assignment in images

10 Photo Assignments to Inspire and Challenge Your Skills

Liz Masoner is a professional photographer and she shares her tips and techniques on photo editing and how to photograph nature, portraits, and events with film and digital cameras. Liz has over 30 years of experience and she is the author of three books on photography.

The best way to learn photography is to practice, though sometimes you can get stuck in a rut and not know what to shoot. That is why photographers love assignments; they give us a purpose and an idea of what to photograph. 

Why Are Assignments Important?

Self-assignments are key to any photographer's growth. Even professionals with decades of experience will work on personal assignments that they may never get paid for. The goal of any self-assignment is to spur creativity, solve problems, learn new techniques, and challenge yourself.

As you start out in photography, you're probably filled with excitement and ready to shoot anything you can. That being said, sometimes a little direction and guidance are necessary.

Below, you will find ten photography assignments. Each covers a new topic, skill, or concept and they were chosen to help you learn how to see as a photographer. They are meant to be a personal challenge that you can complete at your own pace and with no outside judgment, simply as a means to practice and improve your photography. Hopefully, you will learn something new with each assignment and be able to use that in every photograph you take in the future.

Remember when composing your images to keep in mind the basics: the rule of thirds,  shutter speed , aperture,  depth of field , and  exposure .

Assignment #1: Up Close

This assignment encourages you to get close and personal with your subject. It is an exercise in viewing a common object in a new way and examining its finer details.

• Choose an object that you see or interact with every day.
• Focus on a small part of it, get as close as your camera will allow you to focus, and shoot away.
• Try to capture different angles and unusual lighting to add to the mystery of this tiny world.

From the whiskers of your cat to a fragile Christmas ornament, and even common soap bubbles, there is an entire world that we often overlook because we don't get close enough.

Assignment #2: Motion

Photography is a static medium which means that it doesn't move. Conveying a sense of motion is often crucial to capturing a scene or emotion and it is an essential skill for photographers to practice.

The goal of this exercise is to understand how shutter speeds can be used to convey motion.

• Choose a subject or series of subjects that will allow you to convey motion in your images.
• It can be slow motions, like that of a turtle, or fast motion, like a speeding train.
• Blur it, stop it, or simply suggest that there is motion in the photograph.

Challenge yourself to capture the same motion in different ways. For instance, you might go to a race track and stop the movement of the cars completely in one image, then leave the shutter open and allow them to blur out of the frame in the next. 

Assignment #3: Shadows

Shadows are everywhere and they are vital to photography because this is the art of capturing light. With light comes shadows and when you begin to look at shadows as a photographer, your world will open up.

• Take a look around for shadows and record them with your camera.
• You could show the shadow as the total focus of the image. Perhaps the shadow is incidental to the subject.
• Is the shadow natural or created by flash?

Shadows are integral to creating depth in a two-dimensional medium such as photography. Take some time to seriously explore the "dark side" of the light.

Assignment #4: Water

Water is everywhere in photography and it presents many challenges. There are reflections and movements to work with and in this exercise, you will take a deeper look at water.

• Find water anywhere: lakes, streams, puddles, even the glass on your kitchen table.
• Pay attention to reflections and use them to your advantage in the photographs. Use this opportunity to get familiar with a polarizing filter (a very useful tool in your camera kit) so you can accentuate or eliminate reflections.
• Play with the motion of a stream or the crashing waves. Notice the difference between stopping the flow of water and allowing it to blur to create a real sense of movement.

Be sure to make water the subject and not an accent to the image. Water alone is beautiful and mysterious and your challenge is to explore all of its potential as a subject.

Assignment #5: Leading Lines

A classic assignment in photography schools, 'leading lines ' is a popular and fun subject. The goal of this assignment is to learn how to direct the viewer to your subject using lines.

• Choose a subject then look around for lines in the scene that you can use to 'lead' the viewer to the subject. 
• Find an interesting line then determine what the subject of your photograph is.
• Remember that lines can be man-made or natural. For instance, the yellow line down the middle of the road or a tree branch. Even a person's arm can be a leading line of their face.

Use this assignment as an excuse to take an afternoon photo excursion. Walk downtown or in the woods and look around you for interesting lines that lead the eye to a subject. There is an amazing assortment of lines out there in the world and once you begin to see them, you won't be able to stop. 

Assignment #6: Perspective

How do you normally stand when you shoot? If your answer is straight up like a 5-foot-something human being then this assignment is for you. The perspective assignment challenges you to view the world from an entirely new perspective, which in turn gives the viewer a new look at the ordinary.

• Take another afternoon or evening for a photo excursion wherever you like.
• This time, every time you find something to photograph, stop!
• Ask yourself: How would a squirrel see that tree? How would a robin view that birdbath? How would a snake view that log?
• Take your photographs from very high or very low angles. Get on your belly or stand on a chair, whatever you have to (safely) do to get the 'right' angle on your subject.

If you pay attention to professional photographs, many of the images that have the WOW factor are photographed from extreme angles. People enjoy these photos because they've never seen an object from that viewpoint. It is new and unique, and you can train yourself to shoot with this in mind.

Assignment #7: Texture

You may have captured a few textural details in the 'Up Close' assignment, but this assignment takes that to the next level. The goal in this one is to study textures and forget about the object itself: the texture becomes the subject. You will also begin to realize how light affects the appearance of texture.

• Find a few objects that have very detailed textures like trees or rocks, even knit sweaters or woven rugs.
• Photograph them as close as your lens will allow.
• Use different angles and capture the same texture as the light changes. Notice how the different lighting directions and camera angles can change how much texture appears.

Textures are all around us and many of the best photographs in the world play up the textural element. This assignment should teach you how to recognize and accentuate those elements in your photos.

Assignment #8: Color Harmony

Color is important to photography because the world is full of color. This exercise requires a bit of study in color theory, which you will then put into practice in your photographs.

Do you remember art class in elementary school? You may have learned that yellow and blue make green, but color theory goes beyond that. There are cool and warm colors, complementary and contrasting colors, neutral colors, and bold colors.

It can get quite complicated, and photographers should have a basic understanding of color so you can use that when composing photographs. You don't have to study color like a painter would but can use tricks used by interior designers to influence your color decisions.

• Once you have an idea of color theory, take another photo excursion and put what you've learned into practice.
• Capture photographs with the primary or tertiary colors.
• Look for complementary colors then contrasting colors to photograph.
• Try finding a scene to photograph that is filled with neutral colors, then one that uses a bold color to 'pop' from the scene.

This is an advanced lesson, but one that any photographer working with color images will find useful. As you practice working with colors, it will become second nature and you will know how to work with color to change the feel of your images.

Assignment #9: Emotions

Take a photo of a person smiling or scowling, right? Not so. The intent of this assignment is to convey emotion in photographs  without  a face.

• Take photographs that express each of the basic emotions: happy, sad, and mad.
• How would you express the feeling of anger with no person? What about happiness? Sadness?

This is a purely conceptual assignment, but it is important to be able to relay emotion in your photographs and you might not always have a person available to do that with. Challenge yourself to think deeper about this one.

Assignment #10: Don't Look!

Are you ready to put your photography skills to the test? In today's world of digital cameras and the ability to see image captures right there on the LCD screen, photographers are losing some of the skills needed to visualize a photograph.

In this assignment, your challenge is to shoot as if you were using a film camera. That means that you will not look at the photographs you've taken until they are downloaded on your computer. Instead of relying on the camera's screen to see if you 'got the shot' you will rely on your instinct and knowledge, just like photographers did before digital photography. Can you do it?

• Plan a photo excursion to a particular location and permit yourself to photograph only 36 images (a roll of 35mm film).
• Turn off your camera's LCD screen so it does not show you the image after you have taken it.
• If you cannot turn off the camera's screen, cut a piece of thick paper and tape it over the screen. Use masking or painter's tape so you don't leave a residue on the back of your camera.
• Go out and shoot your 36 frames, thinking carefully about each image because you don't have an endless number of shots. Bonus points if you turn your camera to completely manual settings for focus and exposure.
• Don't peek at your photos until you get home and download them.

How did you do? Were you able to get good exposures on your own? How did it feel to be 'blind' and not know how your image turned out right away? 

