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Then & Now - Eight South African Photographers Then and Now 160 Images View photos from the exhibit An exhibition of 160 photographs mounted in 5 venues at Duke University. South African photographer Paul Weinberg conceived and curated Then & Now which is comprised of black and white and color photographs from 8 South African documentary photographers. Twenty photographs were selected from each photographer, 10 made under apartheid and 10 photographs made after the historic democratic elections of 1994.

Networking promotes archival interest, says satisfied National Media Museum The National Media Museum has praised its collaboration with Flickr, which saw the UK institution make some of its photographic collections freely available online. Initially launched by the US Library of Congress and Flickr in January 2008, the project, dubbed The Commons, aims to give the public easier access to thousands of archived photographs while helping the library categorise them through Flickr's photo- tagging system, in effect harnessing the power of social networks.

THEORY: "Lee Friedlander: Museum of Modern Art, New York" Lee Friedlander: Museum of Modern Art, New York ArtForum, Sept, 2005 by Carol Armstrong Walking with a friend through the Lee Friedlander retrospective at MOMA, I noticed that the two of us each had a different way of looking at almost every early street photograph on view: One of us saw the photograph a certain way right off the bat and couldn't easily see it otherwise, while the other noticed everything else in the photo and could only see the "hook" after having it pointed out. What in one viewing looked like Americanized pieces of Cartier-Bresson poetic doubling in another couldn't be disentangled from a set of densely stratified spatial and perceptual conundrums that at once posit the transparency of photography and question it at every level.

William Eggleston: The Tender-Cruel Camera by Thomas Weski 'I don't particularly like what's around me.' I said that could be a good reason to take pictures. He said: 'You know, that's not a bad idea.' Around the middle of the sixties, in the middle of the night, William Eggleston was standing in one of the first industrial photofinishing laboraties, watching hundreds of color photos being churned out of the developing machines on endless reels of paper. Countless such visits were to sharpen Eggleston's awareness of the world of images and its amateurish, unpretentious treatment by the masses of people who had their color snaps developed and printed in this laboratory overnight. For Eggleston, this confrontation with visual mediocrity was an altogether exciting and unforgettable experience and was to become an important basis for his later work.

Location annual report photo shoot by corporate photographer David Tejada. Photographing an asphalt plant and highway construction

Kim Phuc was the subject of a famous photo from the Vietnam war which shows her as a child running naked after being severely burned by a napalm attack. She is joined by UC Davis faculty to consider photographic images that have changed history. Series: "Mondavi Center Presents" [5/2007] [Public Affairs] [Humanities] [Show ID: 12409]

Playing "god" in a digital age: The thin line between art and the subjectivity of photojournalism Jarle recently commented on the post "Crazy light", in which I wrote: "We are constantly challenged to make scenes that are less than interesting, more interesting." The question that this raises, however, is when and how are the conventions of honest visual reportage bent for the sake of making images more compelling? Jarle continues: Correct. We all strive to make our photos more interesting. But, ethically and philosophically speaking, isn't this in direct conflict with the "our pictures must always tell the truth" mantra? There's often a thin line between photojournalism, "art" and subjective, commentary photography. And, playing the devil's advocate, what's the difference between adding motion blur in Photoshop and using a slow shutter speed? I'll start out by agreeing with much what Jarle has said here. From a purist perspective, "Straight" photography should be a style of photography that records what the eye witnesses without elaboration or embellishment. For the most part, this form of photography, what is photojournalism today, has remained pretty much true to form. At the same time, it is possible to find quite a few examples of photojournalism from the 1980s to the present day, that deviate from the normal conventions.

It wasn't all that long ago when I was interviewed for Black Star's terrific new project on photojournalism ethics. The book could not come at a better time for an industry that is trying to redefine itself in the face of public cynicism and distrust. Here an excerpt from the text. Photography has always been about manipulation....Even the smile is a form of manipulation, because it may mask the true feelings of the subject."

Don't overexpose your photos! Learn how to use light meters in the free instructional video for beginning photographers.

This clips covers the basics of camera shutter speeds and lens apertures and the relationship between them when taking a photo

Today I'm in San Francisco giving a lecture to the Society for Photographic Education. After presenting my pictures and the story of how I became a photographer, I'll likely be asked if I have any advice for young photographers. Instead of giving just my two cents, I thought it would be cool if I could also offer some advice from my fellow photographers at Magnum. I emailed my colleagues and received 35 different responses.

Thursday, October 30, 2008 Nick Turpin Ditches his SB-800s for a Cell Phone (RSS and email subscribers may have to click on the post title to see the video.) Remember Nick Turpin, who did those beautiful SB-800-lit street portraits of thriller writers for Arena Magazine? Now, he has ditched even those and is shooting his current month-long campaign for Samsung using only a cell phone. No DSLRs, no flashes, no female assistants holding long poles. And he is not even in control of what he is shooting -- you are. Your clicks on each new photo in the the evolving site decide where he is going next. It is live now, at The Photographic Adventures of Nick Turpin. You can follow his cell-phone video diary from his trek via his YouTube Channel, too.

