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"On the Internet, everybody is a millenarian. Internet journalism, according to those who produce manifestos on its behalf, represents a world-historical development-not so much because of the expressive power of the new medium as because of its accessibility to producers and consumers. That permits it to break the long-standing choke hold on public information and discussion that the traditional media-usually known, when this argument is made, as "gatekeepers" or "the priesthood"-have supposedly been able to maintain up to now. "Millions of Americans who were once in awe of the punditocracy now realize that anyone can do this stuff-and that many unknowns can do it better than the lords of the profession," Glenn Reynolds, a University of Tennessee law professor who operates one of the leading blogs, Instapundit, writes, typically, in his new book, "An Army of Davids: How Markets and Technology Empower Ordinary People to Beat Big Media, Big Government and Other Goliaths." The rhetoric about Internet journalism produced by Reynolds and many others is plausible only because it conflates several distinct categories of material that are widely available online and didn't use to be. One is pure opinion, especially political opinion, which the Internet has made infinitely easy to purvey. Another is information originally published in other media-everything from Chilean newspaper stories and entries in German encyclopedias to papers presented at Micronesian conferences on accounting methods-which one can find instantly on search and aggregation sites. Lately, grand journalistic claims have been made on behalf of material produced specifically for Web sites by people who don't have jobs with news organizations. According to a study published last month by the Pew Internet & American Life Project, there are twelve million bloggers in the United States, and thirty-four per cent of them consider blogging to be a form of journalism. That would add

"Corentin Wauters: Gamma is one of the most famous photojournalism agencies. Some even call it legendary. How important has it been for photojournalism? Michiel Munneke: I think Gamma - but also others like Magnum, for instance - played an extremely important role from early years on, especially in documenting crucial news events around the world. It's important to realise that in those days you had magazines like Life and the Picture Post who very generously allocated tens of pages to events like the war in Vietnam, for example. Those publications and photographs made a huge impact on their readerships. I think it's fair to say that the founders of Gamma, like Raymond Depardon - although he moved to Magnum at the end of the '70s - and Gilles Corron, who died in 1970 in Cambodia, can be classified as legendary. They played a very important role in news documenting in those years. Raymond Depardon said that in 1966 you only had to travel far away and take three shots to get published in magazines Paris Match or Le Nouvel Observateur. How has the profession of photojournalism changed since Gamma was founded? If Depardon was saying that competition for space in publications like Paris Match or Le Nouvel Observateur is stronger, then he's absolutely right. Competition is far more severe. Circulations are going down, advertising revenues are shrinking, and consequently budgets for journalism and for photography are being cut. image Nowadays its very rare that publications send photographers for assignments overseas. Take a renowned magazine like Time. They still have photographers on staff but they very rarely get assignments to go overseas. It's a sign of the times. Gamma, but also other big photojournalism agencies like Sipa, were founded in Paris. The city had a big name as a centre for photojournalism. To what extent is that true today? I think for those years it was really true. But now, in the era of globalisation and digitisation, it doesnâ

This article looks at the role, impact and response to the internet, new media and citizen journalism during the 2007 protests.\n\nIt starts by going over the history of burma and the junta and the events leading up to the 2007 protests. This protest was different than previous burmese protests due to the amount of information coming out. Cyberspace was flooded with grainy pictures and videos taken by burmese citizens,\n\nThe internet allowed people in Burma to send information and pictures out to show what was happening bringing a new type of political activism and global advocacy. The burmese protests were influenced greatly by this new media, but the protests still failed and many were killed.\n\nThe article talks about Yochai Benkler who argues the internet has opened possibilities even for those living under brutal regimes. Cheap cost and decentralisation is the main factors that are good about the internet in this situation.\n\nThe burmese media used to be free when under colonial rule. This free expression may have sparked the independence movement, but was then restricted when the army took over and restricted the media. Old media is easy to control by controling the sources (eg newspapers and TV stations). The internet is the new media model. BurmaNet, funded by the Soros foundation was one of the 1st news sites. Others followed, many based in thailand and with contacts to pro-democracy movements\n\nThe government stepped up its efforts to stop this content and prohibited the ownership of computers without approval. It also made its own propaganda websites. The 2007 protests show that even though the gov attempted to control the media the internet is uncontrollable and info will get out. Web 2.0 was also in full swing with citizen journalists uploading photos, video and blogging. The main news outlets were al using grainy amateur footage.\n\nDuring the protests the gov blocked the internet and cell phones sometimes. \n\nMuch of the blogs were outsite the co

