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“We also have a la carte pricing so they can see the value of each package.”

©Paul Waldman/LAMPP

Last month we wrote about the Living American Masters Photography Project (LAMPP), which strives to document the photographers shaping our world — preserving their own stories, not just those told by their photos. Under the LAMPP umbrella, founder Paul Waldman has made portraits of many living (and now past) masters, including Gordon Parks, Sally Mann, and Mary Ellen Mark. When we talked to Paul before, he was looking for a home for the extensive LAMPP content. We’re happy to announce he’s found one, at least online, with a new website.

On top of the collection of portraits created for the project, Paul and other interviewers have recorded lengthy conversations with many photographers, which LAMPP is sharing snippets of each month on RESOLVE. Our last post included Marty Lederhandler telling his infamous “Pigeon Story” about trying to get unexercised carrier pigeons to take his images of  WWII’s D-Day back to the AP. (It’s quite funny and definitely worth the listen if you missed it last time.)

©Ron Haviv

Ron Haviv – Outsmarting Arkan

This month we have a story from Ron Haviv about an encounter with the Serbian paramilitary leader Arkan (at right) while he was covering the Bosnian War during the 1990s. With a little smoke and mirrors, Ron saved his revealing images from confiscation and helped share the horrors of ethnic cleansing he saw with the world. Much of the work is collected in his book, Blood and Honey.

From Paul: I met Ron Haviv back in March of 2005. Both of us were keynote speakers at the NPPA’s Northern Short Course. I’d sat in on Ron’s presentation and my good friend David Handschuh introduced us early on. Ron’s work had interested me for some time. Interviewing him for LAMPP would be a rare opportunity to speak candidly with a conflict photographer whose work had a direct impact on national politics, including outing a known Baltic warlord named Arkan. We recorded this segment in my hotel room at the conference.

When I met Ron again at Photo Plus Expo East; we were each being photographed for Tim Mantoani’s Polaroid Project. I took that opportunity to do portraits of both Ron and Lauren Greenfield. Unfortunately, I was unable to sit and speak with Lauren, an opportunity I’d hoped for for quite some time.

Last week, The Next Web broke the news that CBS, Pepsi, and Entertainment Weekly magazine will join forces to launch the first video advertisement in a paper magazine. A paper-thin screen on the page, activated when a reader open the magazine, will then flicker and load the video. Is this the future or just another fad? Chase Jarvis calls it “pretty damned desperate.”

The Pentagon has commissioned The Rendon Group to run a background profile on any reporter seeking to embed with U.S. forces. And who is doing these checks? Rendon, the firm notorious for furnishing false information to justify the invasion of Iraq during the Bush administration. Stars and Stripes has the full story.

Burning Man, which starts Monday, has spurred controversy this week with its photo rights policy. The Electronic Frontier Foundation said that its policies to “protect attendees’ rights” are infringing on fair use rights. Of course, the Burning Man organizers argue that “our rules about photography are different from the outside world – but isn’t BRC’s unique environment what makes Burning Man transformative in the first place?”

The Federal Trade Commission has decided to jump into the crowded “Where is journalism headed” debate. In December they will run a series of workshops titled “From Town Criers to Bloggers: How Will Journalism Survive the Internet Age?” in December.

The “Obama Joker” photo has stirred up plenty of controversy since Flickr decided to take it down. Flickr says it received a takedown notice from a copyright holder, but PDN did some investigative work and found that neither Time, DC Comics, nor the photographer seem to have sent such a notice. Blogger Thomas Hawk says he saw the name on the takedown notice, and it looks like “a totally bogus made up name.”

From Paul Fusco's "RFK Funeral Train" project. ©Paul Fusco

Click here to see the New York Times multimedia piece, “The Fallen.”

One of the great things about working as a radio documentary/features producer at the BBC Radio is that I was never expected to treat the audience like idiots. Instead, we were encouraged to have a journalistic vision for each program and to see that vision through.

Another thing we were never expected to do was slap music gratuitously over everything. In fact you knew that there were nine million listeners who were ready, willing, and able to rip you to shreds if you bludgeoned the art of radio with such an approach — which is just a long way of saying, “Why on earth are so many multimedia journalists and audio slideshow producers slapping music over everything?” Generally it shows a lack of confidence, either in the production process or the material. Either that or they don’t think the audience can handle something that is stripped down and real.

When we admire great web design we say its “clean.” Here’s my plea: Keep multimedia clean when you have powerful audio, powerful images, and you want your audience to do some thinking. Just like this awesome New York Times-produced piece built on Paul Fusco‘s legendary photos taken from the funeral train carrying the Robert F. Kennedy from New York to Washington.