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Words of Wisdom from Women Photographers

Annie Leibovitz, Photographer, "Women" [Random House], "Photographs 1970-1990" [Harper Collins]; 15 Slides from "Women" [Random House]; 5 Slides from "Photographs 1970-1990" [Harper Collins] /// Richard Avedon, Photographer; 6 Slides from work soon to be published in the New Yorker

Jodi Cobb, Photographer; Karen Kasmauski, Photographer; Annie Griffiths Belt, Photographer; Book: "Women Photographers at National Geographic" [National Geographic]; Various photographs /// Bruce Weber, Photographer; Various photographs; 1 clip from "The Teddy Boys of the Edwardian Drape Society" [Little Bear Productions] /// Excerpt from CR interview with Henri Cartier Bresson, Photographer (7/6/00)

VII Photo Panel: Why Photography Still Matters Long, long ago, when picture magazines arrived in millions of homes once a week, and people still read newspapers, a news photo could have an immediate impact on public opinion. Images of fire hoses turned on men and women wanting to exercise their right to vote mobilized thousands of voter registration volunteers. An image of a naked girl running down a road to flee a napalm bombing curdled public opinion about an already unpopular war. But in today's fractured media, with so few publications showing serious photography, can a photo really make a difference? The answer, according to participants in the panel discussion held last night at the VII Photo agency office, is yes. Each panelist-a Congressional aide, a human rights activist and a photojournalist-gave examples of the surprising and sometimes unexpected ways that photos of human rights issues have moved individuals to take action.

VII Photo Panel: Why Photography Still Matters Long, long ago, when picture magazines arrived in millions of homes once a week, and people still read newspapers, a news photo could have an immediate impact on public opinion. Images of fire hoses turned on men and women wanting to exercise their right to vote mobilized thousands of voter registration volunteers. An image of a naked girl running down a road to flee a napalm bombing curdled public opinion about an already unpopular war. But in today's fractured media, with so few publications showing serious photography, can a photo really make a difference? The answer, according to participants in the panel discussion held last night at the VII Photo agency office, is yes. Each panelist-a Congressional aide, a human rights activist and a photojournalist-gave examples of the surprising and sometimes unexpected ways that photos of human rights issues have moved individuals to take action.

Press Releases 02/16/2006 THE ASSOCIATED PRESS STATEMENT OF NEWS VALUES AND PRINCIPLES For more than a century and a half, men and women of The Associated Press have had the privilege of bringing truth to the world. They have gone to great lengths, overcome great obstacles - and, too often, made great and horrific sacrifices - to ensure that the news was reported quickly, accurately and honestly. Our efforts have been rewarded with trust: More people in more places get their news from the AP than from any other source. In the 21st century, that news is transmitted in more ways than ever before - in print, on the air and on the Web, with words, images, graphics, sounds and video. But always and in all media, we insist on the highest standards of integrity and ethical behavior when we gather and deliver the news.

Brighton Photo Biennial Memory of Fire: The War of Images and Images of War festival review and interview with curator Julian Stallabrass by Guy Lane The Brighton Photo Biennial offers an in-depth exploration of the photography of war. Ten exhibitions, in locations across the South Coast, examine various aspects of the production, use and circulation of imagery during wartime. At the heart of the Biennial is a comparison of photojournalism from the Vietnam and Iraq wars, featuring - amongst others - the work of Larry Burrows, Don McCullin, photographers from the North Vietnamese Army, Bilal Hussein and Stephanie Sinclair. Harriet Logan's photographs of women in Afghanistan are afforded a solo show; as is Philip Jones Griffiths' Agent Orange project. Dutch photojournalist Geert van Kesteren presents edits from his books, Why Mister Why? and Baghdad Calling. Themes of censorship and obscenity are addressed in an installation by Swiss artist Thomas Hirschhorn. The representation of war by contemporary art photographers - including Simon Norfolk, Paul Seawright and Adam Broomberg & Oliver Chanarin - is the subject of a further exhibition. Julian Germain hosts a display of pictures made by military personnel based in Portsmouth. And separate shows of material from the First World War (by Frank Hurley), and the Mexican Revolution, suggest historical parallels to the more recent work. The Biennial, titled Memory of Fire: the War of Images and Images of War is described as an opportunity for visitors "to experience a range of imagery and to reflect critically on the different elements and contrasts." It runs from the beginning of October for six weeks. Below, curator Julian Stallabrass discusses some of the diverse issues and topics raised by the show.

Learning To Take Photographs the Martin Parr Way By Peter Terzian Posted Tuesday, Nov. 18, 2008, at 9:00 AM ET Martin Parr is taking a picture of my breakfast. Print This ArticlePRINTDiscuss in the FrayDISCUSSEmail to a FriendE-MAILGet Slate RSS FeedsRSSShare This ArticleRECOMMEND...Single PageSINGLE PAGE Yahoo! BuzzFacebook FacebookPost to MySpace!MySpaceMixx MixxDigg DiggReddit RedditDel.icio.us del.icio.usFurl FurlMa.gnolia.com Ma.gnoliaSphere SphereStumble UponStumbleUponCLOSE Click to view a slide show.With an impish smile, he glides behind our chairs, leaning over our shoulders to neatly frame pale yellow eggs, fat sausages, grilled tomatoes, and racks of thin, evenly toasted slices of bread. The 12 photographers gathered in the dining room of the Northbank Hotel-eight men, four women; some professionals, some enthusiasts-study him eagerly. We are on the Isle of Wight, a roughly diamond-shaped piece of land in the English Channel, for an educational weekend with Britain's pre-eminent documentary photographer. Occasionally Parr discusses technique and technology with individual members of the group, but mostly we learn by watching him. The lesson is simple: Photograph what you love.

