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The EOS 5D Mark II, one of the latest offerings from Canon, is the world's first dSLR camera to offer Full HD video recording capability. But what if you want to capture great sounding audio to accompany your great looking video? The 5D MkII records stunning video clips at a 1080p resolution with a frame rate of 30fps, but the audio is recorded with a tiny built-in mono microphone. Thankfully the camera also includes a stereo 3.5mm microphone input that will enable you to capture much better audio than that offered by the built-in mic. Shooting video on the MkII is very easy. Check out the full 5D MkII review from B&H's own Allan Weitz for an in-depth look at the camera itself, and additional details on shooting video. With the right external microphone, recording great sound is easy too.

Prints & Photographs Online Catalog The Prints & Photographs Online Catalog (PPOC) provides access through group or item records to more than 50% of the Division's holdings, as well as to some images found in other units of the Library of Congress. Many of the catalog records are accompanied by digital images--about one million digital images in all. Montage, clockwise from top left: Destitute pea pickers in California, "Migrant Mother" by Dorothea Lange; "I want you for the U.S. Army", by James Montgomery Flagg; Modern Gengi: viewing in the snow, by Toyokuni Utagawa; T.S. Eastabrook House, Chicago, IL; Caricature curiosity, by George Moutard Woodward Not all images displayed in this catalog are in the public domain. The Library offers broad public access to these materials as a contribution to education and scholarship. It is the researcher's obligation to determine and satisfy copyright or other use restrictions when publishing or otherwise distributing materials found in the Library's collections. In some collections, only thumbnail images display to those searching outside the Library of Congress because of potential rights considerations. See the Library's Legal Notices for more information.

Research Institute Home Conducting Research Photo Study Collection Photo Study Collection Guide to the Photo Study Collection and Database Search the Photo Study Collection Database The Photo Study Collection's two million photographs facilitate supplementary and original pictorial research for the study of fine arts from antiquity to the modern period. The collection's strength lies in the photographic reproduction of western art, architecture, and decorative arts. Patrons can conduct productive research on the history of collecting (provenance, art market, connoisseurship), iconography, conservation, historiography, and the history of reproductions. Approximately half of the photographic holdings in the Photo Study Collection are represented by descriptive, non-pictorial records in the Photo Study Collection Database, which is available online to all users. This research database is a work in progress, mostly comprising these descriptive records. Images will be added to the database periodically. The holdings of the Photo Study Collection are available for research by stack readers and extended readers. Initial appointments with a Reference Librarian are strongly encouraged. For appointments and reference inquiries contact Library Reference.

Tips and Tricks for the 5D MKII - PART II - Audio Monday December 08th 2008, 2:10 am Filed under: Articles, Hardware One of the most common questions that I get relates to audio and the Canon 5D MKII. My first recommendation is always to record your audio independently - i.e. with a separate device. This gives you much greater freedom with your edit when you have a continuous sound recording - and are now free to cut between shots even if they weren't sequential. If you want to shoot stills and video - an independent audio recording device allows you to cut between stills and video - shot with the same camera.

note this is in 2 parts 1: the recorder (JP) We begin this unit by exploring the idea of the photographer as a recorder of the world. This session investigates questions of photographic truth and objectivity; the nature of photographic evidence and the ethics of photographic manipulation. It examines photography's earliest history and how its properties and purposes have been imagined from the beginning. Required reading: Batchen, G. (1999) Burning With Desire: The Conception of Photography. Cambridge, Mass: MIT; chapter 1.

part 2 1: the recorder (JP) We begin this unit by exploring the idea of the photographer as a recorder of the world. This session investigates questions of photographic truth and objectivity; the nature of photographic evidence and the ethics of photographic manipulation. It examines photography's earliest history and how its properties and purposes have been imagined from the beginning. Required reading: Batchen, G. (1999) Burning With Desire: The Conception of Photography. Cambridge, Mass: MIT; chapter 1.

