1. navyvisualnews@navy.mil
703.614.9154
AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD
Cover Story continues on page 2
T
he Aviation Photographic Unit was
not the usual military unit.
In an age of massive Navy task
groups and huge Army units made
up of tens of thousands of men, Steichen’s
unit was a bit of an anomaly.
That’s because it was a band of
storytellers, experienced craftsmen who
worked alone — often thousands of miles
apart and rarely interacting with each other.
“Concentrate on the men,” Edward
Steichen, the unit’s commander, would task
his photographers. “The machines of war
come and go, but the men never become
obsolete — tell their story, the struggle of
the little guy.”
It was that work which captured images
of combat and the drudgery of military life
between battles that has brought to life that
war and the people who fought it.
Steichen was the greatest legend in
the world of photography. Throughout the
1930s, he had been the photographer to the
stars with his portraits gracing the pages of
Vanity Fair and Vogue magazines.
By 1938, he retired at the top of his
game, saying he wanted to grow flowers
at his Connecticut home and take a stab at
documentary photography. He even spent
some time with early color film using 35 mm
hand held cameras.
He’d also been heavily influenced by
the work of Roy Stryker’s Farm Security
Administration photographers, who traveled
the country documenting the Depression.
So by the time the war started, he was
itching to get back in the game. He wanted
to document the war.
He tried to get back into the Army — he’d
served in World War I in France, rising to the
rank of lieutenant colonel and commanding
aerial photography units. For his service,
the French government awarded him the
Legion of Honor, their highest decoration.
But by World War II, he was 62 and the
Army didn’t want him.
However, he had friends in high places
who pulled strings and got him an interview
with Capt. Arthur Radford, the head of
aviation training at the Navy’s Bureau of
Aeronautics.
The Navy’s personnel machine suggested
that Steichen be employed as a civilian.
Radford said that wouldn’t do — he needed
Steichen
and The Birth of Navy
Photojournalism...
by Mark D. Faram
U.S.Navyphotos
Nov-Dec 2010For members of the PA/VI community
NAVYIMAGERYINSIDER
U
S
NAVY
OFFICEO
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IN
FORMATION
NI L NISI VERUM

2. navyvisualnews@navy.mil
703.614.9154
2
PhotobyLcdr.CharlesFennoJacob,USNR
AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD
Images like Joe Rosenthal’s
flag raising on Mt. Suribachi
during the war in the Pacific,
and Eddie Adams’ 1968 photo
showing the execution of a
Viet Cong suspect in Saigon
during the Vietnam conflict, are
iconic and impactful, but are
rare moments in time. In most
cases, events will require more
than one photo to tell the story
effectively. I strongly encourage
units to submit multiple photos
with each story.
Here are some
recommendations to consider:
When shooting a ribbon cutting,
include some images of the
facility being celebrated. If
you are covering a speaking
event, include an image of the
introduction, images of the
audience, and multiple shots of
the presenter. If you are shooting
a major award there are at least
two primary images: receiving
the award and receiving the
certificate, then look for possible
family interaction, and close-
ups of the award. Depending
on the nature of the award, with
some planning it is very useful
to include a shot of working
environment. If they are a Sailor
of the Year, for example, arrange
an opportunity to get an image
of the Sailor on the job. Not only
will it compliment the story, but it
helps to provide useful working
imagery of our best Sailors and
civilians in the fleet.
Ask any editor, when you
provide zero options, you
dramatically increase the
chance of ending up on the
editing room floor, and no photo
with the story. As always please
call us to discuss projects and
feedback.
Speaking of feedback, it has
been overwhelmingly positive
for the first edition of the
“Insider.” So, thank you for your
continued contributions and
comments; this is a community
publication.
“Photography records the gamut of feelings written on the human face, the beauty
of the earth and skies that man has inherited, and the wealth and confusion man has
created. It is a major force in explaining man to man.” ~Edward Steichen
Steichen in uniform.
Radford fought and won, and
Steichen entered active duty in
February 1942 as a lieutenant
commander. He started forming
his unit, which would operate
out of the Bureau’s Training
Literature division.
