I am a spectator paparazzi. That is, I take pictures of those who watch the stars. In the past the audience was an anonymous mass, and certainly the modern mega-paid mega-star is built on the wallets of those anonymous millions who watch. One went to see the stars play and did not expect to be seen, possibly did not want to be seen. The social media generation is different. They want to see the action, the game, the stars, but they also want to know who they know who was there watching the action. Which of my friends was at the game? Were they styling? Who was jumping up, dancing, singing, and shouting?
I go to the games to take pictures of both the action and the spectators. I may ask for permission, explicitly or implicitly. The latter happens when I point my lens at a duo, trio, or more often a quad and they immediately smile, pose, and throw shaka and peace symbols.
The pictures are not for me. They are for their friends and family abroad. Children who long to see their mother, fathers who have not seen their son in a long time, friends who want to see another friend’s face. A phone call lets them hear their voice, but mom and dad are always, “We’re fine,” whether or not they are actually fine. A photograph is reassuring – seeing dad is a little older but still looks strong is reassuring to a son or daughter working overseas.
In the past I had, at most, thirty-six 35 millimeter film shots to work with. I rarely had spare film or budget to take more than thirty-six images. In late 1997 I acquired a Sony digital camera that permitted my first experimentation with the world of digital photography. The camera I carry today can store up to 17000 photographs at the resolutions I work at. I can simply shoot continuously, or at least until both of my batteries are dead.
The medium by which photographs are shared has changed as well. Newspaper articles might include a single image. A photographer had to catch the single most iconic instant for that news story. Magazines might feature a spread of ten to twelve photos for an article. A photographic team might take hundreds of photos, sometimes thousands, culling through the images for the ten or twelve really magical images. For every jaw-dropping gorgeous National Geographic magazine photo there were a thousand images discarded.
The limits on image distribution and sharing have changed radically. FaceBook albums hold 200 images, all uploaded at no financial cost to the photographer. Today’s viewer of photographs does not want a single iconic image. They want an album of 200 photos they can scream through on their broad band connection, stopping and pausing only at that which catches their attention. And not just a single album. Multiple albums.
I oblige the modern desire for a flood of images, providing “firehose” coverage to the extent that I can. I do not select images and the only editing I do is to delete blurry or inappropriate images. The rest get posted on line. No cropping, nothing. Raw feed, the more images the better. And yet some viewers have written saying, “More please!” This is also a characteristic of the social media generation. Sensory overload is not possible for a generation raised on iPads and xBoxes, a generation accustomed to being always on and connected.
Generation social media wants images of the event, those at the event, and lots of images. This is the brave new world of media.
Not only the off-islanders want more images, a local friend noted the same paucity of images. There are teams of photographers working the games, but the photo galleries appearing on line on sites covering the games often mimic a magazine. Articles include a single image. Photo galleries are nine to ten selected images. None of these teams is operating in the “shoot everything, post everything” mode, nor can they. One team of photographers is a youth media team who are being taught to capture iconic images, to select images, to be shooters and editors. Images are cropped and rebalanced to shine after the fact. The firehose photographer has to crop the image before they shoot. Whatever is in the frame at the time of the photo stays in the frame.
There are other differences. The newspaper and magazine photographer expects and deserves credit, if not also remuneration, for their images. For the professional, photography is part of their professional life. The pro gun usually includes a signature watermark in the image. One photographer in these games puts their watermark across the middle of the image as if their name is the star of the image. Spectator paparazzi may be relatively unknown, and if known, they are typically not known for being photographers. They may lack any photographic skills. They shoot everything and often post everything, including really blurry shots from low end cell phone cameras.
When I shot one image of a volunteer and her friend, her friend told me to be sure the image gets put on FaceBook. The volunteer turned to the friend with a puzzled look. The friend explained that I was the guy putting up all those albums from the games. She seemed incredulous, she found it hard to believe the images were being taken by me. She knew of me, but had no idea I was the one taking the images.
