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Joe McNally shoots assignments for magazines, ad agencies, & graphic design firms. Clients include Sports Illustrated, ESPN Magazine, National Geographic, Life, Time, Fortune, New York Magazine, GEO, Golf Digest, Discover, Men's Journal, Business Week, Rolling Stone, New York Stock Exchange, Target, Sony, GE, Nikon, Lehman Brothers, & PNC Bank. In addition to having been a recipient of the Alfred Eisenstaedt Award for outstanding magazine photography, McNally has been honored numerous times by several of the following: Communication Arts, Applied Arts, Photo District News, Pictures of the Year, The World Press Photo Foundation, The Art Directors' Club, American Photo, and Graphis. Joe's teaching credentials include: the Eddie Adams Workshop, the National Geographic Masters of Contemporary Photography, the Santa Fe Workshops, the Smithsonian Institute Masters of Photography, Rochester Institute of Technology, Maine Photo Workshops, Department of Defense Worldwide Military Workshops, and the Disney Institute. He has also worked on numerous "Day in the Life" projects. One of McNally's most notable large scale projects, "Faces of Ground Zero - Giant Polaroid Collection", has become known as one of the most primary and significant artistic responses to the tragedy at the World Trade Center. Joe was described by American Photo magazine as "perhaps the most versatile photojournalist working today" and was listed as one of the 100 most important people in photography. In January 1999, Kodak and Photo District News honored Joe by inducting him into their Legends Online archive. In 2001, Nikon Inc. bestowed upon him a similar honor when he was placed on their website's prestigious list of photographers noted as "Legends Behind the Lens".

Interview with Bruce Davidson, The Kojo Nnamdi Show (WAMU/Chicago), November 2006 Q: You're on the streets of Chicago, wandering into Pentecostal churches, how did that initial roaming around, years ago, play out later in life? BD: I think that I was a born loner. My mother was a single parent, working in a torpedo factory in the Midwest, and I didn't like school. I felt very isolated. And so I could do both my reading and my writing at the same time, with a camera. Q: And that is what became the trajectory for the rest of your life. I want to go to 1961, because even as I look at the book "Time of Change", I think it was before you ever rode with the Freedom Riders that you got a job to shoot fashion models. And you got caught-up in that - it was quite glamorous. But at the time, your heart wasn't really in it, was it. BD: In 1959, I photographed a Brooklyn gang for a year. And when that was published, Alex Lieberman at Vogue asked me if I'd like to do fashion. He'd been told by Cartier-Bresson that I could do fashion because I could do gangs - it doesn't make a difference. So I began to do fashion to support other things I wanted to do. But my heart wasn't in it. The models were too tall and too sophisticated for me, and I'm a sloppy dresser.

Terrorist Bombings: From Stopped Time to Still Life Posted by Hariman in visualizing war Representation in any public art today has to include using old forms to capture what is distinctive about our time. Eventually new forms emerge, and we should ask what might become the artistic conventions of a "catastophile" society in which disaster and violence are fatal attractions and spectacular sources of energy. One image that might be on the cusp of old and new is this screen shot of a bombing in Sri Lanka:

Multimedia Journalists Discover Life After Newspapers Non-profits, NGOs and corporations are looking for storytellers, and former newspaper photographers are answering the call.

very useful site for original magazine layouts of classic stories Slightly out of focus is an on-line shop specialising in vintage, original illustrated magazines featuring the best in 20th century photography and photojournalism. As collecting original pieces of photography is becoming out of reach for many, collecting the work in context, in it's original form, is a great alternative. All our magazines are in at least very good condition (most are excellent) and are complete with all articles and advertisements. We stock LIFE, Vu, Picture Post, Illustrated, Colliers, Saturday Evening Post and others. We currently hold a comprehensive selection of Robert Capa magazines, but are adding other photographers regularly. Please e-mail us if you are looking for the work of a particular photographer- we may not have added their work to our website yet.