“We also discovered that it
was easier to get funding for
what we needed under the name
of “training,” said Lt. Wayne
Miller, the unit’s first member,
“Especially early in the war,
fewer questions were asked,” he
said.
By the end of the war,
Steichen was one of the top
officers in naval photography,
commanding all combat units in
the Pacific.
His unit, initially six still
photographers and one
motion picture shooter,
remained separate, and these
photographers first documented
aviation training — fulfilling
Radford’s initial vision. But
Steichen wanted his men in
the thick of the action, combat
documenting photo.
Steichen quickly learned the
Navy’s system by working with
the Navy’s personnel leaders to
get his men orders that allowed
them to travel anywhere and
modify their itineraries en route.
He set out to develop his
own network of friends in high
places, lining up the brass in
Washington to have their portrait
shot by “the famous Steichen.”
The result was that he was
able to not only get his unit
the equipment and film they
needed, but he was also able to
get them the access needed to
put that material to work in the
field by getting his relatively “low
ranking” officers carte blanche
to travel to and around the war
zones.
Steichen also had to fight the
Navy’s cultural barriers. Before
the war, photography was strictly
an enlisted man’s game and it
wasn’t “officer like” for them to
carry their own gear.
By the end of the war, their
work had been culled into a
library of more than 14,000
images which are now in the
National Archives. The work is
historically significant not only as
a visual record of the war but also
for the impact it had in shaping
the history of photography in the
postwar years.
Though the men were working
on stories at the time and some
were published that way during
the war, what most Americans
have seen down through the
years are just the single, iconic
images these photographers
took.
One battle Steichen lost,
however, was getting his
shooters names under their
images. At the time, all photos
released from the Navy were
credited only with “U.S. Navy
Photo” — the photographer’s
name was forbidden to be
published. Though he fought
throughout the war, he never
succeeded in getting that rule
changed.
These shooters were the
Navy’s first photojournalists
and Steichen’s edict to his
photographers still holds
true — by concentrating
on the individual Sailors
and telling their stories, the
photojournalists of today are
showing the world what the
outstanding men and women
of the U.S. Navy do.
*Editor’s note: Mark D. Faram, (JO1
ret.) is an Advanced Visual Journalism
Program (Syracuse) graduate and a
writer and photographer for the Navy
Times. He wrote the book Faces of
War: The Untold Story of Edward
Steichen’s World War II Photographers
Cover Story continued
EDITORIAL
Editor
Staff Writers
Contributors
LAYOUT/ART
DIRECTOR
Kristina Miller
Oscar Sosa
Damon Moritz
MCC Terrina Weatherspoon
Navy Office of Information
Pentagon RM4B514
Washington, D.C. 20350-1200
Office: 703-614-9154 DSN: 224
Craig Clarke
Mark D. Faram
MC2 Jay M. Chu
DIRECTOR Christopher Madden
~CJM

3. AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD
The Chinook crew chief
walked toward me. I had my
camera around my neck and
was sure he was going to tell
me to put it away. Instead
he asked, “are you a PAO?”
I said, “yes,” as I reached
for my badge. He said, “We
can harness you in near the
back and you can sit on the
ramp and take pictures out
of the back of the helicopter
if you’d like”.
That was not what I was
expecting to hear, and it
felt like I was listening to
someone else speak when
“that sounds great!” flew out
of my mouth.
As the helo took off, I left
my seat and sat down on
the ramp near the gunner.
Pretty soon I was sitting
right on the edge, my feet
dangling hundreds of feet
in the air. I took some great
photos that day both in the
sky and on the ground.
That was truly the first time
I realized how fortunate I
was to have this job, and
also that I better not waste
this incredible opportunity
to show the world what they
aren’t seeing on TV; that
even over the war-torn lands
of Afghanistan, you can look
through the lens and capture
a pretty picture.
Two weeks later I’m
on a convoy headed to
Shalghamy. When we
arrived, I immediately got
out of the vehicle and looked
around. Dust as far as the
eye could see … and in
the middle of all that dust,
people and equipment.
The Army was building a
combat outpost and we were
there to see their progress.
I raised my camera and
began looking through it for
a photo. And then … click.
