How to author a picture gallery

Picture galleries offer photojournalism an opportunity to shine. Despite the considerable technological advances of recent decades, picture galleries typically fail to realise their potential for storytelling; rather they present an incohesive series of image–caption complexes collected under a headline. Here, we offer a set of guidelines regarding the sourcing, selection and sequencing of compelling images coupled with agile writing of leads and captions that complement the kind of visual story being told. Such investment in the authoring of picture galleries creates opportunities to provide readers with an engaging and more memorable experience.

Memorializing the Wars of Religion in Early Seventeenth-Century French Picture Galleries: Protestants and Catholics Painting the Contested Past

This article examines how Protestant and Catholic elites in early seventeenth-century France memorialized the Wars of Religion in purpose-built picture galleries. Postwar France remained a divided nation, and portrait galleries offered a sectarian memory of the conflict, glorifying party heroes. Historical picture galleries, on the other hand, promoted a shared memory of the wars, focusing on King Henry IV’s successful campaign against the Catholic League to unite the kingdom. This article argues that postwar elites made a sincere effort to manage religious tensions by allowing partisan memories to circulate in private while promoting a consensual memory in public.

Частный сектор культуры Республики Беларуси: становление и развитие (1991–2008)

Private sector of culture of the Republic of Belarus: formation and development (1991–2008)In the given research the author on the basis of the historical and genetic analysis, methods of typology and deduction represents the basic segments of sphere of culture of the Belarus in which private subjects of culture have arisen and developed. The analysis of achievements and lacks of the given phenomenon is carried out, the factors influencing development are marked.The private sector in sphere of culture of Belarus in 1991–2008 could not create appreciable enough competition to official bodies. In cultural aspect only some projects became really platforms for experiment. First of all it concerns theatrical creativity, motion picture arts and painting.Development of a competition was not promoted by a state policy creating unequal conditions for development (tax privileges, rent decrease, etc.). Negative influence on formation of private noncommercial sector has rendered absence of the developed legislation on sponsorship and patronage of arts.Private establishments in culture sphere were created both the commercial organizations and individual businessmen, and the private persons far from business. The aspiration to profit not always was the main thing for businessmen. Private theatre in Gomel, a museum‑drugstore in Grodno, picture galleries were created by businessmen for the purposes more likely aesthetic, for confirmation of the status. The satisfaction of personal ambitions, the aspiration to be more available to public was the main thing for noncommercial projects. Most brightly it is appreciable in museum business (A. Bely, J. Gil’s museum).The projects arisen and developing on a wave of political disagreements in the country are present at a private sector of culture of the Belarus (cinéma vérité, museums).It is necessary to ascertain full absence in the country of private cinemas and film studios of game cinema, the organizations of national crafts, circuses.