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We're an email group for professional editorial photographers who want to talk business. We don't do techie stuff. We don't do cliquey in-crowd gossip. We don't talk cameras or computers. We talk about the nuts and bolts of being in business - like copyright, licensing, fees, insurance. And, even if we say so ourselves, we do it rather well.

Frontline Club: Irme Schaber talks about Gerda Taro At last week's Photography event at the Frontline Club, Irme Schaber talked about the life and work of Gerda Taro. If you missed the event, here is your chance to watch the entire debate. Schaber is a writer and lecturer on the history of exile photography, photojournalism and print-media. She is also Taro's biographer and curator of the current exhibition at the Barbican. Next week, she will present and talk about a wide selection of Taro's work. Taro worked alongside Robert Capa, who was her photographic as well as romantic partner and the two collaborated closely. Her photographs were widely reproduced in the French press and incorporated the dynamic camera angles of New Vision photography as well as a physical and emotional closeness to her subject. While covering the crucial battle of Brunete in July 1937, Taro was struck by a tank and killed.

TED talks on youtube - inspiring, creative , talks by societies best minds

Reporting War - why do they do it? lcc1.gifPolis has taken to the battlefield with three talks by journalists back from the frontline: A multi-media man who has been shot in the course of his work for the Guardian and others; a top TV camera journalist who runs his own production company and has made films for the likes of Newsnight as well as a documentary feature out next year; and an Iraqi who has worked through the recent war and now trains a new generation of journalists. All of them had strong motives for taking the risks and making the extraordinary effort that conflict journalism demands. Here's a report on their talks to students at the Polis course at the London College of journalism.

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:

Talks about start up citizen photojournalism sites that were eventually bought by AFP and Getty. Scoopt founder Kyle MacRae talks about the how the model of his site, Scoopt, fundamentally will not work.

The photograph, framed without margins and behind Plexiglas, is just under four and a half feet high by nearly nine and a half feet wide. Its title is A Lunch at the Belvedere, and it depicts an actual event that took place at the Hotel Belvedere in Davos, Switzerland, during the World Economic Forum of 2004. The lunch was hosted by Pervez Musharraf, president of Pakistan, whose guest of honor was the famous American financier-philanthropist George Soros. The diners, eleven men, sit facing the viewer--though none looks toward the camera--on the far side of a long table that runs the full width of the picture. (To take this in the viewer must begin his or her engagement with the work by standing ten or twelve feet back from it.) One has the impression that the lunch has not properly begun. For the most part the men are talking quietly with one another, and to the left a chic young woman, possibly a waitress, bends over the table as if serving or taking an order. The image is by far most arresting toward its center, where the elegant, dark-haired and mustached Musharraf is shown talking earnestly to Soros, while a third man, to Soros's left, listens in. And what is arresting is precisely the extraordinary accuracy, as it seems to one, of the depiction of an entire range of small-scale, unemphatic, but nevertheless intensely photogenic gestures, expressions, postures, and pieces of behavior: for example, the small-scale gesture--scarcely more than a tensing of the wrist--of Musharraf's partly open left hand as he makes his point; the downward cast of Soros's head and his inscrutable, almost sullen-seeming facial expression as he plays with something on the tablecloth with his left hand; and the diffident demeanor of the third man who sits with both elbows on the table and his hands clasped.

Words of Wisdom: Chad A. Stevens on learning important multimedia skills Posted by Jessica Stuart, October 1st, 2009 No Comments » We're kicking off a new series on the blog, talking with educators and journalism students about the value of Journalism school and the multimedia skills students need to start their careers. There has been a lot of discussion lately on whether it's worth it to go to Journalism school, and whether students are learning the multimedia skills they need to be successful in a pretty rough market. As the school year gets back underway, we're getting more and more questions from students wondering what skills they need to acquire to land jobs. Obviously, there are no simple answers to these questions, but we hope to offer up some words of wisdom for students and others interested in the profession, especially during this time of transition. Chad2 We're going to kick it off with Chad A. Stevens- a former MediaStorm Producer, who is now an Assistant Professor at UNC Chapel Hill.

Words of Wisdom: Chad A. Stevens on learning important multimedia skills Posted by Jessica Stuart, October 1st, 2009 No Comments » We're kicking off a new series on the blog, talking with educators and journalism students about the value of Journalism school and the multimedia skills students need to start their careers. There has been a lot of discussion lately on whether it's worth it to go to Journalism school, and whether students are learning the multimedia skills they need to be successful in a pretty rough market. As the school year gets back underway, we're getting more and more questions from students wondering what skills they need to acquire to land jobs. Obviously, there are no simple answers to these questions, but we hope to offer up some words of wisdom for students and others interested in the profession, especially during this time of transition. Chad2 We're going to kick it off with Chad A. Stevens- a former MediaStorm Producer, who is now an Assistant Professor at UNC Chapel Hill.

