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Here are three slightly different versions of the same story, "Mom Goes to War," which I photographed last summer with reporter Mark Brunswick while working at The (Minneapolis) Star Tribune. In the story, Maj. Patricia Baker, a helicopter pilot in the Minnesota National Guard, prepares to go to Iraq for her second deployment, and her son Zach talks about his mother leaving. The first version uses only natural sound, while the other two use loops from GarageBand. I did a limited amount of music editing to fit it to the video.

Nielsen: Online Video Use Skyrockets Online video engagement by Internet users is deepening, according to a new report on the online landscape released last week by The Nielsen Company. Nielsen Online CEO John Burbank takes a look at the economic and advertising impacts of the report.

The Ethics of Mixing Music and Videojournalism Regina McCombs, a Poynter Institute visual journalism instructor, has created a powerful illustration of how soundtracks can affect a video story -- illuminating the debate as to whether they have a proper place in videojournalism. In her article, "See How Music Changes a Story," she shows three versions of the same video story, "Mom Goes to War" (featuring a pilot preparing for her second Iraq deployment and her young son). The first is with natural sound. The second adds a slow, somber keyboard track. The third features an upbeat guitar/percussion track. (Both scores are GarageBand loops -- demonstrating how easy and accessible it is for even someone with a tin ear to provide professional sounding music background.) McCombs poses the all-important question: how do the alternate versions change the way you react to, and feel about, the story?

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Movie World Photo Press Award Winner 2008 05/06/2009 Filmed only a week before leaving for Amsterdam to receive the 2008 World Photo Press Award, Leica joined photojournalist Anthony Suau as he used his camera on assignment in Spanish Harlem to document the Feed the Children Drive in his ongoing coverage and interest of the economic crisis. As he traveled to Wall Street to discuss this major achievement in photojournalism, Leica had the opportunity to hear about his recent travels, how he captured the award winning photo and the other images in the series on the economic and foreclosure crisis in the U.S.

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Spotlighting Human Rights: Digital Photography and Video University of California: Berkeley

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.

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.

Getty Images Splitting Sales With Celebrity Subjects on the "DL" It seems that Getty Images may be playing fast and loose with the ethics of photojournalism these days. Getty is sharing in the sales of images of certain celebrities with the celebrities themselves, for example, in a little-known maneuver where they just happen to be in the right place at the right tim to catch a celebrity doing something, paparazzi style. They are, unfortunately, doing this on the down-low, and that's where the ethical problem comes in.

For Greater Image Credibility In my After Photography book I outline a number of ways to employ the digital image differently, including ways to be more explicit as to the origins and possible meanings of the image. Given the never-ending discussions about digital retouching and a growing disbelief as to the authenticity of the contemporary photograph, I will repeat two of them here:

Photographic retouching exposed April 29th, 2009 The issues surrounding photographic meaning, manipulation and Photoshop have been prominent recently (see my previous posts here and here, with some updates amongst the comments for each). Via Fred Ritchin's After Photography (see his 24 April post) comes news of a Swedish government project Girlpower dealing with sexism in advertising. One element is a magazine cover where, step-by-step, you can un-do the manipulation of the model to see how the glamorous cover was produced. You can go through each of the twelve changes that have been made, and at the end click on a red button to see the complete before and after images. We know it happens, but in this case, seeing is really believing.

Photographic truth and Photoshop April 17th, 2009 Photography's anxiety about truth, manipulation and reality has been on show recently. In different ways and from different contexts, people have been asking: "how much Photoshop is too much"? From the realm of fashion, French Elle is being celebrated for running a cover story in which the models photographs have not been 'Photoshopped' (thereby confirming, as I've noted previously, that digital manipulation is the norm in this visual domain). From the world of photojournalism, blogs like 1854, PDNPulse and the Online Photographer (with a follow-up here) have been buzzing with the story of the Danish photographer Klavs Bo Christensen who was excluded from that country's Picture of the Year competition for excessive colour manipulation of his Haiti story. Along with two others, Christensen was asked to submit his RAW files to the competition judges who felt that the colour in his photographs had been excessively saturated (their debate can be heard here), and removed his images from the competition as a result. Christensen was subsequently happy to have his files put on the web for comparison and discussion, thereby performing an important service to the photographic community.

