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Over the years it seems they've done exactly that, funding the kind of international journalism that often is without a sponsor in the USA.   But for journalism to retain any integrity it cannot simply rely on something as intangible as 'a deep sense of responsibility', it must be grounded in a solid set of ethical principles and it must be accountable.   Without these principles journalism doesn't shine the light into dark places, it becomes the dark place. Several weeks ago I came across  a set of pictures on Facebook and Photoshelter by the talented photographer Marco Vernaschi which focus on the subject of child sacrifice in Uganda. The work is both being funded and promoted by the Pulitzer Center on Crisis Reporting. It's a decent enough story, but not one that is in any way new. The pictures are black and white, often blurred, without hope and even evoke a sense of nihilism.  Nothing however in my journalistic career could prepare me for the disturbing truth as to how a number of the photos were taken.

international fund documentary photography

funding award

"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."

Photojournalism and ethics - How far would you go for a photo? Duckrabbit takes Pulitzer Center to task over ethics Posted on April 21, 2010 by mirandagavin| 4 Comments Benjamin Chesterton from duckrabbit alerted me to the following story. He has just published his views on A Developing Story with quotes from his letter to the Pulitzer Centre. Briefly, and according to Chesterton: "The Center has recently funded the photographer Macro Venaschi to do a story on child sacrifice in Uganda. His highly stylized black and white photographs are deeply disturbing on a number of levels. One of the pictures shows an abused boy with a catheter protruding from where his penis has been cut off. I believe that if published in the UK, this picture would be illegal on the basis of indecency. Beyond that, there is an account on the Pulitzer website of how Vernashi persuaded grieving parents to have their murdered child's body exhumed so that he could take photographs of the body. A payment was then made to those present.

SEPIA (Safeguarding European Photographic Images for Access) is a EU-funded project focusing on preservation of photographic materials. On this website you will find information about : * SEPIA publications: SEPIA reports, articles and recommendations * research: 'scanning equipment and handling procedures', 'preservation aspects of digitisation', 'ethics of digitisation' and 'descriptive models for photographic materials' * news and events: containing announcements and press releases about the latest SEPIA news and a calendar of events. * Links & Literature contains reports, articles and references to relevant resources * 'To Have and To Hold' offers some guidance in finding information about the long-term preservation of all kind of photographic materials. It contains an introduction to the history of photography, historical photographic processes, digitisation and preservation of photographic materials and list of relevant resources selected by SEPIA experts * Six SEPIA partners have made a representative selection from their collections around the theme 'Constructing Europe'. Each presentation shows how an aspect of modern society evolved in a particular country. Although developments were different in the various countries, the exhibition taken as a whole provides a sense of an emerging modern Europe. * training: about SEPIA workshops, seminars and the national SEPIA training events * orginal proposals for SEPIA I and SEPIA II

VADS is the online resource for visual arts. It has provided services to the academic community for 11 years and has built up a considerable portfolio of visual art collections comprising over 100,000 images that are freely available and copyright cleared for use in teaching, learning and research in the UK. VADS offers advice and guidance to the visual arts research, teaching and learning communities on all aspects of digital resource management from funding, through delivery and use, to preservation. VADS provides: * expert guidance and help for digital projects in art education * resource development and hosting for art education * project management and consultancy for art education * leadership in the innovative use of ICT in education through its research and development activities

Photofusion is London's largest independent photography resource centre. We are unique for the breadth of our work and services, providing access to a full range of facilities including contemporary gallery space, darkrooms, studio, digital imaging training, picture library, agency and ongoing photo-art education programme for professional, student and amateur photographers. Situated in the vibrant heart of Brixton, Photofusion's photo-digital facilities continue to draw visitors into an exciting and rapidly changing area. As Brixton's most prestigious gallery space, our exhibitions alone are expected this year to attract 30,000 visitors. Founded in 1984 as the Photo Co-op, Photofusion has metamorphosed from a small collective of documentary photographers through a number of identities through successful fundraising campaigns, to become a leading resource for photographic artists. In recognition of this role, we receive regular funding from London Arts, and consolidate this grant with income from our commercial activities. Photofusion aims to promote a ladder of educational opportunity through courses, workshops and seminars. We are moving increasingly into the field of training for disenchanted young people who may have been alienated by formal education, and are working in collaboration with a number of community and arts organisations to help people access arts training and gain skills for the workplace. Photofusion's position as a leading photography resource necessitates a close relationship with the development of digital media in order to offer artists the best possible facilities for innovative arts production. Photofusion now offers expanded digital and darkroom facilities and improved disability access.

