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By Bruno Chalifour "I would like to see everything, to look at everything." (1) These are Josef Koudelka's words quoted by Robert Delpire, his friend, editor and curator. "My photographs, you know them. You have published them, you have exhibited them, then you can tell whether they mean something or not." (2) The fact is Robert Delpire is far from being a novice in the world of photography. Unbeknownst to many, he was the first publisher of Robert Frank's The Americans in 1958, a year before Grove Press in the U.S., and the first director of the Centre National de la Photographie in Paris.

MediaStorm: Visionary Journalism Weaving Stories Producers start by cutting audio, creating a "radio edit" of the story. Then they work with the journalist to craft a working narrative. A cohesive story emerges, and then it's time to pair the images with the audio. For that, they use Final Cut Studio. "Final Cut is our workhorse," says Storm. "Our producers live inside Final Cut all day long. It's a simple and powerful tool. It does everything you need it to do, yet I can teach a new producer how to create our type of project in a day." Images are exported out of Aperture at twice 1080p resolution, giving producers the flexibility they need to experiment with shots. "We pull everything into bins in Final Cut, and we use a lot of labeling to organize it," says Storm. "It's very simple: We use green for a picture that's in, red for one that's out, blue for a maybe. We have a very visual environment inside Final Cut to get things done quickly."

Stills opened in 1977 as Scotland's first gallery specialising in contemporary photography. Since then, we have extended our facilities and now provide the best photographic darkrooms and digital production facilities in Scotland Stills is a vibrant platform for creativity. Our integrated programmes illuminate the fascinating medium of photography, exploring everything from its technical and aesthetic developments through to the central role it plays in contemporary culture. Production and exchange form the heart of our activities as we work with artists and audiences to catalyse the creation of new ideas, artworks and dialogues. Supporting artists is a core part of what we do - from research and production through to display and critical consideration.

Digital Storytelling is the practice of using computer-based tools to tell stories. As with traditional storytelling, most digital stories focus on a specific topic and contain a particular point of view. However, as the name implies, digital stories usually contain some mixture of computer-based images, text, recorded audio narration, video clips and/or music. Digital stories can vary in length, but most of the stories used in education typically last between two and ten minutes. And the topics that are used in Digital Storytelling range from personal tales to the recounting of historical events, from exploring life in one's own community to the search for life in other corners of the universe, and literally, everything in between. A great way to begin learning about Digital Storytelling is by watching the following video introduction to Digital Storytelling.

A PRIMER ON PROCESSES Photographers in the nineteenth century employed a wide variety of materials and processes; everything from honey to uranium found its way into one method or another. In some cases there is no way to tell, short of exacting scientific analysis, just what sort of variation was used to obtain a specific result. Most early photographs, however, fall into recognizable categories for which brief descriptions follow in alphabetical order.

THEORY: "Lee Friedlander: Museum of Modern Art, New York" Lee Friedlander: Museum of Modern Art, New York ArtForum, Sept, 2005 by Carol Armstrong Walking with a friend through the Lee Friedlander retrospective at MOMA, I noticed that the two of us each had a different way of looking at almost every early street photograph on view: One of us saw the photograph a certain way right off the bat and couldn't easily see it otherwise, while the other noticed everything else in the photo and could only see the "hook" after having it pointed out. What in one viewing looked like Americanized pieces of Cartier-Bresson poetic doubling in another couldn't be disentangled from a set of densely stratified spatial and perceptual conundrums that at once posit the transparency of photography and question it at every level.

New tools for new news Journalists need new tools to work online. I started building this online database of such tools as a personal project, just a way to keep track of everything I was using. It has since grown into something I think others will find useful.

