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Eye on Image-Making: Eight Tips for Aspiring Photographers By David WeintraubdavidweintraubcloseAuthor: David Weintraub See Author's Posts (37) Recent Posts * Eye on Image-Making: Eight Tips for Aspiring Photographers * Notes from the VisCom Classroom: Teaching Video * Eye on Image-Making: Five Ways to Tell if a Photographer Is Really in Business * Eye on Image-Making: Portraiture Now * Notes from the VisCom Classroom: Is It Better to Teach Full Time or Part Time? David Weintraub is a writer, editor, photographer, and educator based in Aiken, SC. He is the author of eight travel books and many articles for publications such as Photo District News, Outdoor Photographer, and Hemispheres. David has a master's degree in journalism and mass communications from the University of South Carolina, where he is a full-time instructor teaching visual communications and writing. in Business of Photography on April 7th, 2009 I almost don't recognize Shawna Simmons when she appears in my office doorway. A 2007 graduate, Shawna has returned to the University of South Carolina's School of Journalism and Mass Communication to give several presentations as part of the school's I-Comm Week, an annual exploration of the latest trends in mass media. While an undergraduate, Shawna majored in visual communications. She was my student in our two photography courses, Photovisual Communications and Advanced Photovisual Communications. Now here she is, dressed in a stylish outfit capped by a black leather jacket, having just flown in the night before from New York.

"David Hurn: Passing Time Magnum photographer David Hurn on an extraordinary exercise in collaborative curating. "

A Gear Guide For Going Freelance By David McIntyredavid-mcintyrecloseAuthor: David McIntyre See Author's Posts (2) Recent Posts * Nine Essentials (Besides a Camera) You'll Need as a Freelance Photographer * A Gear Guide For Going Freelance David McIntyre is a photographer for Black Star based in China and Hong Kong since 1995. Prior to becoming a freelance photographer, he was a staff photographer for The Phoenix Gazette. He has also worked for UPI, the Associated Press, EPA, Asiaweek Magazine, the Far Eastern Economic Review, Baseball America, and the minor league baseball teams in Denver and Phoenix before they had Major League teams. Visit David's Web site. in Business of Photography on March 13th, 2009 I've read the articles and postings about newspaper layoffs, and I've gotten my share of e-mails from former staff photographers asking for guidance. As someone who's been freelancing for most of my career, what's the first advice I would give to those of you striking out on your own? Get the right equipment. A lot of corporate and editorial assignments require portrait work, for example - which requires lighting gear. But most new freelancers don't realize they will need more than their one shoe mount strobe. Others may have more or less gear than what I find works best. But here are my recommendations for the equipment you'll need to fulfill the majority of requests from potential clients.

David Simon Blasts Citizen Journalism, Prescribes Non-Profit Newspaper Model We listened to articulate, qualified, high-minded participants in Sen. John Kerry's subcommittee hearing on the bleak future of journalism this week (as his hometown paper, The Boston Globe, struggles to stay afloat). One who impressed most was longtime Baltimore Sun cop reporter David Simon, who parlayed his journalism experience into a thriving career as a top TV drama producer. His venerated shows (including HBO's "The Wire") often investigate thorny journalism issues.

David Goldblatt has photographed his native South Africa since the early 1970's, carefully observing the social, cultural and economic divides that characterise the country. His first publication, On the Mines, examined gold-mining in the East Rand area of the country. In Boksburg documented a small town which he sees as "shaped by white dreams and white properties" but which is ultimately "nondescript and elusive". Goldblatt often creates webs of likenesses and contrasts across an image, such as seen and seeing; young and old.

Alfredo Jaar by Phong Bui, Dore Ashton, and David Levi Strauss On the occasion of the artist's current exhibition The Sound of Silence, which will be on view at Galerie Lelong until May 2nd, Alfredo Jaar paid a visit to the Rail's Headquarters to discuss some aspects of his life and work with Publisher Phong Bui, Consulting Editors Dore Ashton and David Levi Strauss, and a group of graduate students in the Art Criticism & Writing program at the School of Visual Arts.