Through its own production, support, purchase and retrieval, Amber has built up a significant photographic collection. Where possible, we're putting this work online. The photographic engagement with the North of England has produced a remarkable enough body of work, but since Side Gallery opened in 1977, this has been extended through exhibition purchases and donations to include a wide-ranging representation of the international classic and contemporary documentary that continues to inspire us. Where we hold the rights and/or where the photographer gives permission, we're committed to putting as much of this work online as possible. As funding allows, new exhibitions will appear and some exhibitions will be developed further.

The Raw File was created to produce and distribute socially reflective media that will provoke discussion. It is our hope that these conversations will intersect the lines of race and class, private and professional. Our content is distributed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License so that anyone may download, copy, exhibit, and distribute it for non-profit, educational purposes. We simply ask you to attribute this work to "www.therawfile.org". The Raw File has no agenda other than to provide a neutral and approachable environment for the documentation and dissemination of information by and about individuals and their communities, an outlet for stories that would otherwise go unheard into history. The Raw File is self-funded and in the process of being registered as a 501(c)(3) nonprofit . The Raw File… Founded by Brenda Ann Kenneally.

"January 12 marked the anniversary of the devastating earthquake that shook Haiti last year, killing more than 230,000 people and leaving several million inhabitants of the small island nation homeless. Though natural disasters are common, the humanitarian response this time was different: New media and communications technologies were used in unprecedented ways to aid the recovery effort. A report recently released by Communicating with Disaster Affected Communities, with support from Internews and funding from the Knight Foundation, takes a critical look at the role of communications in the crisis and recommends ways to improve the effectiveness of utilizing media in future disaster relief efforts. (The Knight Foundation is a major funder for MediaShift and its sister site MediaShift Idea Lab.)"

This page featured the draft versions of the chapters of the book by the New Media, Old News: Journalism and Democracy in a Digital Age. The book is the first major publication arising from the Leverhulme funded research project 'Spaces of the News', designed to investigate the nature of news production in a digital age

This article looks at the role, impact and response to the internet, new media and citizen journalism during the 2007 protests.\n\nIt starts by going over the history of burma and the junta and the events leading up to the 2007 protests. This protest was different than previous burmese protests due to the amount of information coming out. Cyberspace was flooded with grainy pictures and videos taken by burmese citizens,\n\nThe internet allowed people in Burma to send information and pictures out to show what was happening bringing a new type of political activism and global advocacy. The burmese protests were influenced greatly by this new media, but the protests still failed and many were killed.\n\nThe article talks about Yochai Benkler who argues the internet has opened possibilities even for those living under brutal regimes. Cheap cost and decentralisation is the main factors that are good about the internet in this situation.\n\nThe burmese media used to be free when under colonial rule. This free expression may have sparked the independence movement, but was then restricted when the army took over and restricted the media. Old media is easy to control by controling the sources (eg newspapers and TV stations). The internet is the new media model. BurmaNet, funded by the Soros foundation was one of the 1st news sites. Others followed, many based in thailand and with contacts to pro-democracy movements\n\nThe government stepped up its efforts to stop this content and prohibited the ownership of computers without approval. It also made its own propaganda websites. The 2007 protests show that even though the gov attempted to control the media the internet is uncontrollable and info will get out. Web 2.0 was also in full swing with citizen journalists uploading photos, video and blogging. The main news outlets were al using grainy amateur footage.\n\nDuring the protests the gov blocked the internet and cell phones sometimes. \n\nMuch of the blogs were outsite the co

Study from 2007 on 'hyperlocal journalism' - more from the perspective of web-editor, but with some useful information. "The rule in hyperlocal citizen journalism is that no one size or shape fits all. This study, funded by the Ford Foundation, sought to take a snapshot in time of a robust phenomenon - specifically, the development of hyperlocal community news sites - that is changing and growing week by week."

good source of news on central asia and caucasus