My first photo was of an
Afghanistan National Army
soldier standing perimeter
security holding an RPG. I
have to tell you, if I saw this
in America, I would have
been shaken to the bone.
But standing there, looking
at him through a glass eye,
I could have been taking a
picture of butterflies. The
camera made it feel less
real. However, when I got
back later that evening and
downloaded the photos,
chills ran through my body.
This job allows me to be
very close to danger. So
close in fact, I barely have to
use a zoom lens.
A week later, I’m in a
hospital room. A young
man is receiving a Purple
Heart. It turns out that he
was closer to danger than
he should have been. My
commodore reaches down
and places the medal on his
shirt and shakes his hand.
With glassy eyes he looks at
the commodore and says, “I
will come back to the fight if
I can, sir, but I don’t know, a
broken back sounds pretty
serious.” I thank God silently
for the camera. I keep it up
to my face. It was the only
thing covering my tears.
I’m grateful, though, that
while the camera covers my
emotion, it is busy capturing
the emotion of others. A
fellow MCC once told me
that while deployed to Iraq,
Afghanistan,
One
at a time
a buddy of his received a
picture of his newborn son
in the mail. He snapped a
picture of the Marine holding
the photo of his son. The
Marine never made it home
from that deployment. After
his tour was up, the MCC
went to visit his buddy’s wife.
That photo was framed on
the wall. “I took that photo of
your husband,” he said. She
responded with, “thank you,
it’s the only picture my son
will ever have of him and his
father.”
That’s why it’s important
that we are here and I
wouldn’t want to be doing
anything else.
Editor’s note:
MCC Terrina Weatherspoon is
a Navy Reservist assigned to
CHINFO. She is also a regular
contributor to the Navy’s Blog at
www.navy.mil/blog/
Photo
INSIDERPERSPECTIVE
navyvisualnews@navy.mil
703.614.9154
3
story and photo by
MCC(SW) Terrina Weatherspoon

4. 4AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD
Intelligence
Collection
through
Social Media
by Craig Clarke
navyvisualnews@navy.mil
703.614.9154
The intelligence community divides
the tradecraft of doing intelligence into
disciplines, referred to as “the INTs.” The
newest is a discipline known as Open
Source Intelligence (OSINT). It is defined as
publically available information that anyone
can lawfully obtain by request, purchase, or
observation for the purpose of addressing a
specific intelligence requirement. We found
this especially powerful during Operation
Unified Response, DoD’s humanitarian
response to the 2010 Haitian earthquake.
In Haiti, open source intelligence drove
Marine Corps operations on the ground;
which included information derived from
press reports, social media platforms, and
international websites.
PhotobyMCSNAaronShelley
PhotobyMC2CandiceVillarreal
I suppose that the Marine Corps never
imagined an expeditionary mission being
driven by Facebook, Twitter, blogs, Flickr and
YouTube, but we certainly established that
precedent.
Information posted to social media by
Haitian nationals and aid workers helped us to
navigate our area of operation, which was on
the southern peninsula west of Port au Prince.
In the initial stage of the operation, OSINT
helped us determine who needed help, where
they were located, how to reach them, and what
specific aid was needed — a kind of virtual 911
call center. As the operation continued, OSINT
enabled us to effectively partner with NGOs
and aid organizations, getting them to a steady
state so that U.S. forces could redeploy. OSINT
also provided us with information on logistics,
navigation, reports of violence, movements
of internally displaced persons (IDPs), aid
shortages, and the like. An overwhelming
tsunami of information flowed out of Haiti for
us to tap into. We issued a daily report ,seven
days a week, over an eight week period, even
working through two blizzards.
A large part of the information flow that
poured out of our AO originated from the public
affairs community. PAOs posting to various
social media platforms greatly aided our efforts,
helping us to formulate and strengthen our
intelligence analysis. For example, USS Carl
Vinson arrived on station less than 72 hours
after the initial quake. Photographs posted to
the ship’s Facebook page as their operation
unfolded told us an important story. IDPs were
overcrowding boats in ports trying to flee for
the undamaged rural countryside. Airdrops of
food, water, and medical supplies were proving
to be frenetic; boots would have to be put on
the ground to provide order to aid distribution
points. Social media was doing its amazing job
by staying out in front of a fast moving, quickly
developing situation and enabling our OSINT
reporting.
