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Adam Broomberg talks about how to get a project finished and distributed

"There was a time when photographers wishing to see their work in print, were at the mercy of the publishers' critical eye. A publisher's verdict could mark the end of the road for a book project, or be the spark to ignite a new career. Online publishing has eliminated this scrutinizing selection process, removing any middle men in its path. The likes of Blurb, Lulu, AsukaBook and Apple among many others, have put an end to slaving over a book proposal, adhering to publisher's list of demands, and enduring a nail biting wait for a decision."

Adam Broomberg /Olly Chanarin discuss their research methodology for new projects

Episode III - Enjoy Poverty is the second in a series of three films by Martens that raise issues regarding contemporary image production. For Episode III Martens travelled for two years with his video camera in the Democratic Republic of Congo, an area marked by humanitarian disaster, questioning why the Western 'poverty' industry are benefactors rather than the people in the images. Working with Congolese photographers, he attempts to guide them in earning a living from poverty photography - a project doomed to failure. Episode III was screened at London's Wilkinson gallery for several weeks this winter, and during that time Martens also spent an evening discussing his work with ArtReview's J.J. Charlesworth. This is the second and final part of that

A New Website for a Changing World SocialDocumentary.net is a new website that features documentary photography from around the world-images and words that explore the human condition. Easily Create Documentary Websites About Critical Issues Facing Our World Today Professional and amateur photographers, journalists, NGOs, students-anyone with a story to tell and a collection of good photographs-can easily and affordably begin creating websites on SocialDocumentary.net. Global warming, international justice, post-conflict reconstruction, HIV/AIDS, or life in Afghanistan or suburban America are just a few of the themes that you can find on SocialDocumentary.net. The goal of this website is to make our lives richer and more informed about issues affecting us and our world today. Powerful photographs can also lead to meaningful change in the lives of ordinary people. SocialDocumentary. net provides tools for photographer to inform viewers how to take action-either by supporting NGOs doing work on the issues, or by engaging in direct political action. Not all documentary photographers are concerned with action. Many photographers featured on SocialDocumentary.net are concerned with subtleties of the human experience and exploring personal themes. Photographs on SocialDocumentary.net-whether of struggling farmers in Africa or of suburban teenagers in Philadelphia-offer a fresh way to look at the world and a greater understanding of humanity. The secondary goal is to create an online image bank of quality photographs documenting all aspects of the world created by an international collection of photographers. This will enable students, college professors, journalists, and anyone else to easily see any part of the world in quality digital imagery and gain valuable information about the subjects they are viewing. We encourage all photographers, everywhere, to use this site as a tool in their own image-making and documentary exploration. We also encourage n

For two hectic weeks between the US presidential election and the inauguration, one photographer was invited to make portraits of every member of Obama's new incoming administration. The result is a series of 52 unlikely semi-formal portraits that reveal a refreshingly diverse, young, energetic group of the people who will be key to helping forward Obama's agenda. This series of portraits originally appeared in The New York Times Magazine, in print and online. Now, for the first time anywhere, an exhibition of life-size prints of these images will go on display (not in America) but in Birmingham, UK. UK-based photographer Nadav Kander talks with Jim Casper of Lens Culture about how this daunting project came into being, and provides some very interesting personal observations about his brief encounters with the new power-brokers of America. See some of the images, and listen to the interview, here in Lens Culture.

MediaStorm: Visionary Journalism Weaving Stories Producers start by cutting audio, creating a "radio edit" of the story. Then they work with the journalist to craft a working narrative. A cohesive story emerges, and then it's time to pair the images with the audio. For that, they use Final Cut Studio. "Final Cut is our workhorse," says Storm. "Our producers live inside Final Cut all day long. It's a simple and powerful tool. It does everything you need it to do, yet I can teach a new producer how to create our type of project in a day." Images are exported out of Aperture at twice 1080p resolution, giving producers the flexibility they need to experiment with shots. "We pull everything into bins in Final Cut, and we use a lot of labeling to organize it," says Storm. "It's very simple: We use green for a picture that's in, red for one that's out, blue for a maybe. We have a very visual environment inside Final Cut to get things done quickly."

DoGooderTV enables nonprofit organizations to present new videos and existing media assets to new audiences. Once site visitors see the compelling stories of nonprofits, DoGooderTV gives them a direct way to donate to the organization, join, volunteer or simply find out more information. In addition to direct donations, site visitors can also create community around issues that are important to them, develop a giving circle, and easily connect their friends with the organizations they care about. DoGooderTV is building on the success of sites such as MySpace, Flickr, YouTube and many others that allow users to create community and share content. DoGooderTV is using nonprofit media as the hook to link individuals to causes, organizations and other individuals who share a passion for an issue. The goal of DoGooderTV is to grow a new generation of interested, engaged and active philanthropists and volunteers using web tools that have already demonstrated tremendous power. DoGooderTV is a project of See3 Communications, the leading provider of media services to nonprofit organizations.

