应该尊重雷锋照片的版权

据《北京娱乐信报》2003年6月19日报道,辽宁省版权局18日在鞍山为著名摄影家、雷锋生前战友张峻拍摄并珍藏的200余幅雷锋照片进行了版权登记,并授予他“依法维权先进个人”的光荣称号。今年72岁的张峻1946年参加呻国人民解放军。1961年,在沈阳军区工程兵任职的张峻首次在《解放军画报》上发表了宣传雷锋同志模范事迹的专题图片。到1962年8月雷锋牺牲,在不到两年的时间,他拍摄了将近200幅雷锋同志学习、工作、生活等方面的照片。张峻老人说:“雷锋照片得到版权登记,这对增强     

揭开雷锋生前照片之谜

曾有外国记者提出这样的疑问：雷锋做好事是自发的，还是被迫的？为什么雷锋做好事还有照片，这是不是经过“导演”的？也有不少国人心存这样的疑惑：雷锋生活的那个年代，所谓“三年自然灾害”的阴影还没有散尽，人们生活温饱尚属勉强，照相无疑更是奢侈消费，作为一个普通军人，他怎么会在各种场合拍下那么多的照片…… 那么，雷锋生前到底拍了多少张照片？究竟都有那些人为雷锋拍过照片？雷锋哪些照片是补拍的，为什么要补拍？雷锋给别人拍的照片是什么样子？有什么人肯花5万美元买雷锋生前的一幅照片的版权？本期《档案揭密》刊载的《揭开雷锋生前照片之谜》一文，将为读者逐一打开问号。[编者按]     

雷锋照片与新闻真实的原则

新闻理论的基本理念之一是新闻真实。为雷锋补拍的数百张照片,挑战了人们的生活常识,挑战了新闻职业道德。如果这种违背新闻职业规范的做法被认可,我们的传媒上很快就会出现大量同类的假新闻照片。必须坚持一个基本原则和职业规范:记者无权改变新闻事件,更不能策划、导演。对于摄影记者来说,就是无权改变新闻照片中的每一个细节新闻信息。     

雷锋是怎样牺牲的

雷锋是在1962年8月15日牺牲的。关于他的死因，全国各媒体有很长一段时间保持着沉默．至多只提一句“因公殉职”。直到近几年来，才有一些影视片和新闻报道反映了当时的部分情景。     

新闻摄影是否允许摆拍——以雷锋照片的争论为例

今年3月5日前后,全国各媒体对雷锋及其相关的事情进行了不同角度的挖掘性报道。雷锋做好事留下的诸多当时明显经过摆拍的照片,在当下复杂多元的舆论环境中,成为一个热议的焦点。这些雷锋照片究竟是宣传还是新闻报道?若从新闻职业道德角度,如何看待?本文认为,这些雷锋照片是宣传而不是真正意义上的新闻,但是这不应妨碍我们坚持新闻照片的真实性原则。     

雷锋是怎样被发现的

40年前,毛主席向全国人民发出了向雷锋同志学习的伟大号召,从此,在中国大地上,雷锋和雷锋精神开始深刻地影响一代又一代人.     

雷锋照片知多少

“对待同志像奏般的温暖，对待工作像夏天般的火热……”在国人心中，雷锋的名字已成为中华民族的集体记忆，雷锋的故事也被全国人民广为传颂，雷锋的精神虽久经岁月磨蚀，始终熠熠发光。 今年8月15日，是雷锋同志因公牺牲45周年纪念日。曾先后为雷锋拍摄过200余幅照片，并一直传播雷锋精神的老摄影家张峻，特撰文以缅怀和纪念雷锋同志。[编者按]     

我们是怎样管理照片底片的

平江县公安局交通警察大队自1987年5月建队以米,已收集归档在道路交通管理工作中直接形成而具有保存价值的照片12．519张主要有四大类：     

Evaluating News Photographs

The paper is based on an empirical study recently conducted in Italy through the photo-elicitation technique, involving 120 young Italians and focusing on two groups of individuals—an experimental and a control group. The two groups were shown images related to global crisis events. The first was told which photos were taken by professionals, which by citizens and which by other people involved in the events (soldiers, victims, perpetrators, etc.), while the second group was not provided with this information. Both groups were asked a battery of questions regarding the themes of trust, value, impact, use and circulation/distribution of the photographs shown, allowing the interviewees to define these concepts in the face of individual images. The principal results indicate that trust in news photographs is inseparable from impact and value for the development of a sense of active citizenship. Trust is revised in light of the awareness that there exists a variety of possible publics, active and passive, with different possibilities of affecting events through their actions. The distinction between citizen and professional photographs does not in itself lead to distinctions in terms of value and trust. Knowing the photographer's role in the event being depicted redefines the terms of the discourse and shifts the moral borderlines that the publics draw between different images and different media for their distribution. Introducing the ethnographic approach, the present study proposes going beyond studies that concentrate only on effects as well as those focused on trust, which prescribe a distinction between citizen and professional photojournalism.     