This is similar to what it is like to shoot with film and it does require you to think harder about every image you take. Next time you shoot, slow down and pay attention, pretend that the screen is not there and rely on your own skills to create a great image. You will be a better photographer in the end.

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40 Practical Photography Assignments to Reinspire You

Here are a list of photographic assignments that I hope help you. You can skip around and choose the assignments that appeal to you:

#1. 5 yes, 5 no

If you’re interested in street photography, often the fear of rejection is worse than the rejection itself.

If you want a simple assignment to build your confidence, try the “5 yes, 5 no” challenge.

The concept is simple: approach a bunch of strangers and ask for permission to make their portrait. You have to keep asking until you get 5 people to say “yes” and 5 people to say “no.”

You will discover it is harder to get a “no” than a “yes”.

If you’ve got all 5 “yes’s” but not 5 “no’s”, you need to purposefully go out and look for the scariest people you think will say “no.”

The purpose of this assignment is to help you face rejection. In life, photography, and everything else, we are slaves of fear. This will help you face your fear head-on.

#2. “10 no”

If you’re really, really afraid of getting rejected, try out this assignment (a variation of the 5 yes/5 no assignment).

Go out and try to get 10 people to reject having their photos as quickly as possible.

If you go out and try to find people to say “yes” to getting their portrait shot, you might become paralyzed. Instead, only approach people who you think look unfriendly and will say “no.”

Funny story: you will find that often the scariest/meanest looking people are the nicest (and vice-versa).

#3. Exposure compensation

I am a big proponent of shooting in “P” (program mode). Essentially the camera chooses the aperture/shutter speed for you, as well as the exposure.

If you want to get better exposures in your photos (in P mode), try experimenting with exposure-compensation.

Ask a person to stand in the bright sun, and take a series of different photos (with different exposure compensations):

0, +1, +2, +3, -1, -2, -3

Then look at your LCD screen, and look at the exposure of each photo. Then look at the real world — how does your exposure-compensations change how your photos end up looking?

Don’t get too nerdy with this. Figure out what exposure-compensations work well for your camera, in different settings. Each camera thinks differently and has different exposure compensation modes. So treat this assignment as a way for you to better understand the light, and how your camera thinks.

If it is really bright outside, I generally photograph at -1 exposure-compensation, to make the skin tones of my subject look more natural, and also to darken the shadows. I love the dramatic look this gives my images.

Furthermore, if you’re shooting in the shade, you will often need to shoot +1 exposure-compensation to light your scene better.

But once again, experiment with different exposure-compensations, and figure out what works best for you.

#4. 1,000 photos in a day

If you’re a photographer who only takes 1-2 photos of a scene and tends to run away, try this assignment.

The assignment: take 1,000 photos in a single day.

The purpose of this assignment is for you to learn how to “work the scene”. If you see a good scene, try to take at least 10 photos of each scene. This will allow you to capture better perspectives, angles, and moments.

I don’t want you to always take 1,000 photos everyday. But this might help you break through “photographer’s block.”

#5. Eye contact/no eye contact

When I’m shooting street photography, I’m not sure whether a photograph with eye contact or without eye contact will be better.

Solution? Try to get both.

If I’m shooting candidly, I will get close to my subject, and take multiple photos, until they notice my presence. Then I wait for them to notice me, and then I take a photograph when they make contact.

Then when I go home, I have the decision of choosing between two version of a photo: one with eye contact, and one without. Sometimes eye contact works better, sometimes it doesn’t.

There is a saying that “eyes are the windows to the soul.” I generally find photos with eye-contact to be more compelling, soulful, and intense for the viewer.

However at the same time, sometimes having photos with the subject looking away from the camera gives you a more moody feel.

I often like to study famous (painted) portraits of people in the past for inspiration. Look at the paintings with eye contact, and without.

#6. Ask your subject to look up, down, left, right

If you approach a stranger, and ask permission to make their portrait (or if you’re photographing a model), it is hard to direct your subject.

One tip I learned: ask them to look in different directions.

For example, ask your model to look into the camera, and don’t smile. Then ask them to look up, down, left, and right.

Often people have a “better side.” Not only that, but by having your subject look up and down, you change the mood of the photo.

When your subject is looking up, they look more confident, encouraged, and powerful.

When your subject is looking down, they look more downtrodden, depressed, and negative.

Another tip: ask your subject to look at your hand while you’re photographing them. Then move your hand, and see how their eyes track your hand.

Changing the eye and head position of your subject will change the emotion of the photo. Experiment with different head positions with your subject, and you will have more photos to choose from.

#7. Only photograph things on the ground

When it comes to photography, we often just photograph what is in front of us, at eye-level.

Yet we never look down, and we never loop up.

As a simple assignment, do a photo project of just photographing stuff on the ground. You will find lots of interesting subject-matter if you look closely enough.

The world is a rich and beautiful place to take photos. Sometimes we complain that there is “nothing to photograph.” Yet in reality, we’re just not looking hard enough.

Change your perspective and view. Don’t just look ahead. Look down. Look up. Look into cracks in-between walls. Be curious, and change your perspective.

#8. Take at least 10 photos of each scene

I mentioned this tip a bit earlier, but the mistake we make as photographers is that we’re easily satisfied with 1-2 photos, and we move on.

The problem with only taking 1-2 photos (and then checking our LCD screen) is that we don’t push ourselves. When in doubt, try to photograph 25% more than you think you need to photograph.

This will force you to be more creative. You will try to photograph your scene from different distances (close, far) and from different angles (left, middle, right). You can also switch up your positioning (crouching, standing, or tippy-toe).

It is rare to see a good photo-moment. Don’t settle with just 1-2 photos. “Work the scene” and try to take at least 10 photos of each scene. Then you will push your creative boundaries, and be more likely to make a good photo.

#9. Limit yourself to only 36 photos in a day

For this assignment, you’re only allowed to take 36 photos in a day (same amount of photos in a roll of film).

This exercise will help you learn restraint. It will balance out some of the other assignments which encourage you to take more.

If you only had 36 photos you could take in a day, how much more selective would you be with your shooting? What superfluous photos would you not shoot?

I also find that by taking fewer photos, I appreciate each scene more.

You can do this assignment on a digital camera, or on a film camera.

#10. Shoot 1 street corner for an hour

In street photography, we’re impatient. Rather than sticking in one good area and waiting for our subjects to come to us, we run around (often wasting our energy) to just find a few good photos.

The solution: find an interesting street corner, don’t move, and photograph it for an hour.

The purpose of this assignment is to realize that it can be more effective to find a good scene, background, or area, and wait for your subjects to come to you.

Not only that, but if you stay put in one area, you will get to know the area better. You will observe the flow of subjects, and get a feel of a place better. Not only that, but you will be more “invisible” in the scene — people will ignore you.

#11. Delete all the photos from your social media account

An occasional purge is good for our physical, mental, and spiritual health.

Try to do this every once in a while: delete all the photos from your social media, and start from scratch.

Don’t delete the original photos. Keep them on your hard drive, print them out, or archive them.

However if you have a lot of photos cluttering your social media account, make a practice of doing a 100% purge. Delete all the photos (or mark them private), and then re-start from scratch.

Often we let our past work prevent ourselves from innovating and creating new future work.

Purge your past. And start refreshed.

#12. Go a month without using social media

Often as photographers we fall victim to the “social media” treadmill of always uploading a photo everyday, just to feel relevant. We want it for the likes, the comments, the new followers. Yet we get addicted to social media like heroin. Without our daily “hit” of external affirmation, we feel our photography is pointless.

Yet photography should be a personal pursuit. Why care about what others think about your photos? How do you feel about your own photos?

Uninstall all the social media apps from your phone (don’t worry you can re-install them after a month). Don’t upload any photos, look at anyone else’s photos, and try your best not to cheat.

By “fasting” from social media from a month, you will get a better sense of why you make photos. And I can guarantee you, you will feel less stressed and anxious to keep up with the “social media rat race.”

#13. Only shoot black and white for a year

We don’t see the world in monochrome. Black and white is an abstraction in the world. That is why it looks more “artistic” to the average person. It is novel, unique, and different.

