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AllVoices does not have a member of staff editing the site; it relies purely on its proprietary algorithms and its community. Tareen described this as the "YouTube principle," and emphasised that producing an edited product was not the aim of the site, rather "our goal is to publish what people want to create and to provide multiple points of view."

The Correspondence of William Henry Fox Talbot Project has prepared a comprehensive edition of the nearly 10,000 letters to and from Talbot (1800-1877), the Wiltshire polymath best known for his invention of photography. Draft transcriptions of nearly all the letters were posted by September 2003 and these are now being further annotated and edited.

Introduction to Digital Storytelling by Daniel Meadows Digital Stories are short, personal, multimedia scraps of TV that people can make for themselves. They're 'mini-movies'. Desktop computers enabled with video editing software are used to synchronise recorded spoken narratives with scans of personal photographs. This project requires commitment for, as well as all the technical stuff that must be learnt, script writing, picture editing and performance skills are also needed and these have to be worked on, which is why most Digital Stories are made by people attending workshops where participants can benefit from the help and advice of facilitators. People of all ages and abilities make Digital Stories and many have testified how rewarding the experience is for, when their story is shared with friends and family or posted on the web, they find they have discovered a new voice. There's a strictness to the construction of a Digital Story: 250 words, a dozen or so pictures, and two minutes is the right length. As with poetry these constraints define the form (e.g. a haiku is a poem written using 17 syllables, and the 14 lines of a sonnet are written in iambic pentameter) and it's the observation of that form which gives the thing its elegance.

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.

"The documentary "Restrepo," directed by Mr. Hetherington and Sebastian Junger, will open Friday. Last week, Mr. Hetherington sat down with Mr. Kamber in Midtown Manhattan to talk about the film - and much else besides. Their remarks have been edited for brevity and clarity."

"We are a community of image experts committed to sharing our experience and knowledge throughout the industry. We provide professional networking and educational opportunities. If you create, edit, research, license, manage or publish pictures, ASPP is the place for you.

Photo Tampering Throughout History\n\nPhotography lost its innocence many years ago. In as early as the 1860s, photographs were already being manipulated, only a few decades after Niepce created the first photograph in 1814. With the advent of high-resolution digital cameras, powerful personal computers and sophisticated photo-editing software, the manipulation of digital images is becoming more common. Here, I have collected some examples of tampering throughout history.\n\nTo help contend with the implications of this tampering, we have developed a series of tools for detecting traces of tampering in digital images (contact me at Ma'at Consulting for more information about our services).

Brighton Photo Biennial Memory of Fire: The War of Images and Images of War festival review and interview with curator Julian Stallabrass by Guy Lane The Brighton Photo Biennial offers an in-depth exploration of the photography of war. Ten exhibitions, in locations across the South Coast, examine various aspects of the production, use and circulation of imagery during wartime. At the heart of the Biennial is a comparison of photojournalism from the Vietnam and Iraq wars, featuring - amongst others - the work of Larry Burrows, Don McCullin, photographers from the North Vietnamese Army, Bilal Hussein and Stephanie Sinclair. Harriet Logan's photographs of women in Afghanistan are afforded a solo show; as is Philip Jones Griffiths' Agent Orange project. Dutch photojournalist Geert van Kesteren presents edits from his books, Why Mister Why? and Baghdad Calling. Themes of censorship and obscenity are addressed in an installation by Swiss artist Thomas Hirschhorn. The representation of war by contemporary art photographers - including Simon Norfolk, Paul Seawright and Adam Broomberg & Oliver Chanarin - is the subject of a further exhibition. Julian Germain hosts a display of pictures made by military personnel based in Portsmouth. And separate shows of material from the First World War (by Frank Hurley), and the Mexican Revolution, suggest historical parallels to the more recent work. The Biennial, titled Memory of Fire: the War of Images and Images of War is described as an opportunity for visitors "to experience a range of imagery and to reflect critically on the different elements and contrasts." It runs from the beginning of October for six weeks. Below, curator Julian Stallabrass discusses some of the diverse issues and topics raised by the show.

