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This paper aims to broadly address a PhD research stream that the author has been conducting to date, whose historical objective is press photography, specifically the published images in La Jornada newspaper. A visual speech of the various contexts lived in Mexico at the end of the twentieth century. In the following lines, the author will present her methodology proposal with the aim of learning and analyzing the speech created by press photography and its relation to historical reality. A journalistic speech generating a language describing events, but at the same time a language manipulated by the subjectivity of the author – the press photographer. A historical timeline of which the photojournalist was part and which influenced the manner historical reality was perceived by the receiving social group.

It is important to clarify that this database does not intend to replace the estimations which could be obtained by directly and individually analyzing each photograph. However, this instrument has allowed the author to collect a great quantity of readable graphic and textual information, as well as to describe the characteristic attributes of each image as a documentary unit. In other words, the author intends to address the visual events as a part of the historical events, as claimed by the Mexican historian Ricardo Pérez Montfort. This to provide an in-depth study on how historical, social, cultural and political phenomena were registered by press photography; not omitting history, this specific moment, punctually requires photography and written journalism as a vestige. The latter not only with the purpose of going further on the functions of photography but also on the significance of the photographic phenomenon and the visual speech within social and cultural history of a country.

Furthermore, the author will present, to the extent possible, some elements which have allowed the identification of the manner in which the editor(s) of the newspaper impacted the presentation of visual speech, as well as the interests and visions of the social group they represent. This is a way to go further on different assumptions, such as the person taking the picture, the person editing it – after reaching the editorial and ideological line of the newspaper – as well as the person publishing the picture; a new manner to address editorial work and photojournalism on written media. To achieve the aforementioned aim, this essay comprehends the intertextuality and visual production, as well as the contexts lived throughout the six-year Presidential terms of office of Miguel de la Madrid Hurtado, Carlos Salinas de Gortari and Ernesto Zedillo Ponce de León, through diverse published images in La Jornada newspaper from 1984 to 2000.

This research not only addresses the generated material by the photojournalists of La Jornada newspaper during this period but also includes, as a part of the oral history methodology, the testimonies of some assistant directors, people in charge of the photography department, the editor, the designer and photographers who stood out in the newspaper. In addition, the author has a database which has allowed to collect, store and connect information present in each of the photographs published on different covers and back covers of the newspaper. It comprises 15 categories which have been nurturing the database (reviewed dates, journalistic and photographic genders, reporters, pages, published photographs, photograph format, themes of the photographs, places, characters, titles of the photographs, photograph caption, credit, photograph composition, angle and time). It is important to clarify that this database does not intend to replace the estimations which could be obtained from directly and individually analyzing each photograph. However, this instrument has allowed the author to collect a great quantity of readable graphic and textual information, as well as to describe the characteristic attributes of each image as a documentary unit.

The purpose of this study is to provide a reflective and evaluative review of photographic practice by the author on the topic of human rights violation/child labor. Visual methods and collaboration with children's rights researchers and advocates produced work from four regions including Africa, South Asia, South America, and Northeastern Europe. The human rights framework of the ILO establishes child rights standards and this analysis discusses findings from the field, human rights implications, and raises the broad issue of social and professional responsibilities.

In order to discuss visual truth both from the epistemological and ethical perspective, this essay focuses on the nature of photographic image and its complex relationship with human perception and ethics in Western culture. It argues that this relationship is similarly complex to that of history and reality it represents and points out that the ethical approach to truth is most constructive for society. By looking at the most politically, ethically, and ideologically engaged category: war photography, the author analyzes how images are constructed and used in various contexts. The text provides a background of history of war iconography but focuses on the examples from the twentieth and twenty-first century: the Vietnam War, the Balkan conflict, the war in the Persian Gulf, the war in Iraq, and the war in Syria.

Purpose: This project examines both the media practice of covering perp walks and the discourse of perp walks as performative rituals, with the goal of understanding how grounded practice shapes meaning.