However it takes a while for you to train your eye to see the world in monochrome.

Many photographers shoot black and white their entire life, and still never master it. I’ve also found that if I switch between black and white and color too often, I can never learn how to really see the world in one.

The assignment is to shoot only black and white for an entire year. You can shoot RAW+JPEG with a black and white preview. And perhaps you can just use the black and white JPEG’s. If not, apply a simple black and white preset to all of your RAW photos (upon importing them).

How would you visualize the world in monochrome? I’ve found myself looking more for emotions, mood, smoke, shadows, lines, graphical elements, and minimalism.

This will be different for you, but learn how to see in monochrome.

#14. Only shoot color for a year

The opposite assignment to the prior one; shoot only color for a year.

To see the world in color is different than seeing the world in black and white.

Personally, I’ve found shooting color to be more difficult than shooting black and white. Why? Because color leads to more complexity. You need to compose and frame a scene well, but also think about the color-combinations of a scene.

Not only that, but different colors evoke different moods and emotions.

Monochrome is easy to use because it reduces and removes distractions. Color introduces more complexity and distractions.

I would personally recommend most photographers to first try to master monochrome before taking on color photography .

Color photography also requires your exposures to be better, and for you to shoot in better lighting conditions. For color photography, try to shoot sunrise and sunset ( golden hour ), or use a flash.

Train your eyes to become sensitive to different colors and play and have fun with it. See how you can mix different colors in a scene, whether they be complementary colors or contrasting colors.

#15. Only shoot JPEG for a month

RAW and post-processing is a blessing and a curse. The problem is that many of us modern photographers over-rely on fancy post-processing techniques to improve our (mediocre) photos.

I’m guilty of it — I’ve added HDR to my photos, added selective color, intense vignettes, and “overly-processed” many of my photos (thinking that they would make the photos better).

But no matter how much you polish a turd, it will still be a turd.

Shoot only JPEG for a month.

If you’re really anxious, shoot JPEG+RAW (but only use the JPEG’s) for a month.

This way you can’t rely on fancy post-processing techniques to “salvage” your photos. A great photo shouldn’t require any excessive post-processing.

#16. Only shoot with your smartphone for a month

We often make the excuse that we don’t always have our cameras with us. I know personally when I owned a DSLR, it would be a pain in the ass to carry with me everywhere I went.

But today we’re blessed by modern technology, especially with the smartphone. The smartphone is the ultimate camera: it is always with us, fits in our front pocket, and can also be used to edit/post-process/publish our photos.

If you have a big bulky camera and never take photos, take this challenge upon yourself: only shoot with your smartphone for a month. Lock up your “real” camera in a drawer, and see how you can be the most creative with just your smartphone.

The purpose of this assignment is to realize that photography is less about the gear and more about your personal vision, and how you see the world. The tool isn’t as important as your eye.

This assignment might also teach you the importance of just always having your camera with you, ready, and prepared to click.

#17. Stick to one camera, one lens for a year

We’re rich. We live in a culture of abundance. Most photographers I know aren’t starving. Most photographers have an over-abundance of cameras, lenses, and gear.

If you’re a photographer who has too much “choice anxiety” from owning too much gear, only stick to one camera, one lens for a year. Lock up your other gear in a drawer, better yet, sell it or give it away to friends.

If you really want to hone in your photographic vision; you don’t want to be distracted by gear. Also it takes a long time to get to know one camera and one lens/focal length quite well.

By sticking with consistent gear, you will have fewer gear distractions, which will give you more creative focus.

#18. Only shoot horizontal, vertical, or square for a month

I believe in “creative constraints”: by having fewer options, you are forced to be more creative.

For example, take framing. Try to only shoot horizontal (landscape), vertical (portrait), or square-format for a month.

Framing and composition is all about knowing what to leave out of the frame.

Restrict yourself to one orientation for a month and you will find more visual consistency with your work. And you will be forced to compose more creatively.

#19. Only shoot one square block for a month

With unlimited options, we become paralyzed. We don’t know what direction to take our creative work.

Restrict yourself geographically. For a month, only shoot one square block (both sides). This way, you will really have to dig deep, and find something very interesting in that one square block.

The benefit of this project is that you know exactly where to shoot. Just one specific area. And I think it is better to get to know one area very well, rather than knowing a lot of different areas superficially.

Being a great photographer isn’t about traveling the world, to exotic places, and making interesting photos overseas.

Being a great photographer is making the best out of what you have. For not complaining where you live; and being the best photographer in your own home town.

#20. Shoot everyday for a month

The only way to become a better photographer is to shoot more. The more you shoot, the more feedback you will get, and the more connected you will feel with the world.

For a month, take at least 1 photo everyday. It can be with your smartphone, DSLR, or whatever camera you have.

Just make sure it is something personally meaningful to you. Don’t just take the photo for the sake of it. Take a photo everyday of something that stirs your heart. That makes your soul sing.

The Zen masters recommended having a “daily practice.” By repetition, we reach a deeper understanding of “truth.”

In photography, we can read a hundred photo theory books, and still not learn anything. We only learn through taking photos, repetition, feedback, critique, and constantly seeking to improve ourselves.

Don’t put pressure on yourself that everyday the photo has to be great. But just build the habit.

#21. Don’t shoot for a month

To balance out the prior experiment; try to go a month without taking any photos.

You’re not allowed to take photos for a month.

Ironically enough, this assignment might be the best way to re-invigorate your passion for photography. Why? We take photography for granted. But when something is taken away from us we appreciate it more.

#22. Shoot “selfies” for a week

Many of us complain that we don’t have interesting subjects to photograph.

Not true; your best subject is yourself. Because you’re always available, and you won’t say “no” to yourself.

There are different ways you can shoot ‘artistic selfies’ of yourself. Photograph your shadow, reflection, or put your camera on a tripod and setup a scene and shoot yourself.

To photograph yourself is an incredibly intimate experience. It is an experience that allows you to be comfortable on the other side of the camera. Not only that, but it makes you realize that no matter what, you can always photograph something — who better than yourself?

#23. Have your portrait (professionally) shot

I learned this lesson from Sara Lando: if you don’t like being photographed, have another photographer (professionally) shoot your headshot. You will learn what is comfortable (and what isn’t comfortable) being a subject.

If you are a photographer, yet you don’t like having your own photo taken, you debilitate yourself. You assume everyone else doesn’t like having their photo taken (not true).

The secret is how can you make a photo of others (and of yourself) that makes the subject comfortable, at ease, and happy to be photographed?

#24. Shoot with a focal length (you’re uncomfortable with) for a week

We all have our preferences for a certain lens or focal length. If you want to push your creative boundaries, shoot with a focal length that you are very unfamiliar or uncomfortable with for a week.

If you’re a 28mm guy, try shooting only with a 200mm lens for a week. If you’re usually a 200mm telephoto type of person, try a 35mm lens. If you usually shoot with a 50mm lens, try a 28mm lens.

By shifting our focal length, we shift our perspective, how we see the world, and how we approach our subjects.

By pushing ourselves outside of our comfort zone for a week, you will gain a new perspective and also perhaps find more gratitude for the focal length you’re already comfortable with.

Or better yet, you might find a new focal length you prefer that can help you be more creative and innovative with your work.

#25. “.7 meter challenge” (1-arm length challenge)

I learned this assignment from my buddy Satoki Nagata. If you’re uncomfortable getting close to your subjects, pre-focus your lens to .7 meters (about 1-arm length distance), and only shoot that distance for a month.

This assignment will force you to get physically and emotionally closer to your subjects.

You don’t need to shoot all your photos candidly. Ask for permission.

The more comfortable you’re shooting at a close distance, the easier it will be for you to take a step back.

#26. Decapitate heads for a week

I often find photos of hands, feet, or body gestures more interesting than faces. So the assignment is to take photos of your subjects without including their faces/heads in the photo.

Try it out: for a week “decapitate” your subjects (don’t photograph their faces). This will force you to see the other characteristics and attributes of your subject on a deeper level.

#27. Buy a mannequin (and use it as a test subject)

I learned this assignment from my friend Charlie Kirk: if you want to learn how to make better portraits, how to better use studio/flash, or how to frame, buy a mannequin as a test subject.

