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"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

THEORY - "The Treacherous Medium: Why Photography Critics Hate Photographs " The Treacherous Medium: Why photography critics hate photographs Boston Review, by Susie Linfield In 1846, Charles Baudelaire wrote a little essay called "What is the Good of Criticism?" This is a question that virtually every critic asks herself at some point, and that some have answered with hopelessness, despair, even self-loathing. Baudelaire didn't think that criticism would save the world, but he didn't think it was a worthless pursuit, either. For Baudelaire, criticism was the synthesis of thought and feeling: in criticism, Baudelaire wrote, "passion … raises reason to new heights." A few years later, he would explain that through criticism he sought "to transform my pleasure into knowledge"-a pithy, excellent description of critical practice. Baudelaire's American contemporary Margaret Fuller held a similar view; as she put it, the critic teaches us "to love wisely what we before loved well."

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.

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.

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.

Multimedia Picker: Choose the right medium for your message Thursday, April 02, 2009 With all the different ways to present a news story online, many often ask how they should select the multimedia tool that is best for a particular story. There is never any concrete answer, but with the multimedia picker embedded below, you can at least have an idea of which technology will work best to showcase a story or idea.

Long before the first public announcements of photographic processes in 1839, Joseph Nicéphore Niépce, a scientifically-minded gentleman living on his country estate near Chalon-sur-Saône, France, began experimenting with photography. Fascinated with the craze for the newly-invented art of lithography which swept over France in 1813, he began his initial experiments by 1816. Unable to draw well, Niépce first placed engravings, made transparent, onto engraving stones or glass plates coated with a light-sensitive varnish of his own composition. These experiments, together with his application of the then-popular optical instrument, the camera obscura, would eventually lead him to the invention of the new medium.

Stills opened in 1977 as Scotland's first gallery specialising in contemporary photography. Since then, we have extended our facilities and now provide the best photographic darkrooms and digital production facilities in Scotland Stills is a vibrant platform for creativity. Our integrated programmes illuminate the fascinating medium of photography, exploring everything from its technical and aesthetic developments through to the central role it plays in contemporary culture. Production and exchange form the heart of our activities as we work with artists and audiences to catalyse the creation of new ideas, artworks and dialogues. Supporting artists is a core part of what we do - from research and production through to display and critical consideration.

The Museum of Contemporary Photography (MoCP) is the only museum in the Midwest with an exclusive commitment to the medium of photography. By presenting projects and exhibitions that embrace a wide range of contemporary aesthetics and technologies, the Museum strives to communicate the value and significance of photographic images as expressions of human thought, imagination, and creativity.

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.

Welcome The Royal Photographic Society was founded in 1853 'to promote the Art and Science of Photography', a mission it continues to this day in the United Kingdom and through its considerable overseas membership. Membership is open to everyone interested in photography: be they amateur or professional, artist or scientist, young or old. As well as becoming a member of The Society itself, many members also Join one or more of the specialist Groups which concentrate more closely upon their chosen interests within the medium.

Photographies seeks to construct a new agenda for theorising photography as a heterogeneous medium that is changing in an ever more dynamic relation to all aspects of contemporary culture. Photographies aims to further develop the history and theory of photography, considering new frameworks for thinking and addressing questions arising from the present context of technological, economic, political and cultural change. Photographies will investigate the contemporary condition and currency of the photographic within local and global contexts. The editors seek research papers and innovative visual essays, shorter papers engaging new debates, review essays evaluating publications, cultural events, key developments, exhibitions and conferences. Photographies aims to: - establish a sustained and dynamic forum for the development of the history and theory of photography, - consider new frameworks for thinking and addressing questions arising from digital technologies and economic, political and cultural change, - examine contemporary uses and currencies of the photographic within local and global contexts, - identify, develop and discuss emergent critical debates and practices, - publish work in the humanities and social sciences which has a bearing upon our understanding of photography thereby locating debate within a wider community.

There are few single works of art that have changed the direction of their medium. In 1959, one book dramatically altered how photographers looked through their viewfinders and the way Americans saw themselves. The Americans was the work of Swiss-born photographer Robert Frank, and the National Gallery of Art is celebrating the 50th anniversary of the book's American debut with an exhibition. Curator Sarah Greenough says The Americans was actually reviled when it was first published in the United States. "Popular Photography asked a number of writers to critique the book and almost all of them were very negative," Greenough says. "It was described as a sad poem by a very sick person."

Since it first began more than a decade ago, Paris Photo has won recognition as the world's premier fair for still photography. This unique event offers a panorama of fine art photography from its early days to the present day, and presents a forward-looking overview of global trends and expressions available in this medium.

Amazing Photojournalism: Where to find the best in news photography Tuesday, November 18, 2008 The internet is full of photojournalists that are capturing the world in new and innovative ways. The following sites are showcasing the best of the medium and are an inspiration to professional and aspiring news photographers everywhere:

In 1973 Henri Cartier-Bresson spoke as part of a series organized by Cornell Capa. HIs observations on photography are paired here with many of his most well known images. In this excerpt of the DVD available from icp.org, you get a sense of his succinct insightful observations on the photographic medium.

"The Passion of Walker Evans" By: Daniel Mark Epstein, New Criterion, March 1, 2000 America's infatuation with photography has thrived upon its easy accessibility. By 1903, the year Walker Evans was born, George Eastman had made the roll-film camera so cheap that soon no family reunion or Sunday picnic need ever lack a "photo artist" to immortalize it. Amateur camera societies and photo exhibitions sprang up in cities and towns from coast to coast. And while professionals like Alfred Stieglitz fought for "the serious recognition of photography as an additional medium of pictorial expression," arguing that the photographer's gift, like the painter's, was privileged vision, the larger public remained quite content with the belief that one person's photo was pretty much as good as another's.

"We the Media, has become something of a bible for those who believe the online medium will change journalism

It's an anxious time to be graduating from journalism school. The economy is in the tank and newsrooms are being decimated. But yet, it is also a great time to be a journalist, with more news and information available than ever before and more ways than ever to reach audiences. At the recent International Symposium on Online Journalism at the University of Texas at Austin, I asked a range of professionals what advice they had for journalism graduates entering the job market. There was broad agreement that students should leave journalism school being able to work across print, broadcast and online. At the very least, they should understand the new tools available to reporters and be continually learning. As one professional said, school is just the beginning of learning. At the core is good writing and reporting, regardless of the medium. But to stand out from the crowd, journalism graduates should follow their passions, develop an area of specialization and master that area.