Group items tagged

About Media Helping Media PDF Print E-mail Thursday, 19 October 2006 Media Helping Media (MHM) has been set up to provide training resources and a voice for those involved in the media in transition states, post-conflict countries and areas where freedom of expression and media freedom is under threat. Training resources The aim is to bring together a variety of training resources which are available for all to use for the benefit of anyone working in the media in difficult circumstances. All are free-of-charge and can be reproduced, as long as Media Helping Media (or any guest authors) are credited. Contributed articles Some articles will be contributed by registered members of MHM who are active in media freedom and human rights organisations and, as such, these articles may not offer both sides of an issue and may not be balanced. Other articles will be written by journalist or media leaders who claim to be under threat and who make no attempt to offer balance or impartiality in the pieces they submit. MHM doesn't seek to achieve balance on their behalf.

Read our business articles online This section contains a variety of articles on the business of publication photography that cover topics ranging from legal and marketing matters to the intricacies of doing business in the digital environment. Periodically, we will be adding new articles, so please visit again.

"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 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 .

Much has been written about the questionable research, writing, and presentation of indigenous people in Papua New Guinea (PNG) in Jared Diamond's New Yorker article, "Vengeance Is Ours: What can tribal societies tell us about our need to get even?"  I would like to place the article and discussion of it in a more general context of media ethics and media coverage of indigenous people. Moreover, I would like to consider it in the context of the important work that indigenous people around the world are doing, to tell more accurate stories - in their own voices - and to create their own media outlets and networks.

SEPIA (Safeguarding European Photographic Images for Access) is a EU-funded project focusing on preservation of photographic materials. On this website you will find information about : * SEPIA publications: SEPIA reports, articles and recommendations * research: 'scanning equipment and handling procedures', 'preservation aspects of digitisation', 'ethics of digitisation' and 'descriptive models for photographic materials' * news and events: containing announcements and press releases about the latest SEPIA news and a calendar of events. * Links & Literature contains reports, articles and references to relevant resources * 'To Have and To Hold' offers some guidance in finding information about the long-term preservation of all kind of photographic materials. It contains an introduction to the history of photography, historical photographic processes, digitisation and preservation of photographic materials and list of relevant resources selected by SEPIA experts * Six SEPIA partners have made a representative selection from their collections around the theme 'Constructing Europe'. Each presentation shows how an aspect of modern society evolved in a particular country. Although developments were different in the various countries, the exhibition taken as a whole provides a sense of an emerging modern Europe. * training: about SEPIA workshops, seminars and the national SEPIA training events * orginal proposals for SEPIA I and SEPIA II

Business Tips for the Freelance Photographer By Ira M. Gostin, MBA, © 2008 www.gostin.com This article, and the others in the series, will provide you with tips for establishing, building and growing your photography business. Like any consultant, opinions are presented based on my own experiences and a great deal of research gleaned from 25 years of running a photography business along with an MBA education. Collect data from multiple sources and make decisions that are best for your individual business. The smarter you operate your business, the more opportunity to be creative and have fun. I hope these articles help.

Winds of Change: Is it hurricane season in the photo business? Q&A with creative consultant Carolyn Potts Carolyn Potts was a featured speaker at the ASMP member's meeting held in New York during PDN PhotoPlus Expo. An article with insights from her presentation was published in the ASMP Bulletin's Year End issue. As a complement to the article in print, this online Q&A features more of Potts's marketing insights.

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.

This website presents academic research articles on the early history of photography published by R. D. Wood between 1970 and 1997. Three pages of unpublished correspondence on the subject are also provided, and, as time goes on, articles that have never reached printed publication will be added. The full contents are easily available from the hypertext menu in the frame on the left of your screen. A full bibliographic list is also provided below on this home page which sometimes also provides additional comments regarding the original publication.

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

"Protect Yourself as a Photographer - Legal Aspects to Consider This article series is about the legal aspects that a photographer must think about when (s)he intends to make a business out of photography. Including information on legal documents, such as the model release form and photo contracts."

i have the pdf of the article if needed

Afterimage: The Journal of Media Arts and Cultural Criticism is a publication of the Visual Studies Workshop, a non-profit media arts center located in Rochester, New York. For the over 30 years, Afterimage has been an important voice in the photography, film, video and visual book community. Along with feature articles, books and exhibition reviews, essays and news, every issue of Afterimage also includes over 300 free notices for jobs, call-for-work, exhibitions and screenings.

Welcome to "Masters of Photography". Feel free to browse through the list of artists on the left, and be sure to read the articles and check out the resources, as well as viewing the photographs. Those not overly familiar with many of the photographers will find the Photographer Summaries helpful in browsing the site.

Bill Miller's Strategy for Working with Nonprofit Organizations For a print article on pages 22 - 24 of the ASMP Bulletin's Winter 2007 issue, Sarah Coleman interviewed eight photographers who have worked with nonprofits on various levels. She described the obvious benefits, the potential pitfalls and reported on how photographers have managed these relationships, and to what extent their normal business practices were appropriate. Here, Oregon-based photographer Bill Miller provides additional insight into a strategy he's developed to make his nonprofit work a financially viable enterprise for his business needs and a win-win situation for all.

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.

The Abu Ghraib prison scandal first exploded into public light in April 2004 when reports and photographs of torture were revealed in a daring New Yorker article written by Seymour Hersh. At a conference recently held at Stanford, entitled Thinking Humanity After Abu Ghraib, Hersh and a panel of experts came together to think through the legal, political, psychological, and ethical implications of the abuses at Abu Ghraib, and also to weigh the consequences of the US government's evolving approach to handling enemy combatants and suspects taken during the war on terror. You can now find all of the presentations on iTunes (which you can download for free). Here is the lineup:

The woman who became the face of the Great Depression 03.12.2008 | Author: Miguel Garcia-Guzman | Posted in Photography Migrant Mother by Dorothea Lange This is quite interesting, one of the the girls in the picture of Dorothea Lange, who was 4 years old when the image was taken, remembers her mother and the great depression … full article with videos here. I always wonder how people that are portrayed in epic pictures like Migrant Mother felt about it. If you like this image as much as I do, you can get a full file with a high resolution scan here, and print it at home -as I did.