The great thing about having a mannequin is that you will always have a willing subject.

Try using different focal lengths, different settings, different apertures, shutter-speeds, different lighting setups, and anything else you want to experiment with.

This will allow you to better understand how to use your camera technically, how light (especially artificial light) works. Not only that, but you will have a forever patient subject at your disposal (whenever).

#28. Only shoot with a flash for a week

There is a bias in photography against shooting with a flash. People say it looks “harsh” and unnatural” when compared to using natural light.

Yet the flash helps us overcome difficult lighting situations. It gives us more freedom to shoot at different points in the day, when the light might not be so nice.

For a week, experiment taking photos only with a flash. You will discover how the flash works during the day, in the shade, indoors, and other effects it might have on your images.

Having a flash is a good tool in photography. It can help you open up creative doors and opportunities. It will give you more freedom to shoot at all points during a day.

You don’t always need to shoot with a flash, but try to learn it to the best of your ability, and you can use it in special situations (or in all situations).

#29. Put together a photo album

Today’s world is (mostly) digital. In photography, we spend 99% of our efforts sharing our photos online. Very rarely do we print our work, arrange and edit our work, and create physical objects with our photography.

Buy a cheap photo album at the store or online. Print a bunch of your photos as small 4×6’s. Then put together a photo album.

Do it with your partner, children, or friends. Make a theme, concept, or a story. Have fun. Spread the 4×6 prints on the floor, and figure out what kind of pairing, sequencing, and flow you want to add to your album.

Handling physical prints is a different experience than just looking at them on your computer or phone. The physicality of photography adds another dimension for us to be more creative, to find more by-chance connections, and for us to be more engaged with others.

Making a photo album is a nice communal activity, something that families did a lot in the past. Making photo albums can help us re-connect ourselves with the past, but also create physical documents that will be well-preserved into the future.

#30. Print your portfolio

Most of us have our portfolios online. Few of us have printed portfolios.

Look at your entire library of images, and ask yourself: Which of these 10 photos represent who I am as a photographer?

Then print out those photos at any size you like. Figure out how you would like the photos to be sequenced. Then carry them around with you, and share them with your friends. Ask them to sequence your photos according to their emotion and feeling.

Learn to show your photos as prints, rather than just a phone or computer. See how people react differently to your photos, and see how it feels different for you as a photographer.

Photos don’t exist until they’re printed. When photos exist in atoms, we have a deeper connection with them as humans. When we can hold a photo, or a memory in our hands, it feels more real. We appreciate it more, and we feel more connected with them.

I find a nagging sense of incompletion if I don’t print my photos. I appreciate my photos on my computer, but I love them when they’re printed.

This assignment will also give you a good opportunity to re-evaluate your entire body of work and ask yourself: What photos really show who I am?

#31. Give away a photo everyday (for a week)

I feel the best gift you can give others as a photographer is prints. Why? Because prints are meaningful, easy to transport, and relatively inexpensive to print.

As an assignment, print out a bunch of your photos, and for a week, give out at least 1 print a day (to a stranger, friend, your barista, family member, etc). See how it affects their mood, and your own mood.

Photos are about sharing moments, art, and history. Share a little bit of your own soul by giving away your photos. You might discover that giving away your photos for free is more meaningful than selling them.

#32. Start your own photography blog, and blog consistently for 30 days straight

I’m not a big fan of traditional “social media” – because you have no control. You’re a slave to the platform, and you don’t have as much ownership and creative opportunities.

When you create your own blog, you have more flexibility. You can publish your photos, text, and ideas in different format. If you own the blogging platform (I recommend wordpress.org) you then really own your content.

Blogs are great because they are historical documents of our past. Blogging is more difficult than sharing photos on social media, but it is also more personally meaningful.

Furthermore, if you have a blog, it is easier indexed by Google. And anyone with a web browser can access your work rather than only people on a certain social media platform.

The assignment is to start your own blog, and blog consistently for 30 days straight. It can be about anything. You can just upload a photo everyday, upload photos that inspire you, or share some personal stories behind your favorite images. Don’t take it too seriously, but try it for a consistent month.

By making a blog, you gain more ownership of your own photography, creativity, and work on the internet. If you’re a slave to a social media platform, your influence is very limited and you don’t have as many different ways to express yourself creatively.

I see blogs as the future of photography — don’t be left behind.

#33. Write down a list of photographic subjects you don’t like to photograph

How do you know what your “style” is in photography? For me, it is knowing what you don’t like to photograph.

For this assignment, figure out what genres of photography you dislike. Write them down, and simply avoid taking those photos.

Then, by process-of-elimination, figure out what kind of photographer you are (based on what you don’t like to photograph).

Most people I know who are interested in street photography don’t like to take photos of sunsets and landscapes. People I know who like to shoot flowers don’t like to take photos of people. Photographers who like to shoot monochrome generally dislike shooting color (and vice-versa).

Find out who you are via subtraction and process-of elimination. Treat your photographic style the same.

What do you not like photographing? Then just don’t photograph it — photograph the opposite.

#34. Intentionally try to take bad photos for a week

One of the biggest barriers in our photography is that we always try to take really good photos. But it is rare that we make good photos.

So flip the concept upside down: try to intentionally shoot “sh**ty photos” for a week. Get rid of your concepts of good composition, framing, and light. Just take bad photos of whatever you find interesting.

Follow your gut, soul, and instincts. Just click. Don’t think too much.

Then after a week, see if you feel more loose in your photography, less “blocked” creatively. Do you take yourself less seriously? Are you having more fun?

Perfectionism ruins us. Seek to make “good” photos. And in order to do so give yourself permission to make bad photos.

#35. Create your own photography portfolio website

If you want to be more serious with your photography (and taken more seriously), make a photography portfolio website. It can just be your firstnamelastnamephoto.com (or better yet, firstnamelastname.com).

Make your own photography website, and put on your 3 best projects (restrict each project to your 10 best photos). This way, you will be able to think more about long-term projects, rather than getting swept away in the social media madness of just uploading a single (random) photo a day.

When you pass away, what kind of body of work do you want to leave behind? Do you really think that your social media profile will exist after you pass away? Will anyone even look at it?

Having a website (instead of just having social media) is better, but not the best.

Aim on creating a body of work, and several bodies of work, then publish them as books.

#36. Buy one photo book a month (for a year)

I’m a big proponent of photography books and education. For a simple motto, remember the phrase: “Buy books, not gear.”

Gear quickly gets outdated. A great photo book will increase in value over time, both monetarily and its value to you as a photographer.

I recommend trying to invest in at least one photo book a month (for a year). You don’t need to buy an expensive photo book — invest in a book that you plan on re-reading over and over again.

I also recommend buying photo books whenever you have the urge to buy a new piece of gear. Why? Photo books will actually help improve your photography, and the novelty of a new photo book will inspire you.

Every photographer needs inspiration from somewhere. Most of us get our inspiration online, on social media.

There are great photographers online, but if you really want to learn the work of the masters, invest in photo books. Photographers spend many years, thousands of dollars, to create their own book. Therefore you’re more likely to get better images in a photo book, than just when looking online.

A good photo book will last for your entire life and will always be a great source of inspiration for you.

#37. Look at all the portfolios of all the Magnum photographers

You are what you eat. If you look at the work of great photographers, you will aspire to make great photographs.

I also go this assignment from my buddy Charlie Kirk: go to the Magnum Photos website and study all the portfolios of the Magnum photographers.

Write a list of which photographers you admire. Analyze their work, and ask yourself, “Why” you like their work.

Furthermore, when you find a photographer whose work really speaks to you, buy all their photo books, watch all their YouTube interviews, and learn as much about them as you can from them.

The more great images we look at, the more inspired we will be to make great photos. By analyzing great compositions and images, we will subconsciously take better photos when we’re shooting.

Also you will find there are a lot of Magnum photographers whose work you don’t “get” or “like.” That is fine — just think to yourself, “What about their work do I not like? And why would other people like their work?”

#38. Attend a photography workshop

I think photography workshops are great because you get a “shortcut” in your learning and education.

For a workshop, you get a distilled source of information from your teacher, often in a few days or a week.

