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  Congo is frightening. 3.3 million people have died due to war in Congo in the past five years alone, a number that stands only beside World War II in terms of war dead. Nearly the size of western Europe, the Democratic Republic of Congo (formally Zaire) has been cast a cruel blow by history. In the past ten years alone it has been home to simultaneous civil wars, a bloody coup, a volcanic disaster and the Ebola virus, one of the most pernicious outbreaks of virile infection known to man.
  I’d come to Congo immediately following the American war with Iraq. A war that I, and hundreds of other journalists, covered with unprecedented battlefield access. A war that was “hyper” covered in terms of the amount of perspectives the public was delivered on a daily, hourly basis. While the statistics are not yet out, it is possible that more journalists covered the war with Iraq than any other conflict in modern times. This is not a bad thing, but it begs the question why have some wars been given an almost celebrity status while others, equally or more destructive in nature, have hardly registered on the public’s radar? I like to think it was partly in response to this question that I was sent to Congo.
  Bunia, the main city in the resource-rich Ituri province, lies in the northeastern corner of Congo, beside the magnificent Lake Albert. Financed in part by Uganda and Rwanda, two tribes, the Hema and the Lendu, have been waging a sustained war over the region in order to control the riches that lie in the ground. Natural resources, including diamonds, gold and colton, a material used in cellphones, have been fueling conflicts in Congo since the 1880’s when King Leopold II of Belgium commenced the exploitation in a brutal manner.
  Working as a journalist in Bunia is a frustrating experience. Besides the inherent logistical difficulties, there is the fact that the story, the daily slaughter of hundreds of Congolese civilians, is mostly happening outside of our view. Some of the small villages where these massacres occur are simply inaccessible by road, but most stand surrounded by hostile militias who will not hesitate to kill any inquiring reporter. This frustration at not being able to witness and verify events is palpable at the morning press briefings at the United Nations compound in central Bunia known by the acronym MONUC. Every morning the small contingent of journalists gathers around the UN press liaison to hear the daily tally of dead and missing from Bunia and surrounding environs. If it is the journalists responsibility to witness, process, and file, than what is happening in Congo might as well not be happening. For in this war very little is seen by the outside world, and that which is seems to draw little attention. It becomes merely sanitized tallies of the dead and missing read by a UN press officer.
  On Saturday the 7th of June I’m introduced to the state of anarchy and mayhem that perpetually threatens Congo and seems to erupt without the slightest warning. After a morning of what sounds like the lumbering approach of a thunderstorm, the streets of Bunia explode with the distinctive crackling of gunfire. In what seems like minutes, the Hema controlled Union of Congolese Patriots (UPC) soldiers, some as young as 10 and touting AK-47’s as large as themselves, have swarmed onto the streets of Bunia, wearing looks of drunken fear. Outside of an abandoned convent where I and a dozen other journalists keep quarters, people are sprinting with an assortment of household belongings up the rutted road towards the relative security of the UN compound. A breathless colleague informs me that the rival Lendu tribe, notorious for their practice of cannibalism, have commenced a last bid attack on Bunia before the French peacekeepers are to be fully deployed inside the town. It appears they are on the edge of Bunia and are making a deft advance. I proceed up a road towards a group of French photographers who are searching for two colleagues who went missing earlier in the morning. At a junction that looks to be a UPC staging area, young soldiers are being whipped with tree branches for apparently deserting during battle. With the fighting intensifying, I make a decision that all journalists grapple with in these situations, when is it time to let go of a story and seek safety?
  Inside the UN compound journalists join the hundreds of Congolese refugees who have been living for months inside a makeshift refugee camp. A bullet ricochets off the compound façade and we make a dash into the semi protection of the two-story MONUC building. It is inside this blue and white building where the absurdity of the situation dawns on me. Crouched amongst us, with expressions that betray any hint of valor, are the Uruguayan peacekeepers, the original Bunia force whose mission is to protect the UN compound. Admittedly, these guys have a tough job. In need of extra income, they’ve volunteered to come from the relative security of Ur Uruguay to Congo where they are sitting ducks in one of the most violent and intractable wars known to man. As the battle on the street begins to subside, a peacekeeper walks over to a window, gives an indifferent glance outside and then, sitting down beside me, asks to see if I have any pictures of him in action.
