Photojournalism in modern times

52 photos that are famous throughout the world -- http://rittman.blogspot.com/

Now a days online imaging arrives as fast as it is created. Technological manipulation makes it impossible to distinguish reality from make-believe.

Hundreds of millions online now see what had required great expense and months to provide to just thousands.

Story-telling images continue to be our only method of communications that instantly crosses all human barriers -- culture, language, financial and locality. What's unforgetable to everyone is really memorable..

http://www.youtube.com/watch?v=MLQ3Uz4ALb0
http://www.youtube.com/watch?v=AxYF_Xmu4xc

http://www.youtube.com/watch?v=4-94JhLEiN0

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Photojournalism: The Power of the Image - April 12, 2002
http://www.c-spanvideo.org/program/169590-1 (108 minutes)
Photojournalists talked about the business and art of photojournalism, as well as the social impact of the photographic image. During their presentations they showed several pieces of their work

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Sunny Land: Pictures from Paradise
Photography by Michael Carlebach
Safe Harbor Books
978-0-9798226-2-9
$39.95 hardcover
12 x 12
60 pages
54 b/w photographs
August 2010
http://www.blairpub.com/alltitles/sunnyland.htm

Praise for Sunny Land

Most people can take photographs. They just can't take good photographs;
whereas Michael Carlebach, as you'll see when you look thorugh this book.
can. And his photographs aren't just technically good. They're funny, and
interesting, and thought-provoking...

This does not surprise me. I know Michael, and he's a funny, interesting, and thought-provoking person. He's also no stranger to weirdness. In fact, he
seeks weirdness out, and is not afraid to have weirdness thrust upon him."
- Dave Barry

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After years of exhaustive research, Professor Michael Carlebach has given us a true picture of the development and impact of photojournalism
http://www6.miami.edu/miami-magazine/fall98/impressions.html
(Excerpts) Carlebach is not happy with the state of photojournalism, or journalism, today. "In some ways, we're back to the way things were before Pulitzer," he says in this age of marketing surveys, focus groups, and cautious publishers. "Many papers are reluctant to tackle difficult and intractable social issues. The market for social documentary photography is very limited today." . . . For a man whose entire career attests to the primacy of image,
Carlebach has a rather odd background. As an undergraduate at Colgate
University, he studied French literature and political science. His master's
degree, from Florida State University, and his Ph.D., from Brown, are in
American Studies.

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Pictures from paradise
Michael Carlebach's photographs capture ordinary South Florida in an
extraordinary. Extraordinary views of the ordinary

BY FRED GRIMM, FGrimm@miamiherald.com
The Miami Herald
October 17, 2010

http://miamiherald.com/2010/10/17/1875293/pictures-from-paradise.html
(Excerpt)
Carlebach saw the extraordinary in the ordinary roaming South Florida as a
freelance photographer from the 1970s through the balance of the millennium. It was a time of amalgamated strangeness in South Florida with cultural shifts coming like whiplash. Just call it the Carlebach years.

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http://people.virginia.edu/~ds8s/michael/michael-c.html
Michael and I have worked together in Miami for 15 years. If this man has a motto, and I'm not sure he does, it is "This Way to the Crypt", from a sign dimly seen in a church. Although his work is frequently seen on the national and international scene, we Miamians, fellow citizens of what the Cubans used to call "The Graveyard of the Elephants" metamorphosized today into the de-facto Capital of the Caribbean Basin, are especially fortunate that he lives and works among us. (Con't.)

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THE ORIGINS OF PHOTOJOURNALISM IN AMERICA
MICHAEL L. CARLEBACH
Paperback: 208 pages
Publisher: Smithsonian; 1ST edition (August 17, 1992)
http://www.amazon.com/dp/1560981598

Carlebach, an associate professor of communications at the University of Miami and a photojournalist himself, here offers a scrupulously researched history of American photojournalism from 1839 to 1880. He effectively narrates the technical developments that made news photography possible, while also describing how the craft's early successes affected the American people. The first photojournalists were folk paparazzi who badgered presidents and other notables to sit for portraits; later, they risked their lives traveling in wagons with portable darkrooms to photograph Civil War battles and Indian chiefs. Carlebach concentrates on how the craft's foremost practitioners--Mathewok Brady, William Henry Jackson, George Barnard--were able to create, and satisfy, the public taste for a new, more exciting visual journalism.

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