A few weeks ago, I decided to prepare and can my own pickles for the first time. Without an expert canner to guide me, I obsessively read up on the dos and don’ts of pickling and canning.

I found the process to be quite easy and enjoyable, as long as I adhered to the steps. Back in the office, I triumphantly told Jonathan of my success, and he said, “there must be some sort of connection between pickling and content strategy.”

There is. And here they are—what preparing pickles can teach content writers:

1. Do your prep work. My grandmother was an excellent pickle-maker, and her secret weapon to ensure delicious and crunchy pickles is an ice bath. Before you even get started on the pickling, you need to soak the sliced cucumbers in ice for at least three hours. You can’t rush this part of the process, even if it does eat up most of your Saturday afternoon.

Before you start writing, you need to put in the time and do the essential research that will inform your writing. Thoroughly read your background sources, and spend the time referencing additional sources that will strengthen your piece. You want to put in this time BEFORE you get going—if you don’t, you might end up with a less-than-appetizing finished product. No one likes soggy pickles, and no one likes less-than-compelling content.

2. Don’t forget to wear your gloves. Having decided that my pickles should be both hot and sweet, I spent the better part of an hour carefully slicing countless jalapeño and poblano peppers. I was more careless than careful, and the oils from the peppers seeped into the pores on my hands, and painfully burned for the rest of the afternoon.

When writing potentially hazardous content, be sure to wear gloves. If you don’t, you might continue to feel the pain even after the piece is complete.

3. Sterilize. If you don’t wash, dry and sterilize your mason jars and lids, you could end up with poisonous pickles.

Same goes for content writing: you want to make sure that your piece is germ-free, clean and entirely your own content. Even the slightest bit of unwanted substance puts the entire jar at risk.

4. Listen for the ‘pop.’ When your mason jars are packed full of pickles-to-be, you place the sealed jars in a hot water bath and boil for 10 minutes to process.

After carefully removing the jars from the hot water with a pair of tongs, they’ll begin to cool. Over the next hour or so, you’ll hear a loud ‘pop’—which means that the jars are air-tight, and the seals have taken properly.

Before your draft becomes a completed piece, you need to make sure that it ‘pops’ as well. Read the piece aloud. Does it have that Je ne sais quoi that makes the article shine, or do you need to take a step back and re-process?

5. Store in a cool, dark place. Being a pickler requires patience. After you have canned the pickles, you need to let the jars sit for at least two weeks to let the spices infuse the cucumbers. You could eat them earlier, but they probably wouldn’t taste much like—or nearly as good as—properly aged pickles.

Writers rarely have the luxury of sitting on a piece for an extended period of time. Unless you’re on a tight deadline, do allow any time you can spare apart from your writing. Be patient. Walk away. Sleep on it and revisit in the morning with a clear head. You’ll see something that you didn’t before.

Your pickles (and your content) will thank you.

—Wendy Joan

(Jalepeno photo by Beau B, mason jar photo by Brown Eyed Bombshell, Pickle photo by Wendy Joan)

You’re making your readers angry. Stop it.

Content strategists often get very wrapped up in the concrete deliverables of the content creation and production process, and that’s understandable, because they are the sorts of things that are easy to make into line items in a proposal budget. If there is a sexy part of content strategy, it’s content creation and delivery.

But the final piece of the content strategy puzzle is often the part that gets the least thought and fewest resources once the sexy part of a project is “completed.” Of course we are talking about site maintenance, one aspect of content governance.

In the olden days, many sites often had a “contact webmaster” link that would often open an new email, or send you to some onerous form, or worst of all, send you to an FAQ page that had the sorts of questions that no one had ever or would ever ask.

Even if you were able to send a message about your problem, the chance of getting any sort of meaningful reply was vanishingly small, if you received a reply at all (That’s right, I’m talking to you, Newsvine. You’ve never responded to TWO queries about my account. But hey, I’m just one more ANGRY user who no longer partakes of your product.)

But all those user inquiries do go somewhere (even if it’s an unmonitored mailbox or some sort of auto-reply bot), and how those emails are handled is going to go a long way toward making your users happy. Anytime you can get a kind human response out of a computer means a lot to the puzzled and frustrated human on the other end.