ohio university's visal journalism group site about life in athens ohio

Your Camera Is an Agent for Change By Qiana MestrichqianamestrichcloseAuthor: Qiana Mestrich See Author's Posts (6) Recent Posts * Braving the Sight Unseen: Interview with Blind Photographer Timothy O'Brien * Photographers on Twitter, Part 2: My Favorite Tweets * Photographers on Twitter: How They Use It * Photography Empathy: How You Feel Is What You Get * Your Camera Is an Agent for Change Born and raised in Brooklyn, New York, of Panamanian and Croatian heritage, Qiana Mestrich has studied photography and its history for more than 15 years. Trained as a fine art photographer, Qiana's personal work ranges from portraiture to still life and landscapes. As a world citizen, she's also documented her travels to countries like Panama, Cuba, Trinidad & Tobago, the U.K. and more to come. View Qiana Mestrich's fine art photography on her Web site or read her blog, Dodge & Burn: Diversity in Photography. in Photojournalism on September 16th, 2008 As photographers, we often use our cameras to make money - shooting weddings, editorial, advertising, stock photography, etc. Yet the camera can do more than help us earn an income. As Dorothea Lange put it, this powerful tool can teach people "how to see without a camera."

Frontline Club: Irme Schaber talks about Gerda Taro At last week's Photography event at the Frontline Club, Irme Schaber talked about the life and work of Gerda Taro. If you missed the event, here is your chance to watch the entire debate. Schaber is a writer and lecturer on the history of exile photography, photojournalism and print-media. She is also Taro's biographer and curator of the current exhibition at the Barbican. Next week, she will present and talk about a wide selection of Taro's work. Taro worked alongside Robert Capa, who was her photographic as well as romantic partner and the two collaborated closely. Her photographs were widely reproduced in the French press and incorporated the dynamic camera angles of New Vision photography as well as a physical and emotional closeness to her subject. While covering the crucial battle of Brunete in July 1937, Taro was struck by a tank and killed.

Four Media Ethics students take on the ethics case of Photojournalist Kevin Carter and his infamous and award winning photograph "Sudanese Girl". We take a look at Carter's life as well as taking his case through Garry Bryant's Photojournalism Ethical Model. Finally, we come up with a decision on whether or not Carter was ethical in taking that heart wrenching photograph.

A New Website for a Changing World SocialDocumentary.net is a new website that features documentary photography from around the world-images and words that explore the human condition. Easily Create Documentary Websites About Critical Issues Facing Our World Today Professional and amateur photographers, journalists, NGOs, students-anyone with a story to tell and a collection of good photographs-can easily and affordably begin creating websites on SocialDocumentary.net. Global warming, international justice, post-conflict reconstruction, HIV/AIDS, or life in Afghanistan or suburban America are just a few of the themes that you can find on SocialDocumentary.net. The goal of this website is to make our lives richer and more informed about issues affecting us and our world today. Powerful photographs can also lead to meaningful change in the lives of ordinary people. SocialDocumentary. net provides tools for photographer to inform viewers how to take action-either by supporting NGOs doing work on the issues, or by engaging in direct political action. Not all documentary photographers are concerned with action. Many photographers featured on SocialDocumentary.net are concerned with subtleties of the human experience and exploring personal themes. Photographs on SocialDocumentary.net-whether of struggling farmers in Africa or of suburban teenagers in Philadelphia-offer a fresh way to look at the world and a greater understanding of humanity. The secondary goal is to create an online image bank of quality photographs documenting all aspects of the world created by an international collection of photographers. This will enable students, college professors, journalists, and anyone else to easily see any part of the world in quality digital imagery and gain valuable information about the subjects they are viewing. We encourage all photographers, everywhere, to use this site as a tool in their own image-making and documentary exploration. We also encourage n

NEW YORK-The panoramic photograph of a bootless soldier, sprawled almost gracefully in death in Afghanistan, might have made readers pause for a moment if it had appeared in a newspaper or magazine. But when "Taliban Soldier" filled a New York City gallery wall-blown up to near life size-it made the art world take note. Taken with a large-format camera, the monumental 4- by 8-foot print was presented for $15,000 four years ago at the Ricco Maresca Gallery, a Chelsea stop usually favored by folk and fine art collectors. It catapulted the Paris-based photographer Luc Delahaye, who shot the image on assignment for Newsweek, into international prominence. And it signaled a turning point for a small club of international war and "conflict" photojournalists, who now see their images appearing regularly in gallery and museum shows. Suddenly, the reality of war, famine, poverty and pain has turned into fine art. "Great collectors are always looking to be delighted by something that they don't know about, and this excites some of them," says Bill Hunt, the former Ricco Maresca co-director of photography who introduced Delahaye to gallery crowds.

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.