OMGSH R U and Twitter Engaged?! (10 New)

Basically… this is what everyone around the internet has to say about improving YOUR Twitter engagement.












The Perks of Vijo (A10)

Vijo= Video Journalism…and Briggs says something that particularly stood out to me in his chapter on the subject.

“Visual journalism is about telling compelling stories that connect an audience with subjects, people, and issues. ¬†One of the most powerful types of visual journalism, video storytelling, is surprisingly easy to learn.”


The first connection I made to this idea in my mind, was that of a traditional journalist’s goal to establish a human connection¬†when crafting¬†a story for an audience.

As a student studying news editorial, I have focused heavily on the print and online media platforms throughout my undergraduate career, however; the end goal has consistently remained the same: HOW ARE YOU CONNECTING WITH YOUR AUDIENCE?

Video seems to be a great option, in many cases, to aid or even substitute, a story to achieve this goal.

What I found helpful in this chapter was the reiteration that video can be used to both supplement or SUBSTITUTE a story when appropriate.

A question I might ask as a follow-up to this specific topic is:

Though it is a versatile form of journalism, can any journalist actually be a VJ?

What about quality of footage?  How should journalists navigate this medium?

¬†The second connection I made with this chapter is the use of the “storyboarding” technique in working with video footage.

On one of my recent projects for¬†The Baylor Lariat, I traveled to different Halloween stores around Waco to interview various employees about “How far is too far when it comes to Halloween costumes or the Halloween season in general?”¬†

Throughout my festive adventure, I took video footage of me walking in and out of the different stores, moving mechanical monsters, etc.

I did this because, in my mind, I was already piecing together a creative video story to accompany my written article as a multimedia component.

I used a derivative of the “storyboarding” technique described by Briggs. Because I was sort of functioning as a mobile journalist (Mojo) on this project, I didn’t have time to physically “DRAW OUT” the boxes.

Instead, I envisioned the sequences of the shots in my mind as I traveled from place to place and then shot that footage on the spot.

1. I identified the one idea I wanted to get across to my viewers (the focus of my story)

2. I organized, in linear form, how capturing certain “spooky” elements within the different stores could work together in a certain sequence.

3. At the end, I rearranged the pieces I captured throughout the day into their most effective form.

Another question I might pose is this:

If a journalist is “on-the-go,” how could he/she more effectively capture highlight/creative clips? Are there any specific techniques to maximize on-the-spot captures?¬†


Essentially, these photos are all about telling the story of CREATIVITY. Each photo was fashioned with the purpose of emitting an aura of youthful passion and poise by involving elements of daring spunk and charisma.

The Baylor Apparel Merchandising department encourages its students to channel their inner creativity and allow it to come forth in their designs, projects, and other works.  Students within the BAM department tend to dabble in the sector of PR and brand marketing as well.  The various stories these photos could be used to tell in that respect is truly unlimited.

The beauty of this photo story is that it embodies a uniqueness so distinctive that it can be used to convey the most nonconformist message, or an intensely conformist message, depending on its use.

For instance, this would be considered a tame shoot in the world of high fashion.

Tech KNOW Logy (A8)

I find it very interesting that this article brings up the point that “the printing press, books, the telegraph, the telephone, radio, and television were all considered revolutionary once upon a time.” ¬†

The author relates this to the fact that we now consider Facebook, Twitter, Instagram, and Pinterest “revolutionary” today–and that regardless of the times–regulation is always evolving and adapting alongside these technologies. ¬†

We discussed this notion of “unpredictability in the media” in my Advanced Reporting and Writing Class just the other day. ¬†We were assigned to read a similar article,¬†Digital Connections, which also discussed the spread of new technology and how this explosion is both innovative, yet daunting to navigate. ¬†

The fact that everyone can be a news maker or news taker is somewhat of a frightening concept.  But, it is also something totally awesome and fresh.

The only problem lies in finding our way around, as a world community, this newfound freedom.

I guess a question that I have about this aspect of this article is the following:

Will regulations concerning privacy and copyright ever be thorough enough to be full proof as technology continues to enhance?

My second connection to Lipschultz’s article is more centered on his deep exploration into the First Amendment as it relates to the Internet, but more specifically, obscenity.

As he discussed various cases relating to community judgments about online obscenities, such as¬†Nitke v. Gonzalez, I can’t help but find myself enveloped in the gravity of the situation. ¬†

Yes, print pornography exists, but Lipschultz makes it a point to emphasize the fact that distributors of this material at least maintain some control of its dissemination.

With the Internet, there is no true control.

Though there are access restrictions that can be placed on certain addresses, filtering software programs, and other such content-monitoring measures; most of the time I feel we find ourselves simply relying on our own discretion as we use search engines. ¬†And the problem with filtering sites, as discovered by the district court mentioned in Lipschultz’s article, is that they tend to block sites that are not necessarily obscene…

AKA People argue this violates their First Amendment Rights.

This leads to my second question:

How can applicable segments of our aging government documents, such as our Bill of Rights, become adaptable to an age of digital marvel in such a way as to function without ambiguity? Is that even possible?


Snap, Snap, Photography’s Where It’s At! (A7)

1. In my Media Photography I Class, I recently observed the difference between the DSLR and Point-and-shoot cameras come to life during one of our assignments. The assignment was to shoot two photographs that effectively demonstrate two extreme versions of depth of field.  Briggs mentions that point-and-shoot cameras are more compact, easier to use and more affordable, while DSLR cameras capture better photographs because its image sensor is commonly 10 times larger.  I was assigned a rangefinder, or point-and-shoot camera, for my photography class and struggled with achieving the depth of field assignment because my camera only went up to F8, while people with DLSRs were able to get really great shallow depth of field shots because their image sensors provided a greater means to do so.   


2. Another idea that I connected with in this chapter is the idea that photography is about capturing “fleeting moments.” I tend to feel that pictures should not be contrived, but capture the natural essence of whatever the subject matter is. ¬†This is something that I try to eliminate in my work as a fledgling photographer/photojournalist. ¬†Recently, I actually shot pictures of a friend of mine for some PR stuff, and though the pictures were staged in advance, I feel as though they still came out to be “free” photographs–that is, photographs free of facade and over-hype. ¬†Below is a sample of my edited work:



Two questions I might pose, regarding this chapter, are the following:


1. How do you pick and choose which photographs to pursue to accompany a story, without being too literal, too abstract, or too trite? How do you perfect finding that happy medium in selecting photographs? ¬†The chapter does briefly discuss how to determine which photographs are best to use–but, how do you know which photographs you should go out and shoot in the first place?

2. My second question is: Where is the true line between photo editing and photo illustrating and when is it appropriate to integrate both categories of photograph types? Do people, or an audience, prefer photo illustrations to accompany news stories? Or would they prefer a raw photograph?