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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

what's pdfX12|photo documentary folioX12? pdfX12 is an online, monthly free  photo journal that presents and features a series of photos  by various photojournalists living and working in various communities around the world.  These photos tell poignant stories about people who are facing harsh social, economic, environmental and political conditions. Photojournalists presented here are those, with their own resources and energy, who have chosen to dedicate their life's work to documenting certain human issues in order to bring about greater attention to harsh human conditions that many people would brush aside. It is thus very important that the voices of these photojournalists, who are living and working in communities that they are documenting, are heard through this type of online venue, which everyone can access. 

Jessica Dimmock dove headlong freakin' into it. There she was, in 2004, all innocent and walkin' around, playing with her fancy new digital camera, still a student... then a chance meeting with the jail bound coke dealer, the door in the floor opened and into the rabbit hole she went. Into the darkness, into the-land-of-broken-childhood-dreams, into the pain, into the dead end, into the heroin-is-god parallel universe. The 9th Floor was waiting for her... and in she jumped. The apartment in NYC, 4 W. 22nd St, the place of the pain, the upside down world of the empty shell living… dead folks walking... it would become a second home of sorts for Jessica. There she was, in the fray. This was amazing for a photographer, right? Insane to have this opportunity of chance, a chance that would turn into a VIP pass to document the drug fueled descent, to document the decay, to have free reign in the world of dashed dreams... to make it, with open arms, to be accepted into this world of the barely living... amazing, wasn't it? Well, I guess that all depends on the way that you look at it… doesn't it. Let's hold our thoughts on that for a bit and let's get back to our story.

"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."

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

"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

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.

Now printable! Reporter's Guide to Multimedia Proficiency Many, many people asked me to create a single PDF version of all 15 posts in my RGMP series on this blog. It's done. Reporter's Guide to Multimedia Proficiency (PDF; 536 KB) This 42-page document is fully linked and usable online in most Web browsers, or in Adobe Reader, or in Preview on the Mac OS. In other words, you don't need to print it. But if that's what you want, go right ahead.

Now printable! Reporter's Guide to Multimedia Proficiency Many, many people asked me to create a single PDF version of all 15 posts in my RGMP series on this blog. It's done. Reporter's Guide to Multimedia Proficiency (PDF; 536 KB) This 42-page document is fully linked and usable online in most Web browsers, or in Adobe Reader, or in Preview on the Mac OS. In other words, you don't need to print it. But if that's what you want, go right ahead.

"There is no normal in cancer-land," writes New York-based Angelo Merendino on the website for his photo documentary, "The Battle We Didn't Choose." Just five months into married life with "the girl of dreams," she was diagnosed with cancer. This began a challenging four-year journey of remission

The photographer Simon Norfolk finds moments of beauty and wonder in the world's most forlorn landscapes. From Afghanistan to Auschwitz, Norfolk documents the imprints of war-sometimes physical, sometimes physic-on its surroundings. His book Bosnia: Bleed is an impressionistic testimony to the mass slaughter that accompanied the war in the former Yugoslavia. In particular, he focuses on the sites of "secondary mass graves," where the perpetrators tried to hide the evidence of their crimes. He writes, "They thought that, by intimidation and subterfuge, their dirty secrets could be preserved, held, trapped. Frozen."

As photographer Simon Norfolk claims in the following interview, his work documents an international "military sublime." His photos reveal half-collapsed buildings, destroyed cinemas, and unpopulated urban ruins in diagonal shafts of morning sunlight - from Iraq to Rwanda, Bosnia to Afghanistan - before venturing further afield into more distant, and surprising, landscapes of modern warfare. These include the sterile, climate-controlled rooms of military command centers, and the gargantuan supercomputers that design and simulate nuclear warheads.

Panos Pictures is a London-based independent photo agency representing photojournalists worldwide. Our photographers document issues and geographical areas which are under-reported, misrepresented or ignored. In a media climate dominated by celebrity and lifestyle Panos aims to provide fresh perspectives on the world. Panos photographers are available for assignment on every continent. Their in depth knowledge of local conditions enables them to deliver even in the most difficult situations. This website allows you to search, download and purchase from our ever growing archive of digitised images. If you cannot find the image you require our experienced researchers are on hand to help you locate what you are looking for in our physical archive of over 500,000 images. Half of the profits from the agency are given to the Panos Insititute to further its work on issues around media and communications, globalisation, HIV/AIDS and environment and conflict.

World is Witness, a new "geoblog" from the U.S. Holocaust Memorial Museum's Genocide Prevention Mapping Initiatives, in partnership with Google Earth, documents and maps genocide and related crimes against humanity. The initial entries are from a Museum visit to Rwanda and the Democratic Republic of the Congo to learn about the legacies of Rwanda's 1994 genocide, and the most recent entries are from a Museum visit to South Sudan and a return visit to the Congo. Visit us again soon for more posts from the field.