  Waiting at the airport for my UN flight to take me out of Bunia, I’m approached by the first chubby Congolese man I’ve ever seen. He carries a camera and a small tripod under his arm. In broken English he introduces himself as a member of the Congolese press and asks if I’d like to see some of the pictures he’s recently taken. The pictures, 5x7 snapshots, are of what appears to be a massacre in a nearby village. People are strewn about in various stages of decay. Two women hug what looks to be a child snuggled between them. One man, in a blue t-shirt, has a crude hole in his stomach, as if someone has purposefully cut it open in order to take out an organ. I look through them and try to obtain some of the facts of the scene. My plane arrives and the man with the tripod and camera takes back his images and walks away.
  One of the world's great photojournalists, Philip Jones Griffiths, passed away last month after a three-year battle with cancer. He was best known for his searing photographic project, "Vietnam, Inc.," published in 1971. As a Magnum photographer, Philip continued to produce major projects, even as he battled cancer. We previously featured his story "Agent Orange: Collateral Damage," showing how our use of lethal pesticides during the Vietnam War had damaged a new generation of Vietnamese. Along with a photo gallery of his uncompromising work, we present a special memorial tribute to Philip, written by his good friend, Peter Howe.
  Sadly, Philip was not the only important photographer that we lost last month. Dith Pran, whose story of survival in the Khmer Rouge genocide in the years following the fall of Cambodia became the subject of the Academy Award-winning movie "The Killing Fields," died of cancer March 30 in New Jersey. After escaping Cambodia in 1979, he became a staff photographer for The New York Times. He was as devoted to his profession as he was to his advocacy of the cause of his fellow Cambodians through the Holocaust Awareness Project that he founded. The NPPA's Donald Winslow shares his report on Dith Pran with us.
  Once again this month, we are devoting our second feature to video. Scott Jensen of KTUU in Anchorage was named TV News Photojournalist of the Year by the National Press Photographers Association. This is the second time that Scott has been honored with this prize. We present three stories from his award-winning portfolio, and a fourth piece that he calls his "favorite story." His stories are preceded in each video by an interview with this very special photojournalist.
  Our editorial this month points a spotlight on increasing copyright infringements of photographers' works by such Web sites as The Drudge Report. What is shocking is that these sites, which consider themselves to be part of the Fourth Estate, don't seem to understand that copyright laws really do apply to them.
  For this issue, Ron Steinman has two pieces on what has become one of the longest political campaigns in memory. In his column called "Debate Cosmetics" he takes a hard look at the TV networks and how they present the debates and then stress the size of their audience, rather than the substance of a debate. In his other piece, "Political Junkie Heaven," Steinman takes a favorable look at Mike Allen's Politico Playbook (www.politico.com) that he receives everyday in his e-mailbox. The site takes no sides but skillfully wraps up politics and other newsworthy events. Steinman says it saves him time and allows him, if he wants, to pursue any of the stories mentioned in Mike Allen's deft roundup.
  In April we have three Dispatches and an Update. The dispatches go around the world: Stephen Voss comments on his experience with the McCain presidential campaign in the U.S.A.; Danish photographer Carsten Snejbjerg reports on the internally displaced persons in Georgia at the moment when President George Bush is traveling in the region to promote Georgia's membership in the 59-year-old NATO Pact; Rafael Ben-Ari, an Israeli photojournalist, returns with his coverage of the missile attacks from the Gaza Strip deeper into Israel. In our Update, John Gilhooley writes of more adventures within the music and culture of Los Angeles.
