THE STATE OF NEWS PHOTOGRAPHY 2018Photojournalists .
THE STATE OFNEWS PHOTOGRAPHY2018Photojournalists’ attitudes toward work practices,technology and life in the digital ageBy Adrian Hadland and Camilla Barnett
CONTENTS3456891011252627INTRODUCTIONEXECUTIVE SUMMARYEDUCATIONEMPLOYMENT PATTERNS AND WORK PRACTICESETHICS AND STAGINGTECHNOLOGIES AND PLATFORMSSECURITY AND WELL-BEINGDEMOGRAPHICS AND DIVERSITYCONCLUSIONBIBLIOGRAPHYCONTACTCover photo:Li Huaifeng, ChinaEarth KilnPeople, Singles 3rd Prize2018 World Press Photo Contest2 The State of News Photography 2018
INTRODUCTIONIn 2015 the World Press Photo Foundation, the University of Stirling, and Oxford University’s Reuters Institutefor the Study of Journalism launched the State of News Photography survey to document the hopes, fears,practices and changes in the work lives of those who make a living from taking photographs in the digital age.Over the last four years, these annual surveys produced an unrivalled database of insights.Along with the reports published by the World Press Photo Foundation (see Hadland, Campbell and Lambert2015, Hadland Lambert and Barnett 2016), the data has enabled scholars to publish more detailed research onissues such as gender within photojournalism (Hadland and Barnett 2018), the state of sports photojournalism(Haynes, Hadland and Lambert 2016), as well as to further investigate the high degree of risk to which so manyphotographers are frequently exposed (Hadland, Lambert and Campbell 2016).While a survey of photographers who have entered the annual World Press Photo Contest between 2015 and 2018provides detailed insights into the lives of working photographers, many photographers do not enter thecompetition for a variety of reasons. As a result, we do not claim that this data represents all photographersor the industry as a whole. However, detailed responses from 5,202 photographers from more than 100 countriesover four years does capture many of the key issues facing people who choose to make a living from photography.This report will summarise some of our key findings over the last four years, identify new areas of interest,and reflect, in particular, on issues of gender and diversity and their impact on the industry going forward.3 The State of News Photography 2018
EXECUTIVE SUMMARYEDUCATIONTECHNOLOGY AND PLATFORMSDEMOGRAPHICS Photographers who participated in the surveyare highly educated with over 70% possessinguniversity degrees, mostly in photography,journalism and the arts and humanities. Fewer and fewer of the participants indicatedthey still use film cameras (18% in 2018, down from26% of respondents in 2015) More than half of participating photographersare Caucasian/White, over 80% are men and abouttwo thirds are between the age of 30 and 49. The proportion of photographers who received‘in-house’ training fell from 25% of participantsin 2015 to 21% in 2018. There was a strong increase in the use of dronesfrom 3% of respondents saying they were usingthis technology in 2015 to more than 8% by 2018. Only 1% of participating photographers classifythemselves as Black. Photographers have shifted from Facebook toInstagram as the preferred social media platform. Photographers identifying as non-Caucasian/non-White were significantly more likely to reportfacing physical risk at work. Non-Caucasian/non-White photographers were also more likelyto report risk of injury or death as their morepressing concern (49% non-Caucasian/non-White, 37% Caucasian/White). Non-Caucasian/non-White photographers werealso more likely to report that risks would increasea lot over the next 5 years (13% Causasian/White,21% non-Caucasian/non-White). 69% of women photographers participating inthis study face discrimination in the workplace.EMPLOYMENT There has been a significant decline in the numberof photographers who work full-time inphotography, from 74% of our respondentsin 2015 to 59% in 2018. The proportion who identify themselves as “PressPhotographers” is down from 14% in 2015 to 12% in2018. The number of photographers working asstringers rose from 24% in 2016 to 28% in 2018. Photographers required to provide videoincreased from 32% in 2015 to 39% in 2018.More than 90% would prefer to shoot stills only.SECURITY About 38% of photographers admit their financialcircumstances are difficult or very difficult. Use of unauthorised work has risen from 62%of respondents being affected in 2015 to 65%in 2018. Fewer than a quarter of respondentswere able to extract payment for the unauthoriseduse of their work. More photographers in our study reported theyhad received financial benefits as a direct resultof social media, up from 25% in 2015 to 30% in 2018. Less than one in five of respondents said they were“unhappy” with their current assignments asphotographers, with the overwhelming majority(over 62%) either happy or very happy.4 The State of News Photography 2018
