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Research Institute Home Conducting Research Photo Study Collection Photo Study Collection Guide to the Photo Study Collection and Database Search the Photo Study Collection Database The Photo Study Collection's two million photographs facilitate supplementary and original pictorial research for the study of fine arts from antiquity to the modern period. The collection's strength lies in the photographic reproduction of western art, architecture, and decorative arts. Patrons can conduct productive research on the history of collecting (provenance, art market, connoisseurship), iconography, conservation, historiography, and the history of reproductions. Approximately half of the photographic holdings in the Photo Study Collection are represented by descriptive, non-pictorial records in the Photo Study Collection Database, which is available online to all users. This research database is a work in progress, mostly comprising these descriptive records. Images will be added to the database periodically. The holdings of the Photo Study Collection are available for research by stack readers and extended readers. Initial appointments with a Reference Librarian are strongly encouraged. For appointments and reference inquiries contact Library Reference.

"In Response to Place" in association with the Nature Conservancy is narrated by Joanne Woodward and takes a look at some of the most beautiful places on earth through the eyes and lenses of the world's greatest nature photographers. Having recently switched from picturing her children as subjects to landscape, Sally Mann chose to travel to the Yucatan and use color film in her antique, large format camera for the first time. The Calakmul Reserve is the northern end of the largest remaining forest in Mexico and Central America\n\n

"Description Vietnam was America's most divisive and unsuccessful foreign war. It was also the first to be televised and the first of the modern era fought without military censorship. From the earliest days of the Kennedy-Johnson escalation right up to the American withdrawal, and even today, the media's role in Vietnam has continued to be intensely controversial. The "Uncensored War" gives a richly detailed account of what Americans read and watched about Vietnam. Hallin draws on the complete body of the New York Times coverage from 1961 to 1965, a sample of hundreds of television reports from 1965-73, including television coverage filmed by the Defense Department in the early years of the war, and interviews with many of the journalists who reported it, to give a powerful critique of the conventional wisdom, both conservative and liberal, about the media and Vietnam. Far from being a consistent adversary of government policy in Vietnam, Hallin shows, the media were closely tied to official perspectives throughout the war, though divisions in the government itself and contradictions in its public relations policies caused every administration, at certain times, to lose its ability to "manage" the news effectively. As for television, it neither showed the "literal horror of war," nor did it play a leading role in the collapse of support: it presented a highly idealized picture of the war in the early years, and shifted toward a more critical view only after public unhappiness and elite divisions over the war were well advanced. The "Uncensored War" is essential reading for anyone interested in the history of the Vietnam war or the role of the media in contemporary American politics."

Photographic truth and manipulation February 23rd, 2009 We know photographs can be false yet we want them to be true. Indeed, the desire for photographic veracity has persisted, perhaps even intensified, even as knowledge about image manipulation becomes more widespread. Reflecting on the Oscar ceremonies, MediaGuardian has documented the widespread use of Photoshop to enhance celebrity photographs in fashion and gossip magazines. Every cover, says one media insider, has been altered to some degree, with some of these changes exposed in the "Photoshop Hall of Shame" and "Photoshop Disasters". So common is the practice that when an October 2008 Newsweek cover of Vice Presidential candidate Sarah Palin was not airbrushed, conservative anchors on Fox television complained that this amounted to liberal bias. (Fox knew about the political power of such changes because it had earlier manipulated the photos of two New York Times journalists it wanted to discredit).

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

Digital Imaging Imaging and imagebases General resources Technical resources Standards, Specifications, Formats Bibliographic resources Resources at other sites

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.