Wednesday, December 11, 2019

Concluding Chapter



My Own Try at Photojournalism:






Image by: Courtney Welsh

Image 1: “Winter Causing Absence of Recess”- This image was taken 12/04/2019, of Homer Street Elementary School. It reminded me of my school days where we would gear up in our ski pants and winter boots to go sledding, build snowmen, and have snowball fights. But upon dismissal of my class, I usually hear the voices of screaming children… but not this Wednesday. Inner-city children, absent from their beloved playground this particular day.






Image by: Courtney Welsh

Image 2: “The Simple Bliss” This weekend, 12/07/2019 I was able to catch up with my grandmother in her apartment in Gilbertville, Ma. We were able to watch the cars go by and chat about life while being undisturbed. Very Scenic.








Image by: Courtney Welsh

Image 3:
“The Serenity of Prayer”- This candid image snapped of my sister, Aidyn Welsh saying a brief prayer to our grandparents as the Holidays approach. Our grandparents were the hosts for every holiday- it’ll be a difficult one.





Revaluating the course:

Do you now have a revised definition of photojournalism? Please explain why, or why not?

-Reflecting on what I defined photojournalism as in “M2 - Book Introduction Blog Post”, I would still agree upon what I had said. It reads in my post, “in the simplest terms, photojournalism can be defined as the art of utilizing photographs to communicate a message or event to an audience.” There is a lot that goes into perfecting that picture that could potentially explain a situation without any text that has to do the explaining. This holds true in Professor Nordell’s explanation in his video when he says to “divide the word into two words: photo and journalism.” The action of taking a photo is done by the photojournalist- which a photograph has evolved through technological advancements as researched in the course. The journalism portion is conveying the message portion through publishing their works.



Do you have any new ideas about why it is important to know the History of Photojournalism? Please explain why, or why not?

-I still agree as to my explanation as to why it is important to know the history of photojournalism. Photojournalism is reflective of where we were as a nation, where we are in the present, and where we are headed. It is important in documenting important events, social reform, etc. to illustrate to the future generation any things that need to be revised or prevented from reoccurring in the future.




What big "Ah-ha" moments did you have during the course? By "Ah-ha" moments I mean those times when you encountered a significant new idea that opened your mind and you went "Ah-ha"! Please specifically mention at least two "Ah-ha" moments. Post specific and relevant images.

-One of the biggest concepts that I could refer to as “Aha-ha” moments was in “M4- Pre-Digital Photographic Technology” and my opioid crisis mid-term project. The first “Aha-ha” moment was because I was completely unaware of how far our cameras have evolved. One of the older camera technology that stuck out to me was the wet plate process of 1851. This was the most interesting technology because I have utilized both film and digital cameras but had been unaware of what true early technology looked like and how it operated. As Milbury College of Art states, the process of the ”’wet-plate collodion’ exposure and development of the negative had to be done within a ten-minute time frame while the light sensitive chemicals were wet, requiring photographers to bring portable darkrooms into the field.” Below is an image of the process and a picture that is a product of this process.
-The second “Aha-ha” moment I had during this course was when I was preparing my midterm assignment. I was able to meet with Professor Nordell and learn how to use apple technology, manipulate my videos I took, how to add pictures, and how to add slides. I was nervous to take on such a big task because I had never used an apple desktop or it’s film technology. However, I had a lot of fun doing so and it was something that I probably would have never done within my academics if I hadn’t taken this course.



Image source: https://sites.middlebury.edu/landandlens/2016/10/17/albumen-print/






Image by: Ivan Sijak

Image source: http://www.artcoup.com/category/wet-plate/

Please also revisit the question: Do photographs change the world? Think about the images that you have encountered this semester that have made a powerful impact on you. Mention and post specific images.

