I was keen to share with others, in a broad constituency, how I and my colleagues were grappling with the finer points of being a photojournalist in the 21st century. As Docere had become a fashion target, Elizabeth had invited me to teach this course knowing that the audience would be diverse, most of them out of touch with the gruelling realities we grapple with in the craft of journalism. I’d covered everything from bloodsoaked battlefields to climate-induced displacements, as my work helped people across the globe better understand the situations from which documents were born

It was not simply a case of flinging a camera up to our shoulders and snapping away. We wanted to educate the photographers about the fundamentals of light, using colour, placement of the human figure in the composition, and rules of engagement to respect our subject. Light, colour, composition, subject: the 4 building blocks of an effective photo. We went through each item in turn, dissecting the real world ways that each played a part, whether you were taking a picture of a protest, a portrait, or a single fleeting moment of humanity on the street.

Perhaps the main lesson I took away was how to handle these sorts of discussions. The ethics of storytelling. If I am documenting something or capturing the face of the girl recently separated from her family after crossing the Mediterranean towards Europe, I am a reporter but I am also a photographer and I have to understand that I have a responsibility to the story and not necessarily the biggest drama. That is something that I think I have learned over the past 17 years on the job, and I was hoping to perhaps share that and pass it on.

And digital data asset management – that’s something most people don’t think of both when it comes to filmmaking and photography. I see that all the time, even with my high-school kids, but obviously I’m editing and producing features films, something that has a run, and something that’s having a life. I’m shooting years and years and years of stuff, and you just have to keep everything organised and ready to go. I just showed them the way I manage my archives here, so I can go do some research and pull up any photo I want in less than a second, for any article I need. It could be for a project sent by Egyptian NGO, or by a Telemundo, or by a News WORLD and News WEEK and News WIRE, or it could just be a personal project of mine.

The training was hands-on, and I wanted everyone to walk out with tools they can use right away. We covered the rule of thirds, the more aesthetic balanced shots, and how to use composition to tell a story. I talked about what it was like on the frontline, about how you can produce images that are meaningful and impactful, but you have to think about your subject ahead of time, and having enough exposure to it makes a difference.

As a reference for anyone who wants learn a little bit more, I’ve added a video to this missive which hopefully replicates many of the bullet points from the training. This is a raw self-reflecting view of what can and has gone into my effort to put something good back not only because the world is absolutely terrible, but also for the sake of my own survival. I hold that all of us who are experts in cultural adaptation to violence be they Afghans, Americans, Iraqis, Canadians or Australians should be teaching. If you have interest in learning about a career-path that reinvents you, please contact me. You can sign up to receive my blog Gunpowder Chronicles on The Course Journal or tune into chalk talks, classes and seminars scheduled on my Eventbrite channel.

This was a course in how to equip others to tell stories that matter, and I hope that the effects of that training mushroom outwards from it. Elizabeth’s storytelling through The Ideas Partnership demonstrates what can be achieved when the tools are used well, and I’m thankful to have been part of that work.

On August 7, 2024, I had the privilege of leading a training session at the Kharkiv Media Hub Centre, aimed at revolutionising how the Centre’s personnel approach digital storytelling and media management. With 17 years of experience covering global armed conflicts and political tensions, I was eager to share the tools and strategies I've honed over the years to help the Hub’s staff navigate the digital age and elevate their storytelling to new heights.

The Purpose of the Training

The training was designed to address the pressing need for media professionals to harness digital platforms effectively. I emphasised the importance of establishing a credible online presence, stating, “In today’s digital world, it’s crucial to have a website where you can accurately introduce your work and gain credibility. It’s not just about showcasing your portfolio; it’s about providing verifiable evidence of your professional claims.”

For photographers and journalists, I underscored the significance of maintaining an up-to-date online portfolio. Using my own website as an example, I explained how editors can easily verify work published in major outlets like The New York Times and The Guardian. This transparency, I stressed, is vital for building trust with both editors and the wider public.

Utilising Digital Platforms

A major focus of the training was on the strategic use of digital platforms like Substack and PhotoShelter. I demonstrated how these tools could be employed to not only share stories but also to monetise content. “These platforms are not just about sharing your work; they are about creating a sustainable model for freelance journalists,” I explained. By using Substack, journalists can pitch stories directly to editors or even engage a broader audience through paid subscriptions.

I also introduced the concept of creating a centralised platform for Kharkiv Media Hub using PhotoShelter. This would allow the Centre to streamline the distribution of photographs and stories to global media outlets, ensuring that the stories from Ukraine reach a wider audience efficiently. “The goal is to have your work seen and used by editors sitting in London, New York, or Paris. The right metadata and captions can make or break this process,” I pointed out.

