Aims & Scope Visual Resources: An International Journal of Documentation is devoted to the study of images and their uses. While images of architecture and works of art constitute its main focus, it also includes other subjects and contexts in a wide range of formats. Its scope delves into the past and looks toward the future, revealing how images have influenced the perception of art and how the interpretation of images conditions and enhances academic disciplines such as archaeology, history, and particularly art and architectural history. Visual Resources explores how visual language is structured and visual meaning communicated and also illustrates how picture collections are acquired, organized, indexed, and preserved. VR examines early attempts to document the visual, reports on the state of visual resources, assesses the effect of electronic technology on current and future uses, and provides a platform for reporting innovative ways to organize and access visual information - while aiming to increase the recognition and appreciation of visual documentation. Over the years, VR has published articles about verbal descriptions of art and architecture; copies, casts, and facsimiles; drawings, paintings, and prints; photography; library, archive, and museum collections; iconography; and computers and electronic imagery - and how these have functioned as documents of art and culture. Disclaimer for scientific, technical and social science publications: Taylor & Francis makes every effort to ensure the accuracy of all the information (the "Content") contained in its publications. However, Taylor & Francis and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are no

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.

The Research Center Collections are central to the VSW mission to support the "creation, presentation, collection, preservation and education" of media based arts. VSW's focus on the aesthetics, cultural history of media, and social use of images has developed a collections policy which includes both creative work and vernacular images, as well as items that represent the history of media use. The Independent Press Archive has 5000 artist's books -- the largest collection of artists' books in upstate New York. This Archive is complemented by the Illustrated Book Collection, which contains illustrated books published from 1694 to the present day that display all aspects of engraving and photo-engraving practices and all forms of imaging technologies from wood engraving to xerography. These collections are supported by a Research Library of 20,000 books concentrating on the areas of photography, filmmaking, video, bookmaking, media studies, and the cultural practices of image making. The Photograph Collections contain 27,000 original photographic or photo-mechanical prints made by 2,200 known photographers and more than 600,000 examples of vernacular or anonymous images in the form of lantern slides, stereo cards, snapshots, postcards and news agency photographs. These collections hold examples of every type of photographic practice from the family snapshot to the fine art print and include work of every era from the daguerreotypes of the 1840s to digital prints from the present day.

The Visual Studies Workshop is committed to expanding the potential of the media arts, and their impact on visual culture, through innovative programs in education, research, production and community service. We are an internationally recognized center for media studies, including photography, visual books, digital imaging, film and video, located in two historic buildings, comprising 44,000 feet of space in Rochester's museum and cultural district. We serves visual artists and the general public with diversified programming in education and exhibitions.

Welcome to the Afterimage Gallery website. We are located in Dallas, Texas and are one of the oldest art galleries in the world devoted to photography. This is our 36th year of operation, and this year some one million people will visit this site. We provide a large variety of photography at a wide range of prices.

Search millions of historic photos Search millions of photographs from the LIFE photo archive, stretching from the 1750s to today. Most were never published and are now available for the first time through the joint work of LIFE and Google.

Afterimage: The Journal of Media Arts and Cultural Criticism is a publication of the Visual Studies Workshop, a non-profit media arts center located in Rochester, New York. For the over 30 years, Afterimage has been an important voice in the photography, film, video and visual book community. Along with feature articles, books and exhibition reviews, essays and news, every issue of Afterimage also includes over 300 free notices for jobs, call-for-work, exhibitions and screenings.

Guidelines for the Evaluation of Ethnographic Visual Media AAA Statement Produced by the Society for Visual Anthropology 2001 Ethnographic visual media (specifically film, video, photography, and digital multimedia) play a significant role in the production and application of anthropological knowledge and form an integral part of the discipline's course offerings. Anthropologists involved in the production of visual works make valuable scholarly contributions to the discipline. In addition, anthropologists increasingly include visual media productions as part of their curricula vitae. Departmental and university Committees for Hiring, Promotion and Tenure are thus charged with judging the scholarly quality of these non-print works. Yet not all anthropologists bring appropriate experience or training to their evaluation of visual media and no standard guidelines exist. Committees tasked with appraising the significance of visual media as academic contributions to the discipline--to teaching, scholarly research, and applied anthropology --can benefit from evaluative criteria. Accordingly, the American Anthropological Association, under the advisement of the Society for Visual Anthropology, offers these guidelines for the evaluation of ethnographic visual media.

An ASMP white paper by Richard Weisgrau Publishers control the day rate that they pay to photographers. In 25 years they have failed to increase the day rate to a level that would allow photographers to maintain the standard of living of 1973. In spite of this failure, many publishers seek more and more rights from photographers for the same low and continuously eroding fees. The situation is out of control. Photographers feel that they cannot control the day rate. They perceive that they have little individual clout in a negotiation with a major magazine. They cannot collectively bargain, since they are independent contractors and not entitled to the collective bargaining power of a union. The simple fact is that the publisher has all the advantages, EXCEPT FOR ONE. If the situation does not improve, good and reliable photographers will eventually be forced to refuse editorial assignments, since these will not support the photographers' costs and commitments to their businesses.

Introduction The Ur-List: Web Resources for Visual Anthropology facilitates web searches by cross-indexing three hundred and seventy-five anthropological sites according to the categories of information they contain. The Ur-List's cross-index is more accurate than most Web-resource guides which typically reduce a site's multifaceted content to only one category. In the Ur-List, sites may be accessed according to the twenty-two subject-categories listed above. Multifaceted sites are cross-referenced under all appropriate categories.

The Center for Creative Photography is an archive and research center located on the University of Arizona campus. We retain the archives of Ansel Adams, Edward Weston, Garry Winogrand, Harry Callahan, and other great 20th century photographers-over fifty archives in all.

The Correspondence of William Henry Fox Talbot Project has prepared a comprehensive edition of the nearly 10,000 letters to and from Talbot (1800-1877), the Wiltshire polymath best known for his invention of photography. Draft transcriptions of nearly all the letters were posted by September 2003 and these are now being further annotated and edited.

The Photographer's Right A Downloadable Flyer Explaining Your Rights When Stopped or Confronted for Photography The Photographer's Right is a downloadable guide that is loosely based on the Bust Card and the Know Your Rights pamphlet that used to be available on the ACLU website. It may be downloaded and printed out using Adobe Acrobat Reader. You may make copies and carry them your wallet, pocket, or camera bag to give you quick access to your rights and obligations concerning confrontations over photography. You may distribute the guide to others, provided that such distribution is not done for commercial gain and credit is given to the author.

Attitude Counts Guidelines for Assistants By Pamela Kruzic The following is a compilation of responses that the author received after posting an inquiry on the ASMP members-only forum at [www.asmp.org] combined with her own experience as an assistant. Information providers: David Budd, Alan Farkas, George Fulton, Ira Mark Gostin, Tom Hussey, Jeffrey Jacobs, Deborah Gray Mitchell, Harrison Northcutt, Michael Sharp. Edited by: Ira Mark Gostin and Michael Sharp. Special thanks to Jerrianne Lowther and Roy Buckner.

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."