From the Basque Country to London in 5,000 miles

From the Basque Country to London in 5,000 miles

The sun blasts through the window, frost on the windows and 18 year old Itziar Telleria Flores from the small town of Durango, Basque Country has to take her 45 minute bus ride from East Dulwich to central London.

Despite being a far cry from the mountainous regions of Northern Spain in which she grew up, she doesn’t feel too homesick, she’s used to it; spending the three years prior to now studying in South Africa before she moved to London.

“Obviously it was a big culture shock. I didn’t know one person and I got very homesick at the beginning”. Itziar was one of six students from her school in Bilbao who gained scholarship to study in Johannesburg. “I didn’t speak a word of English when I moved there so it was very difficult at first for me.”

Leaving her family was something she initially struggled with, however fell in love with the city she moved to. “It was so different to where I’d grown up I just loved the different way of living”. The weather was something she wasn’t used to, particularly in the winter. “People think that because you live in Spain it’s just hot all the time but we have extremely cold winters in the north. Johannesburg is hot all year round”

Returning home after finishing her schooling in Johannesburg, studying abroad was something she’d thoroughly enjoyed and felt like she wanted to do again and was leaning towards studying engineering in the future.“My interest in engineering came from an passion for fine art at first. I know they don’t sound like they’re related but I’ve always loved drawing. The reason I went with engineering was because realistically the chances of me getting a job as an artist are very low and I wanted to feel like I was making something”.

“I think that I matured a lot quicker growing up away from my family in a different country”. However, after spending her early teenage years away from home, her parents were opposed to the idea and insisted that she undertake her university education in Spain. “My parents couldn’t afford to send me to England and pay for university here, especially in London where everything is so much more expensive than in Spain so I had to apply for a student loan”.

Adamant that engineering was the career path for her, she applied for Imperial College London. After excelling in her exams she gained an unconditional offer from the university. “I think because not many girls go into engineering that it helped my application”. Being one of only 5 girls in her class of 130 she feels as though the industry needs more women. “I was quite surprised when I turned up on my first day and I was one of the only girls.”

Staying with family friends in East Dulwich, Itziar commutes 45 minutes every day to and from university to fulfil her ambition of becoming an engineer. “I don’t mind the journey, it’s a nice reminder I live in one of the best cities in the world”. 

 

 

 

Immersive journalism

Immersive journalism

Immersive content:

360 Video
Monoscopic, Stereoscopic

Augmented reality 
Volumetric

3D scan

CGI (Computer Generated Imagery

Putting the viewer in control with multiple perspectives:

Traditional storytelling
Dynamic storytelling
 

Dynamic vs. Traditional

Linear vs. Branched story structure
Linear: The order in which a story is presented is vital for it to be understood. More importantly, linear storytelling requires there to be a supplier of information in a fixed order

 

Branched…

How will a participant consume the experience?

Passive vs. Active consumption
Passive observers have limited control over how the story progresses. A journalist guides them through the narrative.
Active observers have the ability to affect how their experience evolves. They have the freedom to dictate how they consume information. Whether it’s through structure, movement or interaction.
 

WHO is the audience?

Observing vs. Participating audiences 
Tips for exploring dynamic storytelling

Put the audience at the centre of the process. User choice can drive high levels of impact and participation
Create an experience which lives across platforms, including elements such as interactive graphics or 360 videos
Leverage the expertise of everyone in the newsroom
Test and iterate throughout the process
 Empathy

 

 

Is photojournalism dying?

Is photojournalism dying?

The difficulty of sustaining a profit-based photographical organisation in an increasingly non-profit dominated industry is something that modern-day photographers are struggling with more and more. 

Photographer Russell Boyce has worked as the chief photographer in Singapore, photographed sports, conflicts, elections all around the world and currently is the Middle East and Africa editor for Reuters.

Reuters has been running for over 160 years and is internationally recognised as one of the leading international news agencies around the world.

The problem facing Russell and other journalists around the world is the fact that with the increase in digital citizenship, the need for the paid journalist work is diminishing quickly; especially in the case of photojournalism. With every member of society carrying a camera in their smartphone, it’s easier and easier for members of the public to take semi-professional photographs and post them online or send them to news organisations which eliminates the need for a professional photographer.

Another difficulty in Russell’s line of work these days is that it’s quicker for a member of the public to take a photo and post it on a platform of their choice instantly. Whereas it takes professional photographers up to 10 minutes to get photos sent in from journalists in the field and posted. 

Another way in which organisations such as Reuters can acquire photos is through members of the public sending images in which Reuters will purchase to use. The issue with this however is that the validity and authenticity of the image needs to confirmed before usage. Editors like Russell use software able to check this before posting on their site.

An additional obstacle often faced by journalists these days is the process of doctoring images via programs such as Photoshop. Altering images via photoshop is a sackable offence in most organisations as it destroys credibility. 

Russell claims that the discrediting of other news organisations is rife in the industry however isn’t bothered about doing the same. ‘I’m not interested in agendas’. 

Despite the ease of digital citizens taking their photographs in replace of professional photographers such as Russell, it is no replacement for the know-how of a photojournalist in the industry. 

How digital developments have changed journalism

How digital developments have changed journalism

With the growing influence of digital citizenship in today’s society, contemporary journalism is becoming increasingly difficult to define.

A journalist was often recognised by the technicalities of his profession; the process of printing information onto big sheets of newspaper. However, as a result of the growing impact of the internet in today’s society and industries, determining who is a journalist and who publishes news stories on the internet is slightly more difficult than before. The main difficulty being the fact that those who do not consider themselves as journalists can do things that cover the basis of journalism. These digital citizens can share articles as quick as they publish, be the first eyes on the scene and document any event just the same as the next journalist. A big issue being the amount of platforms in which journalists and normal members of society share together. Twitter being one of the most prominent.

The problem with this is that it opens the door for a lot of ‘fake news’ outlets which hurt the credibility of journalists posting their stories on the internet. It’s much easier to provide news to people on the internet in today’s technologically rich society whereas before it was just restricted to the professionals. Unfortunately, with the rapid growth of social media and internet based technology, this is bound to get only worse.

 

Why you should go to the Underbelly Festival

Why you should go to the Underbelly Festival

A hub of culture in the heart of London. The Underbelly Festival south of the river Thames brings together a selection of food stalls, circus performances and plentiful supplies of alcohol to one place from April to September.

Food selections include hot dog and waffle stands as well as a bar which serves alcohol at reasonable prices given the fact that you do not have to pay to enter the festival. Beverages include a selection of ciders and beers, a wine list as well as soft drinks to accommodate all parties. Entertainment includes cabaret, theatre performances as well as comedy shows, making it a great place to bring friends and family.

The festival is conveniently located in-between the London Eye and the Southbank Centre. The festival also sits between Waterloo and Embankment underground stations for easy travel as well as being just a twenty minute walk from Piccadilly.

If you’re looking for a quieter experience then visiting midday would be wise as there are no queues for refreshments (or toilets) and you’ll have the opportunity to explore the festival freely.