It's no longer just the higher-ranking, saltier NCOs and senior NCOs training young troops. In the world of military photojournalism, veterans who have been separated or retired for a decade or more are returning to teach the newest generations to capture stories on the battlefields.
Some of the military's most surprisingly underreported jobs may be in the visual journalism fields. Every branch of the armed forces of the United States features teams of correspondents, photographers, and even combat artists and graphic designers.
Veteran military journalist Paul Watts Jr. mentors a student editor, an active duty combat photojournalist.
They go through the same rigorous news writing and storytelling training as any student in any j-school in America. They learn the potential for every medium in visual journalism at the military's disposal.
One problem with this is that they also have to focus on the fight. They have to learn small unit combat, urban warfare, close-quarters battle, self-aid and buddy care — the list goes on and on — and drill it into their muscle memory, not to mention learning the particulars of their branch of service.
When these young combat camera troops get into active service, they are thrown into an oft-underfunded world of retirement ceremonies, passport photos, and base change of command ceremonies.
Imagine a potentially world-class photographer working a Sears Photo Studio.
When one of these soldiers, sailors, airmen, guardsmen, or Marines gets to where the action is, they need to be able to adequately show and tell the military's story. It's not just for history's sake, it can literally mean life and death for their subjects.
"I had the honor of photographing the last living pictures of soldiers on the battlefield," says Stacy Pearsall, an Air Force combat camera veteran, referring to the Army units she covered during the Iraq War. "They are still today, my personal heroes to whom owe my life."
Military photojournalists have since taken it upon themselves to train their youngest and greenest combat troops in the artistry of visual media. These veterans want to turn every one of the newbies into award-winning multimedia storytellers.
Andrew Breese, award-winning producer from Airman mentors a team on site for the Shoot Off competition portion.
It's not just higher-ranking active duty. Juan Femath is a veteran Air Force aerial videographer. In 2011, he and some fellow Air Force and Army veterans decided to help the military do a better job of telling its own story.
"The photographers in the military have a great culture of older guys coming back to teach the younger troops," Femath says. "There are so many photography workshops where skilled military photogs come to speak and mentor."
One such workshop is the D.C. Shoot Off Workshop, run by Navy Veteran and White House news photographer Johnny Bivera.
Bivera uses his professional connections to bring attention to the military photojournalism world, attracting brands like Nikon and Adobe to his training weekends.
Military cameramen train incognito on The Mall in Washington, DC.
"The best speakers, mentors, editors and judges throughout the country volunteer for this event," Bivera says. "These workshops are for all levels and provide professional development, helping to fill training gaps for our military and civil service photographers.
The weekend-long workshop starts with a seminar portion, covering the most important storytelling and production fundamentals used by civilian media today. These lectures are given by some of the media's most important producers — many of them veterans themselves — from companies like HBO, USA Today, NFL Films, NBC, Canon, and the Washington Post.
Participants then break into teams and go out to apply the skills they just learned. Each team produces a two to five minute multimedia piece based on a topic drawn from a hat and are given an expert media producer as a mentor to guide them through the process. There is a hard deadline: work submitted after the deadline will not be eligible for awards.
Final products often reflect the experiences and inherent creativity of military photojournalists from every branch of service. They are thoroughly judged and critiqued by a panel of experts who make themselves available to everyone's questions.
Producers from the Washington Post and NFL Films were among previous judges.
Though the Shoot Off charges an entry fee, the most telling aspect of the Shoot Off is that no one gets paid for their time — not the sponsors, the creators, mentors, or speakers. The fees cover only the overhead costs of running the workshop.
The D.C. Shoot Off Video Workshop, now in its seventh year, will be held May 4-7, 2017. For more information and to register visit dcvideoshootoff.org. It is open to all military, civil service, government, and veteran media producers.
The still photography Shoot Off has multiple dates and is held in Washington, D.C. in the Spring and San Diego in the fall. For more information visit visualmediaone.com.