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Eye on Image-Making: Eight Tips for Aspiring Photographers By David WeintraubdavidweintraubcloseAuthor: David Weintraub See Author's Posts (37) Recent Posts * Eye on Image-Making: Eight Tips for Aspiring Photographers * Notes from the VisCom Classroom: Teaching Video * Eye on Image-Making: Five Ways to Tell if a Photographer Is Really in Business * Eye on Image-Making: Portraiture Now * Notes from the VisCom Classroom: Is It Better to Teach Full Time or Part Time? David Weintraub is a writer, editor, photographer, and educator based in Aiken, SC. He is the author of eight travel books and many articles for publications such as Photo District News, Outdoor Photographer, and Hemispheres. David has a master's degree in journalism and mass communications from the University of South Carolina, where he is a full-time instructor teaching visual communications and writing. in Business of Photography on April 7th, 2009 I almost don't recognize Shawna Simmons when she appears in my office doorway. A 2007 graduate, Shawna has returned to the University of South Carolina's School of Journalism and Mass Communication to give several presentations as part of the school's I-Comm Week, an annual exploration of the latest trends in mass media. While an undergraduate, Shawna majored in visual communications. She was my student in our two photography courses, Photovisual Communications and Advanced Photovisual Communications. Now here she is, dressed in a stylish outfit capped by a black leather jacket, having just flown in the night before from New York.

THEORY - "Boris Mikhailov: A Terrible Beauty" A Terrible Beauty by Sue Hubbard Boris Mikhailov: Case History The Saatchi Gallery 13th September- 25th November Boris Mikhailov is sixty-three, has dyed black hair, a white moustache and a young wife. Born in Kharkov in the Ukraine, he has recently exhibited at The Photographers' Gallery, just been awarded the Citibank Photography Prize and is now showing his work, Case History, which consists of over 400 photographs taken in the Ukraine, at The Saatchi Gallery. For anyone with a taste in postmodern irony, there is plenty to be found here. For Mikhailov takes pictures of the bomzhes, the homeless down and outs, victims of the economic and social collapse in the former USSR. But Boris Mikhailov is no Bill Brandt or Don McCullen capturing life's gritty realities with a clear humanist agenda, nor is he an objective eye simply documenting what he sees from behind his lens. Rather he is a director, a creator of mise en scènes, who seeks out the alcoholic, the drug addict, the ill and the dispossessed and then pays them not only to pose for him, but to expose themselves - genitals, scars, menstrual blood and hernias - to his scrutinizing gaze. This is the ultimate market exchange, the sale, for a few kopeks, of these peoples' only resource, their bodies. Like all capitalists and entrepreneurs they sell what they have for the best offer, in this case to a photographer who takes their pictures, which will then be consumed by the international art world. The irony is brought full circle, in a game of signifiers and signs, by the fact that it is Saatchi, the advertising guru who gave us 18 years of Thatcherism, who is playing host to these photos of some of the world's most abject. What, I kept wondering, would these subjects make of the private view, where the likes of Tracy Emin quaff champagne in her latest Agnès B, surrounded by their exposed and blistered penises, black eyes and filthy bodies; and what does it

Photographer: Ed Kashi Ed Kashi is a photojournalist dedicated to documenting the social and political issues that define our times. A sensitive eye and an intimate relationship to his subjects have become the signatures of his award-winning work, and his complex imagery has been recognized for its compelling rendering of the human condition. Photo: Photographer Ed Kashi Photograph by Heather Hiett Born in New York City in 1957, Kashi graduated from Syracuse University in 1979 with a degree in photojournalism and has since photographed in more than 60 countries. His images have appeared in National Geographic, the New York Times Magazine, Time, MediaStorm, GEO, Newsweek, and many other domestic and international publications.

Playing "god" in a digital age: The thin line between art and the subjectivity of photojournalism Jarle recently commented on the post "Crazy light", in which I wrote: "We are constantly challenged to make scenes that are less than interesting, more interesting." The question that this raises, however, is when and how are the conventions of honest visual reportage bent for the sake of making images more compelling? Jarle continues: Correct. We all strive to make our photos more interesting. But, ethically and philosophically speaking, isn't this in direct conflict with the "our pictures must always tell the truth" mantra? There's often a thin line between photojournalism, "art" and subjective, commentary photography. And, playing the devil's advocate, what's the difference between adding motion blur in Photoshop and using a slow shutter speed? I'll start out by agreeing with much what Jarle has said here. From a purist perspective, "Straight" photography should be a style of photography that records what the eye witnesses without elaboration or embellishment. For the most part, this form of photography, what is photojournalism today, has remained pretty much true to form. At the same time, it is possible to find quite a few examples of photojournalism from the 1980s to the present day, that deviate from the normal conventions.

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