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Joe McNally shoots assignments for magazines, ad agencies, & graphic design firms. Clients include Sports Illustrated, ESPN Magazine, National Geographic, Life, Time, Fortune, New York Magazine, GEO, Golf Digest, Discover, Men's Journal, Business Week, Rolling Stone, New York Stock Exchange, Target, Sony, GE, Nikon, Lehman Brothers, & PNC Bank. In addition to having been a recipient of the Alfred Eisenstaedt Award for outstanding magazine photography, McNally has been honored numerous times by several of the following: Communication Arts, Applied Arts, Photo District News, Pictures of the Year, The World Press Photo Foundation, The Art Directors' Club, American Photo, and Graphis. Joe's teaching credentials include: the Eddie Adams Workshop, the National Geographic Masters of Contemporary Photography, the Santa Fe Workshops, the Smithsonian Institute Masters of Photography, Rochester Institute of Technology, Maine Photo Workshops, Department of Defense Worldwide Military Workshops, and the Disney Institute. He has also worked on numerous "Day in the Life" projects. One of McNally's most notable large scale projects, "Faces of Ground Zero - Giant Polaroid Collection", has become known as one of the most primary and significant artistic responses to the tragedy at the World Trade Center. Joe was described by American Photo magazine as "perhaps the most versatile photojournalist working today" and was listed as one of the 100 most important people in photography. In January 1999, Kodak and Photo District News honored Joe by inducting him into their Legends Online archive. In 2001, Nikon Inc. bestowed upon him a similar honor when he was placed on their website's prestigious list of photographers noted as "Legends Behind the Lens".

"Thinking Video? Make a plan [by Jay Kinghorn] If you're thinking about adding video to the services you offer clients, be sure to give the subject some deep thought before jumping in with both feet. Here are three concepts you may want to think through before you start marketing your video services."

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

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.

Still Images Plus Audio Can Be More Effective Than Online Video 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 March 27th, 2009 I've written before about multimedia slideshows, and how nice it is that today they are available to everyone via the Web, when in the past they were generally created for small groups. In this post, I will make the argument that multimedia slideshows can be a more effective way of communicating than online video. Advantages of Multimedia Slideshows Today nearly 70 percent of Americans are considered visual learners. That only leaves about 30 percent who learn primarily from words-only communication. But does that mean we should skip past slideshows and go straight to video? I don't think so.

Everywhere you look there are dark signs for newspapers: bankruptcies, less print editions, the threat of closings in San Francisco and Boston, layoffs and pay cuts. But the journalism of newspapers will live on in digital form online. How will this after-life look? We brought together five people for the latest episode of 5Across who are working for newspapers -- or who have worked for them in the past and are now making their own independent forays online -- to discuss what's working now and what will work in the future. This was not a disussion about gloom and doom, but about things that these folks could see working at the ground level in their own experience. The informal talk ranged from business models to building site loyalty to how people can network online through "goodness" and not just trying to game the system. Here's the lineup of guests for this month's video show (who largely were beer drinkers):

Collaboration the Key to Future of Investigative Journalism Mark Glaser by Mark Glaser, April 5, 2009 Tagged: future, investigative reporting, logan symposium, public media, uc berkeley BERKELEY -- The second day of the Logan Symposium at UC Berkeley is more of a half-day with one panel devoted to the future of investigative journalism and a brunch at the Frontline World offices near campus. Just like last year, I had trouble getting an Internet connection in the journalism school library so had to live-Twitter the panel and put up this blog post later. (You can see the earlier report on yesterday's sessions here.) The panel was lively, and included a lot of optimism for the future of investigative journalism despite the business cratering for newspapers and their investigative journos. The panel was moderated by Lowell Bergman, and included David Fanning of PBS Frontline, Esther Kaplan of the Nation Institute, Bill Keller of the NY Times, Chuck Lewis at American University, Robert Rosenthan of the Center for Investigative Reporting, and Buzz Woolley, chairman of the board and primary funder of Voice of San Diego. The following are my notes from the panel.

Journalism 2.0: Don't Throw Out the Baby Written by Bernard Lunn / April 30, 2009 2:35 AM / 19 Comments « Prior Post Next Post » When I was a kid, I wanted to be a journalist. My heroes were people like Woodward and Bernstein and the people reporting from war zones. The profession seemed to be both glamorous and worthwhile. Faced with a real decision as a young adult, I went into the IT industry. Then, later in my career, I started blogging, and then writing for ReadWriteWeb, and now I am COO of this news media business. So that got me thinking about the past, present, and future of journalism. Disclosure: I do not come at this from a long career as a journalist. This is a personal, blog-style view of the journalism profession by somebody who cares about the outcome.

Essential multimedia tutorials and resources for do-it-yourself training Wednesday, March 25, 2009 The funny thing about the new wave of journalism is that news organizations are requiring journalists to learn additional technical skills, but aren't making the necessary training readily available. In order to be or remain employed in this industry its essential to hunker down and learn some new skills. The following tutorial sites will take you from journalist to multimedia journalist, something that looks great on any business card.

Newspapers and Thinking the Unthinkable Back in 1993, the Knight-Ridder newspaper chain began investigating piracy of Dave Barry's popular column, which was published by the Miami Herald and syndicated widely. In the course of tracking down the sources of unlicensed distribution, they found many things, including the copying of his column to alt.fan.dave_barry on usenet; a 2000-person strong mailing list also reading pirated versions; and a teenager in the Midwest who was doing some of the copying himself, because he loved Barry's work so much he wanted everybody to be able to read it. One of the people I was hanging around with online back then was Gordy Thompson, who managed internet services at the New York Times. I remember Thompson saying something to the effect of "When a 14 year old kid can blow up your business in his spare time, not because he hates you but because he loves you, then you got a problem." I think about that conversation a lot these days.

View my * My Posts * Twitter 10 Ways Newspapers are Using Social Media to Save the Industry March 11th, 2009 | by Woody LewisComments newspaper imageWoody Lewis is a Social Media Strategist and Web Architect. He authors a blog at woodylewis.com about social media strategy for newspapers. These days, everyone knows that one of the hottest stories any newspaper can cover is that of its own demise. The collapse of print advertising and the downturn in sales, at the news stand and through subscriptions, has led to a frantic search for new ways to monetize content that's often available online for free. Social media gives any business an interactive channel to communicate with its current and future customers. For newspapers, that channel can increase the chances of survival in a market where commoditized information has diminished the value of individual brands. Here are ten ways newspapers are using social media to save the industry.

november 30, 2007 by Jean Yves Chainon in Editor's weblog - outlines some failing citj business models. Mentions Backfence, Steve Outing, Steve Boriss,

Kyle McRae, founder of Scoopt, talks about the creation of a business based on UGC, its sale to Getty and it's eventual demise two years later.

The window of a Humvee rolling through Baghdad's dangerous streets is essentially a television, watched in the dark. The glass is dirty and three inches thick: everything has a hazy and muted look, like a rerun of an old seventies movie. Humvees are dim inside even on sunny days; you can see out, but Iraqis can't see in, any more than a sitcom character can see us when we watch. Even the proportions are right: the older Humvee windows have the squarish shape of an old-fashioned picture tube; the latest armor kits feature wider, more horizontal windows, like the letterbox of plasma screens. And these screens show, for the American soldier-viewers, the day-to-day life of seven million souls: Iraqi children walking to school, men lounging in chairs outside of businesses, a food seller grilling meats. Women swathed in black abayas (so rare before the invasion and so common today) shuffling through the streets. Tall concrete blast walls, everywhere.