On a daily basis, we tapped into several
social media efforts: Facebook, Twitter,
YouTube, and Flickr.
Along with keeping us on top of events as
they unfolded, these PAO social media efforts
greatly encouraged us and kept our morale
high. For instance, we saw video of a Haitian
woman from one of villages giving birth aboard
Bataan via the ship’s Facebook page. As the
DOD distributed aid
and saved lives,
our intel shop saw
the operation take
place in real-time on
Facebook, Twitter,
YouTube, and Flickr.
From an intel and
PA perspective, Haiti
is where the DOD
social media efforts
matured and came
into its own. These
efforts should not
only be lauded and
lavished with high praise but they should be
encouraged and grown. Commands that are
lacking a social media presence should move
in this direction. It is going to be exciting to see
how the use of social media grows. But ...
As someone who works in OSINT, I argue
that the easiest target to perform open source
collection on is the United States. The PA
community will have to manage DODs social
media presence so we do not enable the open
source collection of our adversaries.
Case in point. Bataan posted to their
Facebook page during Operation Unified
Response a photograph of six Sailors with
the caption “A few of Bataan’s Cryptologic
Technicians. Whatever they do, it’s a secret.”
While not identified specifically, names are
visible on their uniforms along with friends and
family further identifying them by commenting
on the photograph through Facebook. The
ship’s Facebook page is completely open
and viewable by anyone with an Internet
connection.
This photograph is a very easy opportunity
for an adversary to build a targeting package
on a group of Sailors that have access to
top secret material in their job as cryptologic
technicians. Just using Google to search on
their names reveals important information
on several of these Sailors, including home
address, a recent property purchase, an
impending marriage, hometown and high
school, hobbies, places they frequent socially.
The list could go on.
The U.S. is an open society and should never
exist in a closed vacuum. The public affairs
community should reflect that when portraying
the stories of our servicemen and women.
They should never be faceless or nameless.
But, some consideration needs to be given
as to how we can disable adversaries in their
intelligence targeting. Would the Russians and
Chinese salivate at the opportunity of having a
package of information on a Sailor that works
in the top secret crypto realm that included full
name, family, address, phone number, and
places they visit regularly in social settings
while off duty? That goes without question.
Editor’s note:
Craig Clarke is the subject matter expert for
Open Source Intelligence at the Marine Corps
Intelligence Activity located at MCB Quantico.

5. 5AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD
Part of our job as Navy photojournalists
is documenting our environment. This often
includes our shipmates, their activities
and the conditions they work under,
however, many times we find ourselves
taking pictures of equipment without the
benefit of people in the frame. This type
of photography often produces static
and uninteresting images that tend to do
nothing more than document an inanimate
object. Stuff on a ship’s deck is fine for
forensics work or general documentation
purposes, but static, lifeless images of
materiel don’t translate well for journalism.
One of the easiest ways to give life to
an inanimate object is to convey a sense of
motion. This can be accomplished through
a variety of photographic techniques, most
of which require no additional equipment
other than a camera, sometimes an off-
camera flash, and always a photographer
willing to put thought into work.
The most frequent examples that
come into NVNS are images of “model
helicopters” that look like they’re
suspended in the air with invisible strings.
There’s just something not real about a
helicopter flying with the rotors stopped.
The image above is a good example of
navyvisualnews@navy.mil
703.614.9154
OUTTAKESby Oscar Sosa
three Sailors holding up an SH-60 with
a cargo pennant. It was shot at F/2.8 @
1/3200 sec. It would have been a much
better image if the photographer had
slowed the shutter speed down to 1/500
sec. or even as low as 1/125 sec. The
helicopter rotors are moving so fast that
blurring them won’t affect people or other
objects moving near the aircraft. Keep
in mind that the focal length of your lens
affects the apparent motion of the rotors.
You will need a slower shutter speed
for a wide-angle lens than you will for a
telephoto lens, however if you keep your
shutter speed down around 1/500 sec., or
slower, you will achieve good results.
