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"# Online bells and whistles can deliver your message with impact, but done in the wrong way, they can annoy your reader. Design gurus Laura Ruel and Nora Paul show you how to do multimedia right. By Laura Ruel and Nora Paul No comments | Archive Link One of the greatest opportunities of multimedia journalism is the ability to make different design choices. Although most online organizations present digital derivatives of their "parent" products - newspaper sites present columns of text, radio sites feature audio files, and TV sites provide video - we are seeing an increase in the number of sites embracing all design options. Radio sites are complementing their audio with photos and/or text, newspaper sites are presenting video and audio slide shows along with their text, and TV stations are supplementing their video pieces with text stories. "

Aims & Scope Third Text is an international scholarly journal dedicated to providing critical perspectives on art and visual culture. The journal examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field. Established in 1987, the journal provides a forum for the discussion and (re)appraisal of theory and practice of art, art history and criticism, and the work of artists hitherto marginalised through racial, gender, religious and cultural differences. Dealing with diversity of art practices - visual arts, sculpture, installation, performance, photography, video and film - Third Text addresses the complex cultural realities that emerge when different worldviews meet, and the challenge this poses to Eurocentrism and ethnocentric aesthetic criteria. The journal aims to develop new discourses and radical interdisciplinary scholarships that go beyond the confines of eurocentricity.

When It Comes to SEO, a Picture Is NOT Worth a Thousand Words By Levi Wardelllevi-wardellcloseAuthor: Levi Wardell See Author's Posts (1) Recent Posts * When It Comes to SEO, a Picture Is NOT Worth a Thousand Words Levi Wardell is a Washington, D.C.-based marketing professional and photographer. With 10 years of experience in online marketing for companies of all sizes, Levi currently focuses on helping fellow photographers leverage the power of search engine optimization. You can follow Levi's blog at his Web site. Levi's photography has been seen in office settings, local newspapers, marketing documents, and most recently on display at the Mark Whistler Gallery in Baltimore. When traveling for work, Levi oftentimes found himself searching the Web for the best places to photograph in various cities. With no consistent luck finding such a resource, Levi created a directory for all photographers to enjoy -- The Best Places To Photograph Directory. in Business of Photography on December 8th, 2008 As a photographer, you face unique challenges in optimizing your Web site for search engines. Fundamentally, you want your site to showcase your work; unfortunately, a picture is not worth a thousand words to Google. Sure, Google takes hundreds of variables into consideration when building search engine result pages (SERPs). But while a human can look at your photographs and feel the expressed emotions, understand the story you're telling, and get a sense for what your expertise is, a search engine needs to be told with text. That's why, for search engine optimization (SEO) purposes, it's important for your site to combine text-rich content with a solid visual representation of your work.

At TEDU 2009, Erik Hersman presents the remarkable story of Ushahidi, a GoogleMap mashup that allowed Kenyans to report and track violence via cell phone texts following the 2008 elections, and has evolved to continue saving lives in other countries.

OpenZine is a publishing platform with web browser based tools that provides an easy way for anyone to make their own magazine, for free. The best way to describe what OpenZine provides is by understanding how magazines work. Magazines have a staff of writers, photographers, designers, illustrators and editors that create & contribute. Here at OpenZine you create & contribute on those same principles but your resources are other OpenZine users! To preserving the design experience of print we've created amazingly powerful one click layouts. You can even change them as you go! Create your magazine cover online with the OhhZee Image Editor. In just a few clicks, you can add shapes, text and effects the OhhZee way!

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.

As almost everyone knows by now, various major daily newspaper published, on July 10, a photograph of four Iranian missiles streaking heavenward; then Little Green Footballs (significantly, a blog and not a daily newspaper) provided evidence that the photograph had been faked. Later, many of those same papers published a Whitman's sampler of retractions and apologies. For me it raised a series of questions about images.[1] Do they provide illustration of a text or an idea of evidence of some underlying reality or both? And if they are evidence, don't we have to know that the evidence is reliable, that it can be trusted?

THEORY - " Robert Frank: Dissecting the American Image" Robert Frank: Dissecting the American Image By Jno Cook for Exposure Eagazine, Volume 24, Number 1, Spring 1986 What a poem this is, what poems can be written about this book of pictures some day... -- Jack Kerouac When I first saw Frank's photographs in The Americans [1] I understood nothing of them -- yet they demanded comprehension. I later realized that even when exhibited singly in museums, they still evoked their placement in the book -- like quotations from a sacred text they called up entire passages, themes, subtle connections to other photographs. Here started a journey into The Americans in an attempt to understand not just the photographs, but the book. It has been a journey among museum archives, borrowed books, and xerox machines. It has meant searching out other Frank fanatics, engaging in endless and at times pointless discussions and arguments, and planning forays into literature and foreign languages.