THEORY - "Boris Mikhailov: A Terrible Beauty" A Terrible Beauty by Sue Hubbard Boris Mikhailov: Case History The Saatchi Gallery 13th September- 25th November Boris Mikhailov is sixty-three, has dyed black hair, a white moustache and a young wife. Born in Kharkov in the Ukraine, he has recently exhibited at The Photographers' Gallery, just been awarded the Citibank Photography Prize and is now showing his work, Case History, which consists of over 400 photographs taken in the Ukraine, at The Saatchi Gallery. For anyone with a taste in postmodern irony, there is plenty to be found here. For Mikhailov takes pictures of the bomzhes, the homeless down and outs, victims of the economic and social collapse in the former USSR. But Boris Mikhailov is no Bill Brandt or Don McCullen capturing life's gritty realities with a clear humanist agenda, nor is he an objective eye simply documenting what he sees from behind his lens. Rather he is a director, a creator of mise en scènes, who seeks out the alcoholic, the drug addict, the ill and the dispossessed and then pays them not only to pose for him, but to expose themselves - genitals, scars, menstrual blood and hernias - to his scrutinizing gaze. This is the ultimate market exchange, the sale, for a few kopeks, of these peoples' only resource, their bodies. Like all capitalists and entrepreneurs they sell what they have for the best offer, in this case to a photographer who takes their pictures, which will then be consumed by the international art world. The irony is brought full circle, in a game of signifiers and signs, by the fact that it is Saatchi, the advertising guru who gave us 18 years of Thatcherism, who is playing host to these photos of some of the world's most abject. What, I kept wondering, would these subjects make of the private view, where the likes of Tracy Emin quaff champagne in her latest Agnès B, surrounded by their exposed and blistered penises, black eyes and filthy bodies; and what does it

THEORY - "Walker Evans and American Life" Scavenging the Landscape: Walker Evans and American life Afterimage, Jan-Feb, 1996 by Melissa Rachleff The Great American Depression, spanning the 1930s, inscribed into the culture a psychic crisis. Faith in industrial ingenuity, heralded as "progressive," came unhinged. By 1933, four years after the stock market crash, one quarter of the work force was unemployed.(1) Into this dilemma came a multitude of photographic projects, the most famous of which were sponsored by the federal government in the form of agencies that provided relief to farmers, the unemployed and others. The most completely realized project was the documentation of conditions faced by displaced farmers, recorded by the Historic Section of the Resettlement Administration (RA), later the Farm Security Administration (FSA). The socially-oriented photographic book made its appearance, as did the photographic magazine, best exemplified by Life in 1936. Many of the best known American photographers came to prominence during the Depression, including Berenice Abbott, Dorothea Lange, Gordon Parks and Margaret Bourke-White. Of all the photographers from that era, one represented the quintessential photographic style of the Depression while remaining an elusive figure in photographic history: Walker Evans (1903-1975).

Looking In: Robert Frank's The Americans - Expanded Edition by Sarah Greenough, Robert Frank Steidl First published in France in 1958, then in the United States in 1959, Robert Frank's The Americans< changed the course of twentieth-century photography. In eighty-three photographs, Frank looked beneath the surface of American life to reveal a people plagued by racism, ill-served by their politicians, and rendered numb by a rapidly expanding culture of consumption. Yet he also found novel areas of beauty in simple, overlooked corners of American life. And it was not just his subject matter - cars, jukeboxes, and even the road itself - that redefined the icons of America; it was also his seemingly intuitive, immediate, off-kilter style, as well as his method of brilliantly linking his photographs together thematically, conceptually, formally, and linguistically, that made The Americans so innovative. More of an ode or a poem than a literal document, the book is as powerful and provocative today as it was fifty years ago.

Overview The Exhibitions Program at the Center for Documentary Studies presents images, documents, sound, and written experiences in four galleries, bringing to light telling details and resonant moments in everyday life that might otherwise go unnoticed. CDS exhibitions connect people to those moments, and to a larger story. Serving as a community forum for documentary work, the galleries make the documentary arts accessible to a general audience and present experiences that inform, heighten our historical and cultural awareness, create discourse, foster understanding, and confront traditional views of "others."

Home in Elephant London College of Communication has embarked on a long-term project to document the regeneration of Elephant and Castle in south London. A new book featuring the first batch of MA students' work examines the theme of 'home'

When It Comes to SEO, a Picture Is NOT Worth a Thousand Words By Levi Wardelllevi-wardellcloseAuthor: Levi Wardell See Author's Posts (1) Recent Posts * When It Comes to SEO, a Picture Is NOT Worth a Thousand Words Levi Wardell is a Washington, D.C.-based marketing professional and photographer. With 10 years of experience in online marketing for companies of all sizes, Levi currently focuses on helping fellow photographers leverage the power of search engine optimization. You can follow Levi's blog at his Web site. Levi's photography has been seen in office settings, local newspapers, marketing documents, and most recently on display at the Mark Whistler Gallery in Baltimore. When traveling for work, Levi oftentimes found himself searching the Web for the best places to photograph in various cities. With no consistent luck finding such a resource, Levi created a directory for all photographers to enjoy -- The Best Places To Photograph Directory. in Business of Photography on December 8th, 2008 As a photographer, you face unique challenges in optimizing your Web site for search engines. Fundamentally, you want your site to showcase your work; unfortunately, a picture is not worth a thousand words to Google. Sure, Google takes hundreds of variables into consideration when building search engine result pages (SERPs). But while a human can look at your photographs and feel the expressed emotions, understand the story you're telling, and get a sense for what your expertise is, a search engine needs to be told with text. That's why, for search engine optimization (SEO) purposes, it's important for your site to combine text-rich content with a solid visual representation of your work.

Containing the world's largest repository of information on the Holocaust, Yad Vashem is a leader in Holocaust education, commemoration, research and documentation. Located in Jerusalem, Israel, Yad Vashem's 45 acre campus comprises museums, exhibitions, memorials, sculptures, gardens, and world class research and education centers. Millions each year access Yad Vashem's vast resources in order to study, teach and commemorate the Holocaust.