The New York Times is running a slideshow by photographer Jan Grarup about life in the Daadab, reportedly the oldest refugee camp in the world. "The strength of the project rests within its immediacy," Mr. Grarup said. "It has an honesty to it." I was in Daadab not so long ago myself. I may not have been there for long but I was there long enough to notice that life in the camp wasn't one you would wish on the  worst of your neighbors -Kenyans and Somalis from Somalia aren't the best of neighbors. In the camps there is of course suffering but I would also have loved to see images of the children that were playing in the camp, images of the schools set up, images of the street with all the shops where refugees who've refused to be victims of circumstances are taking charge and rebuilding their lives. Where are the photos of the weddings that happen in the camp and where are the photos of people who despite their many tribulations, still observe prayers without fail? Where are the photos telling the other side of the story?

THEORY - "Walker Evans and American Life" Scavenging the Landscape: Walker Evans and American life Afterimage, Jan-Feb, 1996 by Melissa Rachleff The Great American Depression, spanning the 1930s, inscribed into the culture a psychic crisis. Faith in industrial ingenuity, heralded as "progressive," came unhinged. By 1933, four years after the stock market crash, one quarter of the work force was unemployed.(1) Into this dilemma came a multitude of photographic projects, the most famous of which were sponsored by the federal government in the form of agencies that provided relief to farmers, the unemployed and others. The most completely realized project was the documentation of conditions faced by displaced farmers, recorded by the Historic Section of the Resettlement Administration (RA), later the Farm Security Administration (FSA). The socially-oriented photographic book made its appearance, as did the photographic magazine, best exemplified by Life in 1936. Many of the best known American photographers came to prominence during the Depression, including Berenice Abbott, Dorothea Lange, Gordon Parks and Margaret Bourke-White. Of all the photographers from that era, one represented the quintessential photographic style of the Depression while remaining an elusive figure in photographic history: Walker Evans (1903-1975).

Brighton Photo Biennial Memory of Fire: The War of Images and Images of War festival review and interview with curator Julian Stallabrass by Guy Lane The Brighton Photo Biennial offers an in-depth exploration of the photography of war. Ten exhibitions, in locations across the South Coast, examine various aspects of the production, use and circulation of imagery during wartime. At the heart of the Biennial is a comparison of photojournalism from the Vietnam and Iraq wars, featuring - amongst others - the work of Larry Burrows, Don McCullin, photographers from the North Vietnamese Army, Bilal Hussein and Stephanie Sinclair. Harriet Logan's photographs of women in Afghanistan are afforded a solo show; as is Philip Jones Griffiths' Agent Orange project. Dutch photojournalist Geert van Kesteren presents edits from his books, Why Mister Why? and Baghdad Calling. Themes of censorship and obscenity are addressed in an installation by Swiss artist Thomas Hirschhorn. The representation of war by contemporary art photographers - including Simon Norfolk, Paul Seawright and Adam Broomberg & Oliver Chanarin - is the subject of a further exhibition. Julian Germain hosts a display of pictures made by military personnel based in Portsmouth. And separate shows of material from the First World War (by Frank Hurley), and the Mexican Revolution, suggest historical parallels to the more recent work. The Biennial, titled Memory of Fire: the War of Images and Images of War is described as an opportunity for visitors "to experience a range of imagery and to reflect critically on the different elements and contrasts." It runs from the beginning of October for six weeks. Below, curator Julian Stallabrass discusses some of the diverse issues and topics raised by the show.