-I absolutely would say that photographs change the world. When a photograph is taken in a situation that is otherwise ignored or holds some sort of ethical question behind it; it creates a need for a conversation to be had. If there were on people that set off as their duty to photograph things on a global level, issues that do not directly impact our everyday lives would continue to be ignored. As Professor Nordell states, “if a tree falls in the woods and there is no photojournalist to take a picture of it, did the event happen? Can the event become part of history?” This question brings up a valuable point, that if we had no photojournalists that document history as it happens, it would leave future generations to make the same mistakes because they are unaware of how the event played out. There are many photographs within our course that have stuck with me and I think it can be shown to in some way or another, “changed the world”. To me, all of these images illustrate hardship that each of these individuals endeavored and without telling the specifics it creates empathy within its viewers. They are below:







Image by: James Nachtwey

Image source: https://www.canon-europe.com/pro/stories/james-nachtwey-memoria-interview/







Image by: Dorothea Lange

Image source: https://americanhistory.si.edu/collections/search/object/nmah_1313354







Image by: Kevin Carter

Image source: https://www.digitalphotomentor.com/20-most-famous-photographs/

Compare and contrast your Creative Experiential Exercise in Section 2 and with your self-reflection in Section 3. Do you now feel more connected to photojournalists, past and/or present?

-I have definitely developed a more appreciation for photojournalists throughout this course and by attempting to create my own experiential exercise. I do feel as though by analyzing photographs within the course that I feel definitely more connected with them and more educated when looking at different types of journalism sources. When doing the exercise, I had a difficult time trying to find things to document. I understand now that some photojournalists have assignments that they must fulfill but others such as freelance photographers do not. They could run into the same issue and must find what would be interesting in the public eye and earn money for them. Another issue I ran into when doing this exercise was that I did not have any technology other than my iPhone 6. But upon reflecting on this, I put myself in the scenario of a photojournalist that was particularly prepared that day to photograph and something interesting appeared and all they had was their cellphone. In this instance, I would say that I definitely could identify more with the present photojournalists.


3 specific examples of knowledge you gained about the History of Photojournalism from reading your classmates' Photojournalist Profile posts


Valerie Goly- Technology Timeline: After reviewing all of the mid-terms, I really enjoyed the layout of her timeline. It displays all of the technology 1021 A.D. - 2007. She used really clear images that showed what each technology looked like and briefly how it was used.


Alexa Costa- Working in the Digital Age- This student, in particular, I enjoy reading her posts because she’s very detailed and put together. But post specifically I enjoyed because it showed images that complimented it. She explained that blogs were first invented in 1997 when college students would post articles pertaining to their classes and journal entries on what they were educated on- how ironic.


Ariyon Mickle -Photojournalist Profile- I really enjoyed Ariyon’s photojournalistic profile. I think overall, doing and viewing everyone’s photojournalistic profiles was my favorite part of this course. I really enjoyed viewing the different styles and what the photojournalist’s life entailed. Carol Guzy’s profile stuck out to me in particular because I so thoroughly loved the images that she took.

Tuesday, December 3, 2019

Photojournalist Profile: James Nachtwey


An Instagram account was created in order to contribute to a visual representation of these 10 key aspects that were researched about James Nachtwey. The Instagram handle is: @fakenachtwey


Post 1: Career Path:




Born on March 14, 1948, in Syracuse, N.Y. and raised in Massachusetts, James Nachtwey pursued a degree in art history and political science at Dartmouth University. His inspiration came from images from the Vietnam War and the civil rights movement which held an immense impact on what influenced Nachtwey to become a photographer. To begin his career in 1976, he began work as a photographer for a newspaper in New Mexico. Until 1980, when he moved back to New York to begin working as a freelance magazine photographer. His first assignment was held outside of the U.S. on foreign grounds in Northern Ireland to cover civil strife during the IRA hunger strike in 1981. From there, his work has been featured in many exhibits: the International Center of Photography in New York, Bibliothèque Nationale de France in Paris, Palazzo delle Esposizioni in Rome, Museum of Photographic Arts in San Diego, El Circulo de Bellas Artes in Madrid, FOAM in Amsterdam, Carolinum in Prague, and Hasselblad Center in Sweden, etc. Nachtwey was provided a contract through TIME magazine in 1984 and has been associated with a few other agencies over the years. He has been the recipient of many awards and honors from his well-known work illustrating the violence of war.