Another way to show motion is to
show motion [no, not a typo]. People,
aircraft, weapons, vehicles, ships and
other shipboard equipment are designed to
move. We are not a static Navy; we move
and often move fast. Show it. An F/A-18
launch photographed at 1/5000 sec. is a
shot of an aircraft just sitting on the flight
deck. By slowing the shutter you can give
the viewer a sense of the dynamic nature
of the flight deck. Use juxtaposition to
illustrate motion by focusing on a stationary
subject and blurring the moving object, or
vice versa by using a slow-shutter pan of
your subject and blurring everything else.
Ships also move… let us see it. Slow
the shutter for a passing ship or during an
underway replenishment. You can get all
sorts of unexpected results, including light
streaks, milky water, mixed lighting and
other surprises. This type of motion can
be achieved in bright sunlight by enabling
the “low” setting for the ISO in the camera
menu. Set the ISO to 50, dial the aperture
up to F/22 and let the shutter speed drop
as low as possible. ISO 50 at F/22 on
a bright, sunny day at noon will give a
shutter speed between 1/30 and 1/15 sec.
It’s always a good idea to have a circular
polarizing filter sized for at least one of
your favorite lenses. A polarizing filter gives
more vibrant skies, cuts down on glare
and can substitute for a neutral density
filter. I do not recommend a neutral density
filter, as the usefulness of that filter does
not justify the expense, however, it is the
best way to reduce the light getting to the
sensor.
Camera tricks are not a substitute for
understanding your subject and working a
situation. Shutter drags, panning shots and
blurred movement are useful techniques,
but they can be overdone. Ultimately, it’s
important to take every opportunity to
experiment and seek mentors who are
good at it, because they’re out there. If
you’re part of a small shop or you are the
shop, check out the photo gallery on
Navy.mil and find MCs who are getting the
cool motion images… then contact them for
insight and tips. Think before you trip the
shutter and you will come up with a unique
way to tell the Navy’s story.

6. AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD 6
Navy video is absolutely critical to
successfully communicating the Navy story.
Are you documenting what is going on aboard
your ship or station?
Perhaps the perception is that NVNS is only
interested in breaking news; nothing could be
further from the truth.
Almost daily, NVNS receives requests for
specific video on a wide variety of topics, from
an even wider variety of requestors. In many
cases they are unfamiliar with the subject, and
have little understanding of what distinguishes
a Super Hornet from a Hornet, a Sea Sparrow
from a Harpoon, or the CH-53E helicopter
from a MH-53E.
Ninety percent of these requests are in
search of products to complete stories already
in full production, and as a result the deadlines
are extremely short.
These short deadlines make direct tasking
impractical. Simply put, if we don’t have it
already in the database, then it is likely the
Navy will miss an opportunity to tell its story.
The best answer is to explore ways to keep a
consistent flow of up-to-date video coming into
NVNS during the course of normal operations.
For example: We suggest forwarding prime
cuts to NVNS from the video used in the
production of an All Hands Update (AHU);
thereby supporting two products with the
same video; the proverbial two birds with one
stone.
The Navy uses many different brands and
versions of video editing software and this
can cause confusion when preparing files
for transmission. It is not possible to give a
step-by-step guide for exporting video for
each platform. Instead we offer some general
guides with common settings:
Go to www.chinfo.navy.mil/visualnews/
training.html and select Video File Notes –
June 30, 2010. Take time to review some of
the other training tips available at this link.
Use care when developing your slates. With
released print stories, misspelled words and
grammar can be easily corrected; in a video
slate, not so much. In each case, the entire
slate must be removed, reconstructed, and
edited back into the original video product.
Sometimes it is good to get back to the
basics. Still media and video should be
identified by a VIRIN, not a noun name.
Imagine what happens when NVNS
receives multiple files with the noun name
“primecuts.mov”. One of them gets overwritten
or mistaken for the other, creating confusion.
That is why the VIRIN is so critical to a
sustained and organized workflow.
History and Full Life Cycle
Ask yourself these questions. “When was
the last time my command sent in a video for
the historic record?” Is your command being
considered for the national record?
