Why visuals matter online by Steven Johnson

A screenshot of my tweet about 25 min after it was posted, and The Gainesville Sun's tweet about 45 min after it was posted.

A screenshot of my tweet about 25 min after it was posted, and The Gainesville Sun's tweet about 45 min after it was posted.

The next president of the University of Florida will be chosen this week. The news of the finalists broke Monday afternoon and WUFT News had their full report on each candidate online.

Working at the College of Journalism and Communications where WUFT News is location, I decided to tweet their work with a photo of the three candidates.

A quick photoshop job to put all three headshot in one 880 x 440 pixel frame (optimized for Twitter previewing) and it was ready to go.

Using visuals has been proven to improve your likeliness of spreading content online:

The lesson is quite simple: even with the most mundane stories you should add visuals to show your audience what they are about to click on.

In the few minutes after I posted my photo of the three candidates I was already getting comments on the lack of diversity. This is something that might not have come out so quickly until you lined all three candidates in a row.

While setting up an automated system to tweet your headlines is convenient it will disengage your audience and your content will quickly disappear in the never-ending stream of updates online.

For more information on increasing user engagement, check out Twitter's Blog.


GoPro: Life in 4K by Steven Johnson

I was thrilled to be able to spend the day with a good friend of mine Bill Frakes who was speaking at the UF College of Journalism and Communications, but one part of our conversation struck a particular cord. It was the need for 6K video. While most think it is overkill, he had a good point; pretty soon our 1080p video is going to look "like old news reel."

With 4K being as easy to shoot with as any other video (thanks to the new GoPro). Check out their latest promotional video on a Retina MacBook Pro. Let is load the 4K version and you'll see what he was talking about.

The nice part about where the pixel wars are evolving is with Retina Displays we are very close to having all of our displays with a high enough pixel density to hit a limit on what is actually needed to capture a high quality image and display it at a resolution that is indistinguishable from real life.

Fortunately for you gear heads, the 1080p vs. 4K vs. 6K vs. 8K battles might be over in a few years and camera manufacturers can focus on high dynamic range of sensors once we can achieve a high enough resolution to fully trick the human eye.

Creative Storytelling at the UFJSchool by Steven Johnson

I've created a new class this fall in creative storytelling for the UF College of Journalism and Communications.

Creative Storytelling will push the boundaries of what we can use to tell a story. This class, in partnership with Tumblr, will use the latest and off-the-wall techniques for gathering a telling a story — from light-field cameras to iOS apps to animated GIFs, we will use everything and anything to test the limits of storytelling.

If you are interested in spending a semester in the Innovation News Center testing new ideas then sign up today. The class is JOU4930, sect. 19H1.

You can also download a copy of the syllabus to get a preview of what you're in for.

Getting Lucky - Unexpected Shots in Sports by Steven Johnson

Michael Sam

Michael Sam

There are many instances that you can plan for in sports photography. Wether it’s your position on the field, what lenses you pack or how you choose to expose a photo in difficult light, you can plan for almost any situation during a game.

Yet on the editing room floor (or digital trash bin), you can be pleasantly surprised with a “lucky” shot.

For instance, months after Florida played Missouri, Marty emailed me a photo Michael Sam, the first openly gay player in the NFL, from that game. It was of Sam running out of the tunnel surrounded in smoke. We had no idea at the time how important that photo might be. 

The same could be said about all of the photos of Johnny Manziel at Florida’s opening game of the 2012 season. Texas A&M was off to a rocky start, and Manziel was not the player he is known to be today. Yet, by not deleting anything, and by chance you can come across some pretty amazing moments.

These chance shots are not saved because we never delete a photo, or because the subject becomes more significant over time, they happen because we try to cover more than just the game during a game.

I tell me students at UF over and over again, “it happened doesn’t make it a story.”

The fact that 22 testosterone-filled dudes are hitting each other on a field in front of 90,000 fans is not a story. You have to find the story. And in this case, find it through showing the reader in pictures.

It’s not until you can sit down and see the day in pictures after a game once context has been established. In most cases, that context is who won or lost or any significant event that happened during the game (see Tim Tebow concussion of 2011).

In an age where one-man-band journalists are the norm, we must find ways to take our workflow to another level and keep those extra pairs of eyes handy.

I can be 1,000 miles away from Marty shooting a game, but he can still see every frame that comes across my screen. It is this level of detail in the editing process that keeps photos like Michael Sam from getting lost forever.

So how do we get those shots?

Is it luck?

Often not.

Most of those shots are “discovered” in the thousands of action photos that are produced every game, but they are intentionally sought out while shooting.

Often times, you’ll see me with my eyes closed during a game. I know what you’re thinking, that probably isn’t the best way to take photographs. Often, we need to hear whats going on to find out what to shoot. Maybe it’s a fan yelling or the band playing or a coach chewing out a player on the bench. Sometimes it’s just a needed break from staring down the barrel of a 400mm lens for hours at a time.

