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	<title>David Campbell &#187; Susan Meiselas</title>
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	<description>Visual storytelling: creative practice and criticism</description>
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	<itunes:summary>Visual storytelling: creative practice and criticism</itunes:summary>
	<itunes:author>David Campbell</itunes:author>
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		<title>Photojournalism and change: voices of humility</title>
		<link>http://www.david-campbell.org/2012/03/23/photojournalism-and-change-voices-of-humility/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=photojournalism-and-change-voices-of-humility</link>
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		<pubDate>Fri, 23 Mar 2012 15:29:48 +0000</pubDate>
		<dc:creator>David Campbell</dc:creator>
				<category><![CDATA[photography]]></category>
		<category><![CDATA[politics]]></category>
		<category><![CDATA[compassion]]></category>
		<category><![CDATA[compassion fatigue]]></category>
		<category><![CDATA[humanitarianism]]></category>
		<category><![CDATA[photojournalism]]></category>
		<category><![CDATA[Sebastiao Salgado]]></category>
		<category><![CDATA[Susan Meiselas]]></category>

		<guid isPermaLink="false">http://www.david-campbell.org/?p=3133</guid>
		<description><![CDATA[How should we think about the contribution photojournalism might make to the task of social change? Reflecting on the Kony2012 phenomenon I concluded with observations about the difficulty of specifying how political change comes about and our potential contribution to it. Thinking more about this, I recalled videos in which two of the best photographers...]]></description>
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		<slash:comments>7</slash:comments>
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		<title>The Libyan Secret Service Archive photographs: the importance of context</title>
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		<pubDate>Tue, 18 Oct 2011 10:37:19 +0000</pubDate>
		<dc:creator>David Campbell</dc:creator>
				<category><![CDATA[photography]]></category>
		<category><![CDATA[politics]]></category>
		<category><![CDATA[Alex Majoli]]></category>
		<category><![CDATA[Christopher Anderson]]></category>
		<category><![CDATA[Libya]]></category>
		<category><![CDATA[Magnum Photos]]></category>
		<category><![CDATA[narrative]]></category>
		<category><![CDATA[Olivier Laurent]]></category>
		<category><![CDATA[Peter Bouckaert]]></category>
		<category><![CDATA[photojournalism]]></category>
		<category><![CDATA[Ronan Deazley]]></category>
		<category><![CDATA[Susan Meiselas]]></category>
		<category><![CDATA[Thomas Dworzak]]></category>
		<category><![CDATA[Tim Hetherington]]></category>

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		<description><![CDATA[&#160; Last week I asked Magnum Photos some questions about the Libyan Secret Service Archive Pictures on their site. I had been thinking about these images after conversations with Olivier Laurent of the British Journal of Photography about general issues arising from the use of found photographs. I recalled a Guardian report from earlier in the year reporting...]]></description>
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		<slash:comments>9</slash:comments>
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		<title>September 11, 2001: Imaging the real, struggling for meaning</title>
		<link>http://www.david-campbell.org/2011/09/08/9-11-imaging-the-real/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=9-11-imaging-the-real</link>
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		<pubDate>Thu, 08 Sep 2011 14:29:48 +0000</pubDate>
		<dc:creator>David Campbell</dc:creator>
				<category><![CDATA[photography]]></category>
		<category><![CDATA[politics]]></category>
		<category><![CDATA[A.M. Holmes]]></category>
		<category><![CDATA[Allan Feldman]]></category>
		<category><![CDATA[Anthony Suau]]></category>
		<category><![CDATA[Gilles Peress]]></category>
		<category><![CDATA[James Nachtwey]]></category>
		<category><![CDATA[John Albanese]]></category>
		<category><![CDATA[Lance Morrow]]></category>
		<category><![CDATA[photojournalism]]></category>
		<category><![CDATA[Roger Rosenblatt]]></category>
		<category><![CDATA[Roland Barthes]]></category>
		<category><![CDATA[Susan Meiselas]]></category>
		<category><![CDATA[Susan Sontag]]></category>
		<category><![CDATA[Thomas Franklin]]></category>
		<category><![CDATA[Time]]></category>
		<category><![CDATA[war photography]]></category>

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		<description><![CDATA[&#160; As the tenth anniversary of September 11, 2001 approaches images of the event are being recycled and recirculated. Many of them are familiar, and the meaning of the event now seems fixed. But anniversaries are part of the process of fixing memory, and as they are repeated they can obscure the uncertainty that prevailed at...]]></description>
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