In most cases the video files we are getting
meet today’s immediate news standard,
but they don’t stand the test of time. Film
producers, documentarians and historians
are unlikely to use a QuickTime or Windows
Media Player file as a permanent record.
When we are trying to fill a request for the
next “Transformers” movie or the TV series
“NCIS”, compressed files just do not stand up.
There is no argument, the Navy PA and
VI team did a really good job in Haiti. NVNS
continues to review hours and hours of
original video tape, transferring prime-cuts
to XDCAM and forwarding to DIMOC for
eventual National Archives consideration; but
this has been the exception.
In all respects the PA/VI team is also the
U.S. Navy’s historian. Everything we produce
becomes an official record. The print stories,
radio productions and video products are
all historically significant. Per OPNAVINST
3104.1A, and SECNAVINST 5720.44B, and
5720.47B, NVNS has a duty and requirement
to ensure that the Navy’s story is told for
future generations through visual information
resources produced by the fleet.
The Collective Fix
So much is happening in the Navy right now
beyond just uniforms; aircraft and ships are
being retired, completely new platforms like
the San Antonio-class LPDs and LCS littoral
ships are coming online and there is a huge
demand signal for HD video content to tell
their story. Our available library is, however,
significantly challenged.
NVNS works with a number of movie
companies and documentary producers and
they are consistently asking for seemingly
routine video.
Please take some time to document the
following in high definition [if capable] and
send us tapes as soon as practical.
• Ship’s ID or command ID (aerial, signs,
labels, hull number, full rig)
• Firsts and lasts (flights, deployments,
leadership)
• All hard-mounted weapons (CIWS,
Advanced Sea Sparrow, RAM, guns etc).
• Aircraft (launches, recoveries,
maintenance, weapons upload etc.)
• All of the operational spaces (combat,
navigation, bridge, etc.)
• Sailors during evolutions depicting
teamwork, training or readiness
• Life as a Sailor (berthing, church,
recreation, PT, games, MWR trips, etc.)
• Weather (the weather’s impact on
Sailors, ships, buildings and equipment)
• Civilians, Reservists and families.
Fleet-wide participation is needed in order to
properly document the full scope of our Navy
today. NVNS is here for one reason, to get
your quality products into FULL distribution as
quickly and as accurately as possible to help
tell the Navy’s story, now and into the future.
Nothing is perfect, but there is nothing
wrong with trying to get there.
GOT
by Damon Moritz
navyvisualnews@navy.mil
703.614.9154
Tina Jones
Navy Visual News Service video editor

7. 7
Desperately Seeking...
Holiday Imagery. How do we
celebrate the holidays away from
home? Whether in the middle of
the ocean, desert or in between,
an important part of our Navy’s
story for the public (and history) is
how we spend the holidays away
from family. We are particularly
lacking in video of this period, so
spend some time documenting this
occasion with both media.
Reserve Component. While we
are all one team now, thanks to the
Active Reserve Integration, there is
still significant value in showing the
public how the Reserve Component
(RC) trains and integrates with
the Active Component. In order
to do that, we need images with
captions that indicate when RC
members are in them. There is a
large spectrum of opportunities, so
send in any quality imagery you
get. Again, still and video media is
needed.
Events and Deadlines
1. The CHINFO Merit Awards
Submission deadline Jan. 31, 2011
www.chinfo.navy.mil
2. The Thompson-Ravitz Awards
Entry deadline March 25, 2011
pa-net.navy.mil/eRoomReq/Files/
chinfo/PANET/0_f7f39/5305.7B.pdf
3. Photoshop World East
March 30 - April 1, 2011
Orange County Convention Center
Orlando, Fla.
photoshopworld.com/register/
4. National Association of Broadcasters
April 9- April 14, 2011
Las Vegas, Nev.
www.nabshow.com/2010/default.asp
5. Photoshop World West
September 7-9, 2011
Mandalay Bay Resort & Casino
Las Vegas, Nev.
photoshopworld.com/register/
1. JayCut
A free online video editor you can use
to upload videos, photos and music to
create and share material.
