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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.

Free online video and multimedia courses By Angela Grant Don't have the cash to go to fancy multimedia workshops? Join the club. Maybe this will help. Online Degree World published a list of free online courses that cover a variety of topics in online media. Go check it out - There are some interesting courses not related to journalism. But here are some online journalism courses you may find interesting.

Alfredo Jaar by Phong Bui, Dore Ashton, and David Levi Strauss On the occasion of the artist's current exhibition The Sound of Silence, which will be on view at Galerie Lelong until May 2nd, Alfredo Jaar paid a visit to the Rail's Headquarters to discuss some aspects of his life and work with Publisher Phong Bui, Consulting Editors Dore Ashton and David Levi Strauss, and a group of graduate students in the Art Criticism & Writing program at the School of Visual Arts.

Afghanistan: Pictures Not Taken 'When the press started to feel empowered to show and tell the truth, it was only a matter of time before the military and government powers would retaliate.' By Travis Beard Journalist Ash Sweeting rides in a pickup with the Afghanistan National Police. Photo by ©Travis Beard/Argusphotography. Nothing has more power to communicate the destruction and despair of our time-especially from the war zones of Iraq and Afghanistan-than photography. But in the sanitized and censored environments now of government and military control, taking the picture can be as difficult as getting it published. In coverage of these wars, freelance photojournalists are indispensible. One after another, news organizations have abandoned the task of informing the public. For editors back home, photojournalists-and the images they transmit-are problematic. But it's not the photographers who pose the problem; it's the truth their images tell. During the Vietnam War, there was the searing image of nine-year-old Kim Phouc running down the road with her flesh melting and fusing into her body after a napalm strike and her brother running in front of her with an expression that recalled Edvard Munch's "The Scream." This photograph spoke to people in ways that words had failed to do. These children were ones the Americans were supposed to be saving, not bombing. Images such as this one did much to turn the tide of that war, but if they did, it was because they conveyed important truths.

Renzo Martens' Episode 3 : Analysis of a Film Process in Three Conversations Els Roelandt first published in A Prior Magazine #16, February 2008 I. Last summer, during my trip to Kassel for Documenta 12, I spoke with the young Dutch artist, Renzo Martens (b. 1973), who was barely known to me. To be specific, I had already met Martens, at another point in the summer's so-called 'Grand Tour'. Martens and I had shared a small apartment in Venice with some other colleagues and artists. I saw very little of him. As the only man in the group, he kept conspicuously to himself. He was quiet, ironing his shirts or practicing yoga. He barely spoke and impressed me as one of the most detached individuals I had ever met. Ultimately, thanks to our - coincidentally concurrent - visits to Documenta 12, we only really began a conversation somewhere near Duisburg , on the drive from Kassel back to Brussels .

Thurman, N. (2008) Published in New Media & Society 10(1)

Searching By Looking Elsewhere Published May 11, 2009 BBC , Data , Infoskills , SEO , Search 4 Comments A couple of weeks or so ago, I got an email requesting a link to something I'd spoken about at a department meeting some time ago (the Gartner hype cycle, actually). Now normally I'd check my delicious bookmarks for a good link, or maybe even run a Google web search, but instead I ran a search for 'gartner hypecycle 2008′ on Google Images… …which is when it struck me that searching Google Images may on occasion lead to better quality, or more relevant, results than doing a normal web search, particularly if you use a level of indirection. In particular, it can often lead to a web document or post that provides some sort of analysis around a topic. (Remember, Google image search links to the web pages that contain the images that are displayed in the image search results, not just the images.)

Connecting people in repressed societies by using new technologies that encourage education, communication and participation. D2 puts information into the hands of people who are most in need. While censored information places communities and individuals at risk, advances in mobile and internet technologies are reshaping societies around the world. Every day these technologies become cheaper, simpler and more reliable. D2 is developing information and communication tools to address the needs of the vulnerable and disempowered communities with whom we have been working. Our work strengthens social bonds within and among communities, fostering networking and civic participation to improve lives, expose tyranny and strengthen democracy. We have been working for two years with the Burmese community in Thailand, Bangladesh, India, and China as well as with resettled Burmese populations in Indiana, Washington, DC and New York. D2 staff have published and presented research on Burma with an emphasis on technology use by displaced Burmese groups. In addition to Burmaʼs borders, we have conducted research in Cuba, Armenia, Mali, Zimbabwe, South Africa, and Israel.

Interview with Bruce Davidson, The Kojo Nnamdi Show (WAMU/Chicago), November 2006 Q: You're on the streets of Chicago, wandering into Pentecostal churches, how did that initial roaming around, years ago, play out later in life? BD: I think that I was a born loner. My mother was a single parent, working in a torpedo factory in the Midwest, and I didn't like school. I felt very isolated. And so I could do both my reading and my writing at the same time, with a camera. Q: And that is what became the trajectory for the rest of your life. I want to go to 1961, because even as I look at the book "Time of Change", I think it was before you ever rode with the Freedom Riders that you got a job to shoot fashion models. And you got caught-up in that - it was quite glamorous. But at the time, your heart wasn't really in it, was it. BD: In 1959, I photographed a Brooklyn gang for a year. And when that was published, Alex Lieberman at Vogue asked me if I'd like to do fashion. He'd been told by Cartier-Bresson that I could do fashion because I could do gangs - it doesn't make a difference. So I began to do fashion to support other things I wanted to do. But my heart wasn't in it. The models were too tall and too sophisticated for me, and I'm a sloppy dresser.

"Journalists everywhere are starting blogs and entering the next phase in the history of journalism. Whether you call it Journalism 2.0, or a shift in media consciousness. It's pretty clear, the game has completely transformed. Transformation for the Better As the future of journalism unfolds, we're beginning to see just how beneficial this shift is for the writers out there. 1. We can interact directly with our audience. 2. We can write for a small audience, about what we care about. 3. We can profit directly, and immediately, from our writing. 4. We can build a reputation for ourselves, outside of an institution. The challenge is that journalists have to overcome a radical shift in thinking: whereas in the past we just concentrated in writing, and our business did all of our marketing and publishing. Us journalists of the future have to become a one-man journalistic machine. We have to take our writing from the idea to the audience all by ourselves. In blogging, there are a lot of things you need to consider to hit that mark of success. Suddenly, it isn't as easy to just write and publish blog posts! Know these most important tasks you need to do for your blog:"

"The Kaieteur News, one of Guyana's daily newspapers, is notorious for publishing explicit front-page photographs of crime scenes and murder victims, an editorial policy that has roused controversy in the past. But the gruesome photo and accompanying report that led the paper's edition of Saturday 31 October, 2009, triggered widespread outrage not at the Kaieteur News editors but at the Guyana Police Force:"

Part 1/6 - "From Refugee Photographer to War Photographer." Ashley Gilbertson photographs the war in Iraq for the New York Times. He talks about the invasion of Iraq, the battle for Falluja, the Marines he worked with, post-traumatic stress disorder, Iraqi civilians, and the future of photojournalism. His work is available in Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War published by the University of Chicago Press. part 1 of 6

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.

Skip to content * Home * About * Subscribe to Posts * Subscribe to Posts Photo Collectives On The Rise I like this trend where photographers form groups and publish their work on a website or print something for sale. It certainly gives those looking to hire another resource to check out and like some agencies there's often a thread between all the work so if you're looking for a specific style you can spend some time exploring. Seems like a good way to build a fan base too.

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.