Getty Images Assignment Editor

Ryan Thornburg, Online j-prof at UNC J-School, Adviser to the Duke Chronicle

Like many newspapers, the student newspaper at Duke University is trying to figure out how to most efficiently reach its audience in both print and online. That kind of transition always means restructuring resources - from the times of day we work, to the numbers of various types of stories we do, to the entire editing workflow. Camayak has allowed us to start making those changes, but also understand the current workflow and structure with actual data as opposed to just "how it feels." Using Camayak, we've been able to look at who our most prolific writers and editors are, and how long various tasks tend to take. From there, we were able to see which tasks in the editing workflow were sitting at chokepoints. That allowed us to begin thinking about re-allocating the staff duties as well as altering the times of day we do certain work. I'm also beginning to look at which stages of our story workflow add the most value - both qualitatively measured in terms of the types of edits made, but also quantitatively in terms of changes made, errors caught and duration.

As hundreds of photojournalists gathered at the Visa pour l’Image photojournalism festival in the south of France this week, the rumors of a large photo agency’s imminent demise were on everyone’s lips. The victim: Getty Images Reportage.

Led by Aidan Sullivan, a former photo editor at the Sunday Times Magazine, Reportage has, for the last nine years, represented some of the world’s most respected photographers from Tom Stoddart to Lynsey Addario and Brent Stirton among many others.

But, Sullivan is now announcing that, starting in October, Reportage will cease to represent them – at least for editorial assignments.

Instead, Sullivan, backed by Getty Images, will launch a new commercial agency called Verbatim that will represent Reportage’s roster of photographers to commercial clients. “The role of the traditional photo agency has changed dramatically, a direct consequence of the seismic shift in the industry that has seen a reduction in available funding for photographic projects and assignments,” Sullivan tells TIME. “As my job is to represent the group of extraordinarily talented photographers I work with and find them revenue-generating assignments, it was clear to me that just sitting around and relying on these traditional sources of income was pointless.”

The plan for Verbatim is to bank on companies’ needs for strong visual narratives. The new agency will become a Getty Images subsidiary with new offices in London and New York. Most of the Reportage employees will transfer to Verbatim, except for two who will remain behind to manage sales of archival and newly-produced content. They will also manage Reportage’s Emerging Talent program, which promotes the work of up-and-coming photographers. (Reportage will otherwise exist only as an archive.)

As part of the deal, Getty Images will also close its Global Assignment desk and refer its photographers to Verbatim.

Financial terms were not disclosed.

Yet, Sullivan isn’t ready to give up on photojournalism. At Verbatim, he will launch a fund to finance the editorial work of his photographers, echoing Magnum Photos’ move to self-fund its own editorial projects.

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