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After five years of looking closely through his camera at a small beach, David Batchelder no longer sees the shores as we know them. His vision now is of a private reality within the tideland. In Tideland, Batchelder invites you to join him in his visual journey into a tideland like none that has yet been photographed. Batchelder uses the camera, not to picture more clearly that which we already know, but to discover and capture the unsung beauty of our sand. He shares with us an inexplicable, ambiguous, imaginative and odd world of magical visions - landscapes, spaces, creatures and curious objects, disfigured and eroded by the ocean. Although Batchelder uses digital processes, his approach to creative camera work has its origin very much in the era of film, using a digital camera and Photoshop as one would have used a film camera and a darkroom. David Campany's essay introduces Batchelder's tideland world where the viewer's imagination and memory take over and, you too, leave the beach as you now know it. In the 1960s, David Batchelder received an MA and MFA in photography from the University of Iowa studying under John Schulze. He taught photography at Smith College, Amherst College, Boston University, Dartmouth College, and Plymouth State College. His early photographs were exhibited widely, published in Aperture magazine, and can be admired in the following collections: Addison Gallery of American Art, Fogg Museum, George Eastman House, Michigan Institute of Technology, Smith College, Bowdoin College, Institute of Contemporary Art, Boston, Museum of Fine Arts, Boston, Museum of Fine Arts, Houston, Hood Museum, and Dartmouth College. Batchelder stopped making creative photographs in 1984 and resumed when the Tidelands caught his eye. Ninety photographs from Tideland were exhibited at the City Gallery at Waterfront Park, Charleston, South Carolina in 2014.

What did the arrival of cinema do for photography? How did the moving image change our relation to the still image? Why have cinema and photography been so drawn to each other? Close-ups, freeze frames and the countless portrayals of photographers on scre.

Purpose The aim of this study was to evaluate the effectiveness of ceftolozane/tazobactam (C/T) for treating extensively drug-resistant Pseudomonas aeruginosa (XDR-PA) infections, and to analyze whether high C/T dosing (2 g ceftolozane and 1 g tazobactam every 8 h) and infection source control have an impact on outcome. Methods Retrospective study of all consecutive patients treated with C/T for XDR-PA infection at a tertiary referral hospital (November 2015–July 2017). Main clinical and microbiological variables were analyzed. Results Thirty-eight patients were included. Median age was 59.5 years and Charlson Comorbidity Index was 3.5. Fourteen (36.8%) patients had respiratory tract infection, six (15.8%) soft tissue, and six (15.8%) urinary tract infection. Twenty-three (60.5%) received high-dose C/T and in 24 (63.2%) C/T was combined with other antibiotics. At completion of treatment, 33 (86.8%) patients showed clinical response. At 90 days of follow-up, 26 (68.4%) achieved clinical cure, and 12 (31.6%) had clinical failure because of persistent infection in one patient, death attributable to the XDR-PA infection in four, and clinical recurrence in seven. All-cause mortality was 5 (13.2%). Lower C/T MIC and adequate infection source control were the only variables significantly associated with clinical cure. Conclusions C/T should be considered for treating XDR-PA infections, with infection source control being an important factor to avoid failure and resistance.

For eight years and across several continents, Alex Majoli has been photographing events and non-events. Political demonstrations, humanitarian emergencies, and quiet moments of everyday life. What holds all these images together is a sense of theatre. A sense that we are all actors, all playing the parts that history and circumstance demand of us. Majoli's photographs result from his own performance. Entering a situation, he and his assistants slowly go about setting up a camera and lights. This activity is a kind of spectacle in itself, observed by those who will eventually be photographed. Majoli begins to shoot, offering no direction to the people before his camera. This might happen over twenty minutes. It might be an hour or so.