I personally think that photography workshops are a much better “bang for the buck” than photography schools. And they’re much shorter, focused, practical, and hands-on.

Find a photography workshop on a topic that interests you. And know that you’re investing your money into your education, which is always one of the best investments for your money.

If you want practical instruction in photography, to learn, have any questions addressed, attend a workshop or two.

#39. Learn how to process black and white film

I don’t think digital is better than film, nor is film better than digital. They’re different. But more similar than dissimilar.

I feel the process of shooting film, and learning how to develop it, makes you appreciate the art and process of photography much more.

When I started off in digital photography, I took for granted that you could take a photo and instantly see it on the back of your LCD screen.

Shooting film has taught me patience, appreciation for the process, and the tactile hands-on approach.

If you’ve never processed your own black and white film, give it a try. There are tons of YouTube tutorials on how to do it. By processing your own black and white photos , you will feel a lot more connected with your images. You might fall in love with the process and the magic.

After shooting film for several years, I came back to digital photography with new enthusiasm. I appreciated digital photography so much more in terms of the convenience, the flexibility, and the modern technology.

If you’ve never processed your film before, give it a go. And not only that, but try to print your photos in a darkroom at least once — the experience might totally change how you view photography.

#40. Photograph only hand gestures for a day

I think that great photos tend to have two things: 1) Great composition and 2) Great emotion.

We all know how to make better compositions. Few of us know how to capture emotions.

A practical way to capture better emotions: capture hand-gestures and body language of your subjects.

So for a whole day, do nothing but photograph people doing interesting hand-gestures. Not only that, but afterwards, look at your photos (with hand-gestures in them), and mimic the hand-gesture. This will help you connect emotionally, and empathize with your subjects.

Photos of people just walking (and doing nothing with their hands) tends to be boring. Hand-gestures are much more dynamic, interesting, and emotional.

Much of communication is body-language and hand-gesture based. Photos are silent and don’t say words. But hand-gestures do.

I hope this list of 40 photography assignments will help inspire and uplift you. It is hard to stay motivated in your photography, but know that photography isn’t a race. Photography is a personal journey for yourself. You want to take your time, enjoy the process, and gain personal meaning through your photography.

Never compete with any other photographer. Don’t compare yourself to other photographers by how many followers/likes you have on social media.

Only gauge your progress in photography by your own standards of yourself, and by your own gut.

Know that dips in motivation in photography are natural and part of the game. What matters the most is how are you going to overcome these mental blocks and barriers in your photography. Are you going to let them encourage you to try harder? Or are you going to give up photography all-together.

Tenacity and staying in the game of photography is the goal. Never give up friend. Let’s stick in photography together for the long-haul.

About the author : Eric Kim is an international street photographer. You can find more of his photography and writing on his website and blog . This article was also published here .

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Olympics photographers on what it takes to shoot the paris games — and that viral snoop dogg pic.

Two Getty Images staffers speak to The Hollywood Reporter about their assignments in Paris and how it feels to snap the photos seen 'round the world: "High profile, high pressure."

By Zoe G. Phillips

Zoe G. Phillips

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There seems to be something for everyone at this summer’s Olympic Games — there’s Simone Biles and Snoop Dogg , a pommel horse king and a rugby queen. Even Olympic veterans are saying this year feels different.

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Plus, for a photographer, Paris has always been easy on the eyes. “Sense of place is something we think about with photography all the time,” Meyer says, and points to the images of beach volleyball players beneath the Eiffel Tower. “Paris is such an iconic city with such beautiful architecture and landscapes.”

Photographers on the ground for the games are tasked with capturing all the action. For first timers like Arturo Holmes, the job felt a bit overwhelming at first. Holmes is a Getty red carpet photographer whose skills have taken him to the Super Bowl, the Met Gala, the Oscars and beyond — but he says these games are “on a whole different level.”

“You have to go within yourself to find the drive and the motivation to keep finding a key moment, navigating through all the tourists, [bouncing around] from different venues,” Holmes says of the initial overwhelm. He landed on his feet fairly quickly, though, after snapping a photo of Snoop Dogg that went viral.

“That kind of put the battery back,” he says. In a major win, France President Emmanuel Macron shared the shot on social media, and Holmes found himself validated: “I see that I didn’t make the wrong decision choosing photography as a profession, dropping out of school, I was meant for this. I was ready.”

Meyer finds similar reward in her sports photography. “There’s a lot of intensity to it, a lot of emotion,” she says.

Meyer is covering aquatics this summer, shooting swimming, artistic swimming, diving and water polo. “The water is kind of another subject or character in all these images,” she says. “Incorporating the water, showing the environment they’re in, and the movement of water around the athletes, can be really beautiful [and] also a really powerful tool to illustrate the athleticism of these athletes.”

Meyer captures athletes underwater with robotic cameras, which they control remotely from the pool deck. Ahead of competition, she’ll research her assignment to know the sport’s key players and races to watch for, as well as any safety concerns.

“From there, I like to leave a little bit to my imagination,” she says. “I do think some of the magic of really special and creative photography comes from seeing something new.”

After that, Meyer uses ethernet cables placed at either side of the pool to send photos from her camera to an editing team in London, where they are touched up and then uploaded to the Getty Images database where subscribing news outlets – THR included — can use the shots in their reporting.

Getty’s photographers are salaried employees, so they are not paid per photo. “It’s a stock agency, it’s important to have volume,” Meyer says, “but nobody’s over my shoulder counting… there’s a lot of trust in photographers.” If anything, pressure can seep in from surrounding press.

“The energy can feel a little bit frantic if you’re in a media room filled with 100 photographers,” she says. “But the good news is that once the event starts, it’s so loud and chaotic that it’s almost kind of quiet. Once you get used to it, it’s just white noise.”

But surrounded by those other cameras, what do you focus on? Meyer says she thinks of her mom. “She’s not a big sports person, but she loves me, and cares what I’m up to,” she says. “So I read things like, ‘OK, what is special about this to somebody who isn’t here and might not care that much?'”

On red carpets and in the stands, Holmes watches for details. “I’m an emotional shooter,” he says. “I’m looking for emotion, I’m looking for smiling, I’m looking for intense stares, I’m looking for hugs.”

Both photographers say part of their ability to rise to that challenge comes from their colleagues.

“I definitely try to build a rapport with the photographers that are to the left and right of me, behind me,” Holmes says. “When you have a good relationship, your job can be a lot easier.”

“I feel really inspired by the people I’m working with,” Meyer says — both the photographers and the subjects. “My motivation is not about ‘I’m here,’ but, ‘They are here.’ These athletes are here and I take that responsibility seriously. Let me show you what they’ve worked for.”

This, to Meyer, is the heart of why she keeps returning to the Olympics. “I’m going to photograph divers tomorrow. Most people don’t know their names, but I’m positive they’ve been working most of their entire life to get to this moment,” she says. “I have some pictures of swimmers smiling underwater because they’re just so happy to be here. Some are able to come to multiple Olympics, but for a lot of them, it’s a one-shot deal.”

Her pun on that last line may or may not be intended. Either way, she’ll be there, camera poised for capture.

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Watch CBS News

Tim Walz's military record under scrutiny as he joins Kamala Harris on Democratic ticket

By James LaPorta

Updated on: August 9, 2024 / 12:40 AM EDT / CBS News

Minnesota Gov. Tim Walz 's military record has come under renewed scrutiny following Vice President Kamala Harris' announcement of Walz as her running mate on the Democratic ticket. 

On Wednesday, former President Donald Trump's running mate, Sen. JD Vance of Ohio, who is an Iraq War veteran, seized the opportunity to target his opponent's military record, resurfacing claims about his deployments and his retirement from the guard.

Walz served honorably in both the Nebraska and Minnesota Army National Guards, earning medals and deploying in support of Operation Enduring Freedom. But his final days of service have been called into question, centering on his rank and if he retired to avoid a 2005 deployment to Iraq. 

A CBS News review of Walz's military record and statements from the Minnesota Army National Guard show Walz achieved the rank of command sergeant major but was reduced in rank to master sergeant after retirement since he had not completed coursework for the U.S. Army Sergeants Major Academy. 

