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'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'.

"Corentin Wauters: Gamma is one of the most famous photojournalism agencies. Some even call it legendary. How important has it been for photojournalism? Michiel Munneke: I think Gamma - but also others like Magnum, for instance - played an extremely important role from early years on, especially in documenting crucial news events around the world. It's important to realise that in those days you had magazines like Life and the Picture Post who very generously allocated tens of pages to events like the war in Vietnam, for example. Those publications and photographs made a huge impact on their readerships. I think it's fair to say that the founders of Gamma, like Raymond Depardon - although he moved to Magnum at the end of the '70s - and Gilles Corron, who died in 1970 in Cambodia, can be classified as legendary. They played a very important role in news documenting in those years. Raymond Depardon said that in 1966 you only had to travel far away and take three shots to get published in magazines Paris Match or Le Nouvel Observateur. How has the profession of photojournalism changed since Gamma was founded? If Depardon was saying that competition for space in publications like Paris Match or Le Nouvel Observateur is stronger, then he's absolutely right. Competition is far more severe. Circulations are going down, advertising revenues are shrinking, and consequently budgets for journalism and for photography are being cut. image Nowadays its very rare that publications send photographers for assignments overseas. Take a renowned magazine like Time. They still have photographers on staff but they very rarely get assignments to go overseas. It's a sign of the times. Gamma, but also other big photojournalism agencies like Sipa, were founded in Paris. The city had a big name as a centre for photojournalism. To what extent is that true today? I think for those years it was really true. But now, in the era of globalisation and digitisation, it doesnâ

here is talk about a crisis in journalism, which generally takes the form of angst-ridden journalists, editors and news folk in general asking, "How do we maintain the commercial status quo without which journalism as we know it will be gone?" The question is sincere and extends beyond the fear of losing jobs; there is a genuine concern that the investigative and informative roles of the news media will be lost with a high cost to the civic health of our society.

Some general comments on the "Twitter Experiment" by Monica Rankin (UT Dallas) There has been a lot of interest in the "Twitter Experiment" video posted by Kim Smith chronicling my U.S. History class at U.T. Dallas and our use of twitter in the classroom. I have fielded a number of inquiries from educators across the United States and even overseas who are interested in finding ways to use social networking in an educational setting. This write-up is intended as an informal summary of my use of twitter in the classroom. I hope it will help to clarify my experience and I welcome additional questions and commentary, particularly suggestions for how to improve this type of classroom interaction. The class: I used twitter in the basic U.S. History II survey course at U.T. Dallas in the spring 2009 semester. This is a "core" course requirement in the state of Texas. It generally enrolls students from all majors across campus. At the beginning of the semester, there were 90 students enrolled in my class. The class met in a large auditorium-style classroom on Monday, Wednesday, and Friday from 11:30-12:20. I had one graduate student teaching assistant to help with grading and other administrative duties for the class.

"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

Article focusing on the convergence of traditional news reporting and web2.0 style user-generated content, from MIT's Convergence Culture Consortium (February 2007)

Photography Websites: How to design a website that image buyers will love website-montage.jpg We're releasing something special today. If you're selling photos online, displaying your portfolio to get more commercial or editorial assignments, or even designing websites for photographers, you'll want to have a look at this. Do you ever wonder, "Is my website doing its job? Am I working hard to get people there, only to have the site itself betray me?" Don't worry, you're not alone (being betrayed by your website is a growing problem). When we launched our photography website templates last fall, we picked up on this very fact - photographers and designers generally build websites based on their artists' intuition, and leave sound business reasoning aside. That's bad, of course, when you want your website to support your primary business goal - selling more of your work.

Much has been written about the questionable research, writing, and presentation of indigenous people in Papua New Guinea (PNG) in Jared Diamond's New Yorker article, "Vengeance Is Ours: What can tribal societies tell us about our need to get even?"  I would like to place the article and discussion of it in a more general context of media ethics and media coverage of indigenous people. Moreover, I would like to consider it in the context of the important work that indigenous people around the world are doing, to tell more accurate stories - in their own voices - and to create their own media outlets and networks.