Photographic truth and manipulation February 23rd, 2009 We know photographs can be false yet we want them to be true. Indeed, the desire for photographic veracity has persisted, perhaps even intensified, even as knowledge about image manipulation becomes more widespread. Reflecting on the Oscar ceremonies, MediaGuardian has documented the widespread use of Photoshop to enhance celebrity photographs in fashion and gossip magazines. Every cover, says one media insider, has been altered to some degree, with some of these changes exposed in the "Photoshop Hall of Shame" and "Photoshop Disasters". So common is the practice that when an October 2008 Newsweek cover of Vice Presidential candidate Sarah Palin was not airbrushed, conservative anchors on Fox television complained that this amounted to liberal bias. (Fox knew about the political power of such changes because it had earlier manipulated the photos of two New York Times journalists it wanted to discredit).

Update | Thursday, 3:03 p.m. Edgar Martins, the photographer at the heart of the current controversy, has told Lens and at least one other blog, Jain, that he will be telling his side of the story soon. The text of his e-mail response to requests for interviews, identical to both blogs, is shown below in italics. Original post | There's probably no more troubling issue facing photojournalism than the digital manipulation of images that are supposed to faithfully represent what's in front of the camera. Digital technology permits so many interventions - some acutely obvious, others so subtle that only computers can detect them - that the line has blurred between manipulation and the kind of enhancement and editing that viewers customarily expect; like cropping, color correction, burning and dodging.

Since 2004, Lens Culture has recorded audio interviews and conversations with some of the most interesting and thought-provoking photographers around the world. It's great to hear these articulate artists speaking directly about their own work - and sharing their ideas about photography in general. Enjoy!

New York Times Magazine Withdraws Altered Photo Essay UPDATE, 5:57 p.m. ET: The New York Times has published a new editors' note about the altered photo essay that was published in Sunday's Times Magazine. The newspaper says "most of the images did not wholly reflect the reality they purported to show." The note does not address which photos were altered, or whether the photographer misrepresented them to the editors. PDN has tried to reach Edgar Martins, the photographer, but has not heard from him. Here's the Times' note: "A picture essay in The Times Magazine on Sunday and an expanded slide show on NYTimes.com entitled 'Ruins of the Second Gilded Age' showed large housing construction projects across the United States that came to a halt, often half-finished, when the housing market collapsed. The introduction said that the photographer, a freelancer based in Bedford, England, 'creates his images with long exposures but without digital manipulation.' "A reader, however, discovered on close examination that one of the pictures was digitally altered, apparently for aesthetic reasons. Editors later confronted the photographer and determined that most of the images did not wholly reflect the reality they purported to show. Had the editors known that the photographs had been digitally manipulated, they would not have published the picture essay, which has been removed from NYTimes.com."

It's no secret that social media's played an important - maybe even historic - role in the Iran election protests that have swept the nation into discord and disarray. Many social media companies have made a contribution towards opening the flow of communication within and out of Iran, YouTube (YouTube) included. As we reported earlier this week, thousands of Iran-related videos are being uploaded to YouTube every day, revealing first-hand accounts of the crisis to the world. Some are incredible, some are eye-opening, and other shock you to your very core. We've included ten of these incredible videos, in a chronological order that helps provide context to the crisis in Iran. Be prepared, for these videos can evoke some very strong emotions:

"A Lucky Shot Doesn't Make You a Photojournalist" Arab photojournalists should be recognized for much more than their contribution to war reporting, says Patrick Baz, Middle-East Photo Manager for Agence France-Presse (AFP) and one of the judges for the 2009 World Press Photo Contest. "That makes me think that either the Western world doesn't want to look at Arab photojournalists in a different way or that we do not have anything else to offer."