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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.

THEORY - "Andreas Gursky and The Contemporary Sublime" Andreas Gursky and The Contemporary Sublime Art Journal, Winter, 2002 by Alix Ohlin The German photographer Andreas Gursky takes pictures of enormous spaces--stock exchanges, skyscrapers, mountain peaks--in which crowds of people look tiny and relentless, making their presence felt in the world, like a minute, leisurely colony of ants. Also like ants, these people appear to spend little time examining their own encroachment--architectural, technological, and personal--on the natural world. In their determined, oblivious way, the people in his photographs make clear that there is no longer any nature uncharted by man. In place of nature we find the invasive landmarks of a global economy Taken as a whole, Gursky's work constitutes a map of the postmodern civilized world.

Founded in 2003, Daylight Magazine is the biannual printed publication of Daylight Community Arts Foundation (DCAF), a non-profit organization dedicated to promoting the use of photography as a tool for effecting social change. By reimagining the documentary mode through collaboration with established and emerging artists, scholars and journalists, Daylight Magazine has become one of the premier showcases for contemporary photography. Recently DCAF launched Fundacion Imaginer (www.fundacionimaginer.org) based in Panama City, Panama which is dedicated to promoting contemporary art and photography from Latin America.

At PixelPress our intent is to encourage documentary photographers, writers, filmmakers, artists, human rights workers and students to explore the world in ways that take advantage of the new possibilities provided by digital media. We seek a new paradigm of journalism, one that encourages an active dialogue between the author and reader and, also, the subject. Our online magazine features projects that use a variety of linear and non-linear strategies, attempting to articulate visions of human possibility even while confirming human frailty. For us the digital revolution is a revolution in consciousness, not in commerce. We work with organizations such as Crimes of War, Human Rights Watch, World Health Organization and UNICEF to create Web sites that deal directly with contemporary issues in complex and innovative ways that circumvent media sensationalism and simplification. We also try to factor in ways that the viewer can help remedy social problems, rather than remain a spectator. Recently we completed a site focusing on how to end polio worldwide; another trying to aid an orphanage in Rwanda; one trying to reclaim the Brazilian forest; and a site featuring the images of photographers from the Vietnam War. And we also create books with photographers such as Machiel Botman, Kent Klich and Sebastião Salgado on social themes, as well as traveling exhibitions using both digital and conventional processes.

Through its own production, support, purchase and retrieval, Amber has built up a significant photographic collection. Where possible, we're putting this work online. The photographic engagement with the North of England has produced a remarkable enough body of work, but since Side Gallery opened in 1977, this has been extended through exhibition purchases and donations to include a wide-ranging representation of the international classic and contemporary documentary that continues to inspire us. Where we hold the rights and/or where the photographer gives permission, we're committed to putting as much of this work online as possible. As funding allows, new exhibitions will appear and some exhibitions will be developed further.

Lens Culture is an online magazine celebrating international contemporary photography, art, media, and world cultures. Discover photography from all continents and various points of view: documentary, fine art, photojournalism, poetic, personal, abstract, human, and street photography. Read essays, analysis and criticism about photography and culture. Listen to audio interviews with photographers. Enjoy reviews of exhibitions and photo books. Buy very cool 21st century photography at our new online store. Lens Culture attracts visitors from more than 100 countries every day.

Lens Culture is an online magazine celebrating international contemporary photography, art, media, and world cultures. Discover photography from all continents and various points of view: documentary, fine art, photojournalism, poetic, personal, abstract, human, and street photography. Read essays, analysis and criticism about photography and culture. Listen to audio interviews with photographers. Enjoy reviews of exhibitions and photo books. Buy very cool 21st century photography at our new online store. Lens Culture attracts visitors from more than 100 countries every day.

Foam Magazine Foam Magazine is an international photography magazine published quarterly by Foam_Fotografiemuseum Amsterdam and Vandejong Communications. It is a distinctive and highly appreciated publication. Foam Magazine serves as an exhibition space that embraces every aspect of photography: from documentary to fashion, from contemporary to historical, from world-famous photographers to young talent. Each issue features a specific theme that unites 6 diverse portfolios of 16 pages each.

Photofusion is London's largest independent photography resource centre. We are unique for the breadth of our work and services, providing access to a full range of facilities including contemporary gallery space, darkrooms, studio, digital imaging training, picture library, agency and ongoing photo-art education programme for professional, student and amateur photographers. Situated in the vibrant heart of Brixton, Photofusion's photo-digital facilities continue to draw visitors into an exciting and rapidly changing area. As Brixton's most prestigious gallery space, our exhibitions alone are expected this year to attract 30,000 visitors. Founded in 1984 as the Photo Co-op, Photofusion has metamorphosed from a small collective of documentary photographers through a number of identities through successful fundraising campaigns, to become a leading resource for photographic artists. In recognition of this role, we receive regular funding from London Arts, and consolidate this grant with income from our commercial activities. Photofusion aims to promote a ladder of educational opportunity through courses, workshops and seminars. We are moving increasingly into the field of training for disenchanted young people who may have been alienated by formal education, and are working in collaboration with a number of community and arts organisations to help people access arts training and gain skills for the workplace. Photofusion's position as a leading photography resource necessitates a close relationship with the development of digital media in order to offer artists the best possible facilities for innovative arts production. Photofusion now offers expanded digital and darkroom facilities and improved disability access.