On Iraq, records show Walz had retired before his battalion was mobilized and deployed to Iraq. A 2005 statement from his website indicates Walz was initially prepared to deploy to Iraq amid his bid for Congress. CBS News has asked Walz for comment on when he decided to retire. 

A snapshot of Walz in the military

Walz retired from the Minnesota Army National Guard's 1st Battalion, 125th Field Artillery in 2005 after more than 24 years in service, the Minnesota Army National Guard told CBS News. 

Walz first enlisted in the Nebraska Army National Guard in April 1981, serving as an infantry senior sergeant and administrative specialist. In 1996, Walz transferred to the Minnesota Army National Guard, where he first worked as a cannon crewmember and field artillery senior sergeant. 

Minnesota National Guard spokesperson Lt. Col. Kristen Augé told CBS News that Walz "held multiple positions within field artillery such as firing battery chief, operations sergeant, first sergeant, and culminated his career serving as the command sergeant major for the battalion." 

Walz earned several Army commendation and achievement medals during his more than 24 years of service. 

Walz deployed in August 2003 in support of Operation Enduring Freedom. The Minnesota National Guard told CBS News the battalion supported security missions at various locations in Europe and Turkey. Walz was stationed at Vicenza, Italy, at the time and returned to Minnesota in April 2004. 

Controversy over a 2005 Iraq deployment

On Wednesday, Vance resurfaced claims that Walz retired from the National Guard to avoid deploying to Iraq. 

"When the United States Marine Corps, when the United States of America, asked me to go to Iraq to serve my country I did it. I did what they asked me to do, and I did it honorably and I'm very proud of that service," said Vance. 

He added: "When Tim Walz was asked by his country to go to Iraq, you know what he did? He dropped out of the Army and allowed his unit to go without him — a fact that he's been criticized for aggressively by a lot of the people he served with." 

The Harris-Walz campaign responded with a statement saying: "After 24 years of military service, Governor Walz retired in 2005 and ran for Congress, where he [served as the ranking member] of Veterans Affairs and was a tireless advocate for our men and women in uniform — and as Vice President of the United States he will continue to be a relentless champion for our veterans and military families." The statement incorrectly stated Walz chaired the Veterans Affairs committee. 

The campaign also said, "In his 24 years of service, the Governor carried, fired and trained others to use weapons of war innumerable times. Governor Walz would never insult or undermine any American's service to this country -- in fact, he thanks Senator Vance for putting his life on the line for our country. It's the American way."  

The claims raised by Vance first gained prominence when Walz ran for governor of Minnesota in 2018. At the time, retired Army veterans Thomas Behrends and Paul Herr, who both served as command sergeant majors, posted on Facebook a lengthy letter accusing Walz of "embellishing" his military career and abandoning his Army National Guard battalion ahead of a 2005 deployment to Iraq.

In the letter, Behrends and Herr write that in early 2005, Walz's unit — 1st Battalion, 125th Field Artillery — was slated to deploy to Iraq. At the time, Walz was serving as the unit's command sergeant major. 

Behrends and Herr claimed that from the time the unit was told to prepare for an Iraq deployment and when Walz retired, he told other Army leaders he would be going to Iraq but later resigned his position before the deployment to avoid going to a combat zone. 

Walz has said he left the guard to run for Congress, according to the Star Tribune . In 2006, Walz won his election to Congress against a six-term Republican incumbent. 

Records show Walz officially filed paperwork with the Federal Election Commission on Feb. 10, 2005. 

In March 2005, the National Guard announced a possible partial mobilization of roughly 2,000 troops from the Minnesota National Guard, according to an archived press release from Tim Walz for U.S. Congress.  

"I do not yet know if my artillery unit will be part of this mobilization and I am unable to comment further on the specifics of the deployment," said Walz in the March 2005 statement . 

The statement continued: "As Command Sergeant Major I have a responsibility not only to ready my battalion for Iraq, but also to serve if called on. I am dedicated to serving my country to the best of my ability, whether that is in Washington DC or Iraq," said Walz, who indicated at the time he had no plans to drop out of the race. "I am fortunate to have a strong group of enthusiastic support and a very dedicated and intelligent wife. Both will be a major part of my campaign, whether I am in Minnesota or Iraq." 

The Minnesota Army National Guard told CBS News that Walz retired on May 16, 2005. CBS News has asked Walz to clarify when he submitted his retirement papers. 

The Minnesota National Guard told CBS News that Walz's unit — 1st Battalion, 125th Field Artillery — received an alert order for mobilization to Iraq on July 14, 2005 – two months after Walz retired, according to Lt. Col. Ryan Rossman, who serves as the Minnesota National Guard's director of operations. The official mobilization order was received on August 14 of the same year, and the unit mobilized in October. 

CBS News reviewed the deployment history for the Minnesota Army National Guard which shows that in the fall of 2005, 1st Battalion, 125th Field Artillery was mobilized in preparation for a deployment in support of Operation Iraqi Freedom. The battalion trained at Camp Shelby in Mississippi and deployed to Iraq as a motorized security task force. 

In 2018, Tom Hagen, a military reservist who served in Iraq, wrote a letter to The Winona Daily News claiming Walz was not being candid about his service record and wanted people to know that the future Minnesota governor did not serve in Iraq or Afghanistan. 

Walz responded in the same newspaper and criticized Hagan as dishonoring a fellow veteran, according to MPR News. Walz wrote: "There's a code of honor among those who've served, and normally this type of partisan political attack only comes from one who's never worn a uniform."

Joseph Eustice, a 32-year veteran of the guard who also led Walz's battalion, told CBS Minnesota that while he doesn't agree with Walz's politics, he does believe Walz's record in the military is sound.

"Tim Walz as a soldier, he was a good soldier. I don't think anyone can honestly say that he wasn't," Eustice said. "...He was a good leader in those 24 years that he served."

Walz's rank as a command sergeant major

Official biographies on the Minnesota government website and Vice President Kamala Harris' website  have described Walz as a "retired Command Sergeant Major." However, documents reviewed by CBS News show this is not accurate; while Walz served at one point as a command sergeant major, he retired at a lower rank. 

Army veteran Anthony Anderson, who routinely obtains military records from the Defense Department using the Freedom of Information Act and has worked with CBS News on similar stories, provided Walz's records for review. CBS News has also requested the documents from the National Guard. 

One of the documents shows Walz reverted back to master sergeant from command sergeant major when he retired from the Minnesota National Guard in May 2005. 

Army soldiers promoted to the rank of sergeant major or command sergeant major are required to attend the Sergeants Major Course, or what was formerly known as the U.S. Army Sergeants Major Academy.  

Lt. Col. Augé, the Minnesota National Guard spokesperson, told CBS News that Walz retired as a master sergeant in 2005 for "benefit purposes" because he did not complete additional coursework at the U.S. Army Sergeants Major Academy.

While Walz can say he served as a command sergeant major in the Minnesota Army National Guard, his official biographies are incorrect in referring to him as a "retired Command Sergeant Major."

On Aug. 8, the campaign website updated its description of his service. It omits his rank upon retirement and now reads, "The son of an Army veteran who served as a command sergeant major, Walz was the ranking member on the House Veterans Affairs Committee, where he passed legislation to help stem veterans' suicides."

Editor's Note: This story has been updated to address an error in the statement from the Harris-Walz campaign.

Caroline Cummings contributed to this report.

• Minnesota National Guard

James LaPorta is a verification producer with CBS News Confirmed. He is a former U.S. Marine infantryman and veteran of the Afghanistan war.

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How to cite ChatGPT

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We, the APA Style team, are not robots. We can all pass a CAPTCHA test , and we know our roles in a Turing test . And, like so many nonrobot human beings this year, we’ve spent a fair amount of time reading, learning, and thinking about issues related to large language models, artificial intelligence (AI), AI-generated text, and specifically ChatGPT . We’ve also been gathering opinions and feedback about the use and citation of ChatGPT. Thank you to everyone who has contributed and shared ideas, opinions, research, and feedback.