I post my images in albums with the privacy set to public – in other words, no privacy. This allows my 2500 plus friends and acquaintances to freely share my albums with their friends, and thence on to third and fourth connections. The albums do not expire at the periphery of my friends or friends of friends. No restrictions. Images get downloaded and then re-uploaded by others, and this makes me happy. I do not own my images. If anyone owns the image, the owners are the people in the image. I only captured some photons of light in transit at a particular instant in time. I own nothing more than the camera.
Another difference is that for the professional images are art, to be seen and appreciated but not necessarily not interacted with. Most professional, corporate, and institutional photographers post photos with tagging disabled. There are often legal reasons for disabling tagging. The spectator paparazzi is all about tagging and connecting. Social connectivity and interactivity are primary goals of the social media photographer. If a tree falls in an empty forest it makes no sound, if a photograph has no tags and comments then the photograph fails to exist in a social sense. The more tags and comments, the better the photograph, regardless of whether the photograph is artistically worthy or not. An exquisite photograph with no comments, no tags, and no shares, is a social media failure. A crummy, blurry, unbalanced shot with a plethora of comments, tags, and multiple shares is a success. Photo quality is irrelevant, photo connectivity is everything for the social media photographer.
Not only is tagging allowed and actively encouraged, but the social media photographer befriends all comers. The judicious use of groups such as acquaintances, close friends, family, and other groups helps keep the social media photographer’s wall from being swamped by information of no meaning or use.
I also know that if anyone points a camera at me, I have to strike a pose, look my best. I cannot hide behind my lens. I am fair game in the spectator paparazzi photo firefights. I also always try to photograph the photographers when I can. To make a sweeping over-generalization, sports photographers are usually so focused getting the action picture that they are rather oblivious to everything else around them that is not action, including, and maybe especially, other photographers. They have to be focused to get the iconic shot on goal, the moment at which the game was won.
There may be a difference in equipment. Using a long telephoto lens on a single lens reflex photographic body to take what are essentially portrait pictures is intimidating up close, creepy when done at extreme range. The little point and shoot I use requires that I get up close and personal to get a good FaceBook tag worthy photo. I cannot get the stop action photo of the critical moment in the game. The distances are typically too great.
I have one other asset that is useful, at least here on Pohnpei. My face. Having lived here for 22 years and having taught over 3000 some students I am fairly widely recognized and known. In almost any crowd I will know someone. I am an elder in a society that respects elders, a member of the community. My children were born and raised in Pohnpei and Kosrae. People know me and many know that I post photos to FaceBook, sometimes people ask to be photographed. Other times I know relatives abroad who enjoy pictures of a particular person and so I know who the photo will have to be shared to. And some, seeing me coming, hide like a rock star avoiding publicity. Athletes have to expect to be photographed when in action, the spectators have no such expectation. When an event is open to the public, free of entry charge, and held in a public facility, personal photographic privacy may be violated even if inadvertently.
I use the word paparazzi in part to reflect the gray areas in which I sometimes operate. A granddaughter in North Carolina might ask, “If you get a chance, take a picture of my grandfather.” Now I may know that grandpa would prefer not to be photographed if given a choice. Yet he is present at a kamadipw at which I am taking pictures. Do I avoid shots in which he is present or get the granddaughter a picture that makes her happy? Add in that grandpa does not use FaceBook and the granddaughter does – so if I snag a shot with him in the frame, he will not realize he was photographed and shared via FaceBook. Who’s desire for happiness trumps? By Pohnpei rules the elder, but wherein he is unaware there seems to be less harm done by getting the granddaughter the image she so desires.
Eight days has produced eight albums and just over 1500 images, none of them worthy of “publishing,” all of them “published” on social media. Tag, like, and comment rates push upwards of a hundred an hour. This is the new media order in social media – quantity over quality. Photos of everyone and everything. Viewed and forgotten in the same instant, as ephemeral as a conversation and yet important to feeling connected for those who view them.
There will certainly long be a role for the professional photographer and the work that they do. I argue only that there is a new genre of photographers who play by different rules for different goals, differences made possible by social media. Maybe call it koinonikophotography, although anthrophotography rolls off the tongue better.
If you see me roaming an event, either strike a smile and a pose to let me know you are open to being photographed, or duck, cover, and run to avoid being caught on digital by a spectator paparazzi.