Here are several tips on how to be the best website manager you can be:

1.    Know thy CMS. Chances are if you are the one checking the system admin inbox you are also the person updating the content on a regular basis. If you were really lucky, you got to participate in the design and beta testing of the site, so you’ll have fixed many of the UX flaws that might have made your visitors angry. But, inevitably, there were items that got pushed to “YourSite 2.0” and some wonky features that got left “as is” because no one wanted to go to the trouble/expense of fixing them, rationalizing that, “people would figure them out.” Regardless of how you ended up where you are (and how bleak that landscape might be), learn your platform inside and out. Know how the content needs to be tweaked in the back end so it looks and performs its best on the front end. Whether you’re using Joomla, Umbraco, or, God forbid, RedDot, you must become one with your CMS.
2.    Be a problem solver. The vast majority of people aren’t writing in to pay you a compliment. They have an issue. Give them an answer. And if you can’t give them an answer, or if you know the answer to their question isn’t going to make them any happier, apologize, sincerely.
3.    Take accountability to the next level. If you see the same issue cropping up over and over again, don’t blame the users; take a hard look at your site and fix what you need to in order to create a better and less frustrating user experience.
4.    Become an expert in the site’s subject matter. If you are running a site about cars, you better know your bias-plys from your radials. This is going to make your job easier in the long run and is going to make the provision of excellent customer service faster and more reflexive.
5.   Be nice. You will be asked stupid questions and you will be asked them over and over again. It may be the 10,000th time you’ve been asked something, but to the person on the other end, it may be their first experience with your site. Make sure it’s not their last.
(And for the truly off-the-wall questions, have a sense of humor. Years ago, while working at a ski resort in Colorado, questions like, “At what altitude do the deer turn into elk?” and “When it gets really busy, do you use both side of the chairlift?” were commonplace. Roll with it.)
6.    Be open to new ideas. You will receive a lot of suggestions about how to improve your site. Some of them will actually be good. Politely thank everyone and quietly implement the best ideas.
7.    Know when to escalate. Some people will be asking about your products and services. You should consider this an epic fail for your site and something that rates pushing the panic button if it happens too often. If people are contacting the webmaster and asking how to buy your products, you have a huge UX problem.

Most of what you need to know about being a website manager you learned in kindergarten. Be kind, helpful and patient. Listen. Share your knowledge. This is all basic stuff, but considering how rare it is to encounter it in the wild, it certainly deserves another mention.

—Jonathan
@bentpiton

Photo of The Minotaur and The Hare by Jim Linwood

Too many articles and blogs (ours included) have set out to define Content Strategy, called it King, whitewashed it as “content marketing/SEO.” Some have hyped it with agendas and sales pitches, others with heartfelt enthusiasm for the buzzword d’jour.

The more I think about Content Strategy, the more I see it centered in and around project scope. As budgets tighten, content measurability logic matures and ROI has a smaller and smaller proof of concept window. Defining a robust scope for CS-related projects is paramount for all involved.

For the Client

At the simplest level, scope defines what the vendor is going to accomplish for price of the contract.

In my experience, there are four client attitudes about scope:

• Those who see the value in digging to the root of the problem and do have the budget
• Those who see the value in digging to the root of the problem but don’t have the budget
• Those who don’t see the value in digging to the root of the problem
• Those who don’t see the value in digging to the root of the problem because they don’t have a budget

And there are two strategies clients administer for scope definition:

• The formal RFP process (Scope is brought to the table as part of RFP)
• The relationship process (Client comes to table with loose scope and the practitioner digs deeper)

For the Vendor

Scope defines what the vendor is and isn’t responsible for.

I’ve spoken with some other agencies and this is what I hear about scope:

• Clients with  the bigger budget get the better end-product
• There is cheap, good and fast—pick two
• I’ll work with you as much as I can, but at the end of the day we all need to make money
• There are no problems, only opportunities, but opportunities cost money to investigate

On the vendor side, there are two methods of scope definition and estimation.

• Plan for the worst and price accordingly
• Price reasonably and define what is and isn’t included, and carefully outline rates for out of scope work

The problem with these methods of thinking about scope (for both parties) is that the balance between the “best solution” and the “appropriate price” are at odds. The RFP is often not broad enough to get to the heart of the problem. And the vendor can only solve what he/she has access to, both politically and financially. So what usually happens is the client will cut what doesn’t seem relevant, fit the budget, or have a clear ROI. And the vendor will reduce services/deliverables to maintain profitability.