In this post, I discuss situations where students and researchers use ChatGPT to create text and to facilitate their research, not to write the full text of their paper or manuscript. We know instructors have differing opinions about how or even whether students should use ChatGPT, and we’ll be continuing to collect feedback about instructor and student questions. As always, defer to instructor guidelines when writing student papers. For more about guidelines and policies about student and author use of ChatGPT, see the last section of this post.

Quoting or reproducing the text created by ChatGPT in your paper

If you’ve used ChatGPT or other AI tools in your research, describe how you used the tool in your Method section or in a comparable section of your paper. For literature reviews or other types of essays or response or reaction papers, you might describe how you used the tool in your introduction. In your text, provide the prompt you used and then any portion of the relevant text that was generated in response.

Unfortunately, the results of a ChatGPT “chat” are not retrievable by other readers, and although nonretrievable data or quotations in APA Style papers are usually cited as personal communications , with ChatGPT-generated text there is no person communicating. Quoting ChatGPT’s text from a chat session is therefore more like sharing an algorithm’s output; thus, credit the author of the algorithm with a reference list entry and the corresponding in-text citation.

When prompted with “Is the left brain right brain divide real or a metaphor?” the ChatGPT-generated text indicated that although the two brain hemispheres are somewhat specialized, “the notation that people can be characterized as ‘left-brained’ or ‘right-brained’ is considered to be an oversimplification and a popular myth” (OpenAI, 2023).

OpenAI. (2023). ChatGPT (Mar 14 version) [Large language model]. https://chat.openai.com/chat

You may also put the full text of long responses from ChatGPT in an appendix of your paper or in online supplemental materials, so readers have access to the exact text that was generated. It is particularly important to document the exact text created because ChatGPT will generate a unique response in each chat session, even if given the same prompt. If you create appendices or supplemental materials, remember that each should be called out at least once in the body of your APA Style paper.

When given a follow-up prompt of “What is a more accurate representation?” the ChatGPT-generated text indicated that “different brain regions work together to support various cognitive processes” and “the functional specialization of different regions can change in response to experience and environmental factors” (OpenAI, 2023; see Appendix A for the full transcript).

Creating a reference to ChatGPT or other AI models and software

The in-text citations and references above are adapted from the reference template for software in Section 10.10 of the Publication Manual (American Psychological Association, 2020, Chapter 10). Although here we focus on ChatGPT, because these guidelines are based on the software template, they can be adapted to note the use of other large language models (e.g., Bard), algorithms, and similar software.

The reference and in-text citations for ChatGPT are formatted as follows:

• Parenthetical citation: (OpenAI, 2023)
• Narrative citation: OpenAI (2023)

Let’s break that reference down and look at the four elements (author, date, title, and source):

Author: The author of the model is OpenAI.

Date: The date is the year of the version you used. Following the template in Section 10.10, you need to include only the year, not the exact date. The version number provides the specific date information a reader might need.

Title: The name of the model is “ChatGPT,” so that serves as the title and is italicized in your reference, as shown in the template. Although OpenAI labels unique iterations (i.e., ChatGPT-3, ChatGPT-4), they are using “ChatGPT” as the general name of the model, with updates identified with version numbers.

The version number is included after the title in parentheses. The format for the version number in ChatGPT references includes the date because that is how OpenAI is labeling the versions. Different large language models or software might use different version numbering; use the version number in the format the author or publisher provides, which may be a numbering system (e.g., Version 2.0) or other methods.

Bracketed text is used in references for additional descriptions when they are needed to help a reader understand what’s being cited. References for a number of common sources, such as journal articles and books, do not include bracketed descriptions, but things outside of the typical peer-reviewed system often do. In the case of a reference for ChatGPT, provide the descriptor “Large language model” in square brackets. OpenAI describes ChatGPT-4 as a “large multimodal model,” so that description may be provided instead if you are using ChatGPT-4. Later versions and software or models from other companies may need different descriptions, based on how the publishers describe the model. The goal of the bracketed text is to briefly describe the kind of model to your reader.

Source: When the publisher name and the author name are the same, do not repeat the publisher name in the source element of the reference, and move directly to the URL. This is the case for ChatGPT. The URL for ChatGPT is https://chat.openai.com/chat . For other models or products for which you may create a reference, use the URL that links as directly as possible to the source (i.e., the page where you can access the model, not the publisher’s homepage).

Other questions about citing ChatGPT

You may have noticed the confidence with which ChatGPT described the ideas of brain lateralization and how the brain operates, without citing any sources. I asked for a list of sources to support those claims and ChatGPT provided five references—four of which I was able to find online. The fifth does not seem to be a real article; the digital object identifier given for that reference belongs to a different article, and I was not able to find any article with the authors, date, title, and source details that ChatGPT provided. Authors using ChatGPT or similar AI tools for research should consider making this scrutiny of the primary sources a standard process. If the sources are real, accurate, and relevant, it may be better to read those original sources to learn from that research and paraphrase or quote from those articles, as applicable, than to use the model’s interpretation of them.

We’ve also received a number of other questions about ChatGPT. Should students be allowed to use it? What guidelines should instructors create for students using AI? Does using AI-generated text constitute plagiarism? Should authors who use ChatGPT credit ChatGPT or OpenAI in their byline? What are the copyright implications ?

On these questions, researchers, editors, instructors, and others are actively debating and creating parameters and guidelines. Many of you have sent us feedback, and we encourage you to continue to do so in the comments below. We will also study the policies and procedures being established by instructors, publishers, and academic institutions, with a goal of creating guidelines that reflect the many real-world applications of AI-generated text.

For questions about manuscript byline credit, plagiarism, and related ChatGPT and AI topics, the APA Style team is seeking the recommendations of APA Journals editors. APA Style guidelines based on those recommendations will be posted on this blog and on the APA Style site later this year.

Update: APA Journals has published policies on the use of generative AI in scholarly materials .

We, the APA Style team humans, appreciate your patience as we navigate these unique challenges and new ways of thinking about how authors, researchers, and students learn, write, and work with new technologies.

American Psychological Association. (2020). Publication manual of the American Psychological Association (7th ed.). https://doi.org/10.1037/0000165-000

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Canadian men win gold in 4x100-metre relay upset at 2024 Olympics: 'Never count us out'

Andre De Grasse runs strong anchor to shock the field and give the Canadians another Olympic title

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PARIS — Canada shocked the athletics world on Friday, blazing to victory in the Olympic men’s 4×100-metre relay at a packed and rainy Stade de France.

Canadian men win gold in 4x100-metre relay upset at 2024 Olympics: 'Never count us out' Back to video

The veteran team of Aaron Brown, Jerome Blake, Brendon Rodney and Andre De Grasse went round the iconic purple track in 37.50 seconds. South Africa was second for silver in 37.57, Great Britain third for bronze in 37.61. The defending Olympic champs from Italy were fourth, .07 seconds off the podium.

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“It feels pretty amazing,” De Grasse told reporters after the race. “To be out with these guys, my brothers, I’ve been with them since the beginning of time, so it’s amazing.

“We talked about this moment for years. It feels good to bring it to fruition. I’m super grateful.”

This is the same Canadian team that competed at the 2020 Tokyo Games, running in 37.70 seconds to initially finish third behind Great Britain and Italy. They were later upgraded to a silver medal after one of Great Britain’s team members tested positive for performance-enhancing substances.

The team also got together up for the 2022 world championship in Eugene, Ore., winning in a world-leading time of 37.48 seconds.

And this race serves as sweet redemption for Brown, Blake and Rodney, who failed to advance out of the first round at the 2023 world championships. Bolade Ajomale ran the final leg for that team.

On Friday, the highly favoured American team of Christian Coleman, Kenny Bednarek, Kyree King and Fred Kerley was disqualified for a baton pass out of the zone on the back straightaway.

“We’re all human beings too and we’ve been through ups and downs in life — this is another of those times,” Coleman told reporters. “This is a part of the sport. This is a risk-reward type of thing. We do it on the biggest stage.”

Brown led off for Canada and it did not start well, as they were lagging back in sixth place as he handed off. Blake moved them into fourth place before passing the baton to Rodney, and he gained another spot on the field before handing off to De Grasse.

Though earlier hampered by an inflamed hamstring , De Grasse held off a hard-charging Akani Simbine of South Africa, who posted the fastest final leg time at an impressive 8.78 seconds. De Grasse’s final leg clocked in at 8.89 seconds.