Ffotogallery is the national development agency for photography in Wales and the premier arts organisation dedicated to the promotion and presentation of photographic art in the country. The gallery looks at photographic practice in the broadest sense, and initiates exhibitions that focus on documentary as well as more expansive uses of photography that may involve the use of projection, digital and other lens-based forms. Through its exhibition & publishing programme and educational outreach work, Ffotogallery consciously attempts to respond to issues that are pertinent to the culture of Wales. In parallel with this, Ffotogallery endeavours to bring photographic work to Wales that is at the forefront of contemporary critical debate, from Britain and around the world.

FoamGeneral information Foam_Fotografiemuseum Amsterdam exhibits all genres of photography: fine art, documentary, applied, historical and contemporary; a museum with international allure. Along with large exhibitions of established (world) famous photographers, Foam also exhibits emerging young talent in smaller short-term shows.

Photographs The photographs collection is a key resource for the visual history of London during the second half of the 19th and 20th centuries. It includes work by both professional and amateur photographers and covers most aspects of London life. It contains some topographical and architectural images but the main emphasis is on social documentary. Notable bodies of work include: * Early topographical views of London by Roger Fenton, c.1857 * Construction of the Metropolitan District Railway by Henry Flather, 1860s * London street life by John Thomson, c.1876 * Historic London buildings by Alfred & John Bool and Henry Dixon, 1870s & 1880s * Poverty in the East End by John Galt, early 1900s * Impressionist views of London by Alvin Langdon Coburn, early 1900s * Suffragettes by Christina Broom, early 1900s * Street and river scenes by George Davison Reid, c.1930 * East End homes by Humphrey Spender, early 1930s * London street life in the 1930s by Margaret Monck, Wolfgang Suschitzky and Cyril Arapoff * Underground shelters during the Blitz by Bill Brandt, 1940 * Bomb damage to the City of London during the Blitz by Arthur Cross and Fred Tibbs, 1940-41 * London street life in the 1950s, 1960s and 1970s, including work by Nigel Henderson, Roger Mayne, Paul Styles, B J Green, Cory Bevington, Jerome Liebling, Lutz Dill, Jim Rice and Paul Trevor * Topographical views of London by Edwin Smith, 1960s * Contemporary work by many photographers including Yoke Matze, Anna Fox, Alan Delaney, Paul Barkshire, Tim Daly, Chris Dorley-Brown, Tom Evans, John R. J. Taylor, Ed Barber, Magda Segal, Paul Baldesare, Dave Trainer, Paulo Catrica, Ronen Numa, Angus Boulton, Janet Hall, Dave Young, Michael Donald, Jason Wilde, John Davies, David Turner Tom Hunter and Mike Seaborne

As one of the world's preeminent photographers, Sally Mann creates artwork that challenges viewers' values and moral attitudes. Described by Time magazine as "America's greatest photographer," she first came to international prominence in 1992 with Immediate Family, a series of complex and enigmatic pictures of her three children. In SALLY MANN: WHAT REMAINS, director Steve Cantor follows the creation of Mann's same-named series on the myriad aspects of death and decay. Never one to compromise, she reflects on her own personal feelings toward mortality as she continues to examine the boundaries of contemporary photography. At her family farm in Virginia, she is surrounded by her husband and now-grown children, and her willingness to reveal her artistic process allows the viewer to gain exclusive entrance to her world. Spanning five years, SALLY MANN: WHAT REMAINS contains unbridled access to the many stages of Mann's work, and is a rare glimpse of an eloquent and brilliant artist.

link to a very useful set of articles on visual journalism from the Nieman foundation Context. Layered information. Voice. Movement. Transparency. Photographer as "author." Subject as "storyteller." Image as "instigator." Words and phrases that even a few years ago were not used to describe the practice of photojournalism surface today with hesitant certainty. Where the digital road is leading those whose livelihood relies on the visual portrayal of our contemporary lives might not be entirely clear. By adapting to technology in shooting their images and in how they publish and distribute their work, photojournalists are constructing roads that are already taking them in new and sometimes unanticipated directions.

" It's been very fashionable to focus on the weakness and the banality of America, but what I wanted to say is that it's also a very exciting and fascinating place. - Joel Sternfeld, 1987 Joel Sternfeld's projects can perhaps be divided into two general groups: site-specific landscapes somehow connected to human presence (though people are rarely present in them) and shot during distinct periods of time, and a more ranging, long-term examination of the United States accomplished largely by photographing Americans contextualized by their environments. "