Stream of Consciousness

Talking Eyes Media created this short film to promote Ed Kashi’s new book, “Photojournalisms”. (Click on image to activate the film)

This is a short film done is worth watching, as it presents some of Ed’s still images and a running almost stream-of-consciousness narrative to accompany the imagery. Ed discusses some of the emotions he feels working as a photojournalist for 30 years. Physical discomforts, fatigue, anxiety, longing for home and family — these are some of the phrases Kashi as narrator mentions in the film. This stream-of-consciousness narration allows me as a viewer to experience the compelling images from a different point of view. The narration begs me as listener to actively arrange and order the ideas presented into a coherent whole — and my reaction is amplified when still images also cycle past my eyes. I find I’m actively decyphering the bits and pieces that come past me (oral and visual) and reconstructing the piece as it evolves.

We need to employ this stream-of-consciousness technique more often. It honors the listener/viewer as an active participant, capable of forming their own conclusions based on raw information.

Check out another interesting use of this technique: Studs Terkel’s Prix Italia Award-winning audio piece called “Born to Live” (created over 50 years ago but still relevant today), available as a Podcast dated 11/5/2008 from Transom.

Bill Frakas

It’s been a long time since I’ve touched this blog due to some general craziness in my life – good, bad and everything in between.

Here are two short films by Bill Frakas, a renowned Sports Illustrated photographer who is getting his hands dirty in multimedia.

I prefer “Ada” to “Istanbul”. Ada slides me into into an individual’s life story. I walk away having learned something and having experienced something about a person I’m unlikely to meet. It’s not overwhelming but I like the vibe of the story.

I find Istanbul less satisfying. The images are undoubtedly excellent. But I don’t find a string of still photographs – even great photographs – intriguing enough to hold me for 5 minutes on the web. I’m not proud of it, but there you have it. I have a short attention span.

More Interesting Stuff

As Joe McNally says in his book The Moment It Clicks, “If you want to be a better photographer, stand in front of more interesting stuff.”

There’s no reason that McNally’s advice shouldn’t equally apply to multimedia.

I took this photo of Ian Robert McKown, a Denver-based tattoo artist. Ian is a very… interesting guy.

Go out there and find some unique stories. There are plenty.

Gina Ferazzi: Living on Black Tar Heroin

Gina Ferazzi is a reporter for the LA Times. In this audio slideshow, Ferazzi drops us into the world of two heroin addicts.

(click “Watch Audio Slideshow” just below the image on the LA Times site)

We spend a few minutes listening to their stories and watching them prepare and inject heroin in all spots of their bodies. I was struck by the “normality” of these people – something that really surprised me. We see images of the couple preparing dinner alongside photos of them injecting heroin. They explain how they borrow money and forego food to come up with enough cash to buy their “expensive medication.”

Pretty amazing access and intimacy that Ferazzi was able to coordinate.

Interrupted Lives: Portraits of Student Repression

This short preview of a longer documentary film contains some very well-done graphics and sound effects. The first 43 seconds draws the viewer into the piece without any narration: just text and simple sound. In fact the narration, when it starts, lasts but 20 seconds — roughly 1/6th of the entire 2 minute production.

(Click video player on top right)

The piece then returns to graphics. The simplicity and directness of the piece is outstanding – a great preview. Produced by for the Abdorrahman Boroumand Foundation.

Christopher Capozziello: The Distance Between Us

This is heavy, but interesting and well-crafted.

Christopher Capozziello, a photographer based in Connecticut, brings us a soundslide presentation about his brother who has cerebral palsy. Using his own voice as narrator, audio recordings of his brother’s voice, haunting B&W photographs, and some audio sound effects, Capozziello introduces us to his twin brother Nick. Capozziello also draws us into his own mind as he questions why someone has disease. The narrative is honest without being overly dramatic. The images provide enough drama – I think Capozziello has struck the right balance.

I particularly like the introduction of Nick’s voice: a question and answer. Wow – that introduces not just Nick but also his limitations and frustrations that Capozziello chronicles in this piece.

HowSound’s “Kohn”

The HowSound 11/2/11 podcast “Kohn” is a story within a story. At its core is Andy Mills’ original radio story about his friend Kohn, who as a boy severed his spinal column after being struck by a car. After waking from 5 months in a coma, Kohn’s speech was damaged. He vocalizes everything very, very slowly – but oddly, he hears his own voice at the same rate of speech as everyone else. Andy Mills tells Kohn’s story, using music and the making of music to reveal Kohn’s strength of character.

