NPR profiles 'Afghan Girl' (1984) photographer Steve McCurry: 'McCurry's work has been featured in nearly every major magazine around the world, and he is undoubtedly one of the best living photographers in his field.'We’ve done a lot of thinking here at the PowerBlog on the future of journalism in a digital age. A recent piece in Forbes by Leo Gomez brings into focus (ahem) the question of digital innovation and it’s influence on photojournalism.

In his August 24 “Digital Tools” column, Gomez writes that “cameras are ing puters already are: cheap, ubiquitous, powerful and utterly transformational. There are now a billion digital cameras, counting the ones in mobile phones. They are chronicling everything about life on Earth, from birthday parties in Topeka to street protests in Tehran. Many more are on the way.”

With this explosion of video and still pictures, what role will professional photojournalism play? Both written and photojournalism faces the current challenge of a deluge munity and consumer-generated information (word blogs, video blogs, photo-sharing sites, et al.). As the technological developments have tracked puters, so will the editorial and production side of photojournalism track with the developments in wordsmithing.

And as with the larger world of professional journalism, there will be a corresponding increase in the need for gatekeepers and editorial review to screen through the mass to find and polish the gems. And with regard to the influence of culture, given the increasingly non-verbal (i.e. illiterate) nature of today’s digital consumer, photojournalism might just be a fulcrum of cultural and social formation in the Internet age.

The same issue of Forbes includes a collection of seven profiles of the leaders in Internet video innovation. What’s true for photojournalism is also true for other forms of munication, including theatrical and documentary film productions. And so we need Story in the visual as well as the written arts.