鈥淔or a photo to be effective, it has to be affective. A picture has to move you in some way. It must evoke a visceral reaction in the viewer 鈥� crying, laughing, thinking.鈥�
Internationally renowned photo editor Jim Colton, recently retired after a distinguished career at Sports Illustrated (SI), Newsweek, and Associated Press (AP), spent an evening with JMC students, faculty and guests last week, reflecting on the power of photography and the digital evolution. During his 15 years at SI, Colton edited the popular 鈥淟eading Off: Pictures of the Week鈥� section at the front of the magazine 鈥� prime real estate reserved for the very best photos and photo essays.
Colton鈥檚 appearance was the third in JMC鈥檚 Diversity Speakers Series, which began this academic year. The series is designed to expose students to successful minorities who can serve as role models in the professions they are studying.
Colton鈥檚 influence as a role model was very much in evidence, as he spoke to a capacity crowd in FirstEnergy Auditorium. His influence on photo journalism was equally evident. 鈥淛im Colton has been places and seen things most of us will never see, and not many can determine what makes a compelling photo better than Jim can,鈥� said JMC photojournalism program coordinator Dave LaBelle, who introduced Colton. 鈥淗e casts a long shadow on the profession. He is known for being patient, uncompromising, passionate, compassionate, dedicated, articulate and enthusiastic.鈥�
Underscoring the importance of professionals engaging with students, JMC Director Thor Wasbotten told students, 鈥淲hen someone of Jim Colton鈥檚 caliber comes to 91仓库, listen carefully. He has something to teach you.鈥�
For nearly 90 minutes, Colton engaged the students with iconic photographs and the stories behind them. His multimedia presentation spanned a significant range of world 鈥� and photographic -- history, from the raising of the flag on Iwo Jima during World War II through iconic photos of the Vietnam War, the Oklahoma City bombing and 9/11. 鈥淲hen you think of any of these historic events, you think of these images,鈥� he said. 鈥淭he power of photography is hard to gauge, but it builds your visual history, what you remember. The brain is a camera, and the eyes are its lenses. Your brain processes over a million images a day, but retains only what it wants to retain. You assimilate images that equate to history as you know it.鈥�
鈥淲hat鈥檚 happened in the last 10 years has not been seen before in our industry. We are in a photo evolution, not revolution. It鈥檚 not finished yet,鈥� Colton told the audience. 鈥淭he total number of pictures in the last two years equals the total number of photos ever taken in history.鈥� In the 1970s, AP鈥檚 Daily Report received about 100 photos a day from all over the world, Colton said. Today, by contrast, AP, Reuters, and Getty receive between 15,000 and 20,000 photos a day. As editor of 鈥淟eading Off,鈥� Colton had the responsibility of choosing three photos out of 250,000 available photos every week. 鈥淭he bar was set really, really high,鈥� Colton told the crowd. 鈥淏ut that鈥檚 what floats my boat.鈥�
Quantity should not be confused with quality, Colton cautioned. 鈥淲e have so much to look at it, and a lot of it is crap. We need photo editors to filter it and make sense of it. Photo editors are treasure hunters who find the gem in the box and get it published,鈥� Colton said, citing a growing need for good photo editors.
He spoke candidly about his background. 鈥淚 have a passion for photography, but I wasn鈥檛 technically as strong. So I put all my soul into photo editing and looking at the world through other people鈥檈 eyes.鈥�
While recognizing the power and scope of the digital evolution, Colton said that newspapers and magazines remain healthy. 鈥淪I has had 3.1 million subscribers for the last 10 years despite all the changes in technology, while there are only about 3,000 who read SI on the iPads. 鈥淣ewspapers and magazines are trying to reinvent and re-evaluate the best way to present themselves to core subscribers. But some people still want analog and always will.鈥�
A highlight of Colton鈥檚 appearance was a multimedia presentation featuring some of SI鈥檚 best photos from the 2008 Beijing Summer Olympics and the 2012 London Summer Olympics. He spoke of the logistical challenges of covering OIympic Games. 鈥淭he scope of work is enormous. We must find the best photos for the magazine in print, online, on iPads, and on apps.鈥�
Colton closed his presentation by answering questions from students, faculty and guests. In response to a question, he counseled students 鈥測ou can鈥檛 set out to take an iconic image. You can only set out to take the best photo you possibly can. Some of it comes down to luck.鈥� Colton shared his email with KSU students who feel they鈥檝e taken an iconic photo.
He also shared his passion for his craft and encouraged students to find their own passions. 鈥淗ave passion for whatever you do, whether or not it鈥檚 photography. If you don鈥檛 have passion for what you do, don鈥檛 do it. You need to satisfy your heart, your soul and your rent.鈥� Colton also encouraged students to 鈥済ive back to the community. If you take a picture of someone in Kent and you promise them a print, send them a print. Little things mean so much.鈥�
Colton鈥檚 counsel to JMC photojournalism students continued the next day, when he spent hours reviewing and critiquing portfolios.
Colton鈥檚 visit was arranged by JMC photography instructor Scott Galvin, who first met Jim Colton during his junior year at 91仓库. Since that time, Galvin has submitted images to Colton, two of which were successfully published in SI's "Leading Off."
