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About Media Helping Media PDF Print E-mail Thursday, 19 October 2006 Media Helping Media (MHM) has been set up to provide training resources and a voice for those involved in the media in transition states, post-conflict countries and areas where freedom of expression and media freedom is under threat. Training resources The aim is to bring together a variety of training resources which are available for all to use for the benefit of anyone working in the media in difficult circumstances. All are free-of-charge and can be reproduced, as long as Media Helping Media (or any guest authors) are credited. Contributed articles Some articles will be contributed by registered members of MHM who are active in media freedom and human rights organisations and, as such, these articles may not offer both sides of an issue and may not be balanced. Other articles will be written by journalist or media leaders who claim to be under threat and who make no attempt to offer balance or impartiality in the pieces they submit. MHM doesn't seek to achieve balance on their behalf.

Welcome, fellow photographers from around the world. We have collected quotations that we hope will help promote the art of photography. If the reader is aware of others that deserve to be recognized here, we would appreciate your sending them to us. We have tried to accurately credit all sources for the quotations we have used. If anyone can offer corrections or additional information, it will be appreciated. If any source objects to being quoted here, or if we have strayed into any copyrighted materials, our sincere apology - please advise us and, if you wish, your quotation will be removed. Our goal is to include a short biography for each source. Knowing the contribution of each source, and the time period each lived and worked, may add additional meaning to the quotations listed here. If you have information about any source (birth date, death, employment, interesting anecdotes, accomplishments), please send it to us. Your help is needed to make this an interesting site. We intend to update this page monthly, so please check back from time to time. Thanks for your visit, and enjoy!

The key goals of The Commons on Flickr are to firstly show you hidden treasures in the world's public photography archives, and secondly to show how your input and knowledge can help make these collections even richer. You're invited to help describe the photographs you discover in The Commons on Flickr, either by adding tags or leaving comments.*

Business Links Below are links that can help you in your business. By linking to these private sites, the ASMP is not endorsing its products, services, or privacy or security policies. We recommend you review the business's information collection policy or terms and conditions to fully understand what information is collected by this private business. Visit Industry Links for links to manufacturers, suppliers and other resources that could help you in your business.

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.

Wimba Classroom 6.0 Participant Guide This Help Guide is designed to assist you with Wimba Classroom to participate in an interactive session or view an archived presentation. You will also find information for solving technical problems.

Three startups are trying to help amateur news photographers sell work to media outlets. But will these agencies deliver enough quality photos?

"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

"Nick Kristof has one answer: Focus on the individuals in the story, leaving the aid bureaucracies just outside the frame. Make readers care about places and people they will probably never see by bringing them stories of hope and inspiration: the American woman who leaves behind her family to help rape survivors in the Congo; the orphan boy in Zimbabwe who dreams of and gets a bicycle."

Welcome to "Masters of Photography". Feel free to browse through the list of artists on the left, and be sure to read the articles and check out the resources, as well as viewing the photographs. Those not overly familiar with many of the photographers will find the Photographer Summaries helpful in browsing the site.

Panos Pictures is a London-based independent photo agency representing photojournalists worldwide. Our photographers document issues and geographical areas which are under-reported, misrepresented or ignored. In a media climate dominated by celebrity and lifestyle Panos aims to provide fresh perspectives on the world. Panos photographers are available for assignment on every continent. Their in depth knowledge of local conditions enables them to deliver even in the most difficult situations. This website allows you to search, download and purchase from our ever growing archive of digitised images. If you cannot find the image you require our experienced researchers are on hand to help you locate what you are looking for in our physical archive of over 500,000 images. Half of the profits from the agency are given to the Panos Insititute to further its work on issues around media and communications, globalisation, HIV/AIDS and environment and conflict.

At PixelPress our intent is to encourage documentary photographers, writers, filmmakers, artists, human rights workers and students to explore the world in ways that take advantage of the new possibilities provided by digital media. We seek a new paradigm of journalism, one that encourages an active dialogue between the author and reader and, also, the subject. Our online magazine features projects that use a variety of linear and non-linear strategies, attempting to articulate visions of human possibility even while confirming human frailty. For us the digital revolution is a revolution in consciousness, not in commerce. We work with organizations such as Crimes of War, Human Rights Watch, World Health Organization and UNICEF to create Web sites that deal directly with contemporary issues in complex and innovative ways that circumvent media sensationalism and simplification. We also try to factor in ways that the viewer can help remedy social problems, rather than remain a spectator. Recently we completed a site focusing on how to end polio worldwide; another trying to aid an orphanage in Rwanda; one trying to reclaim the Brazilian forest; and a site featuring the images of photographers from the Vietnam War. And we also create books with photographers such as Machiel Botman, Kent Klich and Sebastião Salgado on social themes, as well as traveling exhibitions using both digital and conventional processes.

The UPDIG guidelines aim to clarify issues affecting accurate reproduction and management of digital images. These guidelines were created to establish photographic standards and practices for photographers, designers, printers, and image distributors. The guidelines cover Digital Asset Management, Color Profiling, Metadata, and Photography Workflow. Version 4.0 of the guidelines represents the industry consensus as of Sept 22, 2008. The guidelines were prepared by the UPDIG Coalition, with the help of many digital imaging professionals, software vendors, and hardware manufacturers. The UPDIG Coalition is dedicated to promoting standards for photographic digital imaging.

Photo Tampering Throughout History\n\nPhotography lost its innocence many years ago. In as early as the 1860s, photographs were already being manipulated, only a few decades after Niepce created the first photograph in 1814. With the advent of high-resolution digital cameras, powerful personal computers and sophisticated photo-editing software, the manipulation of digital images is becoming more common. Here, I have collected some examples of tampering throughout history.\n\nTo help contend with the implications of this tampering, we have developed a series of tools for detecting traces of tampering in digital images (contact me at Ma'at Consulting for more information about our services).

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

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.

Business Tips for the Freelance Photographer By Ira M. Gostin, MBA, © 2008 www.gostin.com This article, and the others in the series, will provide you with tips for establishing, building and growing your photography business. Like any consultant, opinions are presented based on my own experiences and a great deal of research gleaned from 25 years of running a photography business along with an MBA education. Collect data from multiple sources and make decisions that are best for your individual business. The smarter you operate your business, the more opportunity to be creative and have fun. I hope these articles help.

Terms & Conditions for your business paperwork Good paperwork is of the utmost importance in your business. It helps prevent misunderstandings, protects your legal and financial interests, and conveys a crisp, businesslike impression to your clients. Every few years, ASMP publishes a new edition of its manual Professional Business Practices in Photography. The sample business forms in that book represent the best business practices in our ever-changing industry. The medium of print, however, is entirely static and cannot convey the vast range of options that good paperwork must encompass. The Web, in contrast, provides a malleable medium in which the text can be varied to reflect the choices made by users. Hence this module.

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.

Going Digital By Angela Wolff It's the question every photographer asks when making the switch from film to digital: Which camera is right for me? It should be no surprise that the answers are as varied as their subjects and work styles. For many, the decision boils down to the equipment already in use; sticking with the same manufacturer can shorten the learning curve and cut costs. For others, a close examination of business needs balanced with camera capability will help clarify the choice. But whatever you do, don't make the decision based on cost alone. "A lot of people are buying on price, and with [these things] you just can't do that," said Lon Atkinson of Atkinson! Studios in San Diego. "You need to carefully define your specific needs and pick based on what best fits your business."