“(Individual events) didn’t go our way, but when we come together we’re a real strong team,” Brown told reporters. “You can never count us out, we feel great.”

The Canadian team finished third in their heat on Thursday, so they ended up in Lane 9 for Friday’s race. This was apparently not all bad.

“Lane 9 was probably the perfect lane,” Rodney said. “We’re all kind of tall, so we didn’t have to worry about anybody in Lane 9. For us, we just focus on ourselves and just get to run.”

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Tim Walz's military record: What to know about potential VP's National Guard service

Democratic presidential candidate Kamala Harris selected Minnesota Governor Tim Walz as her running mate on Tuesday, choosing a progressive yet plain-spoken VP candidate from America’s heartland to help her win over rural, white voters.

“I’m pleased to share that I’ve made my decision: Minnesota Governor Tim Walz will join our campaign as my running mate,” Harris said via text to supporters. “Tim is a battle-tested leader who has an incredible track record of getting things done for Minnesota families. I know that he will bring that same principled leadership to our campaign, and to the office of the vice president.”

We look at Walz, a 60-year-old U.S. Army National Guard veteran, and his military career over the years.

More: Tim Walz is Kamala Harris' VP pick: Minnesota governor named running mate: Live updates

How long was Walz in the military?

Walz served in the military for 24 years, enlisting in the Nebraska National Guard at 17 in 1981 and then transferring to the Minnesota National Guard in 1996. He retired in 2005 to begin his successful run for the U.S. House, representing Minnesota as command sergeant major, among the highest ranks for enlisted soldiers. His battalion went on to deploy to Iraq shortly after Walz's retirement.

Walz specialized in heavy artillery and had proficiency ribbons in sharpshooting and hand grenades.

But during the 21 years that Walz spent working with large artillery pieces, he suffered hearing loss and tinnitus in both ears, Minnesota Public Radio reported. He was allowed to continue his service after undergoing surgery, which partially resolved his hearing loss.

Where did Walz serve, and what did he do in the National Guard?

During his service, Walz responded to natural disasters, including floods and tornadoes in Minnesota and Nebraska, and was deployed overseas for months at a time, according to MPR.

In 2003, he was sent to Italy, where he served with the European Security Force to support the war in Afghanistan. He was also stationed in Norway for joint training with other NATO militaries.

Walz told MPR that he reenlisted in the National Guard after the September 11 attacks but never saw active combat in his years in the military.

Stars and Stripes reported in 2020 that Walz credited his Army experience with helping him steer Minnesota through the COVID-19 pandemic as governor.

As governor of Minnesota, Walz is commander in chief of the 13,000-soldier Minnesota National Guard. “I’m certainly proud of my military service, but it’s one piece of me,” he told Minnesota Public Radio in 2018. “It doesn’t define me.”

Reuters and USA TODAY reporter Tom Vanden Brook contributed to this story.

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Guardians right-hander claimed on waivers by Marlins

• Updated: Aug. 09, 2024, 3:43 p.m.
• | Published: Aug. 09, 2024, 2:26 p.m.

Former Guardians right-hander. Xzavion Curry. Getty Images

• Paul Hoynes, cleveland.com

MINNEAPOLIS -- Xzavion Curry, a pitcher who helped the Guardians in a variety of roles, has been claimed on waivers by the Marlins.

Curry was designated for assignment on Tuesday to clear roster space for left-hander Anthony Gose. Curry, who made his big league debut with the Guardians in 2022, started and relieved over parts of three seasons.

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This season Curry went 0-2 with a 5.84 ERA in seven games, including four starts. He struck out 15 and walked five in 24 2/3 innings. He allowed 29 hits, including five homers

Curry also made 12 appearances at Class AAA Columbus, including 11 starts. He went 2-6 with a 6.58 ERA (39 earned runs in 53 1/3 innings) for the Clippers. Curry struck out 47 and walked seven.

The Guardians drafted Curry in the seventh round in 2019 out of Georgia Tech. In 50 games with Cleveland, Curry went 3-7 with a 4.94 ERA. He struck out 85, walked 41 and allowed 140 hits in 129 innings.

Curry opened the year on the injured list after coming down with a viral infection in spring training. When he recovered, he was competing with Ben Lively for a spot in the rotation, but the job went to Lively.

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2024 paris olympics: u.s. women’s soccer team wins gold medal.

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The U.S. women's soccer team poses after winning their Olympic gold medals. (Photo by Daniela ... [+] Porcelli/ISI Photos/Getty Images)

The United States women’s soccer team won a record-extending fifth Olympic gold medal after Mallory Swanson scored in their 1-0 win over Brazil in Saturday’s thrilling finale at the Paris Games.

Swanson, making her 100th appearance for the U.S. side, scored a goal in the 57th minute, as the team wrapped up their Olympic campaign in the French capital with a 100% win record.

Defensive midfielder Korbin Albert played a clever through ball for forward Swanson, who perfectly timed her run into the Brazil box and unleashed a right-footed shot that sailed into the bottom right corner.

The goal proved to be the game-changer for the U.S., who did not look their best in the first half but regained control of the match in the second period.

Mallory Swanson was one of the USA's key players at the Paris Olympics. (Photo by John ... [+] Todd/ISI/Getty Images)

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Goalkeeper Alyssa Naeher also played a huge role in the nervy final , pulling off vital saves including one in stoppage time, as the U.S. held on for a win at the Parc des Prince — sealing their first gold medal since the London 2012 Games. They previously won the gold in 1996, 2004 and 2008.

The U.S. has now beaten Brazil in three of those finals, with the South Americans again having to settle for silver just as they did in 2004 and 2008.

The USWNT’s Olympic gold medal comes less than a year after their heartbreaking result at the 2023 Women’s World Cup, where the team was knocked out in the round of 16, suffering its worst-ever result at the global showpiece tournament.

The Olympic success will help the U.S. climb the ladder in the FIFA rankings and send a message to their rivals that they are well and truly back.

The U.S. remain the most successful side in international women’s football, having won four World Cups and five Olympic gold medals.

Hayes Strikes In First International Assignment

U.S. head coach Emma Hayes celebrating the Olympic success with her son Harry. (Photo by Carl ... [+] Recine/Getty Images)

The Olympic victory also marked the start of a new era under coach Emma Hayes, who took over the team only two months before the Olympics.

Hayes has been a trailblazer in the women’s game, having led Chelsea to seven league titles in England, but the USA job is her first on the international stage.

The short period of preparation before the Olympics initially raised concerns, but Hayes proved why she is a serial winner, leading her rather-young USA team to their first major title under her.

“I’m very emotional, it’s a dream of mine to be in this position,” a tearful Hayes told Eurosport.

“I have to thank my dad for pushing me to this point, to be able to come and coach an incredible group of players that have received me so well.

“[They have] taken on everything I asked, they are tremendous people, players and role models. I love them,” the Englishwoman added.

Cruel End To Marta’s Olympic Journey

Marta thanks the fans after the Olympic final. (Photo by Marcio Machado/Eurasia Sport Images/Getty ... [+] Images)

The silver medal in the Olympic final was not the end Brazil’s legendary forward Marta would have hoped for.

The 38-year-old forward, Brazil’s all-time leading scorer, was playing at her sixth and final Olympics and hoped to get her hands on the elusive gold medal that eluded her.

But coming off the bench shortly after Swanson’s opener, Marta could not spark a comeback as Brazil endured a heartbreak at the final whistle and the forward had to settle for her third silver medal.

Much of the talk in the build-up to the gold medal match was about Marta, who was free to return to the team for a farewell Olympic appearance after serving a two-game ban for a red card in the final group stage game.

Marta, who will retire from international soccer this year, will end her career without an Olympic gold medal or a World Cup title.

Nonetheless, the silver medal at Paris 2024 was a terrific achievement for Brazil, who narrowly made out of the group before knocking out hosts France and reigning world champions Spain enroute to the final.

Germany rounded up the podium, picking up bronze after beating Spain 1-0 in the third-place playoff. It was the fourth bronze for the Germans, who previously finished third in 2000, 2004 and 2008.

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