Resources: https://news.dartmouth.edu/news/2016/09/archive-photographer-james-nachtwey-70-acquired-hood-museum

https://www.nationalgeographic.com/contributors/n/photographer-james-nachtwey/




Post 2: Photography Era




According to Jacob Hales in his article entitled “Photojournalism of the ’80s and ‘90’s”, these two eras of which James Nachtwey begun his career, can be defined as “the clashing of traditionalism and modernism, foreign affairs, teen culture, protest, and the transition between analog and digital technology.” The technology among these eras was experiencing immense change. The utilization of computers and cell phones was increasing and the world was able to unite through communication more efficiently. Upon the increasing utilization of computers- many jobs began to work it into their daily functions. Which entail lead to the creation of the World Wide Web in 1989. During which, media also was in the midst of a transition from focusing on specialty magazines that fit the societal trends set forth by both males and females at the beginning of the era to focus on realism and documentary photography. Which fits the style of which Nachtwey’s War photography depicts. His images illustrate very dramatic and deep subject matters.


Resources:

https://heritageherald.com/2018/06/08/photojournalism-of-the-80s-and-90s/

Encarta Reference Library 2004: searched 1980’s photography





Post 3: Motivation 



War Photographer, James Nachtwey, discusses in his interview with Katherine Hart, his motivation for documenting contemporary history is to “try to photograph honestly but with a sense of compassion so that a mass audience can make a human connection with the people in the pictures. If that happens, then change becomes possible.” His motive for documenting events and societal and/global issues such as pollution, homelessness, substance abuse, tuberculosis, warzones, etc. is to influence change. By bringing attention to the suffering of these individuals, Nachtwey amplifies the victim’s voice. He states, “I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated.” His photography often depicts individuals in such vulnerable states but it creates concern on a global level in order to spark a discussion to elicit change.

Resources:

http://www.jamesnachtwey.com/

https://news.dartmouth.edu/news/2016/09/photojournalist-james-nachtwey-70-talks-about-his-work




Post 4: Technology

 
 


Nachtwey’s career began in the late 1970s and has continued throughout the 2000’s. Around this time, the digital era was flourishing. Transitioning from the mechanical and analog technology such as 35mm cameras, devices began to take upon a digital approach. Advancements in technology were pretty dramatic throughout the 80’s- these included the utilization of magnetic disks instead of conventional, the introduction of high-speed burst rates, and the single-lens reflex (SLR) cameras were overwhelming the market. Allowing cameras to be easily held and transported and the advancements assisted photojournalists to take multiple quick shots. This was especially beneficial to get multiple quality images to Nachtwey who constantly put himself in harms way to get the best photograph. As it is said in the documentary “War Photographer”- about James Nachtwey, “If your pictures aren’t good enough, you’re not close enough.” Nachtwey currently shoots with a Canon EOS-1V SLR film Camera (invented in the year 2000) and Canon EOS-1Ds Mark II Digital Camera (invented in 2004). Most often, capturing his images in a black and white format, which contributes to the dramatic nature of the serious pictures he takes. Color technology was first created in the early 1900s and could have been utilized it is often left out the Nachtwey’s photography.

