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Academics and artists at London Metropolitan University worked with photographer Paul Trevor to make a selection of his images of East London digitally available to artists, students and researchers. The Collection includes 500 images (chosen from a total of 120,000) of the Spitalfields area from the 1970s to the 1990s, a period of rapid social and physical change. The Paul Trevor Collection is part of a larger archive project at London Metropolitan University, which will eventually include oral as well as visual narratives, that aims to represent aspects of the lives of local East End communities in their distinctive social, economic and political contexts. The process of producing this photographic dimension of the archive was lengthy and gave rise to challenging questions. What are the aesthetic, historical, and social dimensions of creating a photographic archive and how might these be related? Which factors contribute to the construction of a photographic archive as a relevant resource for public history and/or academic inquiry? How can aesthetic and social/political discourses work together to achieve this end?

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

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.

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Original visual production on the Middle East

Welcome to our new look and greatly enlarged gallery space dedicated to exhibiting and selling original art photography.The gallery ethos is one of bringing the best of classic and contemporary fine art photography within the reach of both new and experienced collectors. The gallery, based in Battle, East Sussex, specialises in the work of UK fine art photographers, having exhibited the work ofy Terry O'Neill, Fay Godwin, Sheila Rock, Malcolm Glover, Martyn Colbeck, Bill Brandt, Graham Cornthwaite, John Holloway, Steve Pyke OBE, Michael Birt, Bruce Rae, Samuel Hicks, Richard Dunkley, and holds an archive of their work which can be seen by appointment. (see print room).

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.

Snapshots From the American Road Rober Frank interview in the nyt dec 2008 WHILE his dark, penetrating eyes still radiate intensity, Robert Frank, at 84, is not as mobile as he used to be, shuffling in slow motion around a modern one-bedroom apartment in a high-rise on the Lower East Side of Manhattan. His wife, the artist June Leaf, explained that they rent the apartment because it is harder for him these days to navigate the nondescript three-story house where they have lived, a few blocks away, since the 1970s.

Avoiding Freelancer Freefall By Mike FoxmikefoxcloseAuthor: Mike Fox See Author's Posts (7) Recent Posts * Avoiding Freelancer Freefall * How to Work with NGOs: Two Approaches * Print Media Layoffs Are an Acceptance of Defeat -- Not a Strategy for the Future * Online Tools to Stay Competitive in the Digital Age * Six Strategies for Getting Closer to Your Subject San Francisco-based freelance photojournalist Mike Fox has worked all over Europe, South Africa and the United States, with assignments also taking him to other parts of Africa, the Middle East, Haiti. Mexico and Southeast Asia. In his 15+ years as a photojournalist, Mike has been doused in tear gas, nearly attacked by a wild donkey, and brought in to land on an aircraft carrier in the Pacific. His work has been featured in many leading daily, weekly and monthly publications as well as on MSNBC, CNN and other news-related web sites. Mike specializes in corporate photojournalism and has a substantial client list, many of which are located in the Silicon Valley area. Visit Mike's Web site and blog. in Business of Photography on November 17th, 2008 Just yesterday, a colleague sent me a Facebook message saying that she had been laid off from her newspaper. She wanted some advice on finding freelance work; I know she is not alone. Over the years, I have seen many newspaper staffers suddenly find themselves without the support structure that a corporation can provide -- no camera gear, no assignment editor, no benefits, no work, no salary. It can be a rude awakening.

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By A. D. Coleman The "New Documents" exhibition opened at New York's Museum of Modern Art on February 28, 1967, almost exactly a third of a century ago. Organized by John Szarkowski for the museum's Department of Photography, this show featured almost 100 prints by three relatively unrecognized younger photographers from the east coast of the U.S. - Diane Arbus, Lee Friedlander, and Garry Winogrand - and came as a watershed moment in the evolution of contemporary photography. What exactly did this exhibition signify?

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"On the Internet, everybody is a millenarian. Internet journalism, according to those who produce manifestos on its behalf, represents a world-historical development-not so much because of the expressive power of the new medium as because of its accessibility to producers and consumers. That permits it to break the long-standing choke hold on public information and discussion that the traditional media-usually known, when this argument is made, as "gatekeepers" or "the priesthood"-have supposedly been able to maintain up to now. "Millions of Americans who were once in awe of the punditocracy now realize that anyone can do this stuff-and that many unknowns can do it better than the lords of the profession," Glenn Reynolds, a University of Tennessee law professor who operates one of the leading blogs, Instapundit, writes, typically, in his new book, "An Army of Davids: How Markets and Technology Empower Ordinary People to Beat Big Media, Big Government and Other Goliaths." The rhetoric about Internet journalism produced by Reynolds and many others is plausible only because it conflates several distinct categories of material that are widely available online and didn't use to be. One is pure opinion, especially political opinion, which the Internet has made infinitely easy to purvey. Another is information originally published in other media-everything from Chilean newspaper stories and entries in German encyclopedias to papers presented at Micronesian conferences on accounting methods-which one can find instantly on search and aggregation sites. Lately, grand journalistic claims have been made on behalf of material produced specifically for Web sites by people who don't have jobs with news organizations. According to a study published last month by the Pew Internet & American Life Project, there are twelve million bloggers in the United States, and thirty-four per cent of them consider blogging to be a form of journalism. That would add