Scope Management

Scope Management, a content strategists’ most powerful tool, is often as much about Change Management (a.k.a. getting everyone to agree that there is an elephant in the room) as much as it is about Content Strategy. Proper Scope Management empowers the vendor to perform the difficult, time-intensive work and empowers the client to tackle real change at the root level. A project may be RFP’ed for a new website on an existing infrastructure—while the answer may lie in a CMS assessment that is outside that scope. Scope is not about padding the bill, it is about finding the best solution and implementing it.

Content Strategy is the tool that unearths and assembles the puzzle pieces spread across legacy systems, marketing agendas, newsletters, content, code, DB’s and design.* CS will grow in proportion to the depth it digs, both across other practices and intra-project. The marriage of Scope Management and Content Strategy requires content strategists to push for the deeper digging and clients to be open to a little more work for a much greater return.

*Not all the puzzles pieces are listed. And there is no picture on the box.

—Ian

Twitter me @eatmedia

Is it ever OK to lie with your content?

Quick answer: Yes, but only if you are very good. More on what “good” means in a second.

Back in July, spy photos and brief video surfaced on several automobile enthusiast websites. Depicted was a prototype Porsche station wagon, known in automotive parlance as a shooting brake.

The photos and video caused a sensation and spread throughout the enthusiast community, driving loads of comments on blogs and rampant speculation as to when the boys from Zuffenhausen were going to release the official car to the public. The Frankfurt Auto Show? Tokyo? People wanted to know.

The questions continued to pour in. Did this mean Porsche was abandoning it’s oft-maligned SUV, the Cayenne? Was this new shooting brake, clearly based on the entry-level Cayman, going to be Porsche’s only venture into the world of station wagons? Was Porsche going Volvo on the world, and completing its sellout?

The company had nothing to say. And if the voices clamoring in the blogosphere had calmed down for just a minute, they might have heard the faint sound of snickering.

As it turned out, Porsche’s shooting brake was a fake. The whole thing was dreamed up by the then soon-to-be-unemployed staff of Top Gear America as a parting gift to the show’s many fans.

Most people hate being duped, but in this case, there was no backlash against the show. Accumulate enough goodwill in a community and you will be forgiven the occasional whoopee cushion on the chair.

If you were inspired by the Top Gear crew’s antics and are determined to set the world afire with your own tall tale, here are a few things to keep in mind if you want to be good and do it right..

1. Execute. The only way you have even half a chance is to come up with something clever and then make it sing. It ain’t going to work if people don’t believe it.

2. Don’t mess with people’s emotions in a negative way. I think we can all agree that the Balloon Boy fiasco—originally dreamed up as a publicity stunt—managed to generate only the wrong kind of attention once the truth came out. Nothing that ends with a criminal investigation is worth it.

3. Enhance your cool. Some people don’t react well to being pranked. There isn’t much you can do about this, but you are required to have a sense of humor when dealing with those who don’t.

4. Don’t forget your audience. The Top Gear stunt worked well because the automobile enthusiast community is used to manufacturers trying to hide new models (often in plain sight) and used to manufacturers building show cars that never make it to production. Plus, these are enthusiasts; they love to talk about cars, the good, the bad and the ugly.

5. Be prepared for blowback. Some people, bless their gullible hearts, won’t understand the joke and may begin acting on some of the falsehoods you’ve laid out. Years ago, I wrote a newspaper column, published on April 1, which stated that the legislature had just passed a law changing Daylight Savings Time to mean a two-hour forward leap instead of the customary one. Despite naming my fictitious governor’s press secretary Jacques Strap and despite reminding readers to look carefully at the dateline of the newspaper, we were deluged with calls wondering when this was taking place. Exercise your power judiciously.

—Jonathan
(@bentpiton)

Still not using social media to its full effect to promote your content? Well, maybe you can take a lesson from the President.

A couple Sundays ago, President Barack Obama pulled a what’s known as a “Full Ginsburg” by appearing on all five major Sunday morning political talk shows on the same day. Obama was plugging his healthcare reform package, and hitting all the talkies at once, and although politically risky, was really the only way to spread his message far and wide.

Why? The multiplying effect.