"dvafoto - photojournalism - M. Scott Brauer and Matt Lutton Matt Lutton and M. Scott Brauer share their work and others' Ethical Transgressions in Marco Vernaschi's Coverage for the Pulitzer Center on Crisis Reporting Apr 23, 2010 by M. Scott Brauer 3 Comments » What started as a long accusation in a lightstalkers thread has turned into a large-scale discussion involving a Pulitzer Center apology and coverage on the Guardian website. Marco Vernaschi's coverage of child sacrifice in Uganda (another with the offending image removed and another) for the Pulitzer Center on Crisis Reporting initially looked like a hard and gritty glance into a little-known-outside-of-Africa problem of ritual child sacrifice. Issues of exoticism and the colonialist view notwithstanding, numerous bloggers began lobbing serious allegations of paying for access, illegally exhuming a child's body to take pictures of the corpse, child exploitation, and outright fabrication. A Developing Story raised some strong questions of both Vernaschi and the Pulitzer Center. The Pulitzer Center took time in responding to the allegations. Other bloggers led the charge, with Anne Holmes of Vigilante Journalist providing invaluable investigation into the case with Ugandan authorities. Holmes had previously interviewed Vernaschi for her blog and has retracted those articles due to concerns about Vernaschi's ethics and journalistic process. The Pulitzer Center has issued a statement responding to these allegations, in which it agrees that the bounds of journalism, ethics, and human decency were crossed. Asim Rafiqui has a great perspective on the issue, as does Tewfic El-Sawey. Pay special attention Rafiqui's analysis of the motivations for a photographer to manufacture a story as regards the media eco-system of photojournalism awards, publications looking for sensationalism, and historical portrayals of Africa. "Mr. Vernaschi's transgression is not just that of an individual, but of an indust

Through the Lens of Time: Images of African Americans from the Cook Collection is a digital collection of over 250 images of African Americans dating from the nineteenth and early twentieth century, selected from the George and Huestis Cook Photograph Collection at the Valentine Richmond History Center. The digitally scanned images on this site are of prints from glass plate negatives or film negatives taken by George S. Cook (1819-1902) and Huestes P. Cook (1868-1951), primarily in the Richmond and Central Virginia area. The Cook Collection consists of over 10,000 negatives taken from the 1860s to the 1930s in Virginia and the Carolinas. The lens of a camera can both reflect and refract reality, and it is important to understand that a photograph, like any work of art, can tell us as much about the photographer as the photographed. These photographs of African Americans provide an interesting combination of examples of African American life and the white photographers' perceptions of that life, often at least tinged by stereotypes. While some photographs more obviously represent one or the other, it is an interesting exercise to attempt to determine which photographs were taken in a completely spontaneous manner and which ones were posed or staged by the Cooks. These photographs of African American life in turn-of-the-century Central Virginia are valuable both as conveyers of unique historical information and as examples of the nascent art of photography. Their preservation by the Valentine Richmond History Center and their digitization by VCU allows everyone from historical researchers to school children to access and learn from this fine and rare resource.

The Beauty of the Slideshow - Now Available to Everyone By Stanley LearystanleylearycloseAuthor: Stanley Leary See Author's Posts (38) Recent Posts * Still Images Plus Audio Can Be More Effective Than Online Video * Teaching Is a Great Way to Learn * Telling Stories with a Telephoto Lens * If Your Pictures Aren't Good Enough, You're Not Close Enough * What Kind of Photographer Are You? Stanley Leary is a Black Star photographer who has been telling stories for more than 20 years as a photojournalist. His work has appeared in Newsweek, Business Week, Sports Illustrated, Wired, Chicago Tribune, NY Times, World Book Encyclopedia, Information Week, Popular Mechanics, Technology Review, Atlanta Journal and Constitution, and many other publications. in Video and Multimedia on January 20th, 2008 Even before the Internet, I appreciated the slideshow. I created presentations with multiple projectors and audio, and I was always impressed with what the combined media could communicate. Even compared to video - where you move right through a moment so quickly you can miss the subtlety of it - the slideshow has its unique charms. The problem, in the old days, was that you had to have the audience present to deliver the program; it was a lot of work for a small number of people. The printed page reached a much larger audience. Today, with the Web becoming the leader in delivering the news, we are no longer limited to printed words and still images on the page. Rather than publishing a quote, we can deliver audio of the interviews and the experience, giving a story authenticity in a way that we couldn't achieve before. We can create slideshows for everyone - to watch whenever they choose.

