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he Light Factory is a museum dedicated to photography, film, and related light-generated mediums. Our exhibitions present aesthetic excellence in contemporary and historic photography and film. The thematic content of our exhibits stimulates dialogue, challenges audiences and encourages artists to test new ideas. The Light Factory offers education and outreach programs designed to teach people of all ages to communicate using the photo and film mediums and to be able to interpret the messages inherent in the images they see both in the museum and in mass media. Following are the values that serve as the foundation for our vision, our mission, and our programs. We believe in… -the transformative power of photography and film -engaging the community through exhibitions and education -creating media literacy among all -evoking reactions and responses from our audience -stimulating creative commentary Each year thousands of people visit The Light Factory at our home in Uptown Charlotte's Spirit Square to experience our exhibitions, take classes, hear talks, and see films. We hope that you will join us as a visitor and participating member.

The first thing that struck me about Renzo Martens' new film Episode III - Enjoy Poverty (2008) - confusingly, the second in a trilogy - is the artist's resemblance to the young Klaus Kinski. The numerous close-ups of his sweaty, troubled face (filmed by the artist himself on a hand-held digital camera) echo those of Kinski in Werner Herzog's Aguirre, the Wrath of God (1972), Fitzcarraldo (1982) and Cobra Verde (1987). The second thing that struck me, despite its supposed exploration of the exploitation of third world poverty by aid organizations and news agencies, is how the film rehearses themes present in Herzog's films. Each depicts a European living outside their comfort zone struggling to assert themselves in harsh, unfamiliar terrain, and ultimately realizing the futility of their endeavours. The third thing that struck me, after sitting through 90 minutes of Martens meeting aid agencies, photographers, plantation workers, guerrilla fighters, singing Neil Young songs to himself and attempting to convince the residents of a small village to let him set up a neon sign flashing the message 'Enjoy Poverty Please' - was how contradictory the film was.

In the vanguard of the Marines, the press corps had already stormed Somailia. Now we will see more of the famailiar pictures of grotesque human degradation, with foreign angels of mercy ministering to starving children, juxtaposed with images of trigger-happy teen-age looters. Such pictures prompted President Bush's military adventure-now they will justify it. The camera can't lie, we are told. But anyone who has watched a Western film crew in an African famine will know just how much effort it takes to compose the "right" image. Photogenic starving children are hard to find, even in Somalia. Somali doctors and nurses have expressed shock at the conduct of film crews in hospitals. They rush through crowded corridors, leaping over stretchers, dashing to film the agony before it passes. They hold bedside vigils to record the moment of death. When the Italian actress Sophia Loren visited Somalia, the paparazzi trampled on children as they scrambled to film her feeding a little girl-three times. This is disaster pornography.

the films etc seamus talks about can be found here http://www.seamusmurphy.com/Films/12-Short-Films-for-PJ-Harvey/1/thumbs

Detailing the life and work of acclaimed war photographer Don McCullin, the seminal photo-journalist of the 1970s and 1980s, Jacqui Morris' documentary film shows the truth behind McCullin's hard hitting and controversial images.

"Increasingly music is finding its way into online multimedia journalism, and with good reason. A well chosen soundtrack can pull your viewers deep into your story, keep them hooked and make an emotional point. Music is, and let's be honest about this, a way of manipulating how your audience feel. There are those purists who are against that, who argue the story should be strong enough not to need to tell your viewer how to feel. Whichever camp you lie in, one thing is for sure: if you use music in any piece of online video journalism or digital story it must be legal. There is no excuse for getting your client or your newsroom shouldered with an expensive bill just because that bit of Arcade Fire fitted perfectly with the film. The good news is there are plenty of resources out there for free, or cheap, music. Most, but not all, operate under the Creative Commons Licence, which lets you use music on certain conditions."

The Photographic Library Directory is a unique resource that provides a broad range of visual solutions to enhance the creative process. The categories listed include : * Stock Images from the leading stock photo libraries. * Fashion Photographers, fashion, advertising & editorial shoots. * International fashion image resources, trend or season fashions. * Stars & Celebrities, hollywood stars, entertaiment, music and film celebrity images. * Archive Collections, international collections of historic & social importance. * Free Photos, clip art collections & Illustrations. * Moving Images, stock film footage, newsreels & motion picture archives. * Photo Agencies, the leading photo & editorial agencies. * Fine Art, prints & poster art. * Libraries and Museums, historic world maps, manuscripts and atlases. * Documentary Photographers & photojournalist resources. * Student Galleries, creative minds from the Leading Art & Design centres of excellence.

