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THEORY - "Interview with Walker Evans" Interview with Walker Evans Conducted by Paul Cummings In Connecticut October 13, 1971 In New York City December 23, 1971 The following oral history transcript is the result of a tape-recorded interview with Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971.

Welcome to our new look and greatly enlarged gallery space dedicated to exhibiting and selling original art photography.The gallery ethos is one of bringing the best of classic and contemporary fine art photography within the reach of both new and experienced collectors. The gallery, based in Battle, East Sussex, specialises in the work of UK fine art photographers, having exhibited the work ofy Terry O'Neill, Fay Godwin, Sheila Rock, Malcolm Glover, Martyn Colbeck, Bill Brandt, Graham Cornthwaite, John Holloway, Steve Pyke OBE, Michael Birt, Bruce Rae, Samuel Hicks, Richard Dunkley, and holds an archive of their work which can be seen by appointment. (see print room).

Historical photographic collections are an essential part of our cultural heritage. The growing interest in photography, as a form of artistic expression as well as a visual record of past times, has raised questions about how to treat photographic materials in a responsible way. These questions are not only relevant to collection keepers in archives, museums and libraries but also to anyone with old family albums at home. This website will offer some guidance in finding information about the long-term preservation of all kind of photographic materials.

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

History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East. The journal aims to provide a significant resource to diverse communities, including, but not limited to, academics, curators, independent scholars, undergraduate and postgraduate students - indeed, anyone with a serious interest in the history and practice of the medium. The journal encourages submissions from young scholars, while also seeking to publish work by established authorities in the discipline. Over the past three decades History of Photography has become an indispensable source of documentary texts, new and original scholarly articles, novel interpretations, and original thinking in this field. History of Photography is a peer reviewed journal overseen by the Editor and supported by a board of scholars of international standing.

About Welcome to my site. Here you will find summaries of my work, videos to watch, papers to download, images to study and links to pursue. I have three areas of interest - photography, multimedia and politics. I am particularly concerned with (1) how documentary photography, photojournalism and satellite imaging visually enact our world; (2) how multimedia technologies are transforming the capacity of photography to tell stories about our hybrid world; and (3) how issues of identity and representation help structure international politics. A full CV/resume is available here. As professor of cultural and political geography at Durham University in the UK, I am associated with the Durham Centre for Advanced Photography Studies. In 2009 I have a fellowship at Durham's Institute for Advanced Study to work on photographs from the Sudan archive for my 'Geopolitics and Visuality' project.

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".

morag livingstone talks on how she produces multimedia pieces

Adam Broomberg on the Document - adam talks about how we can think of the 'document'

Wimba Classroom 6.0 Participant Guide This Help Guide is designed to assist you with Wimba Classroom to participate in an interactive session or view an archived presentation. You will also find information for solving technical problems.

The first thing that struck me about Renzo Martens' new film Episode III - Enjoy Poverty (2008) - confusingly, the second in a trilogy - is the artist's resemblance to the young Klaus Kinski. The numerous close-ups of his sweaty, troubled face (filmed by the artist himself on a hand-held digital camera) echo those of Kinski in Werner Herzog's Aguirre, the Wrath of God (1972), Fitzcarraldo (1982) and Cobra Verde (1987). The second thing that struck me, despite its supposed exploration of the exploitation of third world poverty by aid organizations and news agencies, is how the film rehearses themes present in Herzog's films. Each depicts a European living outside their comfort zone struggling to assert themselves in harsh, unfamiliar terrain, and ultimately realizing the futility of their endeavours. The third thing that struck me, after sitting through 90 minutes of Martens meeting aid agencies, photographers, plantation workers, guerrilla fighters, singing Neil Young songs to himself and attempting to convince the residents of a small village to let him set up a neon sign flashing the message 'Enjoy Poverty Please' - was how contradictory the film was.

about cij The Centre for Investigative Journalism (CIJ) advances education for, and public understanding of; investigative journalism, critical inquiry, and in-depth reporting and research. CIJ is a registered charity offering high-level training, resources and research to the community, journalists, students, non-governmental organisations and others interested in public integrity and the defence of the public interest. The Centre runs international summer schools, produces publications to help present landmark investigations, offers training in appropriate techniques, organises debates, speakers and screenings on critical issues - all designed to nourish the culture and professional standards of investigative journalism. We are assembling a significant archive of investigative material. It can assist and defend investigations and provide research materials, advice and resources to NGOs, community activists, journalists and researchers. The CIJ offers particular assistance to those working in difficult environments where freedom of speech and of the press is under threat and where reporting can be a dangerous occupation.

What's this site about? Focussing mostly on free sources with a UK bias, this site is aimed at journalists of the student, 'citizen' and professional varieties. In these pages I will outline a few tips, tricks and sources for unearthing the following: * Contributors * Case-studies * Backgrounders/analysis * Statistics * Actuality/archives, and * Any other thing I can think of

"# Online bells and whistles can deliver your message with impact, but done in the wrong way, they can annoy your reader. Design gurus Laura Ruel and Nora Paul show you how to do multimedia right. By Laura Ruel and Nora Paul No comments | Archive Link One of the greatest opportunities of multimedia journalism is the ability to make different design choices. Although most online organizations present digital derivatives of their "parent" products - newspaper sites present columns of text, radio sites feature audio files, and TV sites provide video - we are seeing an increase in the number of sites embracing all design options. Radio sites are complementing their audio with photos and/or text, newspaper sites are presenting video and audio slide shows along with their text, and TV stations are supplementing their video pieces with text stories. "

Blackboard Collaborate software solutions offer a social, interactive learning experience with virtual classrooms, online conferencing, instant messaging and more collaboration tools.

this is only viewable as a collaborate session the archive failed to generate an mp4

note the audio starts late in the archive