Foto8 was established in 1998 as an online web journal featuring quality photojournalism by professionals worldwide. Today, it continues to produce innovative online presentations of photojournalism, including providing the online resource for buying essential photography books and tickets to events, publishes the physical quarterly magazine EI8HT and houses the new gallery of photography in London, HOST. Over the years Foto8 has become known for its award-winning documentary photography presented in an exciting online and print format. From classical photo-stories to contemporary multi-media shows the website and magazine, and now the gallery, continue to stimulate and innovate. By showcasing this work Foto8 aims to inform and involve the viewer whilst pioneering new ways to tell stories. Foto8 believes that documentary photography performs an essential role in modern society. It is a valuable tool of communication as well as a vital part of educating ourselves about the lives of others which are often distant from our own. Photography allows us to look into, as well as at, lives of other people, to learn about their world, and in the process to define the issues that are important to us.

At PixelPress our intent is to encourage documentary photographers, writers, filmmakers, artists, human rights workers and students to explore the world in ways that take advantage of the new possibilities provided by digital media. We seek a new paradigm of journalism, one that encourages an active dialogue between the author and reader and, also, the subject. Our online magazine features projects that use a variety of linear and non-linear strategies, attempting to articulate visions of human possibility even while confirming human frailty. For us the digital revolution is a revolution in consciousness, not in commerce. We work with organizations such as Crimes of War, Human Rights Watch, World Health Organization and UNICEF to create Web sites that deal directly with contemporary issues in complex and innovative ways that circumvent media sensationalism and simplification. We also try to factor in ways that the viewer can help remedy social problems, rather than remain a spectator. Recently we completed a site focusing on how to end polio worldwide; another trying to aid an orphanage in Rwanda; one trying to reclaim the Brazilian forest; and a site featuring the images of photographers from the Vietnam War. And we also create books with photographers such as Machiel Botman, Kent Klich and Sebastião Salgado on social themes, as well as traveling exhibitions using both digital and conventional processes.

photography at national geographic

My lai massacre in pictures, U.S army photographers captured the events of the day, from the morning at LZ Dottie to the massacre itself. Some of the photos of the operation were published in a U.S Army newspaper without giving the impression that a massacre had taken place, other photos were secretly taken by R. Haeberle on his own camera, rather than the army issued one which was subject to censorship an estimated 504 Vietnamese civilians were killed by U.S. Army forces on March 16, 1968, in the hamlet of My Lai, during the Vietnam War

Napalm is any of a number of flammable liquids used in warfare, often jellied gasoline. Napalm is actually the thickener in such liquids, which when mixed with gasoline makes a sticky incendiary gel. Developed by the U.S. in World War II by a team of Harvard chemists led by Louis Fieser, its name is a combination of the names of its original ingredients, coprecipitated aluminum salts of naphthenic and palmitic acids. These were added to the flammable substance to cause it to gel.[1]

We live in a world where we can watch disasters and suffering unfold around the world. New technologies mean that every war, every famine, every hurricane can be covered live and direct. But do we actually notice what is happening to those involved? Polis Summer School student Andrea Abril has been thinking through the moral dilemmas. This is her report: Hannah Arendt, the German political theorist, wrote about the "Politics of Pity". Firstly , she made the distinction between those who suffer and those who do not. She also wrote that 'seeing' and 'looking' are considered as different concepts because sufferer and observer are physically distant - despite the closeness that modern media brings. This creates the "spectacle of suffering", unfortunate people are observed by those who do not share their suffering, who do not experience it directly and who, as such, may be regarded as fortunate people. This theory can be applied to sufferings representation in media. Audiences are observers of the misery of the unfortunate but within a distance, which is not just geographical, but also emotional.

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?

Black Star Rising is a blogzine designed to educate professional photographers, amateur photographers and photography buyers alike. Black Star has a long history of mentoring our photographers and clients, and Black Star Rising is an attempt to extend this ethos of teaching -- and caring -- to a broader audience. We hope you find it of value, and that you'll come back often.

Photojournalists Are Getting Artsier -- But Is That What Audiences Want? PDF Print E-mail Written by Dennis Dunleavy Monday, 04 February 2008 ImageWalter Benjamin once suggested that there is no single, absolute, or correct interpretation of a picture, since every viewer brings something unique to the process. At the same time, photojournalistic conventions often constrain how a viewer responds emotionally and intellectually to pictures.