The slideshow "is a very primitive form that quickly becomes predictable and repetitive."

The photograph that discovers and uncovers the world is harder to simulate than an image that simply illustrates one's ideas about it.

Multimedia is not more media, but the employment of various kinds of media (and hybrid media) for what they each offer to advance the narrative.

We have to tell people how images are made. And, the first step is to abandon the idea we're looking at photographs. We're looking at entry points to information and to the world in which the image was made.

What does a professional photojournalist do that others cannot? Depicting photo opportunities as if they are authentic, covering press conferences, or making subjects play their assigned roles (the poor as passive victims, celebrities as glamorous) are hardly adequate responses. In fact, these might be reasons to ask for the help of amateurs who do not know how to stylize their imagery and are not interested in making a publication seem more palatable to its potential consumers.

Photojournalism has become a hybrid enterprise of amateurs and professionals, along with surveillance cameras, Google Street Views, and other sources. What is underrepresented are those "metaphotographers" who can make sense of the billions of images being made and can provide context and authenticate them. We need curators to filter this overabundance more than we need new legions of photographers.

Photographs need to demand the viewer's attention, often implicitly, posing questions as to the nature of what is being depicted. Photographs are not there to show us the world, but to show us a version of what may be happening.