Rob Rosenthal tells Andy Mills’ story — how Andy migrated from recording music and adding stories into those musical pieces to creating audio stories and adding music. Rosenthal, interviewing Andy Mills, discusses Mill’s evolving style. Rosenthal also asks Mills about the techniques he used when he hired musicians to score the story of Kohn. The musicians had to work around Kohn’s very slow, drawn-out speech pattern which isn’t inherently musical or even pleasant to listen to.

I loved Andy Mills’ underlying story of Kohn. It is honest, inspiring and heartwarming. I like the characters – and how the characters evolve and learn about each other through recorded audio interactions. The pace is perfect.

I also love Rob Rosenthal’s efforts to dive into the production process and understand the techniques and tools used in good storytelling.

Irfan Khan: The House of Allah

According to his official LA Times biography, Khan started his photography career in 1973 in Pakistan. While in Pakistan he also studied political science and international relations. Khan opened a Dubai-based photo studio affiliated with an advertising agency in Dubai and worked as a photojournalist for the Khaleej Times in the Middle East prior to moving to New York in 1988.

Irfan Khan arrived in New York City in 1988 with his wife, 3 daughters and dreams of providing his children a good education and furthering his career as a photojournalist. Khan was hired at the LA Times as a freelancer, and later as a full-time staff photographer in 1996.

Khan covered the pilgrimage to Mecca (or “Hajj”) in this multimedia slideshow combining some stunning still photographs with audio recordings and interviews.

Khan employs some interesting aerial time lapse photography showing pilgrims swirling around. He also brings the viewer along this story in an interesting way by using a female narrator. I was intrigued, probably because in my ignorance I thought women were excluded from the Hajj.

Miranda Harple: “My Grandma’s Tattoo”

I’ve never actually been to the AARP YouTube website before, but I stumbled into this short piece by Miranda Harple and was impressed. Nice storytelling. I like the characters. You really see how these women from different generations interact and connect with each other. Each individual, telling her own story, pulls the storyline forward.

I also like the way Harple blends text, video and still photographs together seamlessly. Interesting, also, to note that many of the photographs she incorporates into the piece are old and clearly faded family snapshots. That really gives this video warmpth and intimacy.

The audio quality was good except for the first few seconds. In fact the first few seconds was the only part of this piece that I found a bit distracting. I didn’t get the connection of the initial images of water washing over stones to the storyline until I viewed the video a second time. In retrospect I see the connection, but I definitely didn’t at first viewing. That’s a mere quibble, however, to this really nice, pleasant story about a close family and an activity that bound them together.

T.J. Kirkpatrick – Interview

Earlier, I posted a quick note about T.J. Kirkpatrick’s “Fly Away” short. Here’s the backstory.

Q1. How did you come up with this idea?
Kirkpatrick: I’ve had the idea in the back of my mind ever since seeing one of Richard Koci Hernandez’s “On the Road” pieces a couple years ago. He’s got a short section in that video where a cutout plane flies around his seat. So, it’s borrowed to a point, not unlike many other good ideas. I liked the thought of a plane breaking free from its confines, on a magazine page or pamphlet cover, and doing what planes are meant to do–to fly away. Going on to the flight I had an idea of finding a plane I could cut out easily, which happened to be from a magazine, and then just play around with where it went and what it encountered along the way. I’m a Monty Python fan and I like that oddball sense of humor, not to mention the stop action cut out sequences in the show itself, so that certainly helped inspire what happens in the course of the video. Everything was shot on a cross country flight between DC and Seattle last Christmas. It took the entire five hour flight to do everything, and I was actually shooting the last frames as we were preparing to land. That was probably the quickest cross-country flight I’ve ever taken.

Q2. Looks like you did props and took photos during a single flight — did you have this all planned out before boarding?
Kirkpatrick: Any props were found once I was on the plane. I had a small multi-tool on my keychain that looks like another key, but it opens up to a couple screwdrivers and tiny little knife blade (in case anyone is concerned about safety, this thing is really, really tiny: the blade is less than an inch long, and it’s all the size of an actual key. You stand a greater chance of being injured by the plastic spork that comes with a hot meal). That’s what I used to cut out the plane and everything else. I have a little bit of gaffer’s tape in all my bags (’cause you never know when you’ll need that stuff) and used it to help stick the plane to the back of the seat for those shots. There wasn’t much planning to do, since I was relying on finding a little plane I could cut out of an actual magazine on the flight. I had some ideas of what I wanted the plane to do–fly around the back of the seat, travel through the magazine itself, and ultimately fly away from the magazine. But I figured out the details as I was going along. I couldn’t have predicted getting a magazine with Shaun White to use as a monster, or an ad pitting a businessman against a sumo wrestler, but I was happy to discover them.