   























James Nachtwey’s style of War Photography provokes some ethical dilemmas within. Photographer Piotr Andrews points out that as a war photographer one must follow “very strict moral principles”.The National Press Photographers Association (NPPA) implements codes of ethics that are put into place to “promote the highest quality in all forms of visual journalism and to strengthen public confidence in the profession. It is also meant to serve as an educational tool both for those who practice and for those who appreciate photojournalism.” Nachtwey often take images that can be foreseen as too vulgar or exposing to the inhumane practices/mistreatment of people on a global level. It has been discussed that graphic images that are taken are distasteful and put the victims in the spotlight in the most vulnerable state. In rebuttal to the criticism of taking “too vulgar”, Susie Linfield writes in The Cruel Radiance: Photography and Political Violence “I never look at Nachtwey’s photographs when I am sad; in fact, I find his pictures harrowing in the best of times. Nachtwey’s subjects are, more often than not, severely deformed through various forms of violence, and they seem disconnected from history and politics. I do not think their spirits are intact. In showing us the many ways that the human body can be destroyed, Nachtwey’s pictures can inspire revulsion more easily than empathy.”
Resources:
http://www.faspe-ethics.org/journalism2014/?p=399

https://nppa.org/code-ethics





Post 6: Bias




It could be interpreted that James Nachtwey’s bias’ often stems from those that are at a disadvantage and those that are above and can make the executive decisions of change. He is compelled to cover the stories that the rest of the world is unaware of and those in higher power ignore. He states in his interview with TIME magazine, “we question the powerful. We hold decision-makers accountable. The chain we help forge links the people we encounter in the fields to millions of other individual minds and sensibilities. And once mass consciousness evolves into a shared sense of conscience, change becomes not only possible; it becomes inevitable.” He imposes the need for the conversation to be had so that the societal issues cannot be ignored by the government. By doing so, his bias to cover these stories cause people to instill hope and govern change.

Resources:
https://time.com/3693061/jamesnachtwey-receives-lifetime-achievement-award/



Post 7: Photographic Style

Image 1:

Title: Famine in Somalia

Image By: James Nachtwey

Year Taken: 1992

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCbqSroSOzrPFw9MFcsJl_aW6pTpGQJJw4ixuXIz7-O8fpb1uvZUHtCm824RSViFF4G_mzBet0p_StM3C3AgTlNekmQ2b-ZL0Kuz40Eyhfn0CJMj8JhSfvvYP79oiRXnUOqnFYjuDsaJ4/s1600/famine+in+solmania.jpg








Using the photographic assessment principles it is clear that there many different compositional factors that make this image so effective at displaying a message. One of the key features that are often seen within the photojournalistic images of James Nachtwey is that he often uses black and white. Even though the technology is readily available to him, the black and white appearance of his image alludes to the seriousness of them. It helps portray the emotions and exaggerates the expressions of the people's faces by not allowing the audience to be distracted by color. In this image, although it may not have been done purposely, the use of line in the young individual's body helps relay the overall message of the reality of famine. Lastly, Nachtwey kept this image rather simple to direct the attention to the starving individual, did not have the individuals pose or be tampered with. But instead, he utilized his positioning to capture the starved individual from the backside to illustrate how bad he or she is suffering.



Image 2:

Title: Opioid Crisis

Photo By: James Nachtwey

Year Taken: 2018

https://streetbounty.com/wp-content/uploads/2018/02/James-Nachtwey.jpg







Using the assessment principles it is clear that Nachtwey uses multiple key artistic ways to heighten the message of this image. In this image, the background of the police officer and the overdosed individual in the driver's seat of the car helps depict the dangers of opioid drug use. Especially because that individual could have endangered the lives of others by getting behind the wheel of the car while impaired. Nachtwey uses contrast very well in the image as well. Although not purposely done, the individual under the influence is wearing a light-colored shirt as opposed to the police officer in a dark-colored uniform. This helps guide the viewer's eyes through the image. Lastly, the main subject (the overdosed individual) is also at least 2/3 of the image- allowing the viewer to closely see the individual and bring the main focus in on him.