Thomas Keenan - Mobilizing Shame - The South Atlantic Quarterly 103:2/3 The South Atlantic Quarterly 103.2/3 (2004) 435-449 Mobilizing Shame Thomas Keenan What difference would it make for human rights discourse to take the photo opportunity seriously? Not the photo ops on behalf of human rights, but the ones coming from the other side, the other sides. What would it mean to come to terms with the fact that there are things which happen in front of cameras that are not simply true or false, not simply representations and references, but rather opportunities, events, performances, things that are done and done for the camera, which come into being in a space beyond truth and falsity that is created in view of mediation and transmission? In what follows, I wish to respond to these questions by focusing on what, within human rights activism and discourse, has come to be known as "the mobilization of shame." Shame and Enlightenment It is now an unstated but I think pervasive axiom of the human rights movement that those agents whose behavior it wishes to affect -- governments, armies, businesses, and militias -- are exposed in some significant way to the force of public opinion, and that they are (psychically or emotionally) structured like individuals in a strong social or cultural context that renders them vulnerable to feelings of dishonor, embarrassment, disgrace, or ignominy. Shame is thought of as a primordial force that articulates or links... Project MUSE® - Download/Export Citation * MLA * APA * Chicago * Endnote Keenan, Thomas, 1959-. "Mobilizing Shame." The South Atlantic Quarterly 103.2 (2004): 435-449. Project MUSE. [Library name], [City], [State abbreviation]. 22 Apr. 2009 . Always review your references for accuracy and make any necessary corrections before using. Pay special attention to personal names, capitalization, and dates. Consult your library or click here for more information on citing sources. Keenan, T

Aims & Scope Visual Resources: An International Journal of Documentation is devoted to the study of images and their uses. While images of architecture and works of art constitute its main focus, it also includes other subjects and contexts in a wide range of formats. Its scope delves into the past and looks toward the future, revealing how images have influenced the perception of art and how the interpretation of images conditions and enhances academic disciplines such as archaeology, history, and particularly art and architectural history. Visual Resources explores how visual language is structured and visual meaning communicated and also illustrates how picture collections are acquired, organized, indexed, and preserved. VR examines early attempts to document the visual, reports on the state of visual resources, assesses the effect of electronic technology on current and future uses, and provides a platform for reporting innovative ways to organize and access visual information - while aiming to increase the recognition and appreciation of visual documentation. Over the years, VR has published articles about verbal descriptions of art and architecture; copies, casts, and facsimiles; drawings, paintings, and prints; photography; library, archive, and museum collections; iconography; and computers and electronic imagery - and how these have functioned as documents of art and culture. Disclaimer for scientific, technical and social science publications: Taylor & Francis makes every effort to ensure the accuracy of all the information (the "Content") contained in its publications. However, Taylor & Francis and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are no

THE BEST ASSIGNMENTS ARE FREE…. In Thoughts at 11:12am They are gifts we give ourselves….. You already know the ones…the ones that really terrify you. The ones you think you can't handle. The ones you think are way, way, beyond your capabilities. Gateway assignments. The ones you need to take. They come in on the phone (rarely) or in the email of your imagination as loud as the "TERRAIN! TERRAIN! TERRAIN!" warning in the cockpit. You must respond. You must engage. Increasingly, these are the ones you give yourself. On the other side of that job, win, lose or draw, you will be a different photographer, and presumably, absolutely, a better photographer. Like a redwood, you just accumulated another ring. You could liken it to a scar, the way things go in this business. I try not to think about it. But here's the beautiful thing about scars. They are on the surface. Not attractive perhaps, but at the end of the day, inconsequential. They don't affect your core.

