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THEORY - "Image and Artifact: The Photograph as Evidence in the Digital Age" Image and Artifact: The Photograph as Evidence in the Digital Age By Martha A. Sandweiss The brief essays in this round table collectively explore how photographs can be used to understand the past. Their broad mix of voices-from the archivist and the historian, the photographer and the photographic subject-makes it clear that there is no one way to understand an image. Even a quick reading reveals interpretive tensions: the photographers' intentions clash with the ambitions of the subjects, and both appear at odds with the needs of the viewers, who bring to the image their own experiences and interpretive concerns. Despite their differences, the essays taken together pose two critical questions. What does a historian need to know to interpret a photograph as a historical document? And how stable are images as records of the past?

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.

Aims & Scope Visual Resources: An International Journal of Documentation is devoted to the study of images and their uses. While images of architecture and works of art constitute its main focus, it also includes other subjects and contexts in a wide range of formats. Its scope delves into the past and looks toward the future, revealing how images have influenced the perception of art and how the interpretation of images conditions and enhances academic disciplines such as archaeology, history, and particularly art and architectural history. Visual Resources explores how visual language is structured and visual meaning communicated and also illustrates how picture collections are acquired, organized, indexed, and preserved. VR examines early attempts to document the visual, reports on the state of visual resources, assesses the effect of electronic technology on current and future uses, and provides a platform for reporting innovative ways to organize and access visual information - while aiming to increase the recognition and appreciation of visual documentation. Over the years, VR has published articles about verbal descriptions of art and architecture; copies, casts, and facsimiles; drawings, paintings, and prints; photography; library, archive, and museum collections; iconography; and computers and electronic imagery - and how these have functioned as documents of art and culture. Disclaimer for scientific, technical and social science publications: Taylor & Francis makes every effort to ensure the accuracy of all the information (the "Content") contained in its publications. However, Taylor & Francis and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are no

History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East. The journal aims to provide a significant resource to diverse communities, including, but not limited to, academics, curators, independent scholars, undergraduate and postgraduate students - indeed, anyone with a serious interest in the history and practice of the medium. The journal encourages submissions from young scholars, while also seeking to publish work by established authorities in the discipline. Over the past three decades History of Photography has become an indispensable source of documentary texts, new and original scholarly articles, novel interpretations, and original thinking in this field. History of Photography is a peer reviewed journal overseen by the Editor and supported by a board of scholars of international standing.

Photojournalists Are Getting Artsier -- But Is That What Audiences Want? PDF Print E-mail Written by Dennis Dunleavy Monday, 04 February 2008 ImageWalter Benjamin once suggested that there is no single, absolute, or correct interpretation of a picture, since every viewer brings something unique to the process. At the same time, photojournalistic conventions often constrain how a viewer responds emotionally and intellectually to pictures.

Reading: Andy Grundberg, Crisis of the Real, 1990, chs: 'The New Photojournalism and the Old', & 'Magnum's Postwar Paradox' (pp. 184-195). and/or: Martha Rosler, 'In, Around, and Afterthoughts (on Documentary Photography)', in Liz Wells, The Photography Reader, 2003, pp.261-271.