Photographer and artist Cindy Sherman uses her self-portraits to highlight stereotypes of women that exist in film and magazines. In an extended interview, she talks about her artistic inspiration, the evolution of her photographic style, and what her photography is meant to accomplish.

The window of a Humvee rolling through Baghdad's dangerous streets is essentially a television, watched in the dark. The glass is dirty and three inches thick: everything has a hazy and muted look, like a rerun of an old seventies movie. Humvees are dim inside even on sunny days; you can see out, but Iraqis can't see in, any more than a sitcom character can see us when we watch. Even the proportions are right: the older Humvee windows have the squarish shape of an old-fashioned picture tube; the latest armor kits feature wider, more horizontal windows, like the letterbox of plasma screens. And these screens show, for the American soldier-viewers, the day-to-day life of seven million souls: Iraqi children walking to school, men lounging in chairs outside of businesses, a food seller grilling meats. Women swathed in black abayas (so rare before the invasion and so common today) shuffling through the streets. Tall concrete blast walls, everywhere.

The ethical and real hazards of citizen journalism People powered People powered Who is responsible for the risks taken by citizen journalists who become 'accidental' reporters in dangerous situations? This was the excellent question asked by Slawek Kozdras, a Polish student, who was in the audience when I gave a talk at Cumberland Lodge to LSE Government scholars. I was doing my usual schtick about how networked journalism could alter the terms of the political communications trade. I put up slides about activists in Burma, G20 protestors and other people using new media technologies to report where professional journalists can't go. Slawek made a good point drawn from a fellow eastern European's work: "I remember a story told in Kundera's Unbearable Lightness of Being. After the Soviet army stormed into Prague in 1968 the brave Czech people (as opposed to cowardly Czech politicians) were mocking the army, women were teasing with Russian soldiers, laughing at them, taking pictures with them knowing the Russians can't react. The paradox is that later on these pictures with people mocking Russians turned against the Czechs and served as evidence in trials."

In the September issue of Italian vogue, fashion photographer Steven Meisel (the man behind Madonna's controversial Sex book) stirs up controversy with his glamorized imagery of the war in Iraq. His 'Make Love Not War' series (mostly) depicts sweaty, dirty soldiers in the middle of a war-zone interacting with models in a very "heated fashion" Apparently, claims are being made by 'Women In Media and News' suggesting this series of photographs are pornographic and evoke sexualizations of horrific situations, also saying that violence is erotic. Am quiet certain everyone would agree by this "surface" reading, but is that the point of the message? What do they mean to you? Check out the rest.

Photographer and MacArthur fellow Susan Meiselas is best known for her work covering political upheavals in Central America in the 1970s and 80s. The International Center of Photography (ICP) is hosting the first U.S. overview of her work, "Susan Meiselas: In History." It's on display through January 4, 2009.

Jessica Dimmock dove headlong freakin' into it. There she was, in 2004, all innocent and walkin' around, playing with her fancy new digital camera, still a student... then a chance meeting with the jail bound coke dealer, the door in the floor opened and into the rabbit hole she went. Into the darkness, into the-land-of-broken-childhood-dreams, into the pain, into the dead end, into the heroin-is-god parallel universe. The 9th Floor was waiting for her... and in she jumped. The apartment in NYC, 4 W. 22nd St, the place of the pain, the upside down world of the empty shell living… dead folks walking... it would become a second home of sorts for Jessica. There she was, in the fray. This was amazing for a photographer, right? Insane to have this opportunity of chance, a chance that would turn into a VIP pass to document the drug fueled descent, to document the decay, to have free reign in the world of dashed dreams... to make it, with open arms, to be accepted into this world of the barely living... amazing, wasn't it? Well, I guess that all depends on the way that you look at it… doesn't it. Let's hold our thoughts on that for a bit and let's get back to our story.

"On the Internet, everybody is a millenarian. Internet journalism, according to those who produce manifestos on its behalf, represents a world-historical development-not so much because of the expressive power of the new medium as because of its accessibility to producers and consumers. That permits it to break the long-standing choke hold on public information and discussion that the traditional media-usually known, when this argument is made, as "gatekeepers" or "the priesthood"-have supposedly been able to maintain up to now. "Millions of Americans who were once in awe of the punditocracy now realize that anyone can do this stuff-and that many unknowns can do it better than the lords of the profession," Glenn Reynolds, a University of Tennessee law professor who operates one of the leading blogs, Instapundit, writes, typically, in his new book, "An Army of Davids: How Markets and Technology Empower Ordinary People to Beat Big Media, Big Government and Other Goliaths." The rhetoric about Internet journalism produced by Reynolds and many others is plausible only because it conflates several distinct categories of material that are widely available online and didn't use to be. One is pure opinion, especially political opinion, which the Internet has made infinitely easy to purvey. Another is information originally published in other media-everything from Chilean newspaper stories and entries in German encyclopedias to papers presented at Micronesian conferences on accounting methods-which one can find instantly on search and aggregation sites. Lately, grand journalistic claims have been made on behalf of material produced specifically for Web sites by people who don't have jobs with news organizations. According to a study published last month by the Pew Internet & American Life Project, there are twelve million bloggers in the United States, and thirty-four per cent of them consider blogging to be a form of journalism. That would add

botht hese talks are on the same archive best