Addressing Concerns and Providing Solutions

The session was highly interactive, with the staff raising several concerns about the practicalities of implementing these strategies. One staff member inquired about the limitations on file sizes for mailing lists, to which I reassured, “There is no limit on file sizes when bringing in your mailing list. You just import your list and start building your audience.”

Another concern was about the potential costs associated with establishing and maintaining these platforms. I clarified that while some services require initial investments, such as a $50 one-time fee for a custom domain on Substack, the long-term benefits far outweigh the costs. “This is an investment in your future as a media outlet. It’s about being in control of your content and how it reaches the world.”

Key Takeaways

The training concluded with a clear message: the future of journalism lies in the effective use of digital tools. I aimed to provide the Kharkiv Media Hub with the knowledge to utilise these platforms, while also inspiring a vision of what they could achieve. The importance of metadata, the power of direct editor connections, and the potential of paid subscriptions were among the many insights that the staff took away.

In a region where the narrative is often shaped by foreign media, this training was a crucial step towards empowering Ukrainian journalists to tell their own stories, on their own terms, to a global audience.

This session marked the beginning of a new chapter for the Kharkiv Media Hub, one where they are not just participants in the global media landscape but leaders in shaping it.

We will commence our journey in Iasi, Romania, where I will provide a comprehensive briefing on the safety and security protocols essential for operating in conflict zones. This initial preparation is crucial, setting the stage for the challenges and realities that lie ahead.

From Iasi, we will drive to Kyiv, Ukraine, which will serve as our base for daily activities. In Kyiv, you will delve into the ethics and techniques of photojournalism, guided by my extensive experience covering global conflict zones. Each day will be a blend of theoretical learning and practical application, designed to hone the skills needed to capture the stark realities of war.

Fieldwork will form the core of the course. We will explore various cities and villages in the Kyiv region, documenting the profound impact of the war on civilian lives. Our lenses will capture stories of resilience and despair, bringing to light the human cost of conflict. Depending on safety protocols, we may also venture towards eastern Ukraine to interact with volunteers, medical personnel, and observe military operations, providing a comprehensive view of the war’s multifaceted impact.

To ensure your safety, each participant will be equipped with bulletproof vests, helmets, and personal first aid kits upon arrival in Ukraine. This essential gear is part of a broader commitment to participant safety, which also includes a comprehensive insurance package covering medical and emergency expenses up to €2,000,000 and accidental death and disablement up to €500,000.

This course is designed to be both intimate and intensive. Limited to just three participants, it guarantees a focused and personalised experience. A local translator/fixer will accompany us, facilitating communication and aiding in the production of compelling stories. Participants are responsible for their own travel costs, food, and accommodation. We will travel in my British Land Rover Discovery 4, a seven-seater, with the cost of diesel shared fairly among participants.

To join this extraordinary journey, you must sign a contract releasing me from any liability regarding unforeseen incidents during the course. This legal precaution underscores the serious nature of our undertaking, reflecting the unpredictable and often hazardous conditions of war zones.

This course is not just an educational program; it is an opportunity to engage deeply with the realities of war, guided by a seasoned photojournalist.

You will leave with not only enhanced technical skills but also a profound understanding of the human stories that lie behind the headlines.

The course runs from June 17, 2024, to July 7, 2024. Interested individuals can find more details and book their spots through the Eventbrite.

Don’t miss this unique opportunity to learn, document, and create impactful photojournalistic work in a real-world conflict setting. For those ready to challenge themselves and expand their horizons, this course offers an unparalleled experience.

For booking and further details, please visit Eventbrite link: https://www.eventbrite.co.uk/e/war-photojournalism-course-tickets-918928438697.

Join our transformative photojournalism and documentary photography courses, designed to foster creativity, critical thinking, and ethical storytelling in a diverse, globally-inclusive learning environment.

Unveiling a World of Photographic Excellence

Introduction In a world where visual storytelling is pivotal, I am proud to introduce a series of innovative and transformative education programmes in the fields of photojournalism, documentary photography, and conflict reporting. These programmes, available both online and in person, are meticulously crafted to foster high-quality journalism on both national and international stages.

Our Vision: Democratising Narrative through Education At the heart of our mission is the democratisation of public narrative. Recognising the diverse tapestry of global voices, our programmes are designed to uplift emerging professionals and students from varied backgrounds worldwide. This vision is furthered through our commitment to underrepresented communities, with frequent scholarship offerings that cover media practice, visual journalism, narrative, ethics, business, and entrepreneurship.