" It's been very fashionable to focus on the weakness and the banality of America, but what I wanted to say is that it's also a very exciting and fascinating place. - Joel Sternfeld, 1987 Joel Sternfeld's projects can perhaps be divided into two general groups: site-specific landscapes somehow connected to human presence (though people are rarely present in them) and shot during distinct periods of time, and a more ranging, long-term examination of the United States accomplished largely by photographing Americans contextualized by their environments. "

"In Biafra in 1968, a generation of children was starving to death. This was a year after oil-rich Biafra had seceded from Nigeria, and, in return, Nigeria had attacked and laid siege to Biafra. Foreign correspondents in the blockaded enclave spotted the first signs of famine that spring, and by early summer there were reports that thousands of the youngest Biafrans were dying each day. Hardly anybody in the rest of the world paid attention until a reporter from the Sun, the London tabloid, visited Biafra with a photographer and encountered the wasting children: eerie, withered little wraiths. The paper ran the pictures alongside harrowing reportage for days on end. Soon, the story got picked up by newspapers all over the world. More photographers made their way to Biafra, and television crews, too. The civil war in Nigeria was the first African war to be televised. Suddenly, Biafra's hunger was one of the defining stories of the age-the graphic suffering of innocents made an inescapable appeal to conscience-and the humanitarian-aid business as we know it today came into being. "

This is not designed to be a course on the history of photography such as a resource to dip into. In addition to pen-portraits of many of the most important photographers of the period, it contains information on some of the most significant processes used during the early days of photography. The project was confined to the first eighty years or so, as this is often a convenient cut-off point in books and when dividing courses into a syllabus. To some extent this has been a frustration, in that there have been many important developments and many interesting photographers who practised during and subsequent to that date. It is hoped that a sequel will be forthcoming in due course. This work is intended to be of general interest, but it may also be a useful starting-off point for students preparing for courses which include brief study of the history of photography. The site will be revised regularly in the light of feedback and further study.

Over the past 20 years, photographer and filmmaker Robert Frank has been something of a recluse, a sort of art-world J.D. Salinger, avoiding the public and generally declining requests for interviews. Dividing his time between his old loft on Bleecker Street in Manhattan and a former fisherman's shack on the coast of Nova Scotia, Frank has deliberately eschewed the trappings of celebrity in recent years despite growing acclaim for his work as a photographer--or perhaps because of it. In 1989 he became so fed up with the commercialization of the photography market that he nailed a stack of his rare vintage photographs to a board, tied it up with baling wire, and called that his art work. Such acts of defiance have only added to the legend of Frank's irascibility and desire to be left alone.

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.

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The Visual Studies Workshop is committed to expanding the potential of the media arts, and their impact on visual culture, through innovative programs in education, research, production and community service. We are an internationally recognized center for media studies, including photography, visual books, digital imaging, film and video, located in two historic buildings, comprising 44,000 feet of space in Rochester's museum and cultural district. We serves visual artists and the general public with diversified programming in education and exhibitions.

THEORY - "The Indecisive Moment: Frank, Klein, and 'Stream-Of-Consciousness' Photography" THE INDECISIVE MOMENT: FRANK, KLEIN, AND 'STREAM-OF-CONSIOUSNESS' PHOTOGRAPHY By Gerry Badger "Frank … and Klein brought to the decade a feeling for its woes which, in retrospect, synthesizes it for us. There hovers in their work an oppressive sense of the odds against which people struggled, the dismal mood and chance of defeat that lowered the emotional horizon. This was all the more striking because of the general affluence of the period, underway shortly before the start of Frank's and Klein's major effort, in the great boom of 1955. These transplanted photographers found live and visual metaphors for the bleakness of this Cold War moment, and the deadness of the things in it. For those who remember the era, these photographic evocations of it have the keenest resonance; for those who came later, The Americans and New York offer a wondrous guide."

Overview The Exhibitions Program at the Center for Documentary Studies presents images, documents, sound, and written experiences in four galleries, bringing to light telling details and resonant moments in everyday life that might otherwise go unnoticed. CDS exhibitions connect people to those moments, and to a larger story. Serving as a community forum for documentary work, the galleries make the documentary arts accessible to a general audience and present experiences that inform, heighten our historical and cultural awareness, create discourse, foster understanding, and confront traditional views of "others."

Reporting War - why do they do it? lcc1.gifPolis has taken to the battlefield with three talks by journalists back from the frontline: A multi-media man who has been shot in the course of his work for the Guardian and others; a top TV camera journalist who runs his own production company and has made films for the likes of Newsnight as well as a documentary feature out next year; and an Iraqi who has worked through the recent war and now trains a new generation of journalists. All of them had strong motives for taking the risks and making the extraordinary effort that conflict journalism demands. Here's a report on their talks to students at the Polis course at the London College of journalism.

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.

A little while ago, I received an email that told me about a project photojournalist James Nachtwey had been working on, which was going to get unveiled at a later date. The email contained the request to write a post that included some piece of code, which would automatically reveal the new project on the day in question. Since I prefer to have full editorial control over this blog, I decided not to post about it. But I was also uncomfortable with how this then secret project - something supposedly very important and completely underreported - was being handled. I thought that generating a lot of suspense could easily be somewhat damaging to whatever it was Nachtwey wanted to talk about: What if on the day in question people would think "Well, this is it?"