10x10™ ('ten by ten') is an interactive exploration of the words and pictures that define the time. The result is an often moving, sometimes shocking, occasionally frivolous, but always fitting snapshot of our world. Every hour, 10x10 collects the 100 words and pictures that matter most on a global scale, and presents them as a single image, taken to encapsulate that moment in time. Over the course of days, months, and years, 10x10 leaves a trail of these hourly statements which, stitched together side by side, form a continuous patchwork tapestry of human life. 10x10 is ever-changing, ever-growing, quietly observing the ways in which we live. It records our wars and crises, our triumphs and tragedies, our mistakes and milestones. When we make history, or at least the headlines, 10x10 takes note and remembers. Each hour is presented as a picture postcard window, composed of 100 different frames, each of which holds the image of a single moment in time. Clicking on a single frame allows us to peer a bit deeper into the story that lies behind the image. In this way, we can dart in and out of the news, understanding both the individual stories and the ways in which they relate to each other. 10x10 runs with no human intervention, autonomously observing what a handful of leading international news sources are saying and showing. 10x10 makes no comment on news media bias, or lack thereof. It has no politics, nor any secret agenda; it simply shows what it finds. With no human editors and no regulation, 10x10 is open and free, raw and fresh, and consequently a unique way of following world events. In 10x10, we respond instinctively to patterns in the grid, visual indicators of relevance. When we see a frequently repeated image, we know it's important. When we see a picture of a movie star next to a picture of dead bodies, we understand the extremes that exist in our world. Scanning a grid of pictures can be more intuitive than reading headlines, for it lets the new

Images shape our perceptions. The manufacture of consent has rarely been more engineered. With everything from wars to presidential campaigns being stage managed and with mainstream news increasingly fed by official sources, reliance on usual sources of news images has become increasingly dangerous. Majority world countries suffer particularly from stereotypical representations, and while the media worldwide is increasingly being dominated by a few players, it becomes particularly important for news sources to be diverse and varied. With Getty and Corbis controlling the stock market, and Reuters, AP, AFP and EPA dominating the wires, communities in the west are looking for new ways to challenge established media, especially through citizen journalism. The majority world has traditionally been represented by white, middle class, western photographers. But having local photographers is not in itself sufficient. While editorial control remains in the North, stories will continue to have a northern slant, and the only way in which this can be challenged is through alternative sources being formed that are independent of western and corporate media. DrikNEWS is designed to fill this void. This agency, an independent body of Drik Picture Library, aims to cover news photography and investigative reporting by disseminating both locally and internationally through the web.

The window of a Humvee rolling through Baghdad's dangerous streets is essentially a television, watched in the dark. The glass is dirty and three inches thick: everything has a hazy and muted look, like a rerun of an old seventies movie. Humvees are dim inside even on sunny days; you can see out, but Iraqis can't see in, any more than a sitcom character can see us when we watch. Even the proportions are right: the older Humvee windows have the squarish shape of an old-fashioned picture tube; the latest armor kits feature wider, more horizontal windows, like the letterbox of plasma screens. And these screens show, for the American soldier-viewers, the day-to-day life of seven million souls: Iraqi children walking to school, men lounging in chairs outside of businesses, a food seller grilling meats. Women swathed in black abayas (so rare before the invasion and so common today) shuffling through the streets. Tall concrete blast walls, everywhere.

'Meta-reading': the generational differences in consuming news May 13th, 2009Posted by Judith Townend in Events, Online Journalism, Social media and blogging Turi Munthe, CEO and founder of the citizen journalism site, Demotix, shared an interesting thought with participants of the Voices Online Blogging Conference on Monday. The young Demotix interns consume news differently from the way he does. He elaborated to Journalism.co.uk after the panel. 'Meta-reading': "There is a generational split, but not in the way everyone imagines. It's much more recent than that," he said. People only ten years younger - he is in his 30s - consume news differently from the way he does, Munthe told Journalism.co.uk. The interns in the office ('who play a hugely important role: they're regional editors and they get properly stuck into what we do') read slightly differently, he said. "They are getting the Twitter feeds, and the blog posts, and the Facebook messaging and the free papers, and everything else, and are very happy with it. Much more happy with it than I am." "Essentially, they process information differently. It's a 'meta-reading'. It's not about individual brands. They are fully aware of all the back-stories of all the stories they're getting," he says. It's a 'degree of sophistication,' he said, 'which reads the interests behind the news as an integral part of the news'.

Ed Kashi http://www.edkashi.com/ and Ben Chesterton http://duckrabbit.info/blog/ talk about the state of the photo world today!! Discussion covers multimedia, ethics, aesthetics, ngo's, making a living - just about everything in fact!

'If you can find a way to filter the occasional hot image from everything else, [then citizen journalism has a future]. But the wider you seek and the more you solicit, the more resources you're going to have to throw at the filtering "challenge". So I think the suck-from-wherever approach has to be the way to go rather than a dedicated agency like Scoopt.'

BJP article about failings of Scoopt. Claims he asked Janis Krums, who shot the first Twitt pic of the Hudson River crash whether he would have rather had $100K or 100K hits.

"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