odd years. I'd have to say the collapse of communism and the wall. Not only the daily news but the feature stories.
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Washington D.C.:
Hey Mr. Elbert,
I am really just wondering how to get a crack a
shooting for you guys. I would love some advice
on how to get a portfolio review or perhaps some
opportunities for washingtonpost.com online.
Thanks for any help.
Joe Elbert: We use freelance photographers and assignment photo editors screen portfolios. We keep the group small to help them have more work and help them build a portfolio so they can go out and get a first job somewhere.
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Washington, D.C.:
Hi Joe,
Do you think there should be a written set
of rules that all publications should be
required to follow when publishing
photographs? How are questions of
ethics and accountability handled at The
Post?
Thank you.
Joe Elbert: Professional journalists know all about ethics. We have guidelines and discuss more complex situations. It really comes down to common sense -- Knowing right from wrong.
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Washington, D.C.:
Where do you recommend a
photojournalist begin to work toward a
position at The Post? Do you consider
documentary/magazine work worthwhile?
Thanks!
Joe Elbert: I started at a 5,000 daily in Southern Indiana. Smaller publications give you more opportunities to hone your skills as a photojournalist, build a portfolio and work up the food chain.
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Washington, D.C.:
Do all The Post's photographers now use digital? Do any photojournalists use film anymore? Thanks.
Joe Elbert: We converted to digital nearly two years ago. Benefit is having more time to shoot and beam images into twp.
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Washington, D.C.:
How did you get your start at The Post -- and was it easy to go from being a photographer to being an editor? Do you miss being out in the fray?
Joe Elbert: I shot for ten years and when I became an editor I had nightmares for two years. Shooting's more fun but I wanted to try my hand as an editor. Yeah, I miss the action.
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Capitol Heights, Washington, D.C.:
Good morning Mr. Elbert.
There isn't a day that goes by that I don't stop and look at "Camera Works." I love taking pictures, and I enjoy looking at them. It gives me ideas when I'm taking pictures. Could you give me one important point on taking good pictures? Thanks!
Joe Elbert: If it's a picture of a person, 'reach out and touch someone'. If you can't touch your subject you're too far away.
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Silver Spring, Md.:
Are all of The Post's photos available online? Do you ever put photos that weren't published in the paper online?
Joe Elbert: The online edition publishes pictures not published in the daily. We have a limited newshole. Photographers love it when TWP online publishes their work. Our images aren't available to browse, online.
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Lawrence, Kan.:
Daughter Sally called this morning to say you were
making yourself vulenerable today.
So... What's the difference between a picture picker
and a picture editor?
Or... As a photographer, or a reporter for that matter,
how important is it to be curious and a self starter?
Good luck. Snead
Joe Elbert: I've worked for some picture pickers and can say that's why I decided to be picture editor. At the same time, I bet some folks have accused me of being a 'picker'.
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Falls Church, Va.:
How important are photos to telling a story?
Joe Elbert: We're in such a visual society that our cellphones have cameras so we can send images to friends and family. The world's getting smaller and smaller and always will have a place. With that said, only photographs can become boring so we need a marriage of images and words.
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Washington, DC :
How does the Post assign photographers for events? I work at a Federal agency here in town, in the press office. Can we call your photography office?
Joe Elbert: We work with reporters most of the time. But we're always looking for a fresh and interesting feature opportunity -- We prefer people events and not the p.r. variety.
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Washington, D.C.:
What kind of cameras do you use -- or recommend for photojournalism?
Joe Elbert: Digital has taken over. Think how much better the images can be now that you can see whether ir not or worked and the cost savings. I'm a believer that it's the eye of the photographer and not the equipment.
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Arlington, Va.:
Who is your favorite photographer and do you do any hobby photography on the side?
Joe Elbert: Cartier-Bresson
Not much in the way of hobby and I get in trouble all the time for not taking 'snaps'.
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Herndon, Va.:
You wrote, "We only publish photos with names."
Is that really true? Clearly you have group shots with a bunch of people who are identifiable and you don't name every one of them. For instance, look at this one.
