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PhotoPlus Seminar: Making a Good Impression on Clients\n\nIf there was a unifying theme to Mary Virginia Swanon's "First Impressions: Selling Yourself in 20 Minutes" seminar today, it was Do Your Homework. Before you approach a photo buyer, photo editor, or gallery owner, Google him or her. Study the publication or ad agency they work for to figure out what photography they're looking for, and make sure your work is a good match (because clients are never impressed by photographers who waste their time).

welcome to impressions gallery photography that gets people looking, thinking and talking

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.

AKE Group The world of the 21st century presents many risks to the effective development and prosecution of business, particularly in developing markets. While modern communication has created the impression of a global village it has distorted our perception of the reality of risk. Since 1991 AKE has helped clients perform more effectively despite the risks of their operational environment. Our holistic approach to risk mitigation seeks to provide solutions with the aim of assisting our clients: 'To protect the integrity of the operation in order to maximise potential' AKE's six service lines: Intelligence, Security, Training, Medical, Contingencies (Emergency Planning, Crisis Management and Crisis Response) and Insurance create a unique capability to deliver effective solutions for clients. AKE provides integrated solutions, added value and Assures Integrity

My lai massacre in pictures, U.S army photographers captured the events of the day, from the morning at LZ Dottie to the massacre itself. Some of the photos of the operation were published in a U.S Army newspaper without giving the impression that a massacre had taken place, other photos were secretly taken by R. Haeberle on his own camera, rather than the army issued one which was subject to censorship an estimated 504 Vietnamese civilians were killed by U.S. Army forces on March 16, 1968, in the hamlet of My Lai, during the Vietnam War

The Beauty of the Slideshow - Now Available to Everyone By Stanley LearystanleylearycloseAuthor: Stanley Leary See Author's Posts (38) Recent Posts * Still Images Plus Audio Can Be More Effective Than Online Video * Teaching Is a Great Way to Learn * Telling Stories with a Telephoto Lens * If Your Pictures Aren't Good Enough, You're Not Close Enough * What Kind of Photographer Are You? Stanley Leary is a Black Star photographer who has been telling stories for more than 20 years as a photojournalist. His work has appeared in Newsweek, Business Week, Sports Illustrated, Wired, Chicago Tribune, NY Times, World Book Encyclopedia, Information Week, Popular Mechanics, Technology Review, Atlanta Journal and Constitution, and many other publications. in Video and Multimedia on January 20th, 2008 Even before the Internet, I appreciated the slideshow. I created presentations with multiple projectors and audio, and I was always impressed with what the combined media could communicate. Even compared to video - where you move right through a moment so quickly you can miss the subtlety of it - the slideshow has its unique charms. The problem, in the old days, was that you had to have the audience present to deliver the program; it was a lot of work for a small number of people. The printed page reached a much larger audience. Today, with the Web becoming the leader in delivering the news, we are no longer limited to printed words and still images on the page. Rather than publishing a quote, we can deliver audio of the interviews and the experience, giving a story authenticity in a way that we couldn't achieve before. We can create slideshows for everyone - to watch whenever they choose.

Renzo Martens' Episode 3 : Analysis of a Film Process in Three Conversations Els Roelandt first published in A Prior Magazine #16, February 2008 I. Last summer, during my trip to Kassel for Documenta 12, I spoke with the young Dutch artist, Renzo Martens (b. 1973), who was barely known to me. To be specific, I had already met Martens, at another point in the summer's so-called 'Grand Tour'. Martens and I had shared a small apartment in Venice with some other colleagues and artists. I saw very little of him. As the only man in the group, he kept conspicuously to himself. He was quiet, ironing his shirts or practicing yoga. He barely spoke and impressed me as one of the most detached individuals I had ever met. Ultimately, thanks to our - coincidentally concurrent - visits to Documenta 12, we only really began a conversation somewhere near Duisburg , on the drive from Kassel back to Brussels .

The photograph, framed without margins and behind Plexiglas, is just under four and a half feet high by nearly nine and a half feet wide. Its title is A Lunch at the Belvedere, and it depicts an actual event that took place at the Hotel Belvedere in Davos, Switzerland, during the World Economic Forum of 2004. The lunch was hosted by Pervez Musharraf, president of Pakistan, whose guest of honor was the famous American financier-philanthropist George Soros. The diners, eleven men, sit facing the viewer--though none looks toward the camera--on the far side of a long table that runs the full width of the picture. (To take this in the viewer must begin his or her engagement with the work by standing ten or twelve feet back from it.) One has the impression that the lunch has not properly begun. For the most part the men are talking quietly with one another, and to the left a chic young woman, possibly a waitress, bends over the table as if serving or taking an order. The image is by far most arresting toward its center, where the elegant, dark-haired and mustached Musharraf is shown talking earnestly to Soros, while a third man, to Soros's left, listens in. And what is arresting is precisely the extraordinary accuracy, as it seems to one, of the depiction of an entire range of small-scale, unemphatic, but nevertheless intensely photogenic gestures, expressions, postures, and pieces of behavior: for example, the small-scale gesture--scarcely more than a tensing of the wrist--of Musharraf's partly open left hand as he makes his point; the downward cast of Soros's head and his inscrutable, almost sullen-seeming facial expression as he plays with something on the tablecloth with his left hand; and the diffident demeanor of the third man who sits with both elbows on the table and his hands clasped.

David Simon Blasts Citizen Journalism, Prescribes Non-Profit Newspaper Model We listened to articulate, qualified, high-minded participants in Sen. John Kerry's subcommittee hearing on the bleak future of journalism this week (as his hometown paper, The Boston Globe, struggles to stay afloat). One who impressed most was longtime Baltimore Sun cop reporter David Simon, who parlayed his journalism experience into a thriving career as a top TV drama producer. His venerated shows (including HBO's "The Wire") often investigate thorny journalism issues.

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

"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