Madrid, March 11, 2004.
by Julio López Saguar

I would like to symbolize yesterday’s attacks in Madrid with this image. I took this photograph yesterday at Alonso Martínez station, about an hour after the attacks. Many should not have been there. I should not have been there; I should have been in Atocha station half an hour earlier

Madrid, 11 / 03 / 04

On-Line Photography.

by Julián Gallo.

On the last two weeks of January 2004, I trained journalists Alejandra Polack and Juan Martinelli of the Argentinean radio talk show “La Cornisa” (The Cornice) anchored by journalist Luis Majul, in the use of the cameras in their cellular telephones, this would allow instant publication on-line of the photographs during the program.


Remixing reality with narrative media.
by Fran Ilich.

It is no coincidence that in spite of the fact that the special effects and computer-generated images in The Matrix might appear wholly unreal to us, there are details (and not just a few) that talk of our times and reality. Not unusually, millions of people identify with the film’s metaphors.

This letter carries the outrage of my saliva and the fears and aspirations of my many artistic communities. Written 6 months ago, it is one of my humble attempts to contribute to our clarity and valor, in the era of the Blue Dragon.

Labyrinth of light

The "Labyrinth of Light", was the highlight exhibition during ZoneZero's Tenth Anniversary Colloquium held in Mexico City. The exhibition consisted of most of the 8000 images that are at present in ZoneZero, these were organized according to some major topics, such as "Wars", "Urban Landscape", "Sex", "Peace", "Our Diversity" and in turn these were accompanied by music which were in synch to the mood of the images as organized by our staff in ZoneZero.

The kaleidoscope of images that came into being was breathtaking, as the combinations of images that emerged kept the viewers enthralled for hours with a seldom repeating iterations of pictures.

Labyrinth of light

I think that is possible to think about Alessandra Sanguinetti’s Sweet Expectations as an affirmation of utopia, if this concept is understood in this non-metaphysical sense.
To say that Sanguinetti’s photographs are images of children would be a simplification, almost a disfiguration; its main theme must be searched on the gazes, gestures and hopes that we can see in her images.

The Utopia of Being

Specialist Carlos Abreu defines a photo reporter as the most underestimated professional of the communications area and reckons that over the last hundred years they have been deemed as mere assistants of the writing journalists, when in reality their work is as –if not more- demanding.

The derogation towards photo reporters is evidenced by the fact that most professionals in the Venezuelan press did not complete their studies and started out by mere chance, without any photography background, and had to learn in the streets.

Of being a photojournalist

As soon as someone dismisses any new tool for taking pictures as just a toy, someone comes along, or in this case not only someone, but many, and prove that indeed there are many reasons to consider such tools as very useful for all sorts of creative purposes.

Camera phones

The heart of Zeros and Ones

At the beginning of the 21st century, however, the photograph has been reincarnated. A digital capture is not a singular thing. It is a starting point, a point of departure that can go off in many directions at the same time. The photograph as artifact has been transformed into an electric chameleon with a throbbing heart of zeros and ones.

The LA Times fires a photographer

We found that the photographer Brian Walski has been dismissed from the LA Times for no valid reason. It seems that the newspaper does not fully understand that the CONTENT of the image he sent in, was not altered in it's essence, even though he combined two consecutive images.


Many things will change forever
By M. Richer

"The president's mind was made up long ago and all the chatter pro and con (the war) was just so much smoke in the wind. Mr. Bush will have his war.

What's documentary about photography?: From directed to digital photojournalism
By John Mraz

Digitalization is the prime suspect in the much-discussed death of photojournalism and crisis of documentary photography (though "the end of photography as evidence of anything" is surely one among many instances of the postmodern retreat from the referent).

Exposure to light
By Peter Howe

It is ironic that in the more than thirty years that I've been associated with photojournalism some of the most reliable income it has provided has been from writing articles predicting its imminent demise.

Kiss The Past Good Bye
An Epitaph for Creative Camera
By Peter Turner

I am writing with a sense of regret. No: tears are more to the point. The magazine I edited for many years is no more. Creative Camera, lately retitled 'Dpict' is no longer part of the photo firmament, and I weep at its passing. The Arts Council of England decided to cut off funding to the magazine, even though it raised 60% of its income through sales.


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