http://jaycut.com/
2. Lynda.com
Online training website with topics
ranging from digital photography basics
to 3D software design techniques. Some
instruction is free, though monthly fee
gains you full access to all material.
www.lynda.com
3. Newslab
Blogs, news and commentary on creating
better news stories plus helpful listing
of resources worth spending your time
going through.
www.newslab.org
LINKS to KNOW
4. We Are Photographers
A website by and for photographers with
tips, regular photo contests and critical
reviews of submitted photographs.
www.wearephotographers.com
5. Pdfcrowd
Free website to create PDFs from HTML or
web pages.
http://pdfcrowd.com
6. The Edit Foundry
A blog from the National Press
Photographers Association with tips on
various aspects of video editing.
http://blogs.nppa.org/editfoundry/
7. Graphic Design & Publishing Center
Information exchange on a variety of
design topics. You’ll find resource links
and articles on photo editing software,
website design, social media, typography,
layout and graphic design.
www.graphic-design.com/
AMERICA’S NAVY: A GLOBAL FORCE FOR GOODnavyvisualnews@navy.mil
703.614.9154
All references to commercially available sites and services are provided for informational purposes only, without Department of the Navy endorsement.
FROM THE EDITOR:
We need your input! This section is meant to share online resources
that help us all increase our knowledge of visual imagery. While the
NVNS staff has a laundry list of favorite VI sites, we’d like to hear
what you have bookmarked. Send us any sites that you have which
offer tips, training or even just inspire your VI work.
Navy Style Guide
Ships: On first reference, refer to
ship as follows: The amphibious
assault ship USS Nassau (LHA
4), the Military Sealift Command
ammunition ship USNS Flint
(T-AE 32).
On second reference, do not use
USS or ‘the’ before the ship’s
name. For example: Nassau is
on a deployment in the western
Pacific region.
If the ship has a multi-word name,
be sure to include the whole
name on second reference. For
example: the aircraft carrier Dwight
D. Eisenhower (CVN 69). Dwight
D. Eisenhower is on deployment
in the U.S. 5th Fleet area of
responsibility.
Aircraft: Include the specific
aircraft type. For example: SH-60
Sea Hawk helicopter, F/A-18C
Hornet strike fighter jet.
Sea Hawk is two words.

8. 8AMERICA’S NAVY: A GLOBAL FORCE FOR GOODnavyvisualnews@navy.mil
703.614.9154
Free Training, Apply Now
NVNS has procured seats
at three different professional
seminars for those eager to
learn from the best, but we
need your applications now.
The first two seminars are
held in St. Petersburg, Fla., at
the Poynter Institute, which is a
school for journalists. The third
is hosted by the National Press
Photographers Association
at Oklahoma University in
Norman, Okla.
Poynter seminar one is
“The DSLR Play Book: Still to
Motion (G424-11)” and it will
be held February 22-24. The
application deadline is Dec. 20.
The program will teach you how
to document and review video
coverage from the field and how
to download it to your computer
to edit, with an appreciation for
good quality and compelling
visuals. Explore recent case
studies and effective examples
of video journalism produced
with these new hybrid reporting
tools and get tips on how to best
use the DSLR in your shop. If
you don’t have it already, NVNS
will provide a kit for the duration
of the seminar.
Poynter seminar two is “The
Backpack Video Storyteller I
(B432-11)” and it runs April 4-8.
Application deadline is Jan. 20.
This program will show you how
to write, report, photograph,
even edit your own video stories
for online and/or broadcast
when you’re alone in the field.
You will learn the fundamentals
of light, motion, sequencing,
natural sound and character
development. We also will
teach you the ethics of video
storytelling and editing, and
how telling video stories online
is different from television. In
this jam-packed week you will
produce several stories. All
gear is provided.
The third opportunity is for
the 2011 NewsVideo Workshop
which runs March 13-18.
Application deadline is Jan.
20. The workshop is a week
long, intense immersion into
the world of moving pictures
and sound. You will spend 12
– 16 hours each day learning
from a faculty of more than 20
nationally- and internationally-
recognized, award-winning
journalists. There are two
“shoot & edit” seats available,
which means you will be using
gear to produce stories. NPPA
professionals will critique your
products. If you don’t have it
already, NVNS will provide a kit.