This page featured the draft versions of the chapters of the book by the New Media, Old News: Journalism and Democracy in a Digital Age. The book is the first major publication arising from the Leverhulme funded research project 'Spaces of the News', designed to investigate the nature of news production in a digital age

Photographic retouching exposed April 29th, 2009 The issues surrounding photographic meaning, manipulation and Photoshop have been prominent recently (see my previous posts here and here, with some updates amongst the comments for each). Via Fred Ritchin's After Photography (see his 24 April post) comes news of a Swedish government project Girlpower dealing with sexism in advertising. One element is a magazine cover where, step-by-step, you can un-do the manipulation of the model to see how the glamorous cover was produced. You can go through each of the twelve changes that have been made, and at the end click on a red button to see the complete before and after images. We know it happens, but in this case, seeing is really believing.

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."

My work on foreclosed homes in Detroit has actually been a continuation of a project that started in Fort Myers, Florida in September 2008. For me the major concentration of the work is on the houses or what's left of the houses. I chose to photograph them mostly straight on like my street work in a very blunt fashion. To let the houses speak for themselves. After going to Florida and continuing in Detroit I realized that foreclosure is one part of a circle. There is homelessness, job loss, economic difficulties, etc, etc, etc. In Detroit the problem is not only a subprime problem it's a problem of people who lost their jobs. And this has been going on for many years. So it's a much more serious situation. When I went to Detroit - even though I had known that the city was pretty desolate - I was amazed that a major city in America in 2009 can look like this.

Episode III - Enjoy Poverty is the second in a series of three films by Martens that raise issues regarding contemporary image production. For Episode III Martens travelled for two years with his video camera in the Democratic Republic of Congo, an area marked by humanitarian disaster, questioning why the Western 'poverty' industry are benefactors rather than the people in the images. Working with Congolese photographers, he attempts to guide them in earning a living from poverty photography - a project doomed to failure. Episode III was screened at London's Wilkinson gallery for several weeks this winter, and during that time Martens spent an evening discussing his work with ArtReview's J.J. Charlesworth. This is Part I of that discussion.

great site for multimedia/interactive projects

Highlight and Share the Web! Diigo is a powerful research tool and a knowledge-sharing community Research and Collaborate * Don't just bookmark! Highlight the web! Add sticky notes too! * Access and search your findings from any PC or iphone! * Create groups to pool resources for specific projects. Connect and Discover * You are what you annotate, creating a presence for you in the community. * Connect with friends effortlessly and non-intrusively through content. * Discover quality resources on any subject or get personalized recommendations. * Learn More » Play Demo Video

tony suau's project on eastern europe

"Corentin Wauters: Gamma is one of the most famous photojournalism agencies. Some even call it legendary. How important has it been for photojournalism? Michiel Munneke: I think Gamma - but also others like Magnum, for instance - played an extremely important role from early years on, especially in documenting crucial news events around the world. It's important to realise that in those days you had magazines like Life and the Picture Post who very generously allocated tens of pages to events like the war in Vietnam, for example. Those publications and photographs made a huge impact on their readerships. I think it's fair to say that the founders of Gamma, like Raymond Depardon - although he moved to Magnum at the end of the '70s - and Gilles Corron, who died in 1970 in Cambodia, can be classified as legendary. They played a very important role in news documenting in those years. Raymond Depardon said that in 1966 you only had to travel far away and take three shots to get published in magazines Paris Match or Le Nouvel Observateur. How has the profession of photojournalism changed since Gamma was founded? If Depardon was saying that competition for space in publications like Paris Match or Le Nouvel Observateur is stronger, then he's absolutely right. Competition is far more severe. Circulations are going down, advertising revenues are shrinking, and consequently budgets for journalism and for photography are being cut. image Nowadays its very rare that publications send photographers for assignments overseas. Take a renowned magazine like Time. They still have photographers on staff but they very rarely get assignments to go overseas. It's a sign of the times. Gamma, but also other big photojournalism agencies like Sipa, were founded in Paris. The city had a big name as a centre for photojournalism. To what extent is that true today? I think for those years it was really true. But now, in the era of globalisation and digitisation, it doesnâ

""Should we present this story as an interactive? Before undertaking any large story project be sure to ask: * Who is the target audience for this story? * What do we hope to accomplish in telling this story to them? Then use this decision-tool to see which approach to storytelling is best supported by the research in these studies:"