Joe Elbert: If we have a group shot we didn't do a very good job taking the picture. Our group shots are almost always less then ten people and they are identified. They picture you refer to is taken by the reporter and not what I would have selected.
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Washington, D.C.:
What kind of camera do you use?
Joe Elbert: I use about a dozen different cameras a year. I want to know how the photographers' equipment works and I test small cameras to see what would be best for reporters.
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Washington, D.C.:
How many photographers does The Post employ?
Joe Elbert: TWP photo has around 30 photographers.
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Arlington, Va.:
I think many of the color photos on page one above the fold are in color because they are in color. They don't always add to the understanding of anything. I am arguing for appropriate use of color and not automatic use.
Joe Elbert: We select front page photos for their news content. We're not in the 'eye candy' category some newspapers are. I guess you'd question our editorial decisions if you find the photos in color for the sake of color.
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Washington, D.C.:
Do you regularly depend on reporters to
shoot photographs as well as your staff
photographers?
Joe Elbert: With a newsroom of over 1,000 journalists and only 30 photographers, yes we can use the help. A strategic partnership helps everyone out. It's really up to the reporter and editors. Photographers appreciate having more time on a photo request so we may have a win/win if we do our job right.
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London, U.K:
Hi Mr. Joe Elbert!!
What do you believe separates Washington Post
photography from other newspapers?
Joe Elbert: We're really a local newspaper and most of photo's energy goes to covering the community. With over a dozen Extra editions and numerous zoned editions most folks have no idea how many nice images are created.
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Arlington, Va.:
Do you wish there were more photos on the front page and in the rest of the paper?
Joe Elbert: I'll forward you question to the top editor. We're in transition and we are trying to find a nice balance between visuals and stories. Yeah, give us more space and we'll be happier.
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Washington, D.C.:
Were you, as photo editor, involved in the posting/publishing of the Abu Ghraib photos or were those strictly chosen by news editors?
Joe Elbert: I wasn't involved but picture editors as well as other top editors worked on this project. We didn't rush and the story behind the story illustrates responsible journalism. There's a lot more to the story than folks realize.
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Washington, D.C.:
What will you be entering for the Pulitzer this year?
Joe Elbert: Wow, want me to handicap the pulitzers, huh?
The hurricane coverage out of Florida was incredible and I'd put some money on a newspaper or wire service for this story.
The L.A. Times had incredible photography from Fallujah.
I didn't list our entries, sorry we're still editing.
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Washington, D.C.:
What do you think about the New York Times use of photography? In the last few years they've been using more photography and bigger photos in the daily newspaper.
Joe Elbert: I sure wouldn't call them the 'old gray lady'. The difference over the past five years is incredible.
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Arlington, Va.:
Do you have photographers in foreign and national bureaus like reporters?
Joe Elbert: Nope, As I mentioned earlier, we have 30 photographers. We work with National and Foreign and try to select the stories that will give readers a solid package of pictures and stories.
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Washington, D.C.:
How is it that the Washington Post photo staff has won so many prestigious awards, but we never see the photos in the paper? Shouldn't more attention be given to the great photojournalism being produced by your staff?
Joe Elbert: I agree with this statement before the web. Limited space translates to perhaps only five pictures running instead of ten when it's a story. Today, We really are publishing nearly everything that's being edited. There's a strong partnership between the print and electronic edition of TWP.
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Clifton, Va.:
How closely do you work with The Post Web site and do they have their own photographers?
Joe Elbert: We don't work closely enough. We're at 15th and L and they're in Arlington. The web has their own shooters and editors. TWP photographers go over and work with their editors on large projects that go up on the web.
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Washington, D.C.:
Suppose I shoot a great, and what I believe, newsworthy, picture that I think The Post might be interested in. Is there a way to submit a "newsworthy" picture? Does The Post use such unsolicited photos?
Joe Elbert: If someone has a breaking news picture and calls us we take a look. The most important local news picture we purchased in the past ten years was the beavers eating a cherry tree near the tidal basin. We had half the staff trying to take a picture of one of these critters but a tourist saved us.
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Washington, D.C.:
Please provide your opinion on the
difference between picture picker and
picture editor.