Methodology/approach: This project combines ethnographic observation and interview research to explore the grounded experience of perp walk participants, including journalists, law enforcement, and defendants.

Findings: The analysis suggests that perp walks are constructions that serve the interests of the state and that their resulting images are not neutral documents. Visual journalists are managed by law enforcement through embodied gatekeeping in practice and experience pressure from newsrooms to capture a particular moment. Defendants report feeling violated because they are unable to control the discourse of their recontextualized image.

Research limitations: As a qualitative-research project using a non-representative sample, the study results cannot be generalized, but they instead offer a rich understanding of embodied practice.

Originality/value: Because this study offers the subjective perspectives of three sets of stakeholders, including journalists, law enforcement, and defendants, it offers a unique and in-depth analysis of perp walks as media ritual.

Journalism is concerned with the reporting, writing, editing, broadcasting and the photography of news. Editorial or print journalism is limited to writing, editing and reporting and it is one factor in the ever‐growing list of diverse opportunities open to the modern day journalist. Photojournalism, radio and television broadcasting, editorial and newspaper cartoons, public relations and telecommunications are other aspects. All of these are part of “mass media” or “mass communication,” phrases that will be repeated throughout this article. Other areas considered part of the mass media are cinema, advertising, book publishing and sometimes photography.

This chapter examines the rights of those who have their photograph taken for use by non-profit organisations (such as non-governmental organisations, charities, and academic institutions) and the obligations of those producing and using these images to not abuse those rights. The chapter focusses on informed consent as the key intersection of these rights and obligations. It examines the specifics of what is meant by ‘informed consent’ and the importance of the process of it being requested and given. The argument presented suggests, rather than seeing this process as a legal, one-off contract, that it should be seen as a relationship that may evolve over time and, to a degree, attempts to establish a more equitable relationship between those who produce and publish images and those who appear in them. It is suggested that this process can play a role in addressing a number of ethical issues, including the safety of the individual being photographed and how vulnerable populations are represented visually.

This paper is based on the analysis of a few photographs published by El Heraldo de México in 1968 about the student movement. The purpose of this paper is to consider the photograph as an act in which the observer is included. From this point of view, the observer could identify a discursive line of the newspaper and build an independent interpretation. The librarian is an observer.

It is a theoretical description about the objective character of the photographs published by El Heraldo de México in 1968. Considering photography as an act, this paper proposes to empirically identify the whole context of three cases of photographs of the newspaper, as examples.

Based on the contextualized interpretation (or photograph as an act), the photograph is identified as an information object and, therefore, an epistemological object, too. There is a relation between the image and the building of knowledge, through the interpretation of the observer.

There are many studies about cataloguing and classification of images, but there is no study on the theoretical implications. The theory presented in this document comes from the work of other specialists and from other disciplines.

Learning to read visual information is as necessary as reading texts. The visual world waits to be decoded. And the twenty-first-century librarian knows how to organize, preserve and disseminate documentary collections (as photos). Value is how to find, access, decode and build knowledge over them.

In this document, the authors take a position in the library discussion about the image as an information object. Also, this paper promotes development of theoretical studies about this topic by librarians.

The chapter aims to highlight developments in photography over the last two centuries, with an emphasis on the switch from analog to digital, and the emergence of Web 2.0 technologies, online photo management sites, and camera phones.

The chapter is a culmination of some of the key literature and research papers on photography, Web 2.0, Flickr, camera phones, and tagging, and is based on the author’s opinion and interpretation.

The chapter reports on how the switch from analog to digital has changed the methods for capturing, organizing, and sharing photographs. In addition, the emergence of Web 2.0 technologies and camera phones have begun to fundamentally change the way that people think about images and the kinds of things that people take photographs of.

The originality of the chapter lies in its predictions about the future direction of photography. The chapter will be of value to those interested in photography, and also to those responsible for the future development of photographic technology.