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Introduction to Digital Storytelling by Daniel Meadows Digital Stories are short, personal, multimedia scraps of TV that people can make for themselves. They're 'mini-movies'. Desktop computers enabled with video editing software are used to synchronise recorded spoken narratives with scans of personal photographs. This project requires commitment for, as well as all the technical stuff that must be learnt, script writing, picture editing and performance skills are also needed and these have to be worked on, which is why most Digital Stories are made by people attending workshops where participants can benefit from the help and advice of facilitators. People of all ages and abilities make Digital Stories and many have testified how rewarding the experience is for, when their story is shared with friends and family or posted on the web, they find they have discovered a new voice. There's a strictness to the construction of a Digital Story: 250 words, a dozen or so pictures, and two minutes is the right length. As with poetry these constraints define the form (e.g. a haiku is a poem written using 17 syllables, and the 14 lines of a sonnet are written in iambic pentameter) and it's the observation of that form which gives the thing its elegance.

Blackboard Collaborate software solutions offer a social, interactive learning experience with virtual classrooms, online conferencing, instant messaging and more collaboration tools.

Stephen Mayes, Managing Director of VII Photo Agency, served as Jury Secretary for the World Press Photo Awards from 2004-2009. On May 3, 2009, he gave a lecture at the awards ceremony highlighting his personal observations and insights about the process of awarding the most prestigious prize in photojournalism. Introduction by Michiel Munneke, Managing Director of World Press Photo Foundation.

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

Introduction The Ur-List: Web Resources for Visual Anthropology facilitates web searches by cross-indexing three hundred and seventy-five anthropological sites according to the categories of information they contain. The Ur-List's cross-index is more accurate than most Web-resource guides which typically reduce a site's multifaceted content to only one category. In the Ur-List, sites may be accessed according to the twenty-two subject-categories listed above. Multifaceted sites are cross-referenced under all appropriate categories.

there are more than 55,000 artists from all over the world contributing their artwork to iStock. Their images, illustrations, and videos sell in the world's busiest royalty-free market

Digital Storytelling is the practice of using computer-based tools to tell stories. As with traditional storytelling, most digital stories focus on a specific topic and contain a particular point of view. However, as the name implies, digital stories usually contain some mixture of computer-based images, text, recorded audio narration, video clips and/or music. Digital stories can vary in length, but most of the stories used in education typically last between two and ten minutes. And the topics that are used in Digital Storytelling range from personal tales to the recounting of historical events, from exploring life in one's own community to the search for life in other corners of the universe, and literally, everything in between. A great way to begin learning about Digital Storytelling is by watching the following video introduction to Digital Storytelling.

Digital Images and Fair Use Web Sites Maryly Snow Librarian Architecture Slide Library University of California, Berkeley I'm going to discuss digital images on the World Wide Web using three fair use web sites as examples: SPIRO, the visual public access catalog of the Architecture Slide Library at the University of California, Berkeley; the Vincent Van Gogh Information Gallery; and the Art Imagebase from the Fine Arts Museums of San Francisco. This presentation is structured into three segments: introduction to the notion of fair use web sites; presentation of the three fair use web sites; problems and idealized solutions for the use of digital images in fair use web sites.

n asbestos fibre the diameter of a human hair is actually a cluster of two million individual fibres which could fit onto the head of a pin. If inhaled, minute fibrils can work their way deep into the lungs, where they cause asbestosis, lung cancer or mesothelioma, an otherwise unknown cancer of the lining of the lung or the abdominal cavity'. All of the three principal types of asbestos, white, brown and blue are carcinogenic, blue being the most deadly. Mesothelioma is invariably fatal and associated with the inhalation of asbestos fibre, usually blue asbestos. Even the most trivial exposure might result in mesothelioma, which can be latent in the body for forty or more years. Once the cancer becomes active, death follows inexorably within about twelve months. After witnessing the excruciatingly painful death of a friend who contracted mesothelioma I did some exploring of the aftermath of the mining of blue asbestos in Australia and South Africa. These are some of the photographs that resulted. In this introduction I briefly review a few of the factors at work in that aftermath.

This is a practical introduction to the photo equipment used in my professional photography studio part 1 of 2

Part 2: this is a practical introduction to the photo equipment used in my professional photography studio.

This session covers the wimba interface, and how we deliver the course and its structure

I've given many presentations on crisis mapping over the past two years but these were never filmed. So I decided to create a video presentation with narration in order to share my findings more widely and hopefully get a lot of feedback in the process. The presentation is not meant to be exhaustive although the video does run to about 30 minutes. The topics covered in this presentation include: * Crisis Map Sourcing - information collection; * Mobile Crisis Mapping - mobile technology; * Crisis Mapping Visualization - data visualization; * Crisis Mapping Analysis - spatial analysis.

This blog is for volunteers, webmasters and administrators of associations, clubs, charities, communities and other groups. We discuss issues and trends in modern web technologies that help your organization achieve more with less. This blog is sponsored by Wild Apricot membership software: a set of tools for membership administration, event registration, website management, online fundraising - with friendly and knowledgeable tech support. See for yourself how affordable and easy it is to use: - Take a tour!

Introduction to a series of reports hosted by the Nieman Foundation for Journalism at Harvard on citizen journalism, from Winter 2005. Includes articles from BBC world service director Richard Sambrook and Santiago Lyon and Lou Ferrara from AP

New York Times Magazine Withdraws Altered Photo Essay UPDATE, 5:57 p.m. ET: The New York Times has published a new editors' note about the altered photo essay that was published in Sunday's Times Magazine. The newspaper says "most of the images did not wholly reflect the reality they purported to show." The note does not address which photos were altered, or whether the photographer misrepresented them to the editors. PDN has tried to reach Edgar Martins, the photographer, but has not heard from him. Here's the Times' note: "A picture essay in The Times Magazine on Sunday and an expanded slide show on NYTimes.com entitled 'Ruins of the Second Gilded Age' showed large housing construction projects across the United States that came to a halt, often half-finished, when the housing market collapsed. The introduction said that the photographer, a freelancer based in Bedford, England, 'creates his images with long exposures but without digital manipulation.' "A reader, however, discovered on close examination that one of the pictures was digitally altered, apparently for aesthetic reasons. Editors later confronted the photographer and determined that most of the images did not wholly reflect the reality they purported to show. Had the editors known that the photographs had been digitally manipulated, they would not have published the picture essay, which has been removed from NYTimes.com."

Introduction Here follows the lecture prompts for part I of my 2008/9 lectures on Computer Assisted Reporting (CAR). For part II on sources - see here. Because of the speed at which new initiatives (and relevant research examples) come and go in this field, I'll be adding updates on this post from time to time. But to stay fully up to date with developments, keep an eye on my blog and website. Computer Assisted Research (CAR): why? * Once research was the domain of librarians and researchers - not anymore. * Rapid developments in online technologies; contributor finding, fact-checking, current awareness, multimedia. * Changes in the news landscape (fragmentation of market and 'efficiency drives'). * Journalists must now do all their own research.