David Goldblatt was born in Randfontein in 1930. After a spell in his family's clothing business, he became a full-time photographer in 1963. In addition to pursuing his own work, he has photographed for magazines, corporations, advertising agencies, and other institutions in South Africa and abroad. His work has been exhibited in South Africa, Europe, Britain, the United States, and Australia. In 1989, Goldblatt founded the Market Photography Workshop in Johannesburg, which has provided young South Africans with an entry into photography. He has won numerous award including the Hasselblad International Foundation Award in Photography in 2006.

Source Photographic Review presents: An audio interview with South African photographer David Goldblatt. Interview is accompanied by a slide show of the photographer's work. Original interview conducted by Mark Durden.

David Rose was a founding staff photographer with the Independent and Independent on Sunday. He has covered many issues in Britain, Europe and the developing world.\n\nHe now works for a range of National and International titles and undertakes commissions for corporate clients. He has won several major UK and Overseas Press Awards.\n\nRepresented by Panos Pictures, London

David Alan Harvey working in Cuba Produced by Kevin F. Burtnett © National Geographic Society

Aperture Users Professional Network interview with Magnum's David Allan Harvey for the Aperture Priority podcast series.

The Admissibility of Digital Photographs in Criminal Cases By David P. Nagosky

Street Level was founded in 1989. From its inception it has provided artists and the public with the opportunity to produce and participate in photography and lens-based media. It aims to make artistic production accessible, both physically and intellectually, to a wide audience. Recognised for its integrated practice, the organisation promotes the work of artists through exhibitions, commissions, residencies, and publications; an education programme; community collaborations; open access facilities and training courses for the public. The exhibitions programme supports both emerging and established artists from local, national and international sources. Earlier exhibitions have included such diverse artists as Ian Breakwell, Chila Kumari Burman, Peter Kennard, Daniel Reeves, Maud Sulter, Andrew Stones, David Levinthal, and Elizabeth and Iftikhar Dadi. Critical ideas are also fostered through talks, symposia, and publications. Exhibitions and projects from the past five years are being listed on the archive section of the website. The education programme involves a range of collaborations in the community, with schools and with agencies working across areas of inclusion, social justice, and equalities. It aims to enable the creativity of non-artists, increase involvement by under-represented groups, and assist the artistic programme by engaging participants. A chronological list of projects will be listed on our education archive.

Attitude Counts Guidelines for Assistants By Pamela Kruzic The following is a compilation of responses that the author received after posting an inquiry on the ASMP members-only forum at [www.asmp.org] combined with her own experience as an assistant. Information providers: David Budd, Alan Farkas, George Fulton, Ira Mark Gostin, Tom Hussey, Jeffrey Jacobs, Deborah Gray Mitchell, Harrison Northcutt, Michael Sharp. Edited by: Ira Mark Gostin and Michael Sharp. Special thanks to Jerrianne Lowther and Roy Buckner.

n asbestos fibre the diameter of a human hair is actually a cluster of two million individual fibres which could fit onto the head of a pin. If inhaled, minute fibrils can work their way deep into the lungs, where they cause asbestosis, lung cancer or mesothelioma, an otherwise unknown cancer of the lining of the lung or the abdominal cavity'. All of the three principal types of asbestos, white, brown and blue are carcinogenic, blue being the most deadly. Mesothelioma is invariably fatal and associated with the inhalation of asbestos fibre, usually blue asbestos. Even the most trivial exposure might result in mesothelioma, which can be latent in the body for forty or more years. Once the cancer becomes active, death follows inexorably within about twelve months. After witnessing the excruciatingly painful death of a friend who contracted mesothelioma I did some exploring of the aftermath of the mining of blue asbestos in Australia and South Africa. These are some of the photographs that resulted. In this introduction I briefly review a few of the factors at work in that aftermath.

burn is an evolving journal for emerging photographers. burn is curated by magnum photographer david alan harvey.

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.

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

Location annual report photo shoot by corporate photographer David Tejada. Photographing an asphalt plant and highway construction

Albert Maysles on Documentary Filmmaking With his late brother David, Albert Maysles is a giant among documentary filmmakers. Over the past half century, he has produced behind-the-scenes chronicles of cultural icons (the Beatles, Rolling Stones, Marlon Brando, Truman Capote, Vladmir Horowitz, Christo, Jessye Norman), and is best known for "cinema verite" documentaries such as "Grey Gardens," in which the camera captures natural conversations and activities without the intrusion of interviews or narration.