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Academics and artists at London Metropolitan University worked with photographer Paul Trevor to make a selection of his images of East London digitally available to artists, students and researchers. The Collection includes 500 images (chosen from a total of 120,000) of the Spitalfields area from the 1970s to the 1990s, a period of rapid social and physical change. The Paul Trevor Collection is part of a larger archive project at London Metropolitan University, which will eventually include oral as well as visual narratives, that aims to represent aspects of the lives of local East End communities in their distinctive social, economic and political contexts. The process of producing this photographic dimension of the archive was lengthy and gave rise to challenging questions. What are the aesthetic, historical, and social dimensions of creating a photographic archive and how might these be related? Which factors contribute to the construction of a photographic archive as a relevant resource for public history and/or academic inquiry? How can aesthetic and social/political discourses work together to achieve this end?

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.

about cij The Centre for Investigative Journalism (CIJ) advances education for, and public understanding of; investigative journalism, critical inquiry, and in-depth reporting and research. CIJ is a registered charity offering high-level training, resources and research to the community, journalists, students, non-governmental organisations and others interested in public integrity and the defence of the public interest. The Centre runs international summer schools, produces publications to help present landmark investigations, offers training in appropriate techniques, organises debates, speakers and screenings on critical issues - all designed to nourish the culture and professional standards of investigative journalism. We are assembling a significant archive of investigative material. It can assist and defend investigations and provide research materials, advice and resources to NGOs, community activists, journalists and researchers. The CIJ offers particular assistance to those working in difficult environments where freedom of speech and of the press is under threat and where reporting can be a dangerous occupation.

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.

Panos Pictures is a London-based independent photo agency representing photojournalists worldwide. Our photographers document issues and geographical areas which are under-reported, misrepresented or ignored. In a media climate dominated by celebrity and lifestyle Panos aims to provide fresh perspectives on the world. Panos photographers are available for assignment on every continent. Their in depth knowledge of local conditions enables them to deliver even in the most difficult situations. This website allows you to search, download and purchase from our ever growing archive of digitised images. If you cannot find the image you require our experienced researchers are on hand to help you locate what you are looking for in our physical archive of over 500,000 images. Half of the profits from the agency are given to the Panos Insititute to further its work on issues around media and communications, globalisation, HIV/AIDS and environment and conflict.

Adam Broomberg /Olly Chanarin discuss their research methodology for new projects

Geo-mapping how much we value photographs as tokens of "buzz" The proliferation of online photography and geo-tagging allows researchers to visualize and define a "geography of buzz". A new study of time-stamped, geo-tagged photos uploaded to the internet equates quantities and clusters of images as photographic tokens of cultural value. How will urban developers and event marketers tap into these power centers highlighted by stock photo agencies and citizen photographers uploading images to Flickr and Twitter? Very interesting reading in the New York Times, and the original research paper.

Media and development - Where's the Gap? John Davison, the Head of Media at Christian Aid has begun his personal visiting research fellowship at Polis with a research seminar at which he outlined his plans for a study of the relationship between journalism and NGOs in Africa

George Eastman House, an independent nonprofit museum, is an educational institution that tells the story of photography and motion pictures-media that have changed and continue to change our perception of the world. We: George Eastman House The George Eastman House * Collect and preserve objects that are of significance to photography, motion pictures, and the life of George Eastman. * Build information resources to provide the means for both scholarly research and recreational inquiry. * Keep and care for images, literature, and technology to tell the story of photography and the motion picture in history and in culture. * Care for George Eastman's house, gardens, and archives, maintaining them for public enjoyment and as a memorial to his contribution to our lives and our times.

Adam Broomberg on the Document - adam talks about how we can think of the 'document'

What's this site about? Focussing mostly on free sources with a UK bias, this site is aimed at journalists of the student, 'citizen' and professional varieties. In these pages I will outline a few tips, tricks and sources for unearthing the following: * Contributors * Case-studies * Backgrounders/analysis * Statistics * Actuality/archives, and * Any other thing I can think of

"The fascinating field of digital forensics couldn't be more relevant for a journalist, researcher or editor. Specialised analysts can test the authenticity of a photograph: how many times has it been saved? Have additions been made to the original, and if so, in which order? Are parts of the image generated by a computer? Professor Hany Farid, based at the Department of Computer Science at Dartmouth College in the US, explains that photo forensics refers to mathematical and computational techniques "that seek to determine if a photo has been altered from its time of recording, and how/where the photo was altered. "This field of study is highly technical, and while some simple analysis can be done without much technical training, most of the forensic techniques require a highly skilled practitioner.""

"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

"Everybody likes to cite the Iranian protests as a great example of how the Internet and Social Media was able to bypass censorship and narrate a powerful, fast-shifting story to the world. But how much do we really know about what was happening online and how journalists outside of Iran connected to the Online information?"