Pre-exposure prophylaxis (PrEP) is an effective and cost-effective strategy for HIV prevention. Spain carried out an implementation study in order to assess the feasibility of implementing PrEP programmes within its heterogeneous health system. Observational longitudinal study conducted on four different types of health-care setting: a community centre (CC), a sexually transmitted infections clinic (STIC), a hospital-based HIV unit (HBHIVU) and a hospital-based STI unit (HBSTIU). We recruited gay, bisexual and other men who have sex with men (GBSM) and transgender women at risk of HIV infections, gave them PrEP and monitored clinical, behavioural PrEP-related and satisfaction information for 52 weeks. We collected perceptions on PrEP implementation feasibility from health-care professionals participating in the study. A total of 321 participants were recruited, with 99.1% being GBMSM. Overall retention was 87.2% and it was highest at the CC (92.6%). Condom use decreased during the study period, while STIs did not increase consistently. The percentage of people who did not miss any doses of PrEP during the previous week remained at over 93%. No HIV seroconversions occurred. We observed overall decreases in GHB (32.5% to 21.8%), cocaine (27.5% to 21.4%), MDMA (25.7% to 14.3%), speed (11.4% to 5.7%) and mephedrone use (10.7% to 5.0%). The overall participant satisfaction with PrEP was 98.6%. Health-care professionals' perceptions of PrEP feasibility were positive, except for the lack of personnel. PrEP implementation is feasible in four types of health-care settings. Local specificities have to be taken into consideration while implementing PrEP.

  Entre 1945 et 1965, Walker Evans est employé par Time Inc. et travaille à Fortune, le magazine américain dédié aux affaires et à l'industrie. Il conseille la direction artistique et produit ses propres essais photographiques, déterminant souvent lui-même les sujets, les prises de vue, l'édition, le graphisme et les textes. La politique complexe et le tempérament artistique d'Evans contredisent la culture du magazine américain. Nombre de ses articles résistent au parti pris de Fortune pour les affaires, l'industrie et le progrès capitaliste moderne, auxquels il préfère le désuet, le négligé et ce qui disparaît. Ses mises en page et ses textes confrontent souvent le lecteur à l'ambiguïté de la photographie comme document. Tout en prenant des clichés pour ses projets, il travaille avec des images vernaculaires - telles les cartes postales populaires - ou tirées d'archives. Cet article examine trois des articles d'Evans pour Fortune : \"Main Street Looking North from Courthouse Square\" (1948), \"Homes of Americans\" (1946) et \"Labor Anonymous\" (1946). Dans les années 1960 et 1970, la réputation d'artiste \"muséal\" d'Evans grandit et son travail pour le magazine est oublié ou écarté, perçu comme mercantile et compromis. L'auteur revisite ces pages pour montrer l'importance qu'elles revêtaient pour Evans. Between 1945 and 1965 Walker Evans was employed by Time Inc. to work for Fortune, the American business and industry magazine. He advised on its photographic direction and produced his own photo-essays, often setting his own assignments, shooting, editing, designing, and writing too. Evans's complex politics and artistic temperament were at odds with American magazine culture. Many of his photo-essays resisted Fortune's preference for business, industry, and modern capitalist progress. Instead he celebrated the outmoded, the disappearing, and the overlooked. His layouts and texts often faced the viewer with the ambiguities of photographs as documents. As well as shooting his own projects he worked with archival and vernacular images such as popular postcards. This essay explores three of Evans's pieces for Fortune: 'Labor Anonymous' (1946), 'Main Street Looking North from Courthouse Square' (1948) and 'Homes for Americans' (1946). As Evans's 'museum' reputation grew in the 1960s and 1970s, his magazine work was forgotten or dismissed as compromised commercialism. The author revisits those pages to show just how seriously Evans took them.

Between 1945 and 1965 Walker Evans was employed by Time Inc. to work for Fortune, the American business and industry magazine. He advised on its photographic direction and produced his own photo-essays, often setting his own assignments, shooting, editing, designing, and writing too. Evans’s complex politics and artistic temperament were at odds with American magazine culture. Many of his photo-essays resisted Fortune’s preference for business, industry, and modern capitalist progress. Instead he celebrated the outmoded, the disappearing, and the overlooked. His layouts and texts often faced the viewer with the ambiguities of photographs as documents. As well as shooting his own projects he worked with archival and vernacular images such as popular postcards. This essay explores three of Evans’s pieces for Fortune: ‘Labor Anonymous’ (1946), ‘Main Street Looking North from Courthouse Square’ (1948) and ‘Homes for Americans’ (1946). As Evans’s ‘museum’ reputation grew in the 1960s and 1970s, his magazine work was forgotten or dismissed as compromised commercialism. The author revisits those pages to show just how seriously Evans took them.