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A little while ago, I received an email that told me about a project photojournalist James Nachtwey had been working on, which was going to get unveiled at a later date. The email contained the request to write a post that included some piece of code, which would automatically reveal the new project on the day in question. Since I prefer to have full editorial control over this blog, I decided not to post about it. But I was also uncomfortable with how this then secret project - something supposedly very important and completely underreported - was being handled. I thought that generating a lot of suspense could easily be somewhat damaging to whatever it was Nachtwey wanted to talk about: What if on the day in question people would think "Well, this is it?"

Philip Jones Griffiths (b. 1936) is a Welsh-born photojournalist known for his coverage of the Vietnam war. Griffiths studied pharmacy but started as a freelance photographer in 1961, traveling to Algeria in 1962. He arrived in Vietnam in 1966, working for the Magnum agency. Magnum found his images difficult to sell to American magazines, as they concentrated on the suffering of the Vietnamese people and reflected Griffiths's view of the war as an episode in the continuing decolonisation of former European possessions. He was able to get a 'scoop' that the American outlets liked, photographs of Jackie Kennedy vacationing with a male friend in Cambodia. The proceeds of these photos enabled him to continue his coverage of Vietnam and to publish Vietnam Inc. in 1971. The book had a major influence on American perceptions of the war, and became a classic of photojournalism. In 2001 the book was reprinted with a foreword by Noam Chomsky.

http://www.ted.com Accepting his 2007 TED Prize, James Nachtwey talks about his decades as a photojournalist. A slideshow of his photos, beginning in 1981 in Northern Ireland, reveals two parallel themes in his work. First, as he says: "The frontlines of contemporary wars are right where people live." Street violence, famine, disease: he has photographed all these modern WMDs. Second, when a photo catches the world's attention, it can truly drive action and change. In his TED wish, he asks for help gaining access to a story that needs to be told, and developing a new, digital way to show these photos to the world. (Recorded March 2007 in Monterey, CA. Duration: 23:41)

The Beauty of the Slideshow - Now Available to Everyone By Stanley LearystanleylearycloseAuthor: Stanley Leary See Author's Posts (38) Recent Posts * Still Images Plus Audio Can Be More Effective Than Online Video * Teaching Is a Great Way to Learn * Telling Stories with a Telephoto Lens * If Your Pictures Aren't Good Enough, You're Not Close Enough * What Kind of Photographer Are You? Stanley Leary is a Black Star photographer who has been telling stories for more than 20 years as a photojournalist. His work has appeared in Newsweek, Business Week, Sports Illustrated, Wired, Chicago Tribune, NY Times, World Book Encyclopedia, Information Week, Popular Mechanics, Technology Review, Atlanta Journal and Constitution, and many other publications. in Video and Multimedia on January 20th, 2008 Even before the Internet, I appreciated the slideshow. I created presentations with multiple projectors and audio, and I was always impressed with what the combined media could communicate. Even compared to video - where you move right through a moment so quickly you can miss the subtlety of it - the slideshow has its unique charms. The problem, in the old days, was that you had to have the audience present to deliver the program; it was a lot of work for a small number of people. The printed page reached a much larger audience. Today, with the Web becoming the leader in delivering the news, we are no longer limited to printed words and still images on the page. Rather than publishing a quote, we can deliver audio of the interviews and the experience, giving a story authenticity in a way that we couldn't achieve before. We can create slideshows for everyone - to watch whenever they choose.

Still Images Plus Audio Can Be More Effective Than Online Video By Stanley LearystanleylearycloseAuthor: Stanley Leary See Author's Posts (38) Recent Posts * Still Images Plus Audio Can Be More Effective Than Online Video * Teaching Is a Great Way to Learn * Telling Stories with a Telephoto Lens * If Your Pictures Aren't Good Enough, You're Not Close Enough * What Kind of Photographer Are You? Stanley Leary is a Black Star photographer who has been telling stories for more than 20 years as a photojournalist. His work has appeared in Newsweek, Business Week, Sports Illustrated, Wired, Chicago Tribune, NY Times, World Book Encyclopedia, Information Week, Popular Mechanics, Technology Review, Atlanta Journal and Constitution, and many other publications. in Video and Multimedia on March 27th, 2009 I've written before about multimedia slideshows, and how nice it is that today they are available to everyone via the Web, when in the past they were generally created for small groups. In this post, I will make the argument that multimedia slideshows can be a more effective way of communicating than online video. Advantages of Multimedia Slideshows Today nearly 70 percent of Americans are considered visual learners. That only leaves about 30 percent who learn primarily from words-only communication. But does that mean we should skip past slideshows and go straight to video? I don't think so.