• Obama makes his plea on each of the news shows. Most politicians, policy wonks, assigning editors, and the entire staff of Politico are watching.
• The first round of stories and blog posts come out that afternoon. Other bloggers and commentators weigh in.
• The first round of response stories gears up and the second round of stories moves on smaller news outlets. The number of readers and commentators grows.
• And so on and so on and so on.

By Monday morning, anyone who follows the news knows what Obama’s healthcare plan is.

So for your next blog post, I want you to try what I’m going to christen a “Full Brogan,” named after social media marketing maven Chris Brogan.

Your blog post starts with you. It will be read by the usual visitors to your blog, but unless you are Seth Godin, that’s probably not a really large chunk of the populace.

So seed the post all over the place: via your Twitter feed, on your Facebook page, on Digg, Delicious, StumbleUpon, Reddit and Fark. If you are feeling really jaunty try Mixx, Newsvine and Sphinn, among many other choices. All this Johnny Appleseed activity comes with a two-part caveat. If you are not already a member of one or all of these communities, you are going to have to join; and likely, until you’ve spent some time there listening, adding to existing conversations and starting some of your own, it’s not likely that the pebbles you are tossing in these very large ponds are going to make waves of consequence.

But if you keep giving and keep sharing quality content, eventually, the multiplying effect will take over. In August, I seeded a blog post on MIT’s Personas project around on several sites. The next morning, I checked the hit count on our blog and the numbers had gone through the roof. We’d had three months worth of hits in one day. A look slightly deeper into the blog stats saw the bulk of the traffic coming from one source: Reddit.

Determining why the post got so much attention gets a bit trickier, but it ties into how you take care with making your contributions to social media sites and not just start seeding willy-nilly.

Make sure you write a descriptive headline. This may be the only part of your material that gets read by most people and is likely your only chance to hook them.

If the site has communities within the community (like Reddit), take the time to find the right one to post to.  If you have a story about programming, but you place it in the general story pool, you may miss the core of your audience.

Pay attention to the metadata requested by the sites, especially tags, keywords and summaries. It’s should be obvious, but it bears repeating: This is how people will find your contribution when they search within those sites. (And this should not be any extra work; you should have created this data at the same time the story was written, right?)

Finally, all this is not to say that you should ignore Mother Google by failing to keep up with your SEO best practices. It’s not the active seeking of content consumers that you’re doing through your social media seeding, but it’s still important (and requires much of the same metadata).

Let me know how your “Full Brogan’s” go.

—Jonathan

(@bentpiton)

Art from http://www.timboucher.com/

Learn the all the notes. Sing all the songs

Whistle While You Work

Business goals, gap analysis and taxonomy definitions are useful tools for determining what should be said where. And the different tactical delivery methods: (video, how-to article, mobile, info-graphics, social media) dramatically affect the presentation and context of the content,  helping us determine the how. Combined with budgets, calendars, SEO, style guides and a host of other details, Content Strategy attempts to responsibly create quality content and put it where it is most appropriate, in the most viable format. What song we whistle while we are doing it is inconsequential, as long as it is in tune with rest of the symphony.

Content Strategy Mimids

Most everyone can recognize the song of the Blue jay, Seagull or (fill in your regional bird). Each bird’s song is distinctive and helps them mate, protect, and communicate. But Mimids, the family of birds that includes mockingbirds, are one of the few birds that can mimic the sounds of other animals, including other birds. This is their most powerful tool and the foundation of how they survive.

Content Strategy, a broadly under-defined term, fits rather well into the family of Mimidae (Mimids). Our tools and roles are centered on our ability to mimic, understand and interconnect many different practices. Sometimes due to our ability to whistle different tunes, we are viewed as extra, unnecessary or covered under the punch list of another practice. When this is true it is usually due to poor project management or unsatisfactory vendor assessment/selection.

Great content strategists are like that friend you have who is just as comfortable (and charming) discussing Renaissance art at an Upper West Side gathering as they are graffiti in a Brooklyn rail yard. They are the kind of people who, years after knowing them, you realize they speak Swahili and went to Rice on a basketball scholarship. They are multi-faced, fascinated and fascinating. They are happily many sides of many coins and their ability to sing the appropriate song at the appropriate time, without sticking to a style, or favorite key, is what makes them valuable.

