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Update May 10: Here's a link to the official White House report on the flyover. We've also swapped in a high-res version of the Air Force One-Statue of Liberty photo. Original post below. -------- Here's the photo that caused so...

The first installation of related video and photographic works by Joel Meyerowitz will premiere at Edwynn Houk Gallery from 21 February through 12 April. The genesis of "The Elements: Air/Water, Part 1" was sparked in July 2007, when Joel Meyerowitz was directing a video of Olympic divers from an underwater viewing room at a Florida pool. The repetition of dives had one thing in common; with every entry into the pool, an enormous plume of bubbles encased the diver. As each diver swam away, the bubbles coalesced into a cloud that rose to the surface and returned to the atmosphere. This small observation, about one Element's transition into another, led him to think about the individual qualities of the four Elements and their physical relationships. Meyerowitz responded immediately by beginning a study of the Elements and making a commitment to observe what these essential facts of life would look like in video and photographs.

Twitter Literacy (I refuse to make up a Twittery name for it) Post-Oprah and apres-Ashton, Twittermania is definitely sliding down the backlash slope of the hype cycle. It's not just the predictable wave of naysaying after the predictable waves of sliced-breadism and bandwagon-chasing. We're beginning to see some data. Nielsen, the same people who do TV ratings, recently noted that more than 60% of new Twitter users fail to return the following month. To me, this represents a perfect example of a media literacy issue: Twitter is one of a growing breed of part-technological, part-social communication media that require some skills to use productively. Sure, Twitter is banal and trivial, full of self-promotion and outright spam. So is the Internet. The difference between seeing Twitter as a waste of time or as a powerful new community amplifier depends entirely on how you look at it - on knowing how to look at it. When I started requiring digital journalism students to learn how to use Twitter, I didn't have the list of journalistic uses for Twitter that I have compiled by now. So I logged onto the service and broadcast a request. "I have a classroom full of graduate students in journalism who don't know who to follow. Does anybody have a suggestion?" Within ten minutes, we had a list of journalists to follow, including one who was boarding Air Force One at that moment, joining the White House press corps accompanying the President to Africa.

Twitter Literacy (I refuse to make up a Twittery name for it) Post-Oprah and apres-Ashton, Twittermania is definitely sliding down the backlash slope of the hype cycle. It's not just the predictable wave of naysaying after the predictable waves of sliced-breadism and bandwagon-chasing. We're beginning to see some data. Nielsen, the same people who do TV ratings, recently noted that more than 60% of new Twitter users fail to return the following month. To me, this represents a perfect example of a media literacy issue: Twitter is one of a growing breed of part-technological, part-social communication media that require some skills to use productively. Sure, Twitter is banal and trivial, full of self-promotion and outright spam. So is the Internet. The difference between seeing Twitter as a waste of time or as a powerful new community amplifier depends entirely on how you look at it - on knowing how to look at it. When I started requiring digital journalism students to learn how to use Twitter, I didn't have the list of journalistic uses for Twitter that I have compiled by now. So I logged onto the service and broadcast a request. "I have a classroom full of graduate students in journalism who don't know who to follow. Does anybody have a suggestion?" Within ten minutes, we had a list of journalists to follow, including one who was boarding Air Force One at that moment, joining the White House press corps accompanying the President to Africa.

Press Releases 02/16/2006 THE ASSOCIATED PRESS STATEMENT OF NEWS VALUES AND PRINCIPLES For more than a century and a half, men and women of The Associated Press have had the privilege of bringing truth to the world. They have gone to great lengths, overcome great obstacles - and, too often, made great and horrific sacrifices - to ensure that the news was reported quickly, accurately and honestly. Our efforts have been rewarded with trust: More people in more places get their news from the AP than from any other source. In the 21st century, that news is transmitted in more ways than ever before - in print, on the air and on the Web, with words, images, graphics, sounds and video. But always and in all media, we insist on the highest standards of integrity and ethical behavior when we gather and deliver the news.

Welcome to Visa pour l'Image, the premier International Festival of Photojournalism held in Perpignan, France. This festival is a unique event where you can join thousands of kindred spirits who share a love and passion for photography. View the greatest photojournalist work from around the world in exhibitions across the city. Experience the evening screenings in the dramatic open air medieval enclosure of the Campo Santo. Take part in symposiums and conferences and meet the foremost photo agencies and manufacturers of photographic related equipment. Explore the web site for full details.

Another Robert Frank Interview via NPR This story, complete with Frank talking beside a crackling fireplace, aired yesterday.

Story on US Air crash in Hudson and how a picture uploaded on Twitter immediately by a member of the public was the first to be broadcast on any media outlet.

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.

Born in Rhuddlan, Wales, Jones Griffiths studied pharmacy in Liverpool and practiced in London while photographing part time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London Observer. He covered the Algerian War in 1962 then became based in Central Africa, moving from there to Asia. He photographed in Vietnam from 1966 to 1968. He went back to Vietnam in 1970 and became famous for his 1971 book on the war, Vietnam Inc.