EDUCATIONPhotographers as a group are highly educated, this study suggests, with 74% of ourrespondents in 2018 having received a university education, up slightly from 68%when we first conducted the survey in 2015. Most of the degrees obtained byparticipants in the study were in photography, journalism orin the arts and humanities. Interestingly, the number of respondents who hadreceived in-house training from their companies or organisations in photographydeclined from 25% of participants in 2015 to 21% in 2018.This may reflect the shifting patterns of employment in the industry,with large media firms employing fewer and fewer full-time photographersand self-employment on the rise across the period.5 The State of News Photography 2018
EMPLOYMENT PATTERNSAND WORK PRACTICESIn 2015, 60% of the participants counted themselves as self-employed.This rose slightly to 62% by 2018. Large media companies employed about 18%of the photographers participating in the study on long term contracts in 2018,down from 20% in 2015.More significant is the proportion of participants who said they worked full-timeas photographers. In 2015, 74% of our respondents said they were full-timephotographers. By 2018, this had fallen substantially to 59%.Around 14% of participating photographers called themselves “press photographers”in 2015. This dropped to 12% in 2018.In the 2016 survey we asked participants for the first time whether they carried outany work as “stringers”, which we described as a journalist or photojournalist“who is not on the regular staff of an organisation, but who contributes workto that organisation”. Almost a quarter of the respondents (24%) agreed thisis how they mostly worked in 2016. By the 2018 survey, 28% agreed they mostlyworked as stringers.In terms of income, the 2018 survey indicated a slight increase in the proportionof participants in the lowest income bracket (US 0-9999pa), from 35% ofrespondents in 2015 to 33% in 2018. Other categories were more or less stableincluding a small decrease in the number of photographers in the highest incomecategory (US 100,000 ) from 27 in 2015 to 21 in 2018.In both years about 38% of the respondents agreed their financial situation was“difficult” or “very difficult”. The proportion of respondents who were “managing”financially also remained stable at around 40-41% across the survey period.About a third of respondents across the four years of surveys remained positiveabout their income in the future and believed things were going to get better (33%),and a similar proportion (around 30-31%) believed things were going to get moredifficult in the year ahead.There has been a surprising degree of stability in the subject matter of photographers’work over the course of our surveys. Participants, for instance, were asked“in general, which sort of photography generates most (of your income?)”.Just under a third of respondents, between 30% and 32%, indicated that newsphotography generated most of their income. About 20% said they relied mainlyon commercial photography, 16% on documentary photography, 8% on personalprojects, 6% on portraiture, 7% of respondents relied mainly on sports photography,and 2% made most of their income from entertainment-oriented photographs.All these figures are remarkably consistent over the survey period.Similarly, when asked what kind of photography respondents spent “most of the timedoing”, each year the majority said news, followed by personal projects, documentaryphotography, portraiture and sports photography. Participants were also asked toidentify photography-oriented activities carried out in addition to commissionedwork. These, too, remained largely unchanged across the research period. Themajority of respondents said they earned extra income from commercial work,followed by personal projects, teaching and print sales. Fewer reported consultancies,crowdsourcing or exhibitions.The data across four years shows that photographers are continuing to battle againstthe unauthorised use of their work, which has worsened over the period of the study.In 2015, 63% of the respondents said their work had been used without theirpermission. This had risen to 65% by the 2018 survey. Less than a quarter saidthey had been able to extract income from unauthorised use of their work, thoughthis had increased marginally from 20% able to get payment in 2015 to 22% in 2018.“Copyright is continually violated by other companies or people. We are very unprotected,”wrote one participant in the 2018 survey. There evidently remains a large gapbetween work being taken without permission and payment being madefor the use of those images.6 The State of News Photography 2018
