PHOTO-EDITORS AND PARA-PHOTOJOURNALISTS ON TWITTER. THE COMMODIFICATION OF NETWORKED IMAGES

Authors

DOI:

https://doi.org/10.5902/2175497766683

Keywords:

Photojournalism. Vernacular Images. Image Sharing.

Abstract

The microblogging service Twitter has gained importance as an exchange platform for news photos that, in collaboration with renowned media, might trigger immediate reactions from photo editors. Twitter conversations among photo editors and photo creators – produsers, citizen photojournalists, para-photojournalists – show that photo editors turn to (amateur)
photographers to request permission to use their eyewitness material in journalistic publications. Reviewing the contested space of digital visual journalism between produsers, photo editors, and the commodification of networked images, I present three scenarios which exhibit how terms of use are negotiated online – hence publicly visible – between creators of
Twitpics and editors of newspapers or photo agencies. The paper concludes with five results of the relation between photo editors and para-photojournalists on Twitter: fairness, efficiency, the value of digital images, effects of image sharing practices on visual journalism, and produsers’ daily media practices.

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Author Biography

Evelyn Runge, University of Cologne: Cologne, DE

Dr. phil., is Principal Investigator and Assistant Professor at the
Institute of Media Culture and Theatre at Cologne University in Germany. Her research
project „Behind the Digital Image“ investigates the digital image by using mixed methods,
especially media ethnography and digital methods (funded by the Deutsche
Forschungsgemeinschaft (DFG, German Research Foundation, Grant 421462167). Since
2018, Dr. Runge acts as Vice-Chair of ECREA's Journalism Section.

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Published

2021-07-12

How to Cite

Runge, E. (2021). PHOTO-EDITORS AND PARA-PHOTOJOURNALISTS ON TWITTER. THE COMMODIFICATION OF NETWORKED IMAGES. Animus.Inter-American Journal of Media Communication, 20(43). https://doi.org/10.5902/2175497766683

Issue

Vol. 20 No. 43 (2021)

Section

CULTURAL & TECHNOLOGICAL IMAGES

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