Brad began his editing career at SI and for the past several years has been the sports picture editor of The New York Times.

Brad will join the workshop faculty again this coming July.

To hear Brad’s advice on how to edit photos, watch the video below.

You can also view our Sports Workshop promo video where Brad has been a faculty staple for many years.

As a resident of the town, he is able to help workshop attendees improve their photography in a limited time and show the best practices of being an elite nature & wildlife photographer.

Over the past five years and as he has told of in previous Summits, Balog placed 25 remote Nikon cameras in all-weather housings at the headwaters of several of the earth’s shrinking glaciers.

Those time-lapse pictures provide graphic evidence of global warming or, as some critics would suggest, a natural atmospheric phasing of weather changes.

Balog has produced both a documentary film as well as a large book of the remarkable pictures. His hour-long visit with Moyers was both compelling and revealing as Balog proved he is as remarkable a scientist as an accompllshed photographer.

Take a look at the documentary trailer below:

Take a look at the video below to get Brad’s insight into forming a strong editing process that will bring out your great photos faster and easier.

We received submissions from multiple countries, previous and prospective attendees, and amateur and professionals alike.

In the Amateur category, Caillum Smith won with his submission, ‘An Orange Autumn’. Here is his winning photograph and description below:

 

A maple leaf wedges itself along the shores of Okanagan lake as the sun’s rays explode between the clouds on a blustery November evening.

In the Professional category, Jen Edney won with her submission, ‘Alebrije’. Here is her winning photograph and description below:

Alebrije at the starting line for Day one of racing during the 2012 Copa Mexico J24 Regatta in La Cruz, Mexico.

Cliff Edom with his wife Vi. © Rich Clarkson / Rich Clarkson & Assoc.

I never attended the University of Missouri, but Cliff began the Missouri Workshops as an adjunct to his teaching in those years. And for some reason, he invited me as one of the instructors when I was in very early career at the Topeka Capital-Journal. He became a great friend and inadvertent mentor, for he was one of the most important leaders in the emergence of serious photojournalism in this country.

But the Missouri Workshops were the cornerstone of his teaching, for they brought together some ten of the top photojournalists and picture editors and major magazine editors in the country for a week of intense boot strap teaching for some 50 “students:” who had to produce a picture story in some new small Missouri town every year. The faculty members were Cliff’s assemblage of people he thought had something to offer and they ranged from the editor-in-chief of the National Geographic to the fledgling director of photography of the Topeka Capital-Journal (that was me) and a variety of LIFE magazine photographers and winners in Pictures of the Year. (He also founded the contest!)

It was there I experienced the value of team-teaching which features a variety of tastes, specialties and job descriptions that brought together one of the most effective teaching experiences possible.

Which these days at our workshops, is exactly the philosophy. Team-teaching with instructors with a variety of backgrounds and experiences. It is key in why our workshops are unique. And as everyone who attends tells us, separates our workshops from all others.

Thanks to Cliff Edom.

• News Photographer Magazine featured a select group of faculty members from last fall’s Photography at the Summit workshop in the March issue.  Extensive interview Q&A stories were featured with the extensive words of William Albert Allard, Jodi Cobb, Tom Mangelsen, Jay Maisel, and Rich Clarkson. They are accompanied by full page portraits by photographer and Sports Workshop faculty, Joey Terrill.
• Brad Smith, senior sports photo editor for The New York Times, came away as an unprecedented winner of first, second and third prizes in the sports picture editing category of  NPPA’s Best of Journalism competition announced April 24.  Never have all three awards gone to a single person.  Brad is a key faculty member at the Sports Photography Workshop — where he candidly announces each year that he is there looking for new talent.  In addition to being one of the best instructors.
• Jodi Cobb, longtime National Geographic photographer and Summit Workshop regular, is the recipient of the 2012 Missouri Honor Medal for Distinguished Service in Journalism.  The medal is the highest honor at the School or Journalism (which Jodi attended). Previous elite recipients included Tom Brokaw, Winston Churchill, Walter Cronkite and Christiane Amanpour.
• Summit Workshop faculty, MaryAnne Golon, was named the Director of Photography at the Washington Post. She is renowned for her many years of astounding work as both Deputy and Director of Photography at Time magazine. Prior to that, she was director of photography of U.S. News & World Report.
• Thomas Mangelsen, a regular and local of the Jackson Hole Summit Workshop, won Conservation Photographer of the Year for his ‘Polar Bear and Cubs’ photograph from Manitoba, Canada that is featured above.

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In the photograph Thomas Hoepker took on 11 September 2001, a group of New Yorkers sit chatting in the sun in a park in Brooklyn.

Behind them, across brilliant blue water, in an azure sky, a terrible cloud of smoke and dust rises above lower Manhattan from the place where two towers were struck by hijacked airliners this same morning and have collapsed, killing, by fire, smoke, falling or jumping or crushing and tearing and fragmentation in the buildings’ final fall, nearly 3,000 people.

Ten years on, this is becoming one of the iconic photographs of 9/11, yet its history is strange and tortuous. Hoepker, a senior figure in the renowned Magnum photographers’ co-operative, chose not to publish it in 2001 and to exclude it from a book of Magnum pictures of that horribly unequalled day.

Only in 2006, on the fifth anniversary of the attacks, did it appear in a book, and then it caused instant controversy. The critic and columnist Frank Rich wrote about it in the New York Times. He saw in this undeniably troubling picture an allegory of America’s failure to learn any deep lessons from that tragic day, to change or reform as a nation: “The young people in Mr Hoepker’s photo aren’t necessarily callous. They’re just American.”

In other words, a country that believes in moving on they have already moved on, enjoying the sun in spite of the scene of mass carnage that scars the fine day.

Indeed, I can’t help thinking the five apparently unmoved New Yorkers resemble the characters in the famous 1990s television comedy Seinfeld, who in the show’s final episode are convicted under a Good Samaritan law of failing to care about others.

To read more, visit their website here.

© 2012 Copyright Thomas Hoepker/Magnum

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Like Kent Kobersteen, I have spent much of my professional life moving on from an early role as staff photographer to a director of photography. My time spanned two successful newspapers and eventually, the National Geographic Society.

It included working as a contract photographer for a news weekly and the nation’s premier sports magazine, as well as the editor of a number of books and photographic projects. So from both sides of the fence, my career has been about the business of getting good pictures and then using them well.

So what did I learn in these various stages? And what should all photographers know?

This is about what directors of photography do, and how to use them well.

First, a director of photography is your friend — and your spokesman, your salesman and often, your mentor. But he is a middleman. His job lies between you, and the users of your work, along with a picture editor and various other layers of editors whose job it is to combine the visuals with words. It is a very competitive environment.

Some managing editors are brilliant manipulators of all the elements to tell a story most effectively, but often they can use help. Dealing with various magazine editors over the years, often a scene of negotiations and compromises.

To read the rest of the article, go to The Photo Society.

The Photo Society is a collaboration blog of National Geographic photographers, their work, and their opinions.