Digital Photography Resources Some years ago, professional-caliber digital cameras began to match, and then to exceed, the capabilities of standard film for many commercial applications. Today, digital photography has taken a firm hold on the market. Both technical and business problems remain to be solved, however, and this page offers some resources to help you find good solutions. There still are, and may always be, certain market niches where silver-halide film reigns supreme. But for most photographers, as for most publishers and advertisers, the technical challenge is no longer to make digital photography work, but rather to get the most productivity and pizzazz from the medium. The business challenge is to forge a new, industry-wide consensus on cost recovery and financial best practices.

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.

"Welcome to The Kit Room. Alongside regularly updated video casts, find workshop notes in The Kit Room Downloads, tips and links on The Kit Rumor and The Kit Room Inventory, the complete list of kit available to students studying Film and Television at LCC. The Videos are also available free on Apple iTunes. Click here to go to the store. Link up with film makers on the Face Book group The Kit Room Facebook Group."

" * About | * Contact | * Blog Photojournalist Tom Palmaers films aid work in Haiti on a 5DmkII"

This is the official website for the documentary film The Death of Kevin Carter: Casualty of the Bang Bang Club, directed by Dan Krauss. The film was formerly titled The Life of Kevin Carter

Welcome to the National Media Museum. Here you can delve into an amazing archive of information about this fabulous free museum - an exciting centre in the heart of the north devoted to film, photography, television, radio and the web.

film sales, photographic equipment hire, east london

"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."

"HD DSLRs are incredible-they give you a video camera with interchangeable lenses, depth of field control and stellar low-light performance-but they're not without drawbacks. Here's how to work around them. The initial crop of HD DSLRs (Nikon D90, Canon 5D Mark II) were never intended to be used primarily for video. It wasn't until Canon introduced the 5D Mark II that HD DSLR video really took off, and that was without manual video and audio controls. Canon eventually provided manual control of video, but it wasn't until earlier this year that they released manual audio controls (to an extent) and 24p recording. Ever since, the 5D2 has found its way onto film and TV sets. The entire finale of Fox's House was shot with 5D2s. Canon's now brought HD video to the majority of its DSLR line,"

Afterimage: The Journal of Media Arts and Cultural Criticism is a publication of the Visual Studies Workshop, a non-profit media arts center located in Rochester, New York. For the over 30 years, Afterimage has been an important voice in the photography, film, video and visual book community. Along with feature articles, books and exhibition reviews, essays and news, every issue of Afterimage also includes over 300 free notices for jobs, call-for-work, exhibitions and screenings.

Bruce Gilden (born 1946) is a noted street photographer, known for his work in New York City. While studying sociology at Penn State, he saw Michelangelo Antonioni's film Blowup in 1968. Due to the film's influence, he purchased his first camera as a result, and began taking night classes in photography at the School of Visual Arts of New York. He routinely uses his camera's flash, alerting his subjects to his presence, unlike most street photographers. Fascinated with normal people on the street and the idea of visual spontaneity, Gilden turned to a career in photography.[1] A member of Magnum Photos, he shot images of Japan's Yakuza mobsters, the homeless, prostitutes, and members of bike gangs between 1995 and 2000. According to Gilden, he was fascinated by the duality and double lives of the individuals he photographed.[2] Gilden is also the subject of Misery Loves Company: The Life and Death of Bruce Gilden, a documentary produced in 2007.[3]

Aims & Scope Third Text is an international scholarly journal dedicated to providing critical perspectives on art and visual culture. The journal examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field. Established in 1987, the journal provides a forum for the discussion and (re)appraisal of theory and practice of art, art history and criticism, and the work of artists hitherto marginalised through racial, gender, religious and cultural differences. Dealing with diversity of art practices - visual arts, sculpture, installation, performance, photography, video and film - Third Text addresses the complex cultural realities that emerge when different worldviews meet, and the challenge this poses to Eurocentrism and ethnocentric aesthetic criteria. The journal aims to develop new discourses and radical interdisciplinary scholarships that go beyond the confines of eurocentricity.