Redefining Education: Beyond Traditional Boundaries As an educator, I challenge the conventional realms of education, which often verge on indoctrination. My approach is to offer programmes that spark critical thinking, creativity, and a diversity of thought. This philosophy aligns with my ultimate goal: to advance journalism and encourage the next generation of journalists to create positive change through their work.

About Our Education Programmes

Innovative Learning Experiences Since launching VX Pictures in 2020, and tracing back to my initial teaching endeavours in 2017, my focus has been on delivering cutting-edge education in photography and visual journalism. Partnering with other colleague photographers, we offer seminars, workshops, and masterclasses tailored to the aspirations of emerging professionals and students.

Cultivating Excellence and Creativity The core of our programmes lies in developing skills crucial for excelling in photojournalism. We emphasise fostering creativity, critical thinking, and adherence to ethical standards. It's about shaping photographers and journalists who will make a lasting, positive impact on the world.

Empowering Emerging Photographers

Global Reach and Local Impact Our educational offerings extend across the UK and Europe, with worldwide options upon request. We focus on bringing excellence in photography to communities with limited access to such resources. Our ongoing efforts include forging partnerships to expand our reach and impact.

Mentorship and Ethical Standards Our Mentorship Program stands as a testament to our success, having significantly propelled the careers of numerous young photographers. We are dedicated to refining our pedagogy and practice, and we are currently establishing a comprehensive code of ethics for our educators and mentors.

Commitment to Excellence and Inclusivity We believe in nurturing creativity and critical thinking, empowering emerging talents to contribute meaningfully to photography and journalism. Our diverse range of programmes is constantly evolving, ensuring we meet the unique needs of our students and stay at the forefront of educational excellence.

Here's the direct links to exploring our course programmes: Dive into a world of innovative photojournalism and documentary photography, and start your journey towards becoming a visual storytelling expert.

Against the virtual backdrop of the course, participants eagerly gathered for the highly anticipated session, anticipating the valuable insights that awaited them. Daniela Hart, an authority on intellectual property law and a passionate advocate for artists' rights, immediately emphasized the profound significance of copyright in safeguarding the works of creators across a diverse range of art forms.

Despite her busy schedule filled with numerous assignments, Daniela Marceddu Hart graciously chose to make time for us on this particular Friday. With an impressive wealth of experience and expertise, Daniela currently works as a freelance picture editor and shoot producer at "Show Media" in London, while also serving as a tutor at the esteemed London School of Publishing. Throughout her illustrious career, Daniela has collaborated with prestigious organizations such as BBC Radio, DMG Media Group, The Telegraph, Evening Standard, The Times and the Sunday Times, NBC News, Associated Press, and the Financial Times. These notable affiliations serve as a testament to Daniela's exceptional track record in the media industry, working across a wide array of influential media platforms.

Daniela's contributions as a picture editor and shoot producer have demonstrated her remarkable ability to curate captivating visuals, ensuring the highest standards of quality and storytelling. With such an extraordinary career and a diverse range of experiences, Daniela offered invaluable insights into the world of visual media, copyright, contracts, and the art of storytelling. Although our VX Scholarship awardees based in Ukraine may have initially been unfamiliar with the laws and regulations surrounding copyright, this lecture served as an essential learning experience. The session was recorded, allowing participants to revisit the content and further analyze its implications. Daniela's engaging and informative lecture delved into various aspects of copyright law, emphasizing its critical role in protecting intellectual property and creative works. She shed light on the intricacies of contract law, underscoring the significance of well-crafted agreements for fostering fair and mutually beneficial relationships. Furthermore, the emphasis on effectively conveying a story through a comprehensive package highlighted the importance of communication and presentation skills, providing the audience with practical techniques for crafting compelling narratives within diverse professional contexts. Ultimately, Daniela's vast industry knowledge left our scholars with invaluable insights and practical tips to apply to their own photography journeys.

In a comprehensive and engaging manner, Hart delved into the intricacies of copyright, extending beyond the realm of photography to encompass music scores, paintings, poetry, and films. With clarity and precision, she explained that copyright automatically grants creators exclusive rights over their work, preventing unauthorized reproduction or use without their consent.

To ensure a thorough understanding, Hart addressed specific scenarios that participants might encounter. She explained that in some instances, creatives might sign contracts with organizations or agencies that require them to waive their copyright. However, she cautioned against such agreements and urged participants to carefully review contracts to safeguard their rights. Hart emphasized the importance of maintaining ownership and control over one's work, highlighting that relinquishing copyright could potentially limit future opportunities and financial gain.