  E-Bits editor Beverly Spicer pays tribute to "Frontline," Dickens, the blogosphere, and a wild competition between architectural designs for the GWB Library in "War, War and More War: The Best and Worst of Times."
  Our regular columnists, Bill Pierce, Terry Heaton, Mark Loundy, PF Bentley, Chuck Westfall and David Lyman are all on board again for this issue.
  "An Opportunity Lost" is what Dick Kraus talks about in this month's Assignment Sheet. Two different photographers from two different publications are assigned the same story. One produces a mundane record of the event. The other wins the Pulitzer Prize.
  Todd Feeback of The Kansas City Star recently attended the NPPA News Video Workshop in Norman, Okla. If you are contemplating or actually undergoing the transition from photographer to videographer, be sure to read Todd's report from Norman. It's an inspiring tale of the trials and tribulations – and eventual triumphs – of learning the new language of video storytelling.
  We announced in January that we had, in response to demand, increased the number of Platypus Workshops from two to five for this year. It now appears that going to one of these workshops, which have become the best boot camps for High Definition video storytelling in the world, is like eating potato chips. Attend one and you want more.
  So, once again, to meet the growing demand, we are adding two new workshops to each of our 2008 boot camps: in Ventura, Calif.; Maine, and now Chicago. The new workshops are PF Bentley's Advanced Final Cut Pro class – which takes the basic FCP training featured in the boot camp to a higher level, suitable for TV and film projects – and Chuck Braverman's Production Master Class – a three-day seminar that discusses the things that producers need to know about pitching a project, setting a budget, legal issues, and even how to enter your project for an Emmy or an Oscar. You will find the new schedule in this issue. We do recommend that you enroll in these classes without delay if you want to attend. They fill up very quickly.
  These are two stunning digital flower clip art downloads of flower vases full of gorgeous bouquets. Both of these digital flower images are beautiful, showing flower arrangements overflowing with many different flowers and leaves. I would love enjoying either of these lovely flower arrangements on my dining table! I especially like the second digital flower clip art because the flower arrangement shape shows off all the flowers. And, the leaves peeking out from the flowers adds lots of interest.
  The PlayStation Portable was first announced at the E3 Expo in 2003. Sony greeted fans with the teaser image you see above. As you can see, the L and R triggers are missing from this unit. That is because this image was created solely as a mock up, and was not intended to be the final design of the PSP. The prototype unit also featured touch sensitive buttons and a circular D-Pad. As it stands now, this image is nothing more than a unique footnote in this history of the PSP.
  When the final PSP debuted just a year later it would look drastically different from the prototype model you can see posted above. Sony may have shown the early design to the press in hopes of gauging fan response to their new machine. Whatever their reasons, it was clear Sony was putting a lot of thought and effort into their final design. The end product proves this device has come a long way since the first prototype.
  The original PlayStation Portable, dubbed the PSP 1000, was the first handheld to use an optical disc format, also known as UMD (universal media disc). With it's multimedia capabilities and PlayStation 2 quality visuals, the PSP helped start a revolution in the portable gaming industry.
  The PSP 1000 was also an outstanding multimedia player. While earlier portable game systems had released TV and Radio Tuners, the PSP was the first machine to truly combine multimedia and games into one package. Gamers could enjoy all their favorite music, movies and photos, all on one glorious little machine. UMD movies were sold along side video games in most retail locations, further adding to the PSP's clout as an all in one media device.
  The PSP 2000, sometimes called PSP Lite, or PSP Slim and Lite, was released in Hong Kong on August 30, 2007. This upgraded version of the PSP now features 64MB of RAM, along with an improved screen, and a body design that is %19 slimmer and %33 lighter than the original model. This unit also has faster UMD loading times. Other notable features include an improved D-Pad, and buttons that are slightly raised and more responsive than those found on the PSP 1000. Finally one of the more noticeable changes relates to the position of the speakers. On the original model the speakers were located on the bottom of the PSP, on the 2000 model they are on the face of the machine, to the top left and right of the screen.