In the Content Strategy (CS) world there are four basic families:

The Mimid Families

Content Strategy Technologists—are perfect for projects that are CMS heavy (assessments, migrations, template setups), or require medium-to-heavy code/data base lifting or understanding in order to bring a project to fruition. The technologists are usually technical project managers or coders who understand that technology that just pushes numbers around is called a calculator. And calculators aren’t all that engaging to read on a Sunday.

Content Strategy Editorialists—are perfect for projects that require managing and organizing content at the nuts and bolts level (content inventory, style guide creation, editorial calendaring and curation.) These folks are writers at heart but stole away from the Underwood years ago and realized that content needs technology. *See bankrupt magazines and newspapers.

Content Strategy UX/IA’ers—are perfect for projects that require managing and organizing content at both the macro and micro level (gap analysis, wire-frames, content identification). Content Strategists with IA/UX leanings are a powerful blend of logic, information architecture understanding and have a particularly valuable focus on the space where content meets and becomes information. Go Team OmniGraffle!

Content Strategy Designers—are perfect for projects that require managing and organizing content when design is a key element of how and why the information is being presented to the user. There are some designers who simply copy the text the copywriter gave them from WordPad to Photoshop and make it pretty. There are others who ask questions like “why are we saying this on this screen.” Wireframes, information architecture and even some front-end coding are tools in their belt. These people usually have great haircuts.

Detailing these four types of Content Strategists is not meant as a selective quadfurcation but more as a glossary of the broad skill-set under the Content Strategy umbrella. And while each of the above may have leanings towards one strength, be it Design, UX/IA, Editorial or Technology, the practice itself hinges on the practitioner’s ability to understand all the notes and know when to sing which song, when to listen and when to hit shuffle.

—Ian

It’s a simple question really—what is your digital footprint?

The obvious first step most people would take would be to consult one of the mainstream search engines.

So sure, you can Google yourself, or if you are feeling particularly jaunty, give Bing a whirl.

Metasearch engines like Dogpile and Mamma can give a broader view, sometimes pulling in more obscure results.

Semantic search is the next step. Kosmix, Clusty and Primal Fusion are just three examples of this new way to search the web.

But if you want elegance and simplicity in the answer to our simple question, there is only one place to turn, Personas, an MIT-based project that began as an art installation.

The homepage is lovely, and, until a few days ago, looked like this:

But, this week, some explanatory text was added:

I have an uncommon last name, Maziarz, so if I do a web search on myself, the results are pretty focused, so I was interested to see what Personas came up with. I ran the search five times, and, interestingly, got five different answers.

The first, and my favorite, due to the outsized presence of the word “illegal,” is below:

I’m not sure where the “fashion” or the “religion” bars come from, but the rest were at least plausible. The other four times I ran the search, “news” continued to dominate (no surprise after 10 years in the newspaper biz), but illegal disappeared altogether and the other fat and thin bars varied.

As the Personas homepage notes, data mining techniques are growing more sophisticated by the day, meaning that even the most faint parts of your digital footprint are being scanned, collated and analyzed by government and corporate entities.

How does the web see you?

—Jonathan

@bentpiton

If you want great content, nothing beats a compelling story.

It’s the first rest day of the 2009 Tour de France cycling race and in the absence of having to follow live updates from the roads of Gaul today, let’s look at nine elements of great storytelling as illustrated by this year’s Tour.