Image 3:

Title: Durian Daze

Photo By: James Nachtwey

Year Taken: Unknown

https://66.media.tumblr.com/845c9e1c7937a7c869e5509a8e02e35c/e4e90041799fe39a-08/s500x750/28b419cf791bb014d4ea4cf4dfa4d371dda33ef9.jpg







Nachtwey utilizes a few key pieces that can be seen as part of the assessment tools when looking at photojournalistic images. In this image, Nachtwey uses texture very effectively. It is clear that the two people in the image are laying on rocks, boxes, and very uncomfortable objects- which illustrates the difficulties of being homeless. He also uses a long depth of field and rule of thirds to assist the viewer to understand that what can be shown as trash (that goes on for as far as you can see in the image) can be somebody's treasure. In this case, these unfortunate individuals are utilizing each other for comfort and having to sleep on train tracks (which ultimately can be dangerous) and do not have the luxury of pillows, blankets, or a bed. 


Image 4:

Title: Struggle to Live: The Fight Against TB

Photo By: James Nachtwey

Year Taken: 2010

http://files.doobybrain.com/wp-content/uploads/2010/03/James-Nachtwey-TB-photos1.jpg







When using the assessment principles in photojournalism, it is clear that a few things stand out within the image. The first thing that stands out in the image is the individual's facial expression, it looks as though he is being forced to undergo treatment and he is extremely frightened of the needle that he is being shown. Nachtwey's focus on this individual is extremely clear and helps the viewer to see this in the individual's face. This imposes a sense of sadness/empathy within the viewer because of the obvious hardship that the young man is going through.

Post 8: Impact




James Nachtwey has been recognized and honored throughout his career- to name a few, he has received several Photographer of the Year honors and Robert Capa Gold Medals, the TED Prize, the Dresden Prize and a number of honorary doctorate degrees, and also his documentary entitled “War Photography” was nominated for an Academy Award. James Gilbert points out, “For nearly a decade, James Nachtwey has stalked the terrifying existence of war and civil strife with his camera. Since 1981, readers of such magazines as TIME, National Geographic, and Live, have been aware of the restlessness and brilliant visual presence in their pages.” These images that he captures help people all around grasp ideas that may not impact their lives on a daily basis but do impact others. It paves the way for more in-depth conversation and enlightens the public on the corruptive ways of the world.

Resources:
http://iphf.org/inductees/james-nachtwey/

http://www.faheykleingallery.com/photographers/nachtwey/press/photographs/nachtwey_pr_ph_frames.htm





Post 9: Incorporation of Nursing in His Style




I am currently completing my Bachelor’s degree in Nursing at AIC. I can associate many similarities that are seen in James Nachtwey’s work and the work of a nurse. It is especially seen in his moral compass and charismatic ways to the individuals that he is photographing. His biggest motivation to document the suffering of others is the need to help them. He illustrates compassion and the drive to make situations better to those who need it- all of which would demonstrate good characteristics of a nurse. He states in the video interview shown in TIME magazine, “our work is aimed at our readers’ best instincts - generosity, compassion, a sense of right-and-wrong, a sense of identification with others - on a human level, across cultures, beyond the borders of nationality - and perhaps most importantly, the refusal to accept the unacceptable.” Another characteristic that can be related to James Nachtwey’s work and the work of a competent nurse is advocacy. In the same way that a nurse is mandated to advocate for their patient’s needs, James Nachtwey does this through his photography. His photographs incorporate a message to the viewers that the suffering are in need of change. James Nachtwey has also in fact covered issues directly related to the medical field; such as the Tuberculosis epidemic, the AIDS epidemic, and the medical response to war.
Resources:

https://time.com/3693061/jamesnachtwey-receives-lifetime-achievement-award/






Post 10: Viewpoints


 


Many view James Nachtwey in an influential manner and with great respect. Personally, I was just briefly introduced to him in relation to this course but after reviewing his work and doing extensive research into his past and present- I am so appreciative of the efforts he has made to document history as it adapts and assisting people in the time of need. His professionalism and bravery to risk his life to keep the world more connected on a global level have contributed to his great reputation within photojournalism. In the article James Nachtwey calls for peace with Memoria at Fotografiska Stockholm he is referred to as, “one of the world's most respected photojournalists, and considered the defining visual war reporter of his time”.