Aims & Scope Visual Studies is a major international peer-reviewed journal published on behalf of the International Visual Sociology Association. The journal publishes visually-oriented articles across a range of disciplines, and represents a long-standing commitment to empirical visual research, studies of visual and material culture, the development of visual research methods and the exploration of visual means of communication about social and cultural worlds. Visual Studies is a key resource for all disciplines that engage with images, society and culture, and sets the standard for the scholarly use of visual material. The multidisciplinary character of the journal is reflected in its attention to visually-based research in sociology, anthropology, cultural and media studies, documentary film and photography, information technology, education, communication studies as well as other fields concerned with image-based study. The aims of Visual Studies are to: * Provide an international forum for the development of visual research. * Promote acceptance and understanding of a wide range of methods, approaches and paradigms that constitute image-based research. * Reduce the disparity in emphasis between visual and written studies in the social sciences. * Promote an interest in developing visual research methodology in all its various forms. * Encourage research that employs a mixture of visual methods and analytical approaches within one study. * Critically reflect and contribute to the dialogue surrounding 'the visual' across the social sciences and humanities. * Provide an arena for in-depth exploration of various approaches, particular methods, themes and visual phenomena. Most articles published in the journal are accompanied by appropriate visual material, and the journal encourages visually-led submissions.

10x10â„¢ ('ten by ten') is an interactive exploration of the words and pictures that define the time. The result is an often moving, sometimes shocking, occasionally frivolous, but always fitting snapshot of our world. Every hour, 10x10 collects the 100 words and pictures that matter most on a global scale, and presents them as a single image, taken to encapsulate that moment in time. Over the course of days, months, and years, 10x10 leaves a trail of these hourly statements which, stitched together side by side, form a continuous patchwork tapestry of human life. 10x10 is ever-changing, ever-growing, quietly observing the ways in which we live. It records our wars and crises, our triumphs and tragedies, our mistakes and milestones. When we make history, or at least the headlines, 10x10 takes note and remembers. Each hour is presented as a picture postcard window, composed of 100 different frames, each of which holds the image of a single moment in time. Clicking on a single frame allows us to peer a bit deeper into the story that lies behind the image. In this way, we can dart in and out of the news, understanding both the individual stories and the ways in which they relate to each other. 10x10 runs with no human intervention, autonomously observing what a handful of leading international news sources are saying and showing. 10x10 makes no comment on news media bias, or lack thereof. It has no politics, nor any secret agenda; it simply shows what it finds. With no human editors and no regulation, 10x10 is open and free, raw and fresh, and consequently a unique way of following world events. In 10x10, we respond instinctively to patterns in the grid, visual indicators of relevance. When we see a frequently repeated image, we know it's important. When we see a picture of a movie star next to a picture of dead bodies, we understand the extremes that exist in our world. Scanning a grid of pictures can be more intuitive than reading headlines, for it lets the new

Taking Stock By Angela Wolff Back in the 80s and 90s, "stock" was the name of the game. The economy was good, the market was hungry, and agencies hustled to get their photographers the biggest clients at the best rates. But then came agency consolidation. New contracts were issued, and many photographers felt their "agents" had become vendors, chipping away at prices, demanding higher sales percentages, and leaving their photographers to fend for themselves. Some photographers have become frustrated and have left the stock game altogether. Others have simply decided to take matters into their own hands. Many are collecting fees from images still represented by the big agencies, while cultivating profitable stock models of their own. They have found ways - by creating their own e-commerce sites, by capitalizing on niche specialties, by maintaining hands-on relationships with buyers, or by turning low-profit deals into moneymakers - to make the most of the current stock market. The photographers we talked to all said that, when licensing their own images, they garnered higher fees than agencies would have. Not just higher than the percentage split they'd usually see on their commission statements, but fees higher than what agencies typically charge their clients in the first place. The reason: As the big agencies gobbled up more and more small agencies and subsequently cut their image libraries, they not only offered lower revenues to their photographers, they also gave their clients fewer options and fewer services.

Prints & Photographs Online Catalog The Prints & Photographs Online Catalog (PPOC) provides access through group or item records to more than 50% of the Division's holdings, as well as to some images found in other units of the Library of Congress. Many of the catalog records are accompanied by digital images--about one million digital images in all. Montage, clockwise from top left: Destitute pea pickers in California, "Migrant Mother" by Dorothea Lange; "I want you for the U.S. Army", by James Montgomery Flagg; Modern Gengi: viewing in the snow, by Toyokuni Utagawa; T.S. Eastabrook House, Chicago, IL; Caricature curiosity, by George Moutard Woodward Not all images displayed in this catalog are in the public domain. The Library offers broad public access to these materials as a contribution to education and scholarship. It is the researcher's obligation to determine and satisfy copyright or other use restrictions when publishing or otherwise distributing materials found in the Library's collections. In some collections, only thumbnail images display to those searching outside the Library of Congress because of potential rights considerations. See the Library's Legal Notices for more information.