1. A rich backstory. This year’s iteration of the Tour has something that has been sorely lacking for the past few years: a compelling backstory. The backstory is one that’s as old as human civilization: the conflict between the power and vitality of youth versus the wisdom and experience of age.
2. A young brash upstart. 2007 Tour de France champion Alberto Contador, known as “El Pistolero,” (The best cyclists get cool nicknames, unless they already have a Saturday matinee idol name, like Lance Armstrong.) was the heavy favorite coming in to the race. Not only was he riding for the strongest team, Astana, but he has proven himself to be one of the best climbers in cycling, winning the trifecta of cycling’s grand tours—Spain, Italy and France—already in his young career.
3. The old lion, back for one more shot at the title. Seven-time Tour champion Lance Armstrong stunned the cycling world last fall when he announced he was returning to competitive racing and planned to compete in the Tour de France, cycling’s biggest race. Armstrong, who spent more time in the tabloids than on his bike in the past few years, said he was mainly coming back to draw attention to his Lance Armstrong Foundation , one of the premier cancer education and support resources, but most pundits speculated that if Armstrong was going to race, he was going to race to win.
4. A grueling test. The Grande Boucle, as it’s known in France, is cycling’s most demanding test. Three weeks. Thousands of kilometers in the saddle. Tens of thousands of feet of climbing. Nowhere to hide. This year’s course is somewhat peculiar for several reasons.  The team time trial was back, but the individual time trials are short and technical. The race’s two forays into alpine territory feature only three summit finishes and one of the Tour’s legendary obstacles, the Col du Tourmalet, was placed in the middle of stage, reducing its race impact to nil.
5. A shot across the bow. In the race’s only summit finish in the Pyrenees, into the ski station at Arcalis in Andorra, a select group of contenders rode together toward the summit until Contador, apparently not acting on team orders, attacked the field and rode away alone toward the finish. This show of strength added fuel to the fires of discord between Armstrong and Contador and indicated a possible split in the team.
6. The French. Can you minimize the fact that this race is taking place in France? No way. The French love a good story and they love to be right in the middle of it. After a love/hate relationship with Armstrong while he was winning the Tour, the French have jumped on the Lance bandwagon this July. As Velo News editor-at-large John Wilcockson (@johnwilcockson) noted last week, “The French love an underdog—and old dogs.”
7. An unwritten code of conduct. When Contador took off on the road to Arcalis, Armstrong was bound by the part of the cycling code that does not allow you to attack a teammate once he goes up the road alone.  Armstrong instead stayed back to mark the other contenders, none of whom tried to follow Contador. Contador is bound by the same code (of course, they are more like guidelines than actual rules) and has stated that he won’t follow an attacking Armstrong when the race hits the Alps later this week.
8. A near insurmountable obstacle. What happens in the Alps may not even matter because of what stands in the way of riders on the penultimate day of the Tour. Two words that strike fear in the heart of every cyclist: Mont Ventoux. A summit finish on the “Giant of Provence” will likely decide who will ride into Paris the next day wearing the race leader’s yellow jersey.
9. Wild cards. Armstrong and Contador are not the only world-class cyclists competing in the Tour this summer. In addition to two other potential podium finishers on the Astana team (Levi Leipheimer and Andreas Kloden), 2008 TdF winner Carlos Sastre, two-time runner up Cadel Evans and others lurk, waiting for an opening.

Can Lance Armstrong beat back Contador’s challenge and the sands of time to win an eighth Tour?  Coming back to “win one more” rarely succeeds, but Armstrong can look at one other great champion who made it happen: Pete Sampras. Sampras won his fourteenth and final major championship, the U.S. Open, two years after most pundits had written him off.

The 2009 Tour de France has all the makings of race for the ages and certainly has more intrigue than the last few iterations. When will we know the true quality of this year’s story? Not for a while yet.

A story only becomes truly great when it passes into legend and someday when that legend becomes myth.

— Jonathan

(@bentpiton)

Photo of Mt Ventoux Summit by Pereubu

Photo of Tom Simpson Memorial on Mt. Ventoux by Welland

We may have reached the point in the internet revolution where pervasive broadband access has made everyone a publisher, but this explosion of content providers—most of them roaring pell-mell down the information superhighway—has made the need for savvy editors ever more acute.

This thought struck me yesterday as I was plowing through Flickr, looking for some photos to accompany an upcoming story. The simple search for “student teacher”—and mind you, this was not on the full Flickr library, but just the Creative Commons subset—led to nearly 900 results.

Too many to wade through, but after having exhausted the 7.4 million photos on Shutterstock and not even finding one appropriate and non-cheesy photo, it was off to the wild, wild West of photography, Flickr.

Screen after screen shuttled by, but eventually, I was able to dig up a few gems that could be sent to the stakeholders along with the story.

As I chugged through the 895 items tagged with the words student and teacher, I did find myself longing for a little self-editing from the photographers on the other end. Many of the photos were of dismal quality, the kind of snapshots that in the Fotomat era, would never escape the little envelope and find their way into an album. What, I wondered, was the person thinking who uploaded all 200 shots from a new teacher retreat in China, most of them underexposed and completely bereft of anything resembling composition? And what was with all the shots of the guy scooping out the innards of a watermelon? Why did the photographer feel compelled to take those photos in the first place, and then, later, decide that more than one needed to be shared with the world?