Bill Frakes is a Sports Illustrated Staff Photographer based in Florida. He has worked in more than 100 countries for a wide variety of editorial and advertising clients. His advertising clients include Nike, CocaCola, Champion, Isleworth, Stryker, IBM, Nikon, Kodak, and Reebok. Editorially his work has appeared in virtually every major general interest publication in the world. Bill won the coveted Newspaper Photographer of the Year award in the prestigious Pictures of the Year competition. He was a member of the Miami Herald staff that won the Pulitzer Prize for their coverage of Hurricane Andrew . He has also been honored by the Robert F. Kennedy Journalism Awards for reporting on the disadvantaged and by the Overseas Press club for distinguished foreign reporting. He was awarded the Gold Medal by World Press Photo. He has received hundreds of national and international awards for his work. The total content of this entire site, all text, graphics, code and photographs are protected by copyright. Violation of copyright will be actively prosecuted. None of the images on this site are to construed as an endorsement by the individuals photographed or the holders of any of the marks pictured. It is simply Bill Frakes photographic portfolio.

Today we launch a new series of conversations with various Magnum photographers. For our first conversation we invited Jörg M. Colberg, founder and editor of the fine-art photography blog Conscientious and experienced interviewer, to talk to Magnum photographer Miguel Rio Branco about his work and photography. This conversation is cross-published at Jörg's own blog. I hope you enjoy the read and please let us know what you think.

In 2002, Alec Soth traveled with his wife to Bogotá, Colombia to adopt a baby girl. The baby's birth mother gave the new parents a book filled with letters, pictures and poems for their new daughter. 'I hope that the hardness of the world will not hurt your sensitivity,' she wrote. 'When I think about you I hope that your life is full of beautiful things.' During the two months that the Colombian courts processed their adoption paperwork, Soth set about making his own book for his daughter. Soth recently completed this book, Dog Days Bogotá. On November 9th, an exhibition of this work will debut at Weinstein Gallery in Soth's hometown of Minneapolis, Minnesota. Soth discusses Dog Days Bogotá with his intern, Carrie Thompson, a photography student at the College of Visual Arts in St. Paul, Minnesota.

Christopher Anderson on objectivity

On the eve of the election, a number of Magnum photographers have been venturing into American to capture what they can of this historic moment in time. The project is called InSight America. But rather than publish this work as a book a year after the fact, Magnum is posting the work online and on the fly. I caught up with Alex Webb after his recent journey to Ohio:

Philip Jones Griffiths (b. 1936) is a Welsh-born photojournalist known for his coverage of the Vietnam war. Griffiths studied pharmacy but started as a freelance photographer in 1961, traveling to Algeria in 1962. He arrived in Vietnam in 1966, working for the Magnum agency. Magnum found his images difficult to sell to American magazines, as they concentrated on the suffering of the Vietnamese people and reflected Griffiths's view of the war as an episode in the continuing decolonisation of former European possessions. He was able to get a 'scoop' that the American outlets liked, photographs of Jackie Kennedy vacationing with a male friend in Cambodia. The proceeds of these photos enabled him to continue his coverage of Vietnam and to publish Vietnam Inc. in 1971. The book had a major influence on American perceptions of the war, and became a classic of photojournalism. In 2001 the book was reprinted with a foreword by Noam Chomsky.

Foto8 was established in 1998 as an online web journal featuring quality photojournalism by professionals worldwide. Today, it continues to produce innovative online presentations of photojournalism, including providing the online resource for buying essential photography books and tickets to events, publishes the physical quarterly magazine EI8HT and houses the new gallery of photography in London, HOST. Over the years Foto8 has become known for its award-winning documentary photography presented in an exciting online and print format. From classical photo-stories to contemporary multi-media shows the website and magazine, and now the gallery, continue to stimulate and innovate. By showcasing this work Foto8 aims to inform and involve the viewer whilst pioneering new ways to tell stories. Foto8 believes that documentary photography performs an essential role in modern society. It is a valuable tool of communication as well as a vital part of educating ourselves about the lives of others which are often distant from our own. Photography allows us to look into, as well as at, lives of other people, to learn about their world, and in the process to define the issues that are important to us.

Wars have a way of reducing themselves to moments, single memories, tiny episodes. Here, pictures have a thousand-to-one advantage over words. The 10-year Vietnam War was summed up in four photographs: Associated Press photographer Eddie Adams captured the instant in 1968 when South Vietnamese Brig. Gen. Nguyen Ngoc Loan executed a Viet Cong prisoner on a Saigon street. Nick Ut snapped a picture of Kim Phuc, a Vietnamese girl, fleeing naked down a highway in Vietnam after a napalm attack in 1972. Ron Haeberle took a picture of the limp bodies of the My Lai massacre victims after they were shot in 1968. John Filo caught Mary Ann Vecchio screaming over the body of a fellow student slain by National Guardsmen during a war protest at Kent State University in Ohio in 1970. These photographs, it could be argued, tilted the whole balance of public opinion against the war. What occurred on the battlefield was rendered largely irrelevant by what occurred when certain photons massed themselves into images and rushed into the retinas and minds of the American public.