THEORY: "Susan Sontag - On Photography" "Susan Sontag - On Photography" By: David L. Jacobs, Afterimage, Sunday, March 1 1998 The initial critical reception of Susan Sontag's On Photography (1977) is one of the most extraordinary events in the history of photography and cultural criticism. No other photography book, not even The Family of Man (1955), which sold four million copies before finally going out of print in 1978, received a wider range of press coverage than On Photography. The scores of reviews of Sontag's book extended not only across the spectrum of specialized photography and art magazines - that is, from Popular Photography to Artforum - but also across an expansive range of general-interest and intellectual periodicals from the Christian Science Monitor to the Village Voice, from Esquire to Encounter, and from the Saturday Review to the Antioch Review. What's more, On Photography won the National Book Critics' Circle Award for 1977 and was selected among the top 20 books of 1977 by the editors of the New York Times Book Review.

This is an article of particular interest to the Citizen Photojournalism project. Writer Alissa Quart writes for the Columbia Journalism review amongst others, and in this article, she considers the impact of citizen photojournalism on agencies and professional photojournalism in general.

I must say that during last Sunday's riots in the Old CIty of Jerusalem the citizen journalists outnumbered those who were rioting . At least 6 photographers complained about their difficulties of capturing an image without someone sticking a cell phone or other small camera into the frame . A Palestinian man poked his head of the entrance of his home and asked me to assist a Norwegian man who ran into his home to seek safety but was too afraid to leave the area and was trapped . I helped the man make his way down the alley that separated the masked Palestinian youths who were throwing stones towards the Israeli border police at the other end and told him to stick to my side where he would be more protected by the stone building along the way . This has happened a number of times during my coverage of the Palestinian Israeli conflict and in some ways hinders a photojournalist because they leave the scene to assist someone else , can endanger them further my walking in between lines however even the seasoned professionals have opted out of situations that risked their own safety .

Some general comments on the "Twitter Experiment" by Monica Rankin (UT Dallas) There has been a lot of interest in the "Twitter Experiment" video posted by Kim Smith chronicling my U.S. History class at U.T. Dallas and our use of twitter in the classroom. I have fielded a number of inquiries from educators across the United States and even overseas who are interested in finding ways to use social networking in an educational setting. This write-up is intended as an informal summary of my use of twitter in the classroom. I hope it will help to clarify my experience and I welcome additional questions and commentary, particularly suggestions for how to improve this type of classroom interaction. The class: I used twitter in the basic U.S. History II survey course at U.T. Dallas in the spring 2009 semester. This is a "core" course requirement in the state of Texas. It generally enrolls students from all majors across campus. At the beginning of the semester, there were 90 students enrolled in my class. The class met in a large auditorium-style classroom on Monday, Wednesday, and Friday from 11:30-12:20. I had one graduate student teaching assistant to help with grading and other administrative duties for the class.

Why you need releases A release is a written agreement between you and the person you are photographing, or the person who owns the property you are photographing. The purpose of the release is to protect you from any future lawsuits the person might file for claims such as defamation and invasion of privacy. A model release says the person being photographed has given consent to be photographed and to the use of the images you capture. It doesn't just apply to professional models or situations where people know they are posing for photos. You should seek to get a signed model release any time that your photos contain recognizable images of people, unless you are certain that you will never want to use them for anything other than editorial purposes. A property release says that the owner of a certain property, such as a pet or a building, has given you consent to take and use images of the property. You don't need one for public property, such as government buildings (although you may run into problems just from photographing them, for security reasons). But for images of private property - and particularly of objects that are closely identified with specific people - you are safer if you get a release. The releases you obtain should be saved forever and should be linked in some way with the photographs to which they relate. You can expect to be asked to produce them whenever you license an image, and you will need them if you ever have to defend yourself in court.