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This is a practical introduction to the photo equipment used in my professional photography studio part 1 of 2

Part 2: this is a practical introduction to the photo equipment used in my professional photography studio.

AFN interview with GQ Photo Journalist Jim Nachtwey at Landstuhl Regional Medical Center.

World Press Photo 2008, interview with John Moore and Brent Stirton at the Oude Kerk Amsterdam, april 26 2008.

"Here is a link to New York Times photographer Damon Winter's photo series, "A Grunt's Life", which won the third place award in the Pictures of the Year International "Feature Picture Story - Newspaper" contest. No one seems to be questioning the quality of Winter's work; rather, there was been a stir of debate regarding the series' lack of objectivity in capturing the "reality" of the War in Afghanistan. Does the old school, discolored, oversaturated, plastic toy camera feel of the photographs, which was created through the Hipstamatic app on Winter's iPhone, detract from their validity? "

"What's the real lifespan, or "shelf life" of a photographic print? Do ink-jet based prints last longer than prints made with traditional photo chemical-based processes? As a photographer selling prints, should you know the answers to these questions?"

Compare the quality of stock-photo services. Here's a look at Corbis, one of the largest, and the micro-stock site iStockphoto.com.

WeSay AP photo of boxer clad us army soldier.

Newsletter profiling Scoopt's open letter to Flickr members so that they can link tagged photos to Scoopt accounts that they sign up for. The tagging allows Scoopt to "acquire" the photographs and use them for their distribution.

Some good overview of value of attending photo portfolio reviews. Also number of upcoming US events.

Photographer: Ed Kashi Ed Kashi is a photojournalist dedicated to documenting the social and political issues that define our times. A sensitive eye and an intimate relationship to his subjects have become the signatures of his award-winning work, and his complex imagery has been recognized for its compelling rendering of the human condition. Photo: Photographer Ed Kashi Photograph by Heather Hiett Born in New York City in 1957, Kashi graduated from Syracuse University in 1979 with a degree in photojournalism and has since photographed in more than 60 countries. His images have appeared in National Geographic, the New York Times Magazine, Time, MediaStorm, GEO, Newsweek, and many other domestic and international publications.

Citizenside: is there a future for citizen photojournalism? Posted by Emma Heald on February 18, 2009 at 10:20 AM Following Getty Images' decision to close its citizen journalism arm Scoopt, the venture's founder Kyle MacRae explained in an interview why "the dedicated cit-j agency model isn't the way forward." His reasoning was that even though many members of the public may well be on a breaking news scene with a camera, it is extremely unlikely that they will be a member of a citizen photojournalism organisation. But has Citizenside, a small, young company based in Paris, found a solution? The Editors Weblog spoke to co-founder Matthieu Stefani and editor-in-chief Aurélien Viers about Citizenside's work and the way they see the future of citizen photojournalism.

posted by Nelly Akhmetova

Following Getty Images' decision to close its citizen journalism arm Scoopt, the venture's founder Kyle MacRae explained in an interview why "the dedicated cit-j agency model isn't the way forward." His reasoning was that even though many members of the public may well be on a breaking news scene with a camera, it is extremely unlikely that they will be a member of a citizen photojournalism organisation.

About this magazine LIFE Magazine is the treasured photographic magazine which chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today's people and events. They have free access to share, print and post images for personal use.

About this magazine LIFE Magazine is the treasured photographic magazine which chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today's people and events. They have free access to share, print and post images for personal use.

Detailing the life and work of acclaimed war photographer Don McCullin, the seminal photo-journalist of the 1970s and 1980s, Jacqui Morris' documentary film shows the truth behind McCullin's hard hitting and controversial images.

Photography Websites: How to design a website that image buyers will love website-montage.jpg We're releasing something special today. If you're selling photos online, displaying your portfolio to get more commercial or editorial assignments, or even designing websites for photographers, you'll want to have a look at this. Do you ever wonder, "Is my website doing its job? Am I working hard to get people there, only to have the site itself betray me?" Don't worry, you're not alone (being betrayed by your website is a growing problem). When we launched our photography website templates last fall, we picked up on this very fact - photographers and designers generally build websites based on their artists' intuition, and leave sound business reasoning aside. That's bad, of course, when you want your website to support your primary business goal - selling more of your work.

"Those of us who purchased an iPad or who have read reviews know that it does not include a camera, but for professional photographers and serious shutterbugs it's what the iPad can do for your photography that counts. Even before I purchased the iPad, I knew the device would automatically replace my laptop as my photo portfolio. So here are some ways I'm thinking we photographers can use the iPad."

As photographer Simon Norfolk claims in the following interview, his work documents an international "military sublime." His photos reveal half-collapsed buildings, destroyed cinemas, and unpopulated urban ruins in diagonal shafts of morning sunlight - from Iraq to Rwanda, Bosnia to Afghanistan - before venturing further afield into more distant, and surprising, landscapes of modern warfare. These include the sterile, climate-controlled rooms of military command centers, and the gargantuan supercomputers that design and simulate nuclear warheads.

Over the years it seems they've done exactly that, funding the kind of international journalism that often is without a sponsor in the USA.   But for journalism to retain any integrity it cannot simply rely on something as intangible as 'a deep sense of responsibility', it must be grounded in a solid set of ethical principles and it must be accountable.   Without these principles journalism doesn't shine the light into dark places, it becomes the dark place. Several weeks ago I came across  a set of pictures on Facebook and Photoshelter by the talented photographer Marco Vernaschi which focus on the subject of child sacrifice in Uganda. The work is both being funded and promoted by the Pulitzer Center on Crisis Reporting. It's a decent enough story, but not one that is in any way new. The pictures are black and white, often blurred, without hope and even evoke a sense of nihilism.  Nothing however in my journalistic career could prepare me for the disturbing truth as to how a number of the Photos were taken.

Have you ever seen one of those photos where there's a starving child with distended belly, looking forlornly up at a camera, asking you to save them? On the TV news, in magazines, and occasionally on advertising for charities. Playing on our fears and sympathy, they try to push a giant button on our forehead labeled "GUILT." These images make me angry. They make me angry because that's just not what extreme poverty is really about. Yes, it's real - people really do live in such challenging circumstances, but when it's the only image we see, it sends all the wrong messages. It's poverty porn - gratuitous and explicit images that strip away people's identity and personality, making them out to be little more than meat. It makes out that people in extreme poverty aren't willing or able to do things for themselves. It makes out that people in extreme poverty are victims, that they need us to save them. And, without really even thinking about it, it reinforces the idea that people in extreme poverty are somehow less than us - less valuable, less capable, less intelligent … and less human.

"Donovan Wylie became the youngest ever full member of Magnum Photos in 1997, when he was just 26. Born in Belfast in 1971, he has explored the architecture of conflict in Northern Ireland and, more recently, in Iraq, where he hopes to return later this year. One of his images is going on show in the Whitworth Art Gallery, Manchester from 25 September - 23 January, in a group exhibition called The Land Between Us: place, power and dislocation. BJP took the opportunity to catch up with him."