  Other cosmetic differences include a change to the position of the LAN switch, which is now on the top edge of the machine. The UMD tray latch found on the PSP 1000 has been removed, and now the UMD tray can be pulled open manually. The memory stick port cover was also redesigned, and is now a small, thin plastic cover. The original PSP also featured an IR port. (Infrared port) This feature has been removed from the PSP 2000. Along with the ability to remove the Analog Slider Pad. A new gloss coat finish makes this unit more resistant to fingerprints.
  The PSP 2000 debuted to record sales in Japan. The release of the PSP 2000 would also coincide with the rise of the Monster Hunter Franchise. The PSP greatly benefited from the popularity of the Monster Hunter titles in Japan. And it seems that the pairing of the Monster Hunter series with the PSP was a match made in heaven.
  The PSP 3000, which bears the nickname PSP Brite, was released in Japan in October 2008. The system has an enhanced screen, with a superior color range, 5 times contrast ratio, and half pixel response time to decrease ghosting and motion blur. The screen also employs a new anti-reflective technology to improve visuals during outdoor play. The PSP 3000 also has a built in microphone.
  Minor cosmetic differences include rounded buttons on the PSP media bar, and a smaller, thinner silver halo on the UMD tray.
  If you look closely you will notice the buttons and D-Pad now rest in a small "dimple" on the face of the machine. Fighting game fanatics have said the "dimple" helps improve the quality of gameplay on PSP fighters, especially when it comes to performing special moves on the D-Pad, which often require quarter and half circle movements. This is just one of those nice little changes that proves Sony engineers are paying attention to even the smallest of details.
  The PSP Go was the only PSP model to remove the UMD drive. Aside from its obvious reliance on digital distribution, this system is a radical departure from earlier models. The entire unit is a drastic redesign. It is significantly smaller and thinner, and it sports a nifty, slider design, allowing the D-Pad and buttons to slide under the screen when not in use.
  While some might feel the smaller screen is a downgrade, others will see it as a necessary sacrifice to increase portability. Unfortunately, battery life was also decreased on this model, a puzzling change considering the machine has no UMD drive, and no moving parts.
  Some people consider the PSP Go to be the oddball of the PSP family. This negative reputation is greatly undeserved. The hardware itself is very solid, and in the end what truly killed the PSP Go was a lack of a solid game library (which the PSP series already had), along with higher prices for downloadable games. Had these two problems been fixed before the launch of the PSP Go the system might have fared better in the market. (editor's note: I personally watched Shigeru Miyamoto sample the PSP Go at E3 2009.)
  The PSP E-1000 was released only in Europe and certain PAL territories. This budget model removes several key features found on other PSP systems. Therefore it will be seen as a downgrade by some. This model removes the wifi capabilities entirely. It also has a mono speaker instead of the stereo speakers found on all earlier models. The overall weight of the system is lighter. And the media bar has been redesigned and simplified.
  Removing hardware features might seem like a puzzling move to some readers, but you must understand the motivation for the release of this machine. The E-1000 model was designed to capitalize on the continued strength of the PSP market in the UK, EU and other PAL territories. It was released right before the Holiday Season. It was also aimed specifically at a younger market, meaning kids probably would not care about or even notice the missing features. And best of all it was sold at a very reasonable budget price. (Around $99 US) The release of the E-1000 was as much a strategic move as it was a financial decision. You can read more about that story HERE.
  So while hardcore PSP owners will stick with their 2000 and 3000 units, kids and budget gamers will happily enjoy the PSP E-1000. And ironically, since this machine was only released in PAL territories, it may one day become a highly prized collectible, solely because of its limited distribution.
  About the Author: E. Thomas loves the Sony PSP. He really, really loves it. Just check out this photo of his PSP collection. He has even been known to sleep with a PSP on the side of his bed, much to the dismay of his girlfriend.