Thanks!
Joe Elbert: If a photographers hates the picture selected by the editor then that editor is now a picker and lost all credibility. There's also a long list of other descriptions that I'll pass on.
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Arlington, Va.:
Why is your photo department so small in
comparision to the reporting staff? Do
agencies like the AP affect that?
Joe Elbert: Like the rest of the newsroom we've grown. I like a small staff and feel we work well together. They key for me is to keep the assignment load realistic and not burn folks out. The wires are a wonderful resource and this helps staff photographers have more time.
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Escanaba, Mich.:
Good morning. As a follow-up to the question on ethics, I wonder what your opinion is on the following subject.
I am not sure if you have heard about this but another newspaper's photographer was taking photos of Christmas decorations at a large mall's parking lot in the Midwest.
While he was taking pictures, a man kidnapped a woman in the parking lot. There were numerous shoppers around and the photographer actually snapped pictures of the woman being kidnapped and not one person becoming involved to help her.
Eventually, someone called the police, but by then, it was too late.
The newspaper did publish the photos, however.
Should the photographer have tried to help the woman instead of just snapping pictures? Are there any ethical guidelines here? Thank you.
Joe Elbert: That's really tough to answer. I believe we often react as a human being first and I'm not just talking about journalists. How many of us have frozen when we're about to have an accident? How many of us have done the right thing and how many of us wish we had it to play over again?
I'm sorry I can't answer the question.
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Bethesda, Md.:
Do you find that the delay in snapping digital photos is a problem for you when you are trying to capture a very specific moment? The famous execution picture of the General in Viet Nam comes to mind.
Joe Elbert: My staff wants to hurt me over this very subject. My rule of thumb was anyting that costs less than $1,000 has a delay. This is changing with technology but its' painful.
Everyone's hears about waiting for and capturing the decisive moment -- This is all about anticipation. With digital it ain't anticipation it's knowing the future.
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Washington, D.C.:
How do press events affect coverage? The current administration has been very unwelcoming to journalists. How does this affect the photography? Will we ever see photos of Bush in an unstaged moment?
Joe Elbert: It's bigger than that.
Why do demonstrators come to D.C. Could it be for press coverage? The next question would be what's news and what's propaganda and who's out to manipulate the press?
It's more fun being a journalist in any city but D.C. -- There's less manipulation.
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McLean, Va.:
How many photographers do you have in Iraq? Are they able to go outside the Green Zone and how do you ensure their safety?
Joe Elbert: We ran into a real safety issue and we weren't getting the access we felt we needed to tell the story. We've been selective when imbedding but on the street photography has been dead for close to a year.
It's up to the photographer whether he/she wants to go to Iraq.
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College Park, Md.:
I think it would be neat if The Post had a weekly "photo" section in the print edition... a sort of weekly digest of good and newsworthy photos. Has any thought ever been given to such a thing?
Joe Elbert: The web is a better place for this work. We don't have the space.
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Joe Elbert: Listen, enjoyed your questions and I'm glad so many of you follow photography. I've been in the field for over 30 years and continue to have fun and work hard.
Happy Holidays,
joe
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Jacksonville, Fla.:
Which newspaper (besides The Post!;) do you think does the best job with photography -- both the quality of the photos and usage in the newspaper?
Joe Elbert: i visit with a lot of photographers at small papers throughout the country and am always impressed with their commitment and photography. Check out the web for local papers and you'll see a real commitment to community journalism.
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Bethesda, Md.:
Hi Joe,
I am a journalism student and I'm writing a paper about war coverage. I had a question about publishing war photos. How do you differentiate between what tells a story accurately and what is too gruesome? Why do you think readers feel so strongly one way or another about what should and should not be published?
Thank you.
Joe Elbert: Sorry, the answer won't fit in this format. I'd recommend interviewing some leaders in the industry for their points of view.
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Washington, D.C.:
Does the Post photo section ever do gallery-type shows or expos of your photos?
Joe Elbert: No, I wish we did some shows but to e honest the photographers and editors don't have a lot of time at the end of the day.
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