Images can play a vital role in how effectively messages can reach various audiences. When images accompany text or a story, which element makes the difference in engaging the reader or viewer? Which motivates one to act? Using images strategically in external and internal communications planning and execution can be a vital component of success for an organization.
In addition to “reading” photos, topics include legal rights, photo sharing and distribution, and managing your archive.
Stunning photos today of the millions of Egyptians out in the streets to commemorate the start of the revolution a year ago that turned out Mubarak — and to demand transition from military to civilian rule.
A few things have been written on the supporting role of design in the revolution and the urban landscape as both site and medium of protest:
But I think my favorite detail is in this annotated overview of Tahrir square by BBC News.
The authors of direct action (particularly in West Asia and North Africa) are often depicted as a rowdy mob of thugs. But instead of the usual sea of angry Arab men so often shown by the mainstream media, the photo shows a kindergarten set up in the square. Schools in Cairo had been closed during the protests, but many mothers wanted to attend the demonstration as well. So demonstrators organized an impromptu kindergarten.
The image captures the spirit of mutual support that sprang up around the occupation. And my favorite detail: the newsprint under the paintings to keep the square, the city and country they love, free from spills. No random acts of violence here, but using the city to create something new, a different future, with hope and love.
The profile of Seamus Conlan, however, is a bit more socially engaged:
In Rwanda in 1994 covering a notoriously lethal civil war, photojournalist Seamus Conlan found himself suddenly and unexpectedly reassigned, not by a magazine or newspaper editor, but by his conscience. “I was working in Rwanda as a freelance photographer doing documentation on the lost children, a very big problem and a huge story,” says Conlan. “As I was riding in the back of a truck, photographing the orphans and collecting them at the same time, I decided to take a photo of every child as a means of tracing them.”
Conlan dropped out of photojournalism to complete his self-assigned new mission, photographing 21,000 orphans over a period of a year and a half. But because the children were known by ambiguous names such as Child of Hope or No Man Should Dishonor Me — “There were no John Smiths” — Conlan completed his tracing solution by posting the photographs on billboards sorted by place of origin. “If a child came from Kigali, the parents would go to that billboard, point to the child, give the ID number to the Red Cross and take that child home.”
Conlan’s photographic tracking method is now used by all major relief agencies.