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Photographs The photographs collection is a key resource for the visual history of London during the second half of the 19th and 20th centuries. It includes work by both professional and amateur photographers and covers most aspects of London life. It contains some topographical and architectural images but the main emphasis is on social documentary. Notable bodies of work include: * Early topographical views of London by Roger Fenton, c.1857 * Construction of the Metropolitan District Railway by Henry Flather, 1860s * London street life by John Thomson, c.1876 * Historic London buildings by Alfred & John Bool and Henry Dixon, 1870s & 1880s * Poverty in the East End by John Galt, early 1900s * Impressionist views of London by Alvin Langdon Coburn, early 1900s * Suffragettes by Christina Broom, early 1900s * Street and river scenes by George Davison Reid, c.1930 * East End homes by Humphrey Spender, early 1930s * London street life in the 1930s by Margaret Monck, Wolfgang Suschitzky and Cyril Arapoff * Underground shelters during the Blitz by Bill Brandt, 1940 * Bomb damage to the City of London during the Blitz by Arthur Cross and Fred Tibbs, 1940-41 * London street life in the 1950s, 1960s and 1970s, including work by Nigel Henderson, Roger Mayne, Paul Styles, B J Green, Cory Bevington, Jerome Liebling, Lutz Dill, Jim Rice and Paul Trevor * Topographical views of London by Edwin Smith, 1960s * Contemporary work by many photographers including Yoke Matze, Anna Fox, Alan Delaney, Paul Barkshire, Tim Daly, Chris Dorley-Brown, Tom Evans, John R. J. Taylor, Ed Barber, Magda Segal, Paul Baldesare, Dave Trainer, Paulo Catrica, Ronen Numa, Angus Boulton, Janet Hall, Dave Young, Michael Donald, Jason Wilde, John Davies, David Turner Tom Hunter and Mike Seaborne

Academics and artists at London Metropolitan University worked with photographer Paul Trevor to make a selection of his images of East London digitally available to artists, students and researchers. The Collection includes 500 images (chosen from a total of 120,000) of the Spitalfields area from the 1970s to the 1990s, a period of rapid social and physical change. The Paul Trevor Collection is part of a larger archive project at London Metropolitan University, which will eventually include oral as well as visual narratives, that aims to represent aspects of the lives of local East End communities in their distinctive social, economic and political contexts. The process of producing this photographic dimension of the archive was lengthy and gave rise to challenging questions. What are the aesthetic, historical, and social dimensions of creating a photographic archive and how might these be related? Which factors contribute to the construction of a photographic archive as a relevant resource for public history and/or academic inquiry? How can aesthetic and social/political discourses work together to achieve this end?

Home in Elephant London College of Communication has embarked on a long-term project to document the regeneration of Elephant and Castle in south London. A new book featuring the first batch of MA students' work examines the theme of 'home'

Did London bombings turn citizen journalists into citizen paparazzi? Cameraphones and videophones on the scene were important tools in giving the world the first look at the horrific London bombings. But what about people with cameraphones who vied for the most gruesome shots of victims?

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.

Born in Rhuddlan, Wales, Jones Griffiths studied pharmacy in Liverpool and practiced in London while photographing part time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London Observer. He covered the Algerian War in 1962 then became based in Central Africa, moving from there to Asia. He photographed in Vietnam from 1966 to 1968. He went back to Vietnam in 1970 and became famous for his 1971 book on the war, Vietnam Inc.

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"Camera Phones Prevail: Citizen Shutterbugs and the London Bombings by Dennis Dunleavy, Ph.D San Jose, Calif. -July 9, 2005 - Photojournalism history was made last week. For the first time, both The New York Times and The Washington Post ran photos on their front pages made by citizen-journalists with camera phones. Many years ago I found a cartoon of a tourist visiting hell. I think it may have come from the New Yorker, but it could have been Gary Larson's "Far Side" as well. "

"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. "

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.

For a second answer to the question of how photographers will market their work over the next five to ten years we turned to leading UK-based landscape, documentary and fine art photographer Simon Norfolk. Said Simon: "In the few weeks between being asked to write this piece and me actually sitting down to do it, the international financial system has dissolved and the key banks nationalized. All the money I had squirreled away to pay my future taxes and something for Mr and Mrs Norfolk's old age has disappeared in a bizarre Icelandic banking collapse. So my prognosis about the economy over the next 5-10 years is not very optimistic, I'm afraid. I gave up trying to make a living from editorial a few years ago, instead selling my work as limited edition fine art prints through galleries in London, New York and Los Angeles. I still work for magazines - most of what goes on the gallery wall starts out as a magazine commission - but I see magazine fees as start-up capital.

David Rose was a founding staff photographer with the Independent and Independent on Sunday. He has covered many issues in Britain, Europe and the developing world.\n\nHe now works for a range of National and International titles and undertakes commissions for corporate clients. He has won several major UK and Overseas Press Awards.\n\nRepresented by Panos Pictures, London

Nan Goldin & Patrick Wolf The Balland of Sexual Dependancy UBS The Long Weekend @ Tate Modern London 24.05.08

Joy is a graduate of Manchester Polytechnic and the Royal College of Art. She has developed a practise which is concerned with social and political issues with particular reference to history and cultural differences in contemporary society. As a photographer she makes full use of the media from video, digital and analogue photography to Victorian print processes. In 2002, Gregory received the NESTA Fellowship, which enabled her time to research for a major piece around language endangerment. She has exhibited all over the world and shown in many biennales and festivals and is also the recipient of numerous awards. Her work included in many collections including the UK Arts Council Collection, Victoria and Albert Museum, Institute of Modern Art, Brisbane, Australia, and Yale British Art Collection. She currently lives and works in London.

War Reporting: the view from the frontline lcc2.gifWar has come to Polis in the shape of a course I teach at the London College of Communications. After the delights of my 90 minute-long 'history and concepts' lecture we got the real thing from journalists who work at the frontline. And our two guests this week have certainly seen conflict up-close. Newspaper foreign correspondent Kim Sengupta and American photojournalist Danfung Dennis are both outstanding war journalists who take their trade seriously. This report from Polis intern Molly Kaplan.

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.

Foto8 was established in 1998 as an online web journal featuring quality photojournalism by professionals worldwide. Today, it continues to produce innovative online presentations of photojournalism, including providing the online resource for buying essential photography books and tickets to events, publishes the physical quarterly magazine EI8HT and houses the new gallery of photography in London, HOST. Over the years Foto8 has become known for its award-winning documentary photography presented in an exciting online and print format. From classical photo-stories to contemporary multi-media shows the website and magazine, and now the gallery, continue to stimulate and innovate. By showcasing this work Foto8 aims to inform and involve the viewer whilst pioneering new ways to tell stories. Foto8 believes that documentary photography performs an essential role in modern society. It is a valuable tool of communication as well as a vital part of educating ourselves about the lives of others which are often distant from our own. Photography allows us to look into, as well as at, lives of other people, to learn about their world, and in the process to define the issues that are important to us.

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