NEW YORK-The panoramic photograph of a bootless soldier, sprawled almost gracefully in death in Afghanistan, might have made readers pause for a moment if it had appeared in a newspaper or magazine. But when "Taliban Soldier" filled a New York City gallery wall-blown up to near life size-it made the art world take note. Taken with a large-format camera, the monumental 4- by 8-foot print was presented for $15,000 four years ago at the Ricco Maresca Gallery, a Chelsea stop usually favored by folk and fine art collectors. It catapulted the Paris-based photographer Luc Delahaye, who shot the image on assignment for Newsweek, into international prominence. And it signaled a turning point for a small club of international war and "conflict" photojournalists, who now see their images appearing regularly in gallery and museum shows. Suddenly, the reality of war, famine, poverty and pain has turned into fine art. "Great collectors are always looking to be delighted by something that they don't know about, and this excites some of them," says Bill Hunt, the former Ricco Maresca co-director of photography who introduced Delahaye to gallery crowds.

Restoring Trust in Photojournalism: Black Star Rising Talks with Dr. Hany Farid By Scott BaradellscottbaradellcloseAuthor: Scott Baradell See Author's Posts (125) Recent Posts * Sometimes, Improvisation Is Not All It's Cracked Up to Be * Dealing with Fragile Artist Syndrome * Fake Chuck Westfall Gets Under Canon's Skin * Newspapers Are Running Out of Time to Solve the Problem of Content Theft * Stock Photography's Hidden Costs -- and How to Avoid Them Scott Baradell edits and contributes to Black Star Rising. A former newspaper journalist and executive for Belo Corp., Scott is an accomplished brand strategist who leads the Idea Grove agency. He has nearly two decades of experience working closely with professional photographers, both as a journalist and as a corporate photography buyer. in Photojournalism on August 6th, 2007 Photographers have been manipulating images ever since Abraham Lincoln's head was attached to John C. Calhoun's body in one of Lincoln's most famous portraits. But today, digital technology has made tampering easier and more pervasive than ever. Some believe the trend threatens the public's fundamental faith in the practice of photojournalism. In this context, Dr. Hany Farid should be a hero to photojournalists and lovers of photojournalism. Farid, who runs the Image Science Group at Dartmouth College, has emerged as a leading authority on digital forensics. His team has developed some of the most advanced software currently available to detect photo manipulation. While media organizations - increasingly rocked by photo-doctoring scandals - have not yet invested in Farid's technology, it seems only a matter of time before this occurs. Here's our Q&A with Farid:

One source : A citizen photojournalist site would make sense if there was only one. Photo editors could immediately add it to there daily scouting and verify if anything of interest has been put up. There are so many of them today, including Flickr and other photo sharing sites that it becomes impossible to find, if it exists at all, the right image. It is almost like knocking on everyones door and asking if they have an image. Extremely laborious and completely counter productive.

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.

The mission of Oh Snap Click is very simple: to provide an environment for photojournalists to share work that would otherwise go unseen. Entry is open to anyone with photographs to share.

Movie World Photo Press Award Winner 2008 05/06/2009 Filmed only a week before leaving for Amsterdam to receive the 2008 World Photo Press Award, Leica joined photojournalist Anthony Suau as he used his camera on assignment in Spanish Harlem to document the Feed the Children Drive in his ongoing coverage and interest of the economic crisis. As he traveled to Wall Street to discuss this major achievement in photojournalism, Leica had the opportunity to hear about his recent travels, how he captured the award winning photo and the other images in the series on the economic and foreclosure crisis in the U.S.

Digital cameras have made taking pictures easier. But, to mark the launch of our Photographer of the Year competition, photojournalist Jon Levy, asks if that means we are becoming better photographers.

Today's thirst for news images at the click of a mouse does not sound the death knell for the photojournalist keen to illustrate the story behind the headline, claims Getty Images.Picture credit: Tom Stoddart/Getty Images

The image was grainy, low quality and shot by a 17-year-old, most likely on a mobile phone. And, according to the London Times, it earned the photographer

"The End of Newspapers: Reality and Information" Looking at the so-called death of newspapers from the angle of authenticity and reliability of photojournalistic images.

link to a very useful set of articles on visual journalism from the Nieman foundation Context. Layered information. Voice. Movement. Transparency. Photographer as "author." Subject as "storyteller." Image as "instigator." Words and phrases that even a few years ago were not used to describe the practice of photojournalism surface today with hesitant certainty. Where the digital road is leading those whose livelihood relies on the visual portrayal of our contemporary lives might not be entirely clear. By adapting to technology in shooting their images and in how they publish and distribute their work, photojournalists are constructing roads that are already taking them in new and sometimes unanticipated directions.

Joe McNally is an internationally acclaimed American photographer and long-time photojournalist. McNally is known worldwide for his ability to produce technically and logistically complex assignments with expert use of color and light.