Group items tagged

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.

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

E xpatriate Englishman Eadweard Muybridge (1830-1904), a brilliant and eccentric photographer, gained worldwide fame photographing animal and human movement imperceptible to the human eye. Hired by railroad baron Leland Stanford in 1872, Muybridge used photography to prove that there was a moment in a horse's gallop when all four hooves were off the ground at once. He spent much of his later career at the University of Pennsylvania, producing thousands of images that capture progressive movements within fractions of a second.

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.

Playing "god" in a digital age: The thin line between art and the subjectivity of photojournalism Jarle recently commented on the post "Crazy light", in which I wrote: "We are constantly challenged to make scenes that are less than interesting, more interesting." The question that this raises, however, is when and how are the conventions of honest visual reportage bent for the sake of making images more compelling? Jarle continues: Correct. We all strive to make our photos more interesting. But, ethically and philosophically speaking, isn't this in direct conflict with the "our pictures must always tell the truth" mantra? There's often a thin line between photojournalism, "art" and subjective, commentary photography. And, playing the devil's advocate, what's the difference between adding motion blur in Photoshop and using a slow shutter speed? I'll start out by agreeing with much what Jarle has said here. From a purist perspective, "Straight" photography should be a style of photography that records what the eye witnesses without elaboration or embellishment. For the most part, this form of photography, what is photojournalism today, has remained pretty much true to form. At the same time, it is possible to find quite a few examples of photojournalism from the 1980s to the present day, that deviate from the normal conventions.

"In Response to Place" in association with the Nature Conservancy is narrated by Joanne Woodward and takes a look at some of the most beautiful places on earth through the eyes and lenses of the world's greatest nature photographers. Having recently switched from picturing her children as subjects to landscape, Sally Mann chose to travel to the Yucatan and use color film in her antique, large format camera for the first time. The Calakmul Reserve is the northern end of the largest remaining forest in Mexico and Central America\n\n

"There was a time when photographers wishing to see their work in print, were at the mercy of the publishers' critical eye. A publisher's verdict could mark the end of the road for a book project, or be the spark to ignite a new career. Online publishing has eliminated this scrutinizing selection process, removing any middle men in its path. The likes of Blurb, Lulu, AsukaBook and Apple among many others, have put an end to slaving over a book proposal, adhering to publisher's list of demands, and enduring a nail biting wait for a decision."

Citizen Journalism Publishing Standards digg Share this on Facebook Huffpost - Citizen Journalism Publishing Standards stumble reddit del.ico.us ShareThis RSS | April 14, 2009 at 09:26 PM I Like ItI Don't Like It Read More: Citizen Journalism, Citizen Reports, Eyes And Ears, Publishing Standards, Home News Be the First to Submit This Story to DiggBuzz up! Get Breaking News Alerts never spam * Share * Print * Comments All published pieces must meet certain editorial standards. You can help expedite the publishing process by following a few simple guidelines:

Photographer: Ed Kashi Ed Kashi is a photojournalist dedicated to documenting the social and political issues that define our times. A sensitive eye and an intimate relationship to his subjects have become the signatures of his award-winning work, and his complex imagery has been recognized for its compelling rendering of the human condition. Photo: Photographer Ed Kashi Photograph by Heather Hiett Born in New York City in 1957, Kashi graduated from Syracuse University in 1979 with a degree in photojournalism and has since photographed in more than 60 countries. His images have appeared in National Geographic, the New York Times Magazine, Time, MediaStorm, GEO, Newsweek, and many other domestic and international publications.

It's no secret that social media's played an important - maybe even historic - role in the Iran election protests that have swept the nation into discord and disarray. Many social media companies have made a contribution towards opening the flow of communication within and out of Iran, YouTube (YouTube) included. As we reported earlier this week, thousands of Iran-related videos are being uploaded to YouTube every day, revealing first-hand accounts of the crisis to the world. Some are incredible, some are eye-opening, and other shock you to your very core. We've included ten of these incredible videos, in a chronological order that helps provide context to the crisis in Iran. Be prepared, for these videos can evoke some very strong emotions:

Introduction Here follows the lecture prompts for part I of my 2008/9 lectures on Computer Assisted Reporting (CAR). For part II on sources - see here. Because of the speed at which new initiatives (and relevant research examples) come and go in this field, I'll be adding updates on this post from time to time. But to stay fully up to date with developments, keep an eye on my blog and website. Computer Assisted Research (CAR): why? * Once research was the domain of librarians and researchers - not anymore. * Rapid developments in online technologies; contributor finding, fact-checking, current awareness, multimedia. * Changes in the news landscape (fragmentation of market and 'efficiency drives'). * Journalists must now do all their own research.

About Scoopler Scoopler is a real-time search engine. We aggregate and organize content being shared on the internet as it happens, like eye-witness reports of breaking news, photos and videos from big events, and links to the hottest memes of the day. We do this by constantly indexing live updates from services including Twitter, Flickr, Digg, Delicious and more. When you search for a topic on Scoopler, we give you the most relevant results, updated in real-time.

2006 documentary on Henri Cartier-Bresson \npart 1 of 10

This soft spoken gentleman whose images represent a passionate, up close depiction of humanity at it's best and worst , gives you an insight into his work in this video. Take a look at his work at www.eugenerichards.com

please watch these in advance of the session -Take Care by MediaStorm because of it's great use of stills and video to combine for a moving and aesthetically powerful visual narrative, it's great character development and that fact that within a short time frame you get transitions and a transformation within the story. I'm impressed that this project came out of a one week workshop, which is testament to the collaborative effort that so often is part of a successful multimedia work, but also to Gillian Laube's visual sophistication. http://mediastorm.com/training/take-care -Blanco- by Stefano de Luigi is a great example of multimedia that is more conceptual, evocative without being journalistic and visually stunning. While the reliance on special effects might turn off some, I find it quite effective in this case. As multimedia developments and evolves as a new medium in the context of photojournalism and the profession of photography, we must remain open to using the new tools and techniques available to us. http://magazine.viiphoto.com/feature/show/267 -50 Milligrams Is Not Enough- by Bob Sacha and Scott Anger, produced by Pam Chen for Open Society Foundation. This marvelous piece highlights a worldwide issue in healthcare, told in an intimate, moving, visually lush way. This piece is a great example of visual storytelling and advocacy journalism, done with the highest aesthetic qualities. Great character development, in a wonderfully told plot, with sensitivity and high journalistic standards. http://www.youtube.com/watch?v=sWeUDNyqo1I -Leaves Keep Falling- by Ed Kashi, produced by Talking Eyes Media, is a short film and strong example of advocacy journalism. About the lingering impact of Agent Orange on the children of Vietnam, it mixes stills and video in a linear narrative to keep a story that seems old alive and relevant for new generations to remain aware of. It was produced for a foundation in cooperation with an NGO working to support families