Why wasn’t the photographer editing as he went? When I trained as a photojournalist, I was repeatedly admonished to “Crop with the camera, not in the darkroom.”

Memory cards with massive capacities have made it too easy to take too many photographs. Giant hard drives make it too easy to keep every photo; just download and resume shooting. I am guilty of this at home. There are seven years worth of photos of my dogs and five years worth of photos of my son at home on my iMac.

But yes, only select images have been edited in Photoshop and either printed or emailed to family and friends. I can remember a set of photos, uploaded to a sharing site by a-family-member-who-shall-remain-unnamed, that contained more than 100 images of his young child, all from the same trip to a pumpkin patch or petting zoo. I scanned the thumbnails, but I couldn’t make myself leaf through all of the photos.

Which brings us back to why editors are going to be ever more valuable as the amount of content on the internet continues to burgeon. We may all be publishers, but we are not all editors.

1.    Editing is a skill. Whether it’s text, photos, video or audio, deft editing takes experience and knowledge.
2.    Editing is an art. Having the ear that detects a tin word, the eye that can pull the one image from hundreds or thousands or the touch to slice up an hour of raw video into 10 compelling minutes, there is an aspect to editing that cannot be acquired; it must be possessed.
3.    Editing takes time. If it’s not being done as the writer writes or the photographer shoots, it’s going to have to happen at the editor’s desk. The less care taken on the front end means the more care that will need to be taken on the back end.
4.    Editing takes care. Corralling and curating your content so that it stay fresh and compelling is the only thing that is going to keep your readers coming back.
5.    Editing is necessary. Is it reasonable to ask users to edit their own content? Maybe. Is it going to happen consistently and carefully? Probably not. There are plenty of websites that are just content dumps. Don’t let yours be one of them.

—Jonathan

(@bentpiton)

Photo by Jennie Faber

The digital revolution has driven another stake into the heart of the old world. And as a journalist who’s entry into the field was as a photographer, this one hurts.

Kodak announced on June 22 that it was ending the production of Kodachrome slide film, it’s oldest film product, and for many photographers, the gold standard for capturing life-like color.

This comes on the heels of other bad news in the photographic world.

Nikon, probably the world’s most famous manufacturer of cameras, now builds only two flim cameras, both SLRs, one pro model and one for amateurs. It makes no point and shoot film cameras. None. This contrasts with the nine digital SLRs it builds and the 17 digital point and shoot models it carries.

As a photography buff and a student of the art, this is a low moment indeed.

Sure, digital cameras make images instantly available, and I doubt the growing clamor for instant gratification in the United States will ever be slaked, but whatever happened to the good things that come to people who wait?

And yes, digital photos can be e-mailed around the world at the touch of a button, and yes, digital photos can be printed in the comfort of your own home, but hasn’t this level of convenience cheapened the value of a photograph? Are they still even worth a thousand words?

Of course, the quality of digital prints is still lower than what comes from 35 mm film. Even the best digital cameras only capture a fraction of the amount of information that’s enclosed in a single frame of 35 mm. That, coupled with most people trying to print digital photos on poor quality paper and using as low a resolution as possible, means that many, many digital photos barely qualify as snapshots.

But the worst thing about digital photography is that it kills the magical alchemy behind photography. It used to be an art, something that required skill, innate talent and time spent working in an apprenticeship role to someone who could pass on years of knowledge.

Photography classes must still teach composition and exposure, but with ever-more-automatic cameras and computer programs to fix nearly any photographic glitch, how long will it be before we are looking at nothing but perfectly composed, perfectly cropped and perfectly exposed — yet utterly lifeless and soulless — photographs?

Yes, I’m talking to you, Photoshop.

The days of students learning how to mix chemicals and how to work an enlarger in total darkness are long past, and the art is certainly poorer for it. Photography no longer requires a knowledge of chemistry, mathematics and physics. Everything is reduced to little ones and zeros, like so much else in the world.

I still yearn to have a darkroom in my home, a place filled with trays of acrid chemicals and kept in soothing darkness much of the time. A place where the right combination of science and artistry can still yield magic, magic in the deep blacks, the bright whites and the countless shades of gray of a real photograph.

—Jonathan

Photo by michelphoto53 en Rénovation