The guest speaker further emphasized the nuances of copyright in relation to freelance work and commissioned projects. She outlined two distinct scenarios: hiring a photographer as a freelancer or under a commissioning contract. While freelance arrangements typically allow photographers to retain copyright and license their images, commissioning contracts often involve the transfer of copyright to the client. Hart advised caution when entering into such agreements, highlighting the need for negotiation and clarifying ownership terms.

Drawing from her own experiences in the field, Hart shared insights into the practices of news outlets and the rights photographers should protect. She pointed out that newspapers and agencies sometimes impose restrictive contracts that grant them control over photographers' images for extended periods. However, she advocated for fair agreements that respect photographers' rights and provide them with control over their work after a reasonable duration.

Recognizing the impact of the digital era on copyright, Hart introduced the concept of Creative Commons—a platform enabling artists to share their work while retaining control over its usage. She invited participants to explore the Creative Commons website, explaining its various licenses and their implications for sharing and collaborating on creative projects.

Despite minor technical difficulties, Hart's presentation deeply resonated with the participants. She urged them to grasp the significance of copyright and utilize the available resources to protect their work and assert their rights as artists. Throughout her talk, Hart emphasized the importance of thoroughly reading contracts, negotiating terms, and steadfastly asserting ownership rights.

As the fifth week of VX Media's photojournalism course progressed, participants departed the session feeling empowered and armed with valuable knowledge about copyright. The course continued to inspire and nurture a new generation of photojournalists who would go on to raise their voices through the power of visual storytelling, advocating for the marginalized and underrepresented in Ukraine and beyond.

VX Media's commitment to supporting underrepresented communities and fostering the creative expression of aspiring photographers remains steadfast. With the invaluable guidance and insights shared by Daniela Hart, the participants are poised to embark on their respective journeys as storytellers, armed with a deeper understanding of copyright and its pivotal role in protecting and preserving their creative works.

THE FRONTLINER Magazine, a publication established by VX Media in London. You are currently immersed in our educational section, dedicated to the world of photojournalism and journalism at large. We encourage you to subscribe and support our noble cause of disseminating knowledge, enabling individuals to make well-informed decisions. Together, let's uphold the right to information.

As a seasoned photojournalist and educator, I am committed to sharing my knowledge and experience with the next generation of visual storytellers. Through the VX Scholarship Programme, participants will have the opportunity to develop their skills and perspectives, ultimately contributing to a more inclusive and democratic public narrative.

A Transformative Three-Month Course: The VX Scholarship Programme will offer a comprehensive three-month course, covering essential aspects of media practice, visual journalism, narrative development, ethical considerations, and entrepreneurial aspects of the industry. The curriculum is designed to equip emerging professionals with the necessary tools to navigate the competitive world of photojournalism successfully. By targeting individuals from underrepresented communities and countries, the programme aims to provide crucial support and resources to help them thrive in the field.

Selection and Preparation: Following a rigorous application process, we have carefully selected a diverse group of exceptional applicants to participate in the VX Scholarship Programme. These individuals will demonstrate immense talent, passion, and a strong desire to make a difference through their visual storytelling. As the course start date approaches, participants will eagerly prepare themselves for an immersive and transformative learning experience.

Empowering Voices: Throughout the programme, participants will have the opportunity to learn from industry experts and engage in hands-on projects, honing their skills in media practice, visual storytelling, ethical considerations, and more. The aim is to empower these aspiring photojournalists to amplify their voices and share their unique perspectives with the world. Together, we will work to foster a more inclusive public narrative that reflects the diverse experiences and stories of our global community.

Contributing Photography Contracts: As part of the VX Scholarship Programme, participants will have an exciting chance to secure contributing photography contracts with VX Pictures. These contracts will offer them a platform to showcase their talent and earn 70% of the revenue generated from the sale of their photographs. To be eligible for these contracts, participants will be expected to demonstrate exceptional dedication and performance throughout the programme.

Supporting the Next Generation: The VX Scholarship Programme not only aims to empower individual participants but also relies on the support of sponsors who recognize the importance of uplifting underrepresented voices. By sponsoring the programme, individuals will play a crucial role in transforming the lives of aspiring photojournalists from marginalized communities. Through their financial contributions, they will provide the education and resources necessary for these individuals to share their unique perspectives and contribute to a more inclusive world.

Conclusion: The upcoming VX Scholarship Programme will embark on an exciting journey, empowering aspiring photojournalists and cultivating a more inclusive and diverse field of visual storytelling. Throughout the course, participants will receive invaluable knowledge, guidance, and hands-on experience to enhance their skills and amplify their voices. Together, we will work towards democratizing the public narrative and shining a light on underrepresented stories and perspectives.

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