Terms & Conditions for your business paperwork Good paperwork is of the utmost importance in your business. It helps prevent misunderstandings, protects your legal and financial interests, and conveys a crisp, businesslike impression to your clients. Every few years, ASMP publishes a new edition of its manual Professional Business Practices in Photography. The sample business forms in that book represent the best business practices in our ever-changing industry. The medium of print, however, is entirely static and cannot convey the vast range of options that good paperwork must encompass. The Web, in contrast, provides a malleable medium in which the text can be varied to reflect the choices made by users. Hence this module.

History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East. The journal aims to provide a significant resource to diverse communities, including, but not limited to, academics, curators, independent scholars, undergraduate and postgraduate students - indeed, anyone with a serious interest in the history and practice of the medium. The journal encourages submissions from young scholars, while also seeking to publish work by established authorities in the discipline. Over the past three decades History of Photography has become an indispensable source of documentary texts, new and original scholarly articles, novel interpretations, and original thinking in this field. History of Photography is a peer reviewed journal overseen by the Editor and supported by a board of scholars of international standing.

It wasn't all that long ago when I was interviewed for Black Star's terrific new project on photojournalism ethics. The book could not come at a better time for an industry that is trying to redefine itself in the face of public cynicism and distrust. Here an excerpt from the text. Photography has always been about manipulation....Even the smile is a form of manipulation, because it may mask the true feelings of the subject."

Bill Frakes is a Sports Illustrated Staff Photographer based in Florida. He has worked in more than 100 countries for a wide variety of editorial and advertising clients. His advertising clients include Nike, CocaCola, Champion, Isleworth, Stryker, IBM, Nikon, Kodak, and Reebok. Editorially his work has appeared in virtually every major general interest publication in the world. Bill won the coveted Newspaper Photographer of the Year award in the prestigious Pictures of the Year competition. He was a member of the Miami Herald staff that won the Pulitzer Prize for their coverage of Hurricane Andrew . He has also been honored by the Robert F. Kennedy Journalism Awards for reporting on the disadvantaged and by the Overseas Press club for distinguished foreign reporting. He was awarded the Gold Medal by World Press Photo. He has received hundreds of national and international awards for his work. The total content of this entire site, all text, graphics, code and photographs are protected by copyright. Violation of copyright will be actively prosecuted. None of the images on this site are to construed as an endorsement by the individuals photographed or the holders of any of the marks pictured. It is simply Bill Frakes photographic portfolio.

Declaration of Principles Kevin Sites in the Hot Zone is news reporting for the new millennium - a nexus of backpack journalism, narrative story-telling techniques, and the Internet, designed to reach a global audience hungry for information. Our Mission and Goals To cover every armed conflict* in the world within one year, and in doing so to provide a clear idea of the combatants, victims, causes, and costs of each of these struggles - and their global impact. With honest, thoughtful reporting we'll strive to establish Kevin Sites in the Hot Zone as a forum for information and involvement. Users will not only learn about the scope of world conflict, but will find ways to be part of the solutions- through dialogue, debate, and avenues for action. How We'll Do It We will be aggressive in pursuing the stories that are not getting mainstream coverage and we will put a human face on them. We will not chase headlines nor adhere to pack journalism but vigorously pursue the stories in front of and behind the conflict, the small stories that when strung together illustrate a more complete picture. Veteran war correspondent Kevin Sites will travel solo to these conflict zones, aided by a U.S.-based "mission control" team: Producer Robert Padavick (NBC News, CNN) and Researcher Lisa Liu (Radio Free Asia, International Medical Corps). Using the latest technology, including high-definition digital cameras and satellite modems, Kevin will deliver stories via a five-fingered multimedia platform of text, photography, video, audio, and interactive chat - all available on one website (http://hotzone.yahoo.com).

"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

Update | Thursday, 3:03 p.m. Edgar Martins, the photographer at the heart of the current controversy, has told Lens and at least one other blog, Jain, that he will be telling his side of the story soon. The text of his e-mail response to requests for interviews, identical to both blogs, is shown below in italics. Original post | There's probably no more troubling issue facing photojournalism than the digital manipulation of images that are supposed to faithfully represent what's in front of the camera. Digital technology permits so many interventions - some acutely obvious, others so subtle that only computers can detect them - that the line has blurred between manipulation and the kind of enhancement and editing that viewers customarily expect; like cropping, color correction, burning and dodging.