"Recent events in the world have again raised the issue of citizen journalism, especially for recording events in the "global war on terror". The events in Mumbai, India, have demonstrated that citizen journalism is now an established way to relate events, such as acts of terror, to the mainstream media-consuming public. This is certainly not the first time that citizen journalists have recorded an act of terrorism. It is unlikely to be the last time. When discussing an issue like citizen journalism, initial clarifications need to be made. The first question that comes to mind: What is citizen journalism? This needs to be broached before anything else in order to bring clarity of understanding and to ensure readers have a common understanding about this key element. There are some who object to the use of the term 'citizen journalist', dismissing it as inadequate in correctly describing what is really happening. "

"HD DSLRs are incredible-they give you a video camera with interchangeable lenses, depth of field control and stellar low-light performance-but they're not without drawbacks. Here's how to work around them. The initial crop of HD DSLRs (Nikon D90, Canon 5D Mark II) were never intended to be used primarily for video. It wasn't until Canon introduced the 5D Mark II that HD DSLR video really took off, and that was without manual video and audio controls. Canon eventually provided manual control of video, but it wasn't until earlier this year that they released manual audio controls (to an extent) and 24p recording. Ever since, the 5D2 has found its way onto film and TV sets. The entire finale of Fox's House was shot with 5D2s. Canon's now brought HD video to the majority of its DSLR line,"

Authenticity, in the broad sense of the word, is fundamental to litigation. It acts as a dynamic -- as the conceptual glue holding together the pieces of a case. As part of its most basic function, therefore, a jury constantly assesses authenticity. Once falsehood is detected, or truth perceived as misrepresented, a party's case unravels. Indeed, tribunals could not serve their function without an ability to assess whether proffered assertions are what they "purport to be." Each type and piece of evidence must therefore be subject to a test for authenticity. The testimony of witnesses is a familiar example. Such evidence is examined for bias, for interest and for the human capacity to exaggerate or mislead, among other things. Cross-examination, including the comparison of testimony with records of various types, is the chief tool by which we probe witnesses, whose genuineness or authenticity is usually called "credibility."

In the vanguard of the Marines, the press corps had already stormed Somailia. Now we will see more of the famailiar pictures of grotesque human degradation, with foreign angels of mercy ministering to starving children, juxtaposed with images of trigger-happy teen-age looters. Such pictures prompted President Bush's military adventure-now they will justify it. The camera can't lie, we are told. But anyone who has watched a Western film crew in an African famine will know just how much effort it takes to compose the "right" image. Photogenic starving children are hard to find, even in Somalia. Somali doctors and nurses have expressed shock at the conduct of film crews in hospitals. They rush through crowded corridors, leaping over stretchers, dashing to film the agony before it passes. They hold bedside vigils to record the moment of death. When the Italian actress Sophia Loren visited Somalia, the paparazzi trampled on children as they scrambled to film her feeding a little girl-three times. This is disaster pornography.

Welcome to blipfoto - the zero-fuss, free website that lets anyone join in and publish one photo a day. Record your life in pictures, improve your photography skills, or just keep in touch with your family and friends.

Digital Storytelling is the practice of using computer-based tools to tell stories. As with traditional storytelling, most digital stories focus on a specific topic and contain a particular point of view. However, as the name implies, digital stories usually contain some mixture of computer-based images, text, recorded audio narration, video clips and/or music. Digital stories can vary in length, but most of the stories used in education typically last between two and ten minutes. And the topics that are used in Digital Storytelling range from personal tales to the recounting of historical events, from exploring life in one's own community to the search for life in other corners of the universe, and literally, everything in between. A great way to begin learning about Digital Storytelling is by watching the following video introduction to Digital Storytelling.

THEORY - "Interview with Walker Evans" Interview with Walker Evans Conducted by Paul Cummings In Connecticut October 13, 1971 In New York City December 23, 1971 The following oral history transcript is the result of a tape-recorded interview with Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971.

Historical photographic collections are an essential part of our cultural heritage. The growing interest in photography, as a form of artistic expression as well as a visual record of past times, has raised questions about how to treat photographic materials in a responsible way. These questions are not only relevant to collection keepers in archives, museums and libraries but also to anyone with old family albums at home. This website will offer some guidance in finding information about the long-term preservation of all kind of photographic materials.

Why These Forms are Critical to Your Business By Victor Perlman and Richard Weisgrau Every business day, photographers have a need to communicate transactional information to their prospects and clients. It might be the information in an estimate, the agreement expressed in a confirmation, or the verification of a delivery of photographs. Regardless of the nature of the communication, records of your communications are important, especially when they set the terms, conditions, price, and license to use your work.