Particulars: The awarded
applicant’s command (or the
individual) is responsible for
paying per diem, travel and any
incidental fees. A vehicle is not
required as lodging is walking
distance for each, though NPPA
participants will find a car useful
when going out on assignments.
To apply, please send
the following to Christopher
Madden at navyvisualnews@
navy.mil
• A 100-word professional
biography written in the
third person
• A 250-to-500-word essay
describing your daily
duties, the relevance of
the seminar to your job,
your goals for the seminar
and how you will apply the
training to your work.
• A letter of endorsement by
CO, Dept head or PAO.
Commands will be notified of
winners in writing.
NVNS produces a three minute multimedia production each week
we call “U.S. Navy Week in Review.” These productions use video and
still imagery received from the fleet during a given week, mixed with a
contemporary music soundtrack. We post them to the Navy Facebook
page on Saturday mornings, and have slowly gained a loyal following
with many of our 200 thousand-plus Navy friends; they are also posted to
YouTube.
High resolution versions of each production can be downloaded from
the Navy Outreach Video Player on CHINFO’s Navy PA Resource Web
Site at: www.chinfo.navy.mil/pages/outreach/videoplyr.html
Download them to support your briefings and outreach engagements.
Periodically we elect to produce feature presentations to commemorate
important events. Most recently we commemorated the attacks of 9/11,
the tenth anniversary of USS Cole bombing, the Centennial of Naval
Aviation, and a special Navy Birthday tribute that CNO presented at the
Washington, D.C., Navy Ball and Three-Four Star conference.
Just like the lottery, you must play to win. So keep sending in your
imagery and video products so we can make sure these productions are
as complete a snapshot of America’s Navy, a global force for good.
Are you in the loupe? by NVNS Staff
Holiday Message
As we move into the holiday season, those of us
at CHINFO would like to take this opportunity to
thank you for your continued efforts in all that
you do for our community, our Navy and our
country. Know that we value your efforts in telling
the Navy’s story. We also know that many of you
will be deployed over the holidays, so no matter
where you are please take care of each other.
Best wishes to all of you.
One of the easiest things PAOs and MCs can do as communicators
to ensure that the Navy’s story is being told accurately and timely is
to take advantage of all of the tools available. The newest part of that
tool kit is a recent update to the content management system (CMS)
for Navy.mil.
We have made significant changes to the local pages based on
feedback from you. The updated local pages now provide commands
with release authority to upload your local content and better reach
your audience. This new CMS allows you to post:
• Four images of the day
• 100-image gallery
• 10 videos from the approved video library
• One audio podcast (which you produce)
• Four multimedia/ads - from a library or your own
• One highlighted All Hands Magazine issue
• Five links on a customizable menu bar for navigation
• 20 simple local pages for items of local command interests such
as Sailor of the Quarter, Ombudsman information, bios, etc.
When you upload a local image directly to your command’s Navy.mil
page, you are also simultaneously sending it to the Navy Visual News
Service staff for consideration in the Navy’s gallery.
If you have not taken advantage of these new tools, you can start
the process by quickly completing a memorandum of understanding
(MOU) via your management console. The MOU should be signed
by the PAO or MC who is the public affairs approval authority for the
command, as this will be the individual who will be responsible for
any images, podcasts, etc., that are posted on the local command’s
website.
As soon as you have completed your MOU and it has been
approved, you will be able to post material on your page. Training for
the new features is built directly into the system.
If you do not have an account on CMS and you have been using
the external submission site on Navy.mil to submit stories, contact the
Navy News Staff at navynewsservice@dma.mil or (202) 433-3846 to
set up an account. Submit your rank/rate, name, contact information
and lead public affairs officer, and we will set up an account for you.
Your command must have a CMS account before completing the
required MOU.
Navy.mil serves as a touchstone of information about the Navy. Act
now to take advantage of the tools at your disposal to tell the Navy’s
story. Please contact us with any questions.
“New Navy.mil Local Pages Puts the Power
in Your Hands”
by Defense Media Activity Anacostia
SCHOLARSHIPBY NVNS STAFF