PhotoPlus Event: Elliott Erwitt and Alec Soth\n\nElliott Erwitt and Alec Soth, two great photographers widely separated by their vision, style, and generations--but sharing a sense of irony, self-effacing wit, and a photo agency (Magnum)-took the stage at New York's Javits Center last night to talk to a packed audience about their work and careers.\n\nPrompted by the moderator Harald Johnson and a projection of some of his most iconic images, Erwitt spoke first, offering a brief, matter-of-fact accounting of his career and work, which he peppered with one-liners.\n\nErwitt is a keen observer of people and dogs, and the absurd things they do. He also has a sharp comic sense of visual timing and juxtaposition. All of that was on display in his slideshow. Describing one image of a dog in jumping straight upwards, Erwitt said, "People ask, Why is he jumping?' It's because I barked. I bark at dogs, they jump."

the films etc seamus talks about can be found here http://www.seamusmurphy.com/Films/12-Short-Films-for-PJ-Harvey/1/thumbs

note that the archive of this session starts part way thru the talk

"The documentary "Restrepo," directed by Mr. Hetherington and Sebastian Junger, will open Friday. Last week, Mr. Hetherington sat down with Mr. Kamber in Midtown Manhattan to talk about the film - and much else besides. Their remarks have been edited for brevity and clarity."

here is talk about a crisis in journalism, which generally takes the form of angst-ridden journalists, editors and news folk in general asking, "How do we maintain the commercial status quo without which journalism as we know it will be gone?" The question is sincere and extends beyond the fear of losing jobs; there is a genuine concern that the investigative and informative roles of the news media will be lost with a high cost to the civic health of our society.

"My best shot: Marcus Bleasdale The documentary photographer talks about capturing child soldiers and conflict zones - and explains why the reason he takes pictures is because he gets angry"

highly recommended - TED talk by young female Nigerian novelist Chimamanda Adichie, in which she talks about the danger of stereotypes

Getting A Story Made at National Geographic After talking with several National Geographic photographers about shooting for the magazine I became intrigued with the process of getting a story made. The collaboration between the photo editors and photographers and then the photographers involvement in all the steps along the way is unique and important to how they make stories. More magazines should spend this kind of time with their contributors. The few times I've had photographer come into the office and present their images to us have been incredibly rewarding and certainly I think made the story that much better.

Street Level was founded in 1989. From its inception it has provided artists and the public with the opportunity to produce and participate in photography and lens-based media. It aims to make artistic production accessible, both physically and intellectually, to a wide audience. Recognised for its integrated practice, the organisation promotes the work of artists through exhibitions, commissions, residencies, and publications; an education programme; community collaborations; open access facilities and training courses for the public. The exhibitions programme supports both emerging and established artists from local, national and international sources. Earlier exhibitions have included such diverse artists as Ian Breakwell, Chila Kumari Burman, Peter Kennard, Daniel Reeves, Maud Sulter, Andrew Stones, David Levinthal, and Elizabeth and Iftikhar Dadi. Critical ideas are also fostered through talks, symposia, and publications. Exhibitions and projects from the past five years are being listed on the archive section of the website. The education programme involves a range of collaborations in the community, with schools and with agencies working across areas of inclusion, social justice, and equalities. It aims to enable the creativity of non-artists, increase involvement by under-represented groups, and assist the artistic programme by engaging participants. A chronological list of projects will be listed on our education archive.

he Light Factory is a museum dedicated to photography, film, and related light-generated mediums. Our exhibitions present aesthetic excellence in contemporary and historic photography and film. The thematic content of our exhibits stimulates dialogue, challenges audiences and encourages artists to test new ideas. The Light Factory offers education and outreach programs designed to teach people of all ages to communicate using the photo and film mediums and to be able to interpret the messages inherent in the images they see both in the museum and in mass media. Following are the values that serve as the foundation for our vision, our mission, and our programs. We believe in… -the transformative power of photography and film -engaging the community through exhibitions and education -creating media literacy among all -evoking reactions and responses from our audience -stimulating creative commentary Each year thousands of people visit The Light Factory at our home in Uptown Charlotte's Spirit Square to experience our exhibitions, take classes, hear talks, and see films. We hope that you will join us as a visitor and participating member.

welcome to impressions gallery photography that gets people looking, thinking and talking