In the summer of 1973, photographer Stephen Shore set out on that quintessential American adventure - the cross-country road trip. Starting in New York City, he made a long loop around the nation, going through Michigan, North Dakota and Idaho, off to the West Coast, and then followed a southern route all the way back to New York. During his month-long trip, he kept extensive records, noting where he stayed, what he ate and what television programs he watched. He collected postcards of the places he visited, kept all of his receipts and, not unexpectedly, took hundreds of pictures. Now, 35 years later, his entire journal has been reproduced and published in a book fittingly titled A Road Trip Journal.

THEORY - "Walker Evans and American Life" Scavenging the Landscape: Walker Evans and American life Afterimage, Jan-Feb, 1996 by Melissa Rachleff The Great American Depression, spanning the 1930s, inscribed into the culture a psychic crisis. Faith in industrial ingenuity, heralded as "progressive," came unhinged. By 1933, four years after the stock market crash, one quarter of the work force was unemployed.(1) Into this dilemma came a multitude of photographic projects, the most famous of which were sponsored by the federal government in the form of agencies that provided relief to farmers, the unemployed and others. The most completely realized project was the documentation of conditions faced by displaced farmers, recorded by the Historic Section of the Resettlement Administration (RA), later the Farm Security Administration (FSA). The socially-oriented photographic book made its appearance, as did the photographic magazine, best exemplified by Life in 1936. Many of the best known American photographers came to prominence during the Depression, including Berenice Abbott, Dorothea Lange, Gordon Parks and Margaret Bourke-White. Of all the photographers from that era, one represented the quintessential photographic style of the Depression while remaining an elusive figure in photographic history: Walker Evans (1903-1975).

10x10™ ('ten by ten') is an interactive exploration of the words and pictures that define the time. The result is an often moving, sometimes shocking, occasionally frivolous, but always fitting snapshot of our world. Every hour, 10x10 collects the 100 words and pictures that matter most on a global scale, and presents them as a single image, taken to encapsulate that moment in time. Over the course of days, months, and years, 10x10 leaves a trail of these hourly statements which, stitched together side by side, form a continuous patchwork tapestry of human life. 10x10 is ever-changing, ever-growing, quietly observing the ways in which we live. It records our wars and crises, our triumphs and tragedies, our mistakes and milestones. When we make history, or at least the headlines, 10x10 takes note and remembers. Each hour is presented as a picture postcard window, composed of 100 different frames, each of which holds the image of a single moment in time. Clicking on a single frame allows us to peer a bit deeper into the story that lies behind the image. In this way, we can dart in and out of the news, understanding both the individual stories and the ways in which they relate to each other. 10x10 runs with no human intervention, autonomously observing what a handful of leading international news sources are saying and showing. 10x10 makes no comment on news media bias, or lack thereof. It has no politics, nor any secret agenda; it simply shows what it finds. With no human editors and no regulation, 10x10 is open and free, raw and fresh, and consequently a unique way of following world events. In 10x10, we respond instinctively to patterns in the grid, visual indicators of relevance. When we see a frequently repeated image, we know it's important. When we see a picture of a movie star next to a picture of dead bodies, we understand the extremes that exist in our world. Scanning a grid of pictures can be more intuitive than reading headlines, for it lets the new

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.

Introduction to Digital Storytelling by Daniel Meadows Digital Stories are short, personal, multimedia scraps of TV that people can make for themselves. They're 'mini-movies'. Desktop computers enabled with video editing software are used to synchronise recorded spoken narratives with scans of personal photographs. This project requires commitment for, as well as all the technical stuff that must be learnt, script writing, picture editing and performance skills are also needed and these have to be worked on, which is why most Digital Stories are made by people attending workshops where participants can benefit from the help and advice of facilitators. People of all ages and abilities make Digital Stories and many have testified how rewarding the experience is for, when their story is shared with friends and family or posted on the web, they find they have discovered a new voice. There's a strictness to the construction of a Digital Story: 250 words, a dozen or so pictures, and two minutes is the right length. As with poetry these constraints define the form (e.g. a haiku is a poem written using 17 syllables, and the 14 lines of a sonnet are written in iambic pentameter) and it's the observation of that form which gives the thing its elegance.