Terms & Conditions for your business paperwork Good paperwork is of the utmost importance in your business. It helps prevent misunderstandings, protects your legal and financial interests, and conveys a crisp, businesslike impression to your clients. Every few years, ASMP publishes a new edition of its manual Professional Business Practices in Photography. The sample business forms in that book represent the best business practices in our ever-changing industry. The medium of print, however, is entirely static and cannot convey the vast range of options that good paperwork must encompass. The Web, in contrast, provides a malleable medium in which the text can be varied to reflect the choices made by users. Hence this module.

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.

For a second answer to the question of how photographers will market their work over the next five to ten years we turned to leading UK-based landscape, documentary and fine art photographer Simon Norfolk. Said Simon: "In the few weeks between being asked to write this piece and me actually sitting down to do it, the international financial system has dissolved and the key banks nationalized. All the money I had squirreled away to pay my future taxes and something for Mr and Mrs Norfolk's old age has disappeared in a bizarre Icelandic banking collapse. So my prognosis about the economy over the next 5-10 years is not very optimistic, I'm afraid. I gave up trying to make a living from editorial a few years ago, instead selling my work as limited edition fine art prints through galleries in London, New York and Los Angeles. I still work for magazines - most of what goes on the gallery wall starts out as a magazine commission - but I see magazine fees as start-up capital.

Video filmed by Guardian photographer Dan Chung entirely on a production Canon EOS5DmkII and adapted Nikon and Zeiss lenses using manual focus. The camera was purchased to use solely as a video camera with existing Nikon kit. The film was shot an edited in about twelve hours directly after picking the camera up from a Beijing camera store and charging the battery.

Is Video a Trojan Horse for Photojournalistic Ethics? By Anh StackanhstackcloseAuthor: Anh Stack See Author's Posts (12) Recent Posts * Is Video a Trojan Horse for Photojournalistic Ethics? * Why You Should Be Worried About Proposed Orphan Works Legislation * Up Your Price with Limited-Edition Photography * Tips for Creating a Winning Portfolio * How Professional Photographers Can Generate New Business with Flickr Anh D. Stack is editorial director of Black Star. in Photojournalism on November 13th, 2008 Tension has always existed between television and print journalists. While casual observers tend to write this off to ink-stained newspaper staffers being jealous of the higher profile -- and paychecks -- of their TV brethren, the reality is that significant differences exist in how TV and print news organizations gather the news.

Every year, National Geographic Photocamp travels around the US and the world touching young people's lives through the power of photography. In 2007, NY edition of the 'camp was realized in Queens, with NG photographer Ed Kashi and students from Newcomers High School, a NYC public HS dedicated to serving kids who have been in the US for less than one year.

Top 50 Free Open Courseware Classes for Journalists November 15, 2009 If you write fiction, then you are not a journalist - although, many people might believe that mainstream media has moved more toward sensationalism than to the truth to gain ratings. Journalism is in trouble, if this is how this writing genre is depicted today. But, educators are seeking to turn the genre's reputation around to a more reputable yet still exciting stance. This movement is reflected in many free online courses and in entire Websites dedicated to journalism ethics, editing and new media.

"In the third of a series of articles on photojournalism Adrian Evans, Director of Panos Pictures, suggests that photojournalists should cast off the past and look to new models of funding. "Working in photojournalism it sometimes feels as though industry commentators are circling like vultures waiting to pick over the corpse of our industry. "They misguidedly link the fortunes of photojournalists to that of newspapers and magazines, referring to an almost mythical past, a golden age when newspapers were the champions and supporters of photojournalism. Whether this era ever really existed is debatable. What is undeniably true is that newspapers ceased being the paymasters of photojournalists a long time ago. Quality photojournalism is expensive - researching the story, gaining access, spending time with your subjects, post production and editing - there are no short cuts. Newspapers and magazines spend a tiny proportion of their income on content and they certainly don't want to spend it on photography."