Another “lucky” way to find these shots is by always shooting with both eyes open. Contrary to every mime and charades player in the world who ever acted out being a photographer, keeping both eyes open allows you to keep your peripheral vision during the game. This can not only save you from getting tackled, but it can allow you to scan the field while still focusing on the play.

Lastly, stay away from everyone else. I know, we’re all photographers and most of us are good friends, but during a game, we need to get different photos (why else would our editors pay us to be there?). Breaking away from the pack can allow a shooter to discover something different about the game. Going up to the top of the stands to shoot a few minutes of a game or just getting a different angle can be the difference in a game-winning action photo and if you will discover the next moment that can tell the story of a game.

So yes, even the most unexpected photos have their preparation involved, but at the end of the day, week or season, you can still find those gems on the cutting room floor that just might make a great story in the offseason.

Lessons learned on the sidelines by Steven Johnson

There are winners and losers.

It’s why I’ve always loved sports stories, because at the end of the day someone steps off the field victorious and the other with a new set of challenges ahead of them.

And no matter what the outcome, each team, player, coach and school learns something.

Sports is one of the most valuable place to learn as a visual storyteller.

You are constantly challenged to make something new out of a game that millions of people have already seen.

You have to stretch your storytelling muscles to the brink of failure to show people what is is like to have a 200 lb. safety knock you out cold and to get right back up and do it all over again.

You have to explain the complex stories on and off the field, because, like politics, nothing is what it seems — especially in the NCAA.

From a barely-experience high school kid to a teacher at the University of Florida, sports has been my common theme each step of my career.

It began when I emailed Bobby Bowden at 16 asking to shoot the Garnet and Gold spring practice (calm down Gator fans, UF was on a hot streak and there was no way I was getting into Ben Hill Griffin Stadium). He graciously allowed me to shoot two seasons of FSU football while I was still in high school, which got me my first job at The Orlando Sentinel and then, at 17, ESPN.

When I arrived at UF as a wide-eyed freshman, I quickly got word of GatorBait Magazine and had the opportunity to shoot for Marty Cohen. 

Five years later, more than 60 football games, 75 basketball, I forgot how many baseball games and countless other sports, tournaments, award ceremonies, press conferences and more than 200,000 images — this was as hands on as it gets.

All of this came with some hard lessons learned, and I want to share a few of them with you.

First, and most importantly, it happened does not make it a story.

Just because 90,000 fans gather in Gainesville a few times a year to watch players hit each other does not make that a story. The winner and loser is not the story. The game is not the story. It happened does not make it a story — it’s the people, the players, the fans, the atmosphere, the baby gator’s first home football game, the mom who gave up everything to watch her son, who’s worked his entire life, to play on Florida Field.

Those are the stories.

Second, produce on the field not in an office.

Time is always of the essence in sports. Even the time it takes to go from the sidelines to the photo work room is a lost opportunity. So even if I have to take an iPhone photo of the back of my camera to be able to tweet out a picture, the time saved is worth it.

The most viral photo I ever shot of Gator sports was not of a player at all. It was of a sign last season that said, “We want Bama LOL JK.”

It was tweeted and retweeted more than a half a million times — easily 10x more than anything else I’ve ever put online. Why? Because it was instant. It was in the middle of the Georgia Southern game and it told the story of the anguish that Gator fans were going through at that moment. Time is of the essence when you have instant replay and live-tweeting reporters, show them what happened in the moment and produce on the field.

Third, if there is a pack of photographers, stay away from them. 

In the third quarter of the UF/Kentucky game in 2009, Tim Tebow was knocked out as cold as you could get knocked out. He sat on the sidelines the rest of the game in a daze that made Keith Richards look like a clear thinker.

There were roving packs of photographers trying to get behind the bench to shoot Tebow, then they quickly moved onto the next hot topic — how would John Brantley hold up as quarterback. I quickly made three or four images of Brantley and then stayed away from the pack to focus on the Tebow story. During the fourth quarter, Tebow was throwing up and was quietly taken out of the stadium, and we didn’t miss a moment as he was carted away (one of the most somber moments I’ve ever shot on the sidelines).

Generally, if you can shoot something different and tell a story, you will come out a winner from a game, and this is a lesson that has stuck with me for ever — even though its a blast to hang out and chat with your fellow photographer buddies on the sidelines, that is what the local pub is for after a long night shooting.

The most rewarding aspect of being apart of shooting sports is not the access to players, coaches and teams, but the friends you make along the way. We are all in the whirlwind group of roadies, stadium junkies, adrenaline-seeking, deadline-bending addicts that love to tell stories. And when you’ve seen the guts of a stadium workroom, you’ve seen them all. So at the end of the long days when you're sore, smelly and sweaty, you can always look to a good editor and fellow photographer for a cold beer.

Sports has been and will always be the training ground for my career in storytelling and the lessons that I’ve learned I can proudly share with thousands of young journalists every year.

Even in my short time covering the Gators, I’ve had assistants go on to do work for ESPN, Sports Illustrated, The Miami Herald and countless other publications.

So even as the players graduate and the coaches change and the coverage looks a little different digitally than the way it used to be…

We will always been learning on the sidelines.