Q3. What equipment did you use? (Camera and software)
Kirkpatrick: Everything was shot with a Lumix LX5 (the camera that happened to be most accessible) and processed with Lightroom for basic toning, black and white conversion and output to a manageable file size. In all, there were about 500 images that went in to FCP to make the final video, though with some sections cut that total is probably closer to 350 or 400 in the final piece. Thinking back, my usual gear (Canon 5D mark II) probably would have been too cumbersome in the tight space of a coach seat to be of much use for this piece.

Q4. What’s the trick to successful time lapse photography?
Kirkpatrick: This is the first time lapse or stop motion piece I’ve brought to completion, so my advice is limited. There are some sections I wish I had shot more of, and I wish I had done a bit more planning for the transitions between sections. It might have been beneficial to have more photos for each of the sections, allowing the option for smoother motion, but I like the jumpiness of the final piece. I don’t think this piece would be improved with smoother motion, since the rest of it was done pretty roughly anyway. But the time lapse pieces that I find I like are pretty smooth, so this rough approach probably wouldn’t work so well again.

Q5. Do you find adding audio significantly adds to your work?
Kirkpatrick: Audio certainly can be beneficial to a project. Hearing the subject’s voice describing the story I’m trying to illustrate adds a very powerful layer to the storytelling. It’s allows for a very personal connection that is tough to achieve with just photos, and that helps me to convey a better story. I find it also helps me in the shooting process, because I have to be more focused to get good audio and more aware of where the story is going to be able to pair the audio with the photos or video that I’m gathering.
For this piece, the music sets the tone and does much of the heavy lifting for keeping that whimsical feeling going throughout the video. In essence, it does exactly what music can do in multimedia: directly influence the emotions of the viewer.

Q6. What type of equipment do you use? (Audio recording gear and software)
Kirkpatrick: I’ve used different gear for different projects, mostly depending on what I have available at the time. I’ve had a handful of little flash audio recorders, used some of the bigger Marantz gear, or just recorded with a mic straight into a 5D mark II (praying the whole time that the audio is actually useable). I’m in the market for a new recorder and I’ve liked the Marantz 661 that I’ve borrowed from friends a few times. As for software, I’ve used FCP and Soundtrack Pro for most projects, though neither of these are great for interview audio. In the past I’ve used Audacity, but lately I’ve been testing Hindenburg ( and am liking how the software works.

Q7. I see some images in your stills section that area also incorporated in your multimedia slideshows. Do you shoot a project with the intention to images as both stand-alone items as well as parts of a larger project? Does working this way create any issues/problems?
Kirkpatrick: I work on projects as a whole, and the images that exist in both the still and multimedia sections on my site are the best images from a project that may have been developed as a multimedia piece. My hope would be that people see some of the still images, get curious and head over to the multimedia piece. Since a bulk of the assignment work that I do is solely still images, I need to have a representation of my projects in both a multimedia and still image gallery format. If an image, or a series, is good enough, I think it can certainly exist outside of the multimedia presentation. But beyond just happening to make good images, if I’m shooting a big project with a multimedia end in mind I still need to approach it like I would a story with no multimedia component. The multimedia side requires some more work and more material, but I still need to have the variety of images, key moments, and sense of vision that I would be trying to make for a project that consists of only still images. So, chances are I’m going to have work that I can present outside of the multimedia package. I’ve encountered problems in not doing enough work on the multimedia end, getting too caught up in the still photo side and neglecting to get enough b-roll audio or video, or shooting enough variety of still images to cover all the audio. And that goes back to what I mentioned earlier about just being aware of where the story is going to ensure you’re covered for stills as well as meeting any multimedia needs before you move on to the next part of a project.

Q8. Do you have any additional multimedia projects planned?
Kirkpatrick: I’m developing a multimedia project to go with the Tea Party work I started in 2011 (link:, and I’m creating some more of the fun little pieces like “Fly Away”.

Q9. Are you finding a lot of interest in multimedia work amongst your clients?
Kirkpatrick: I’ve been hired for a bit of multimedia and video work, but on the whole my clients are from the still photo world. What I find though is that my still photo clients are really interested in seeing the multimedia work that I do. It may just be a place to start a conversation about storytelling and some of my personal work, and it may be a spark for a new project or collaboration. Wherever the conversation goes, clients are always interested in seeing a project that goes beyond the still photos.