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"Lessons from Perpignan: What We Learned at Video Camp For most of July we taught a videojournalism workshop in Perpignan, France, for eighteen American students. It was part of a study-abroad program co-sponsored by the Institute for Education in International Media (ieiMedia) and San Francisco State University. Here are a few tips we can pass along, based on common student errors and problems we encountered. "

Founded in 1974 San Francisco Camerawork encourages emerging and mid-career artists to explore new directions in photography and related media by fostering creative forms of expression that push existing boundaries. SF Camerawork Through exhibitions, publications, and educational programs, Camerawork stimulates public dialogue and inquiry about contemporary image-making in the context of current social and aesthetic issues. Camerawork has presented nearly 400 exhibitions in its thirty years of support and services to local, national, and international artists. Additionally, Camerawork has produced many exhibition catalogs and a publication, Camerawork: A Journal of Photographic Arts. Other educational programs and informational services offered are lectures, workshops, conferences, critique sessions, a reference library, and an active internship program.

Digital Images and Fair Use Web Sites Maryly Snow Librarian Architecture Slide Library University of California, Berkeley I'm going to discuss digital images on the World Wide Web using three fair use web sites as examples: SPIRO, the visual public access catalog of the Architecture Slide Library at the University of California, Berkeley; the Vincent Van Gogh Information Gallery; and the Art Imagebase from the Fine Arts Museums of San Francisco. This presentation is structured into three segments: introduction to the notion of fair use web sites; presentation of the three fair use web sites; problems and idealized solutions for the use of digital images in fair use web sites.

Going Digital By Angela Wolff It's the question every photographer asks when making the switch from film to digital: Which camera is right for me? It should be no surprise that the answers are as varied as their subjects and work styles. For many, the decision boils down to the equipment already in use; sticking with the same manufacturer can shorten the learning curve and cut costs. For others, a close examination of business needs balanced with camera capability will help clarify the choice. But whatever you do, don't make the decision based on cost alone. "A lot of people are buying on price, and with [these things] you just can't do that," said Lon Atkinson of Atkinson! Studios in San Diego. "You need to carefully define your specific needs and pick based on what best fits your business."

MediaStorm produces 'Condition: Critical, Voices from the War in Eastern Congo' for Médecins Sans Frontières

Avoiding Freelancer Freefall By Mike FoxmikefoxcloseAuthor: Mike Fox See Author's Posts (7) Recent Posts * Avoiding Freelancer Freefall * How to Work with NGOs: Two Approaches * Print Media Layoffs Are an Acceptance of Defeat -- Not a Strategy for the Future * Online Tools to Stay Competitive in the Digital Age * Six Strategies for Getting Closer to Your Subject San Francisco-based freelance photojournalist Mike Fox has worked all over Europe, South Africa and the United States, with assignments also taking him to other parts of Africa, the Middle East, Haiti. Mexico and Southeast Asia. In his 15+ years as a photojournalist, Mike has been doused in tear gas, nearly attacked by a wild donkey, and brought in to land on an aircraft carrier in the Pacific. His work has been featured in many leading daily, weekly and monthly publications as well as on MSNBC, CNN and other news-related web sites. Mike specializes in corporate photojournalism and has a substantial client list, many of which are located in the Silicon Valley area. Visit Mike's Web site and blog. in Business of Photography on November 17th, 2008 Just yesterday, a colleague sent me a Facebook message saying that she had been laid off from her newspaper. She wanted some advice on finding freelance work; I know she is not alone. Over the years, I have seen many newspaper staffers suddenly find themselves without the support structure that a corporation can provide -- no camera gear, no assignment editor, no benefits, no work, no salary. It can be a rude awakening.

Today I'm in San Francisco giving a lecture to the Society for Photographic Education. After presenting my pictures and the story of how I became a photographer, I'll likely be asked if I have any advice for young photographers. Instead of giving just my two cents, I thought it would be cool if I could also offer some advice from my fellow photographers at Magnum. I emailed my colleagues and received 35 different responses.

Everywhere you look there are dark signs for newspapers: bankruptcies, less print editions, the threat of closings in San Francisco and Boston, layoffs and pay cuts. But the journalism of newspapers will live on in digital form online. How will this after-life look? We brought together five people for the latest episode of 5Across who are working for newspapers -- or who have worked for them in the past and are now making their own independent forays online -- to discuss what's working now and what will work in the future. This was not a disussion about gloom and doom, but about things that these folks could see working at the ground level in their own experience. The informal talk ranged from business models to building site loyalty to how people can network online through "goodness" and not just trying to game the system. Here's the lineup of guests for this month's video show (who largely were beer drinkers):

Collaboration the Key to Future of Investigative Journalism Mark Glaser by Mark Glaser, April 5, 2009 Tagged: future, investigative reporting, logan symposium, public media, uc berkeley BERKELEY -- The second day of the Logan Symposium at UC Berkeley is more of a half-day with one panel devoted to the future of investigative journalism and a brunch at the Frontline World offices near campus. Just like last year, I had trouble getting an Internet connection in the journalism school library so had to live-Twitter the panel and put up this blog post later. (You can see the earlier report on yesterday's sessions here.) The panel was lively, and included a lot of optimism for the future of investigative journalism despite the business cratering for newspapers and their investigative journos. The panel was moderated by Lowell Bergman, and included David Fanning of PBS Frontline, Esther Kaplan of the Nation Institute, Bill Keller of the NY Times, Chuck Lewis at American University, Robert Rosenthan of the Center for Investigative Reporting, and Buzz Woolley, chairman of the board and primary funder of Voice of San Diego. The following are my notes from the panel.

"Camera Phones Prevail: Citizen Shutterbugs and the London Bombings by Dennis Dunleavy, Ph.D San Jose, Calif. -July 9, 2005 - Photojournalism history was made last week. For the first time, both The New York Times and The Washington Post ran photos on their front pages made by citizen-journalists with camera phones. Many years ago I found a cartoon of a tourist visiting hell. I think it may have come from the New Yorker, but it could have been Gary Larson's "Far Side" as well. "

Charter for the Safety of Journalists Working in War Zones or Dangerous Areas