One area of work practice in which there was a significant change relates to therising requirement to take video as well as still photographs in the normal courseof photographers’ work. In 2015, 33% of respondents said they were requiredto shoot video, even though they overwhelmingly preferred still photography.By 2018, this had risen to almost 39% of respondents having to shoot video.The question prompted one respondent to ask (and answer) the question“whether generally increased use (and expectation of use) of video is adverselyaffecting still photography. (I think it is).”photographers barely moved in statistical terms from 29% of respondents in 2015to 28% in 2018. Similarly, about a third (36-37%) felt citizen photographers “addedsomething new” to the industry. The focus of the criticism seemed to concentratearound the issue of the ethical practice of citizen photographers.Over the four years, the surveys also identified a gradually increasing expectationfor photographers to participate in multimedia teams (52% said they “sometimes”worked in multimedia teams in 2015, increasing to 55% by 2018). The professionremains a solitary endeavour with more than 80% of respondents indicatingthey work alone, a proportion that barely changed between 2015 and 2018.While another wrote: “The accessibility people have to photography through cell phonesand social media is great, as it offers so much more new work and different styles to look atand be inspired by. it’s really phenomenal.”Citizen photographers continue to elicit a somewhat ambiguous response fromthe professional photographic community, this survey suggests. The proportionof respondents who feel negatively about the role and presence of citizenContrasting views among the respondents were clearly evident. One respondent said:“Photographers are starting to being treated as intruders, because of the huge amountof people with cameras, that have no standards”.A third respondent suggested that “amateur photography forces professionalsto be better, to understand the fundamentals of a good photo or a good story.Whether one perceives that as a threat or an opportunity depends on the mindsetof the photographer.”7 The State of News Photography 2018
ETHICS AND STAGINGOver the past four years we have tracked participants’ attitudes toward the ethicsof news photography in the digital era.In our first State of News Photography report published in 2015, we found there wasa “strong consensus” among our respondents on what the ethical rules are, or shouldbe, when it comes to photography and the digital image. This consensus hasremained resolute throughout the study period.In the 2015 report, for instance, there was strong agreement that the manipulationof photographs was an important issue for the industry and 76% of photographersindicated they believed manipulation (addition or subtraction of material contentin images) was a “very serious problem”. By the 2018 study, this had risen to 85%of respondents agreeing the manipulation of photographs constituted a “veryserious issue” within the profession. Around 90% agreed it is critical thatphotographers understand professional ethics in 2018.In spite of this level of consensus – which has risen slowly but consistently overthe four years of the study – there has been evidence of mixed attitudes and practiceon staging, manipulation and enhancement. In 2018, over half the respondentsagreed they routinely enhanced their images by altering contrast, hue, tone orsaturation and close to 20% agreed they altered the composition of their imagesby adding or removing content (other than cropping).During the period of the study, the research team attempted to collect a morenuanced picture of photograph manipulation. For instance, the purpose of thephotograph was found to greatly influence photographers’ attitudes to staging.In 2016, more than 60% of the respondents said they staged photographs thatwere portraits, which is regarded as acceptable practice. Only 6% said theystaged news photographs ‘to get a better news photograph’.In 2018, there were still 6% of respondents (or 62 photographers) who agreed thatgetting a better news photograph was reason enough to stage their images.“I rarely stage my photographs on purpose,” wrote one respondent in the 2018 survey.“But I work in underdeveloped regions a lot and people are not used to having a cameraaround. When they find out I’m taking photographs of them, they almost never actnaturally. I’m not sure if this counts as staging a photograph?”.The study’s data does seem to suggest differing attitudes to image manipulationin different parts of the world. In the 2016 report, staging appeared more prevalentin Europe and Africa and less prevalent in Australia and North America.Overall, the study indicates that photographers who took part in the research weregenerally against the idea of altering photographs, but seemed more tolerant of staging.8 The State of News Photography 2018
