Gina Gayle is a photojournalist who teaches photojournalism and multimedia, currently in the School of Mass Communication and Journalism at the University of Southern Mississippi teaching photojournalism and multimedia. Previously Ms. Gayle worked in New York City as a freelance photojournalist with such as The New York Times, The Associated Press, Newsday, The Washington Post, The San Francisco Chronicle, Ebony Magazine, WireImage and USNewswire. She was hired at the San Francisco Chronicle after completing the two-year Hearst Journalism Fellowship Program, which included rotations in Texas, Michigan, upstate New York and San Francisco.
Ms. Gayle holds a B.S. in Marketing from the University of Cincinnati and an M. A. in Arts, Entertainment and Media Management from Columbia College Chicago. Ms. Gayle is the recipient of many awards and fellowships, most recently the NABJ Gulf Coast Fellowship, allowing her to continue documenting the Zulu Social Aid and Pleasure Club of New Orleans as the organization rebuilds. Her next project focuses on photographing foster children in Mississippi waiting for forever families in order to help them gain they exposure needed to match them with an adoptive family.
Gina participated in the January 2012 MediaStorm Methodology Workshop. She had the following to say about her experience:
Being back in the classroom a full week and having had time to go over my notes and my week at MediaStorm allowed me to fully digest what I actually experienced.
When I was preparing for the workshop I am not sure I knew exactly what it was going to be like. I felt we would learn valuable information and get a look into how MedaStorm does the work that you do. There was no way that I could have imagined that you would literally open up and give us everything you did, so freely and graciously. I literally wrote in my notes the second day, that "he is giving us the keys to the kingdom…….this is his way of saving journalism." I am going to take those keys and pass them along to anyone who will use them wisely.
When I started teaching multimedia storytelling, I told my students that this is their chance to change journalism, re-create and mold it because there is so much possibility out there and people in the industry need and want direction. I am still on my MediaStorm Methodology Workshop High and it showed as I returned to my classes this week. As I told you, we use the MediaStorm projects as our homework, research and tutorials in my classes so the students were excited to see what I had brought back. My getting to go to this workshop was similar to a star studded event for them as well as for me. I will tell you this, when I came back to the classes I felt and saw an immediate shift in how I teach. My students also noticed it and are ready for the new journey. I know you wanted a quote from me but here are a few things from them: "It's nice to have a professor who is re-energized." "Teach me everything they taught you." and "Do they have a workshop for students, I want to go." They understand the importance of great storytelling and I am hoping some of them will go on to be just that.
Understanding the Methodology of how you work helps me to understand why you choose the projects you do, which in turn is allowing me to think about using multimedia storytelling across a multitude of businesses. I also teach Digital Storytelling for graduate Intergrated Marketing Communication students, who have said that thinking creatively or in a storytelling manner, makes them better at their advertising and PR campaigns. I have shared the MediaStorm site with them for reference and now it gives them a foundation to see what a project can be used for.
Another marvelous attribute of this workshop was being able to work, talk and brainstorm with my classmates for the week. I think we had such a diverse group that added to the ability to see how storytelling works across so many businesses and genres. As we all could feel our own minds ticking away we also got to see everyone's else's ideas manifest right there in the room. Each person in the workshop seemed to have the same awakenings and was excited to talk about the possibilities in their own line of work or even in their own country! That was amazing in itself. I have been wanting to come to a MediaStorm workshop for years however I feel this was the exact one I was meant to be in with the people I met during the week.
I think the most powerful and personal thing I will take away is how to use it for my personal projects. We talk "multimedia" and we think about it but now I have a firmer grasp on how to use it for projects and the wide reach that a great multimedia story can have. As still photographers, we were always relegated to a few images at most and now we can use multimedia to get exposure on platforms, websites or through business ventures that we were not privy to before. When I wrote you were giving us the keys to the kingdom I really meant it.
Thank you for all you do and showing us the way to do it.

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In the shadow of Silicon Valley’s booming technology industry, a growing number of people remain out in the cold. Skyrocketing housing prices in America’s hub of innovation have pushed many onto the streets, straining policymakers to find solutions to a homelessness problem that impacts everyone in the community.

This page recognizing Zora J Murff for ICP’s 2023 Infinity Award for Documentary Practice and Visual Journalism features a film about his life, a slideshow of his projects and extra clips of his thoughts about his work and motivation.

Sebastião Salgado says "a good picture, a fantastic picture, you do in a fraction of a second, but to arrive to do this picture, you must put your life in there."

Esther Horvath has sent questions to the universe and she has received answers. She found her calling to tell visual stories that show the full research story behind our climate data.

See photographer Acacia Johnson’s growth from her earliest explorations of Alaskan landscapes to a National Geographic cover for a documentary project among indigenous people of the Arctic.

Sir Don McCullin never intended to become a photographer. He found it hard to believe he’d ever escape the poverty of North London. But a spur of the moment photograph launched McCullin into a career spanning 50 years in photography.

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Writer Zadie Smith pays homage to photographer Deana Lawson in the artist’s first Monograph for Aperture.

As a formerly incarcerated person, Michael struggled for work, and found purpose in being a husband, father, and activist. But 7 years since his release from prison, the cost of Michael’s activism is evident.

Benny is a “certified” garbologist. He collects what others throw away. Benny is also at war with his family. Here is a man sharing a house with his wife but living as a stranger. This is a household on the edge.

Photographer Amber Bracken recognized something deeper than a protest was afoot when hundreds of tribes gathered at the Standing Rock reservation in opposition to the Dakota Access Pipeline.

