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Is Video a Trojan Horse for Photojournalistic Ethics? By Anh StackanhstackcloseAuthor: Anh Stack See Author's Posts (12) Recent Posts * Is Video a Trojan Horse for Photojournalistic Ethics? * Why You Should Be Worried About Proposed Orphan Works Legislation * Up Your Price with Limited-Edition Photography * Tips for Creating a Winning Portfolio * How Professional Photographers Can Generate New Business with Flickr Anh D. Stack is editorial director of Black Star. in Photojournalism on November 13th, 2008 Tension has always existed between television and print journalists. While casual observers tend to write this off to ink-stained newspaper staffers being jealous of the higher profile -- and paychecks -- of their TV brethren, the reality is that significant differences exist in how TV and print news organizations gather the news.

Wakes Gilles Peress September was already a dark month for New Yorkers. Then the bull market died. Gilles Peress attended the memorials at the World Trade Center and at Wall Street.

tony suau's project on eastern europe

A little while ago, I received an email that told me about a project photojournalist James Nachtwey had been working on, which was going to get unveiled at a later date. The email contained the request to write a post that included some piece of code, which would automatically reveal the new project on the day in question. Since I prefer to have full editorial control over this blog, I decided not to post about it. But I was also uncomfortable with how this then secret project - something supposedly very important and completely underreported - was being handled. I thought that generating a lot of suspense could easily be somewhat damaging to whatever it was Nachtwey wanted to talk about: What if on the day in question people would think "Well, this is it?"

Christopher Anderson on objectivity

In the first years of the Iraq war, Noor co-founder and Time magazine contributor Yuri Kozyrev travelled behind enemy lines, following the conflict from both the US military and Iraqi insurgents' perspectives. 'I spent a lot of time with both sides,' he says. 'I would be with the rebels and then go across the road, knock on the doors of a palace, go inside and find myself with the US military.'

Mostly True Photographer Kenneth Jarecke offers an inside look at the world of photography and photojournalism.

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.

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".

Today I'm in San Francisco giving a lecture to the Society for Photographic Education. After presenting my pictures and the story of how I became a photographer, I'll likely be asked if I have any advice for young photographers. Instead of giving just my two cents, I thought it would be cool if I could also offer some advice from my fellow photographers at Magnum. I emailed my colleagues and received 35 different responses.

It wasn't all that long ago when I was interviewed for Black Star's terrific new project on photojournalism ethics. The book could not come at a better time for an industry that is trying to redefine itself in the face of public cynicism and distrust. Here an excerpt from the text. Photography has always been about manipulation....Even the smile is a form of manipulation, because it may mask the true feelings of the subject."

Welcome to the Lee Miller Archive. Lee Miller produced some of the most powerful photographs seen this century, from portraits of her friends such as Pablo Picasso, to her work as a correspondent with the US army in World War II. Beginning her own studio in Paris with artist Man Ray, she went on to work with Vogue, and in France, Egypt, and New York, being best remembered for her witty Surrealist images.

AP Images, a division of The Associated Press, is one of the world's largest collections of historical and contemporary imagery. As an essential source of photographs and graphics for professional image buyers, AP Images strives to meet the needs of today's global customer through superior image quality, selection and service.

THE BEST ASSIGNMENTS ARE FREE…. In Thoughts at 11:12am They are gifts we give ourselves….. You already know the ones…the ones that really terrify you. The ones you think you can't handle. The ones you think are way, way, beyond your capabilities. Gateway assignments. The ones you need to take. They come in on the phone (rarely) or in the email of your imagination as loud as the "TERRAIN! TERRAIN! TERRAIN!" warning in the cockpit. You must respond. You must engage. Increasingly, these are the ones you give yourself. On the other side of that job, win, lose or draw, you will be a different photographer, and presumably, absolutely, a better photographer. Like a redwood, you just accumulated another ring. You could liken it to a scar, the way things go in this business. I try not to think about it. But here's the beautiful thing about scars. They are on the surface. Not attractive perhaps, but at the end of the day, inconsequential. They don't affect your core.

Video filmed by Guardian photographer Dan Chung entirely on a production Canon EOS5DmkII and adapted Nikon and Zeiss lenses using manual focus. The camera was purchased to use solely as a video camera with existing Nikon kit. The film was shot an edited in about twelve hours directly after picking the camera up from a Beijing camera store and charging the battery.

Tips and Tricks for the 5D MKII - PART II - Audio Monday December 08th 2008, 2:10 am Filed under: Articles, Hardware One of the most common questions that I get relates to audio and the Canon 5D MKII. My first recommendation is always to record your audio independently - i.e. with a separate device. This gives you much greater freedom with your edit when you have a continuous sound recording - and are now free to cut between shots even if they weren't sequential. If you want to shoot stills and video - an independent audio recording device allows you to cut between stills and video - shot with the same camera.