Beijing, 2004Degree: BA’02 (communication andculture); <strong>Indiana</strong> Daily Student photographerLocation: New York, N.Y.Employers/clients: Time Magazine,World Picture News, National GeographicSelected awards/accomplishments:Eddie Adams Workshop faculty 2006-2009; helped produce Time’s ObamaInaugural Issue and the Michael Jacksonspecial commemorative issueAdvice: “You’re only as good as yourweakest pictures. You have to have akickass portfolio, so get people to reviewit. Have a personal project, and stay intouch with editors.”Contact: deirdreread@gmail.comDeirdre Read, BA’02Deirdre Finzer Read was a shooter for the<strong>Indiana</strong> Daily Student, a photo assistantto Pulitzer Prize-winning photojournalistEddie Adams and a photo editor at WorldPicture News, and more recently, at Timemagazine.As an editor, Read had a unique vantagepoint to watch an industry in flux.She was in daily contact with photographersand could see who was rising, whowas falling and why. Earlier this year, thechanges she was witnessing caught upwith her. She was laid <strong>of</strong>f from her job atTime — while on maternity leave — alongwith most <strong>of</strong> her department, due toacross-the-board cuts at the magazine.Read’s now at National Geographic,and she’s optimistic about her own prospectsand those <strong>of</strong> <strong>photojournalism</strong> ingeneral.“<strong>The</strong>re will always be a place for stillphotography,” she says. “Anyone canread it. No matter what language youspeak, anyone can read it.”She knows the road ahead maybe tough.“Everyone is trying to get the gig,” sheadmits. “You see people at the top <strong>of</strong> thegame, and they’re struggling too.”Still, she encourages people to pursuetheir dreams.“If you’re passionate about it, doorswill open for you,” she says. “For up-andcomingphotographers, you have to findyour voice, your own style, and you haveto work hard to make yourself stand out.”She’s a believer in the importance <strong>of</strong>pr<strong>of</strong>essional organizations like the NationalPress Photographers Association and thesupport net they provide for photojournalists.“Our business is about relationships,”she says. “You have to network, you haveto get out there and meet people. Go toworkshops and conferences and makethose connections.”Finally, she says, remember thefundamentals.“We’re all out there trying to tellpeople’s stories,” she reminds photojournalists.“If we keep doing that,we’ll be successful.”< 28 > newswire / Spring 2010
Bill Foley, ’77, BA’07Bill Foley has seen the changes in the industryas a photojournalist and an educator, andwhile he sees opportunity for photojournalists,he’s troubled by some trends in the industry.Foley left IU before finishing his degree andtraveled on a $99 one-way ticket to Europe,where he landed a job with the AssociatedPress. He returned to Bloomington to finishhis degree in telecommunications and politicalscience in 2007.<strong>The</strong> former <strong>Indiana</strong> Daily Student staffmember sees the move to digital, in particular,as a double-edged sword, opening up thefield <strong>of</strong> photography to many more peoplebut contributing as well to a weakening <strong>of</strong>the fundamentals — understanding light andstorytelling.“With digital, a trained hamster can gomake pictures,” he says. “But there’s a differencebetween doing it and doing it right. Ifyou want to do it right, you have to learn howto communicate with pictures.”“In the analog world, between shootingand processing, I could think about my captions,”he adds. “I could tell you what thestory was.” That’s not the case with digitalphotography, he says.Some <strong>of</strong> those stories included the 1982Israeli invasion <strong>of</strong> Lebanon and the assassination<strong>of</strong> (Egyptian president) Anwar Sadat,stories he covered for the Associated Press,where he was a staff photographer from1978–1984. His coverage <strong>of</strong> the Sabra andChatola massacre in Beirut earned him the1983 Pulitzer Prize for spot news photography.He worked for six years as a contract photographerfor Time, and he has photographedand worked on book projects for numerousnonpr<strong>of</strong>it and humanitarian organizations.Since 2000, Foley has been an educator aswell as a photojournalist. He taught photographyat New York <strong>University</strong>’s Tisch <strong>School</strong> <strong>of</strong>the Arts for five years and is currently an assistantpr<strong>of</strong>essor <strong>of</strong> fine arts at Marian <strong>University</strong>in <strong>Indiana</strong>polis.He sees promise in his students, but recognizesthey’re entering a world fardifferent from the one he got his start in.“<strong>The</strong>re’s just such an amazing number <strong>of</strong>people doing this now,” he says. “<strong>The</strong> competitionnow is just exponentially larger.”His advice?“Don’t be afraid <strong>of</strong> business classes,” heurges his students. “It’s one thing to takepictures, but how are you going to get yourproduct out there to the market and havepeople buy it?”He also encourages young photographersto study languages, history and political science.“You have to understand the way theworld works if your pictures are really going totell a story.”Degree: course work in journalism1973-1977; BA’07 (political scienceand telecommunications); <strong>Indiana</strong>Daily Student photographerLocation: <strong>Indiana</strong>polis, Ind.Employers/clients: Associated Press,Time magazine, new York <strong>University</strong>,marian <strong>University</strong>Selected awards/accomplishments:1983 Pulitzer Prize, 1991 cPj Pressfreedom AwardAdvice: “Study languages.”Website: www.billfoley.com“Smiles on a Swing.” Young girls play on aswing in the wreckage <strong>of</strong> what had been“Cité Sportif” (Sports City) in Beirut, 1993.fall 2010 / newswire < 29 >