How does the death of a child change a parent? How does the death of a parent change a child? How do these moments change us as we develop and grow further away from who we were as children?

Maurice Berger–cultural historian, and columnist for the New York Times’ Race Stories–has spent his career studying and teaching racial literacy through visual literacy.

Japan’s Disposable Workers examines the country’s employment crisis: from suicide caused by overworking, to temporary workers forced by economics to live in internet cafes, and the elderly who wander a town in search of shelter and food.

Karl Ove Knausgaard is the celebrated author of a massive six-volume autobiography. But Knausgaard remains confused by the attention. This is a portrait of a man who has achieved massive success yet still considers himself unworthy.

Michael Thomasson has devoted his life to video games. It’s been his passion and his obsession for more than three decades. He owns over 11,000 unique game titles for more than 100 different systems.

A film about Michael Christopher Brown for the 2017 ICP Infinity Awards.

The Long Night, a feature film by Tim Matsui and MediaStorm, gives voice and meaning to the crisis of minors who are forced and coerced into the American sex trade.

Jonathan Harris and Greg Hochmuth have a complicated relationship with the internet and have worked together to develop an artwork that explored some of the more difficult consequences of what it means to live with the internet.

In 1977, Robyn Davidson walked 1,700 miles across the Australian outback. National Geographic sent Rick Smolan to photograph her perilous journey—a trek that tested and transformed them, forming an immutable bond that continues to this day.

Once at the center of the U.S. economy, the family farm now drifts at its edges. In Iowa, old-time farmers try to hang on to their way of life, while their young push out to find their futures elsewhere. Driftless tells their stories.

The American family farm gives way to a subdivision - a critical cultural shift across the U.S. Common Ground is a 27-year document of this transition, through the Cagwins and the Grabenhofers, two families who love the same plot of land.

For Walter Backerman, seltzer is more than a drink. It’s the embodiment of his family. As a third generation seltzer man, he follows the same route as his grandfather. But after 90 years of business, Walter may be the last seltzer man.

Larry Fink has spent over 40 years photographing jazz musicians, wealthy manhattanites, his neighbors, fashion models, and the celebrity elite. His archive is a thoughtful collection of American history, and Fink’s experience of it.

LaToya Ruby Frazier’s body of work “The Notion of Family” examines the impact of the steel industry and the health care system on the community and her family. Collaborating with her mother and grandmother, she uses her family as a lens to view the past, present and future of the town.

Tomas Van Houtryve wants there to be a permanent visual record of the dawn of the drone age, the period in American history when America started outsourcing their military to flying robots. In order to create this record, Van Houtryve sent his own drone into American skies.

Evgenia Arbugaeva was born in the magical town of Tiksi, Russia. This barren, arctic landscape influenced Arbugaeva in almost every aspect of her dreamlike photography.

Surviving the Peace: Laos takes an intimate look at the impact of unexploded bombs left over from the Vietnam war in Laos and profiles the dangerous, yet life saving work, that MAG has undertaken in the country.

A family is determined to give their disabled son a whole and vital life. In the midst of a great burden, one small child – with a seemingly endless supply of love – is the blessing that holds a family together.

Inspired by the photographs of the Farm Security Administration growing up, Lynn Johnson has spent nearly 35 years as a photojournalist working for LIFE, National Geographic, Sports Illustrated and various foundations.

Resetting the Table takes a unique, personal look at the impact Starbucks’ Create Jobs for USA program has had on the American Mug & Stein pottery facility in East Liverpool, Ohio.

Hungry Horse captures the spirit of renewal, peace and serenity through stunning landscapes and intimate oral histories.

Using humor and a love of fantasy, "The Amazing Amy" Harlib connects with audiences through performing strenuous yoga-based contortion acts in New York City.

In many countries, girls as young as eight are forced into marriage by their families, culture and economic situation. This practice destroys their chance at education leading to tragic results.

Surreal and mysterious, North Korea was a black hole to outsiders wanting a glimpse of the country. That all changed in 2012, when AP photographer David Guttenfelder led the opening of the bureau's newest office inside the North Korea.

Virginia Gandee's brilliant red hair and dozen tattoos belie the reality of this 22-year-old's life. Inside her family's Staten Island trailer her caregiving goes far beyond the love she has for her daughter.

Based on 14 trips to Afghanistan between 1994 and 2010, A Darkness Visible: Afghanistan is the work of photojournalist Seamus Murphy. His work chronicles a people caught time and again in political turmoil, struggling to find their way.

In Rwanda, in 1994, Hutu militia committed a bloody genocide, murdering one million Tutsis. Many of the Tutsi women were spared, only to be held captive and repeatedly raped. Many became pregnant. Intended Consequences tells their stories.

To those who serve in the armed forces, what is the aftereffect of war? The Marlboro Marine is photographer Luis Sinco's portrait of Marine Corporal James Blake Miller, whom he met in Iraq. For Miller, coming home has been its own battle.

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Kingsley's Crossing is the story of one man's dream to leave the poverty of life in Africa for the promised land of Europe. We walk in his shoes, as photojournalist Olivier Jobard accompanies Kingsley on his uncertain and perilous journey.
The MediaStorm Platform is an advanced video platform that extends the user experience beyond linear video to include the interactive capabilities of the Internet.
The MediaStorm Platform is an advanced video platform that extends the user experience beyond linear video to include the interactive capabilities of the Internet.
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