Amateur Photographs as Visual Quotes

The participation of amateurs in the production of news has been widely noted as a growing phenomenon. Recent research demonstrates that amateur photographs are understood as raw, additional or potential elements of news content making and are subject to a translation process. In this paper, I introduce the concept of the visual quote to show how news media workers both accommodate and distance themselves from amateur content. In making the connection between amateur photographs and quotes, I aim to shift the understanding of amateur photographs away from the perception that they represent a new form of journalism. Instead I use the concept of the visual quote to identify how news media workers maintain their professional authority over amateur photographs in much the same way as quotes from bystanders are used in written journalism. The concept of the visual quote also acknowledges the role of the camera as a note-taking device in contemporary media use. I argue that the sourcing of amateur photographs is not explicitly disruptive; rather it blends with the existing processes of professional news media practice. It questions claims that the rise of the amateur would lead to fundamental changes in media and society. The research was conducted in 2010/2011 using interview evidence and observations collected at the Australian Leader Community Newspapers chain. Interviews were also conducted with representatives from a further 14 media institutions in Australia, Germany and the United Kingdom. In addition, secondary sources were used to provide further insights and suggest general tendencies in the field.     

对照片档案保护的再认识

照片档案的保护技术是一门专项的、有着特殊要求的技术。由于现存的照片档案前期冲洗、加工、制作过程都是照片行业的一般性规范,在这样的规范标准下生产出来的成品与档案保存的要求还有很大的差距,不能达到长期保存的要求,时间一长,这些照片档案皆不同程度出现影象衰退、反差降低、色彩饱和度下降、片基变色、层次浑浊等一系列问题。如何延长照片档案的保存期限,使这些珍贵的照片档案能够更长久地提供有效的利用,就显得尤为重要。一般性常规照片的处理标准,是按照普通用户的要求来对待的,对胶片、照片的保存的技术要求也比较低。这样的标准…     

Future Photographs of U.S. Women in Combat

Two grounded theory studies found that photo editors and producers were intent on publishing graphic photographs of women in combat if, and when, they are produced as women have begun to enter US Armed Forces combat units since January 2016. Editors said they aim to treat women the same as men when editing photographs of war, but showed hesitation upon seeing images of women in combat presented in this study, particularly when graphic. An individual level of influence was observed, as was concern for the audience that rivaled other social institutions within the hierarchy of influences. Interviewees in the first grounded theory study included 17 visual editors and producers of various newspaper, broadcast, and online US media companies. The second study included a different set of 20 editors/producers who participated in a think-aloud procedure showing them graphic photographs of women in combat.     

Analyzing Socialist Press Photographs: A Contribution to Critical Visual Methodology

The article aims to present a possible research design for analyzing historical press photographs published during the socialist regime. It introduces a design structure that comprises an epistemological basis (interpretivism), theoretical perspective (constructivism and poststructuralism), methodological approach (social semiotics and multimodality), and method of analysis (social semiotic analysis). The aim of this study is to demonstrate that it is possible to apply a postmodern approach to historical photographs and to prove that concepts that are applied within the research on liberal societies can be used within the research on socialist societies if some specific conditions are taken into account. Such an assumption is documented by a case study that presents an analysis of a photograph published in the Czechoslovak press in 1968.     

图库计算机管理系统设计与实施

1研究图库计算机管理系统的目的: 把长期以来图库零散、无规律存放的资料资源,变为整体、有序并用简单、快捷的方法,找到所需的图件.充分使用库中的资料资源,为研究课题提供高效、准确的服务.     

Information For Fee and Information For Free

Information Brokering has grown in response to the enormous proliferation of available information and to the needs of segments of the population requiring complete and accurate information. The need is so overwhelming, the clients so diverse, and the constraints on libraries and librarians so great, that there is ample room for both the public librarian and the fee-based information service to operate together.     

Effect of Light on Modern Digital Prints - Photographs and Documents

Abstract

This project examines the lightfastness of prints created with the most commonly used digital technologies (inkjet, color electrophotography, dye sublimation and digital press) along with prints created using traditional technologies (color photography, black-and-white electrophotography and offset lithography). The inclusion of traditional prints provides benchmarks for collection care professionals to better gauge the significance of the results. In this study, prints were subjected to two types of lighting used independently to simulate daylight through window glass and artificial indoor illumination. Five aspects of light damage were assessed: fade in the mid-tone neutral, fade in the darkest neutral tone, paper yellowing, changes in paper gloss and text readability. In general, digital prints were less sensitive to light than traditional prints; but each digital printing technology produced at least one sample that performed worse than its traditional benchmark in at least one of the aspects of light damage studied. Therefore, it is recommended that cultural heritage institutions strive to provide the most benign environment possible, taking display practices currently in use for traditional prints as a minimum starting point for the care of digital prints. Close monitoring for signs of change is also recommended.