TECHNOLOGIES AND PLATFORMSThere were some changes in the use of technologies by photographersevidenced by this survey.Fewer and fewer of the participants indicated they still use filmcameras (26% of respondents in 2015 down to 18% in 2018), the use ofdigital cameras remained stable at around 98%. There was a dramaticincrease in the use of drones, though admittedly off a low base, from 3%of respondents saying they were using this technology in 2015 to morethan 8% by 2018.The research period saw the rise of Instagram and the decline ofFacebook as photographers’ preferred social media platform. In 2015,69% of respondents said Facebook was their primary social mediaresource. This had declined to 39% by 2018. Instagram, by contrast, wasused by 9% of respondents as their primary social media platform in2015. This rose to 49% in the 2018 study.More photographers in our study reported they had received financialbenefits as a direct result of social media, up from 25% in 2015 to 30% in2018. A higher proportion of respondents said they used social mediaoften or always in 2018 (60%) compared to 2015 (51%).Around two thirds (65%) of the respondents in 2018 said they feltoverwhelmed by the pace of technological change at least sometimes.This is very much consistent throughout the research period.9 The State of News Photography 2018
SECURITY AND WELL-BEINGFrom the first survey in 2015, one of the most dramatic statistics has been the degreeto which participating photographers feel they are at personal risk as they go aboutdoing their work. This general trend was once more reaffirmed in the 2018 studywith 91% of respondents feeling they were at risk while working as photographers.When asked what most worried them, 42% of the respondents in 2018 indicated theywere worried most by the risk of physical injury or death. More than half of therespondents said they believed that the risks of being a photographer would increasein the years ahead. The proportions of photographers who believe they face theselevels of risk has remained very consistent across all four years of the study andamong the more than 5,000 respondents.In spite of these difficult circumstances, less than one in five of our respondents saidthey were “unhappy” with their current assignments as photographers, with theoverwhelming majority (over 62%) either happy or very happy.In addition, 95% of the respondents said they felt their work was valued at leastsometimes (down slightly from 97% in 2015) and two thirds (66% in 2015, 65% in2018) believed there would be increasing opportunities for visual storytelling in thefuture.10 The State of News Photography 2018
DEMOGRAPHICS AND DIVERSITY7.1 NATIONALITYIn the 2018 survey, we had 1,018 photographers taking part from a very wide range ofcountries, from Algeria and Belarus to Venezuela and Zimbabwe.Countries who have significant numbers of photographers participating in thesurvey in 2018 include the United States (94 participants), Italy (93), China (56),Spain (52), India (50), United Kingdom (39), Poland (38), France (38), Germany (35)and the Netherlands (29).There was a significant spike in the participation rate of Chinese photographersfrom 62 in 2015 rising to 213 in 2016 before dropping back down to 36 in 2017 (in whatwas a relatively small cohort overall) and then 56 in 2018. While we don’t know thereason for this spike, adjustments were made to our statistical calculations for the2016 report to reflect this unexpected jump in Chinese respondents.The spread of nationalities participating in the study has been similar in each of thefour annual surveys. Usually, the bulk of the respondents come from Europeancountries with large groups participating from India, Brazil and China and thensmaller numbers from a wide range of nations across the globe.11 The State of News Photography 2018
7.2 RACE AND ETHNICITYFor the last two years, we have included questions around race and ethnicity to get abetter sense of the diversity of the respondents and an indication of the state of playin the industry as a whole.It is worth noting that the concepts of race and ethnicity are interesting to socialscientists but there is no agreed harmonised measure applicable across nations (seee.g. Hoffmeyer-Zlotnick and Warner 2014). The concepts that social scientistsassociate with race and ethnicity are often different in different countries (e.g. skincolour, national origins, language, religion, culture), while in some countries, evenreferring to ‘race’ as a construct may cause offense. In a number of nations, includingthe United States, a question on subjective ethnic identity is regarded as a plausiblemeans to measure ethnicity through surveys – respondents are invited to choose,from a list of category options, the descriptor which best describes how they seetheir own ethnicity. Moreover, since the United States is unusually ethnicallydiverse, its national measure is often, de facto, plausible, albeit imperfect, in othercountries. Accordingly, the WPP survey used a version of a US census ethnic identityquestion, recognising that caution over its quality should be exercised.A similar approach has been taken in some other cross-national survey projects (e.g.Integrated Public Use Microdata Series, International version ).Respondents could choose to make a note of their thoughts on this question ofethnic identity, and one
4 The State of News Photography 2018 EDUCATION Photographers who participated in the survey are highly educated with over 70% possessing university degrees, mostly in photography, journalism and the
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