Resources:
https://news.cision.com/fotografiska/r/james-nachtwey-calls-for-peace-with-memoria-at-fotografiska-stockholm,c2840643


Tuesday, November 19, 2019

What Motivates Photojournalists?



According to the Merriam-Webster dictionary, motivation is defined by “the reason or reasons one has for acting or behaving in a particular way.” This motivation or incentive stimulates an individual to perform or act in a specific way. This differs from one individual to the next depending on their core values and beliefs. With motivation, it moves individuals to achieve goal-oriented tasks.


Here is what motivates me as an individual:

Created by: Courtney Welsh

Motivation can often explain the pathway in terms of occupation that an individual chooses. All people work because it provides something in exchange. Some motives for a specific form of work can be as follows: solely for income, for the love of the work, for personal fulfillment, and/or external factors. It is important to be able to identify the motives behind actions to remain on track of the set goals. Here are a few photojournalists that identify their motivations behind their work:



Alex Webb


Photo By: Alex Webb
Image Source: https://www.widewalls.ch/artist/alex-webb/

Photo By: Alex Webb
Image Source:https://www.dazeddigital.com/photography/article/35120/1/magnums-alex-webb-on-the-power-of-photography

Photojournalist Alex Webb, responds to the question, “what advice would you give young photographers?” by discussing his motivations behind it. He states “photograph because you love doing it because you absolutely have to do it because the chief reward is going to be the process of doing it.” The motive within the photojournalist should be internally driven and revolve around the passion of doing so. He discusses other rewards such as “ recognition, financial remuneration” as minimal and fleeting- meaning they are of short time and will eventually fade. Within photojournalism, the photographer is able to provoke change give a voice to those who are suffering. This same internal drive and need to photograph is also discussed in Gordon Park’s website that states: “Born into poverty and segregation in Kansas in 1912, Parks was drawn to photography as a young man when he saw images of migrant workers published in a magazine. After buying a camera at a pawnshop, he taught himself how to use it and despite his lack of professional training, he found employment with the Farm Security Administration (FSA), which was then chronicling the nation’s social conditions.” Although born into poverty, he never once discussed money or recognition as the route of motivation to document but instead, he connected his self-taught ability and passion behind a camera as “a weapon against poverty, against racism, against all sorts of social wrongs.”





Giles Duley

Photo By: Unknown
Image Source: https://www.billbradshaw.co.uk/blog/giles-duley-one-second-light-exhibition

Photo By: Giles Duley
Image Source: https://www.theguardian.com/world/2017/jan/01/syria-disabled-refugees-update-giles-duley-photography
Giles Duley’s conversation with famous war photojournalist Don McCullin discusses their need to photograph people in such horrific events. Giles, who was inspired young by Don McCullin and his ability to not glamorize war and make of a heroic sense of either side, states “I set out not to document the war element but the consequences of war and what happens to civilians. So maybe I start from the point of understanding that you had reached. I learned from that and carried on. In my work, it’s always about that connection with the person’s eyes, or somebody holding hands, those little moments of intimacy, little gestures. That’s my continuation of Don’s work.” The underlying theme in the discussion between Duley and McCullin is capturing raw emotion and displaying it to answer the question “can you change the world with your photograph” and Duley’s respond is “I would say, no, but maybe we can inspire the people who do. Much like photojournalist Ed Kashi who states “is to tell visual stories that not only inform viewers but also inspire them to find ‘activist solutions to social problems."’ Kashi and Duley share common motives to create awareness and seek out change for those that suffer by documenting harsh environments all over the world. 





Susan Meiselas
 

Photo By: Unknown
Image Source: https://www.radcliffe.harvard.edu/people/susan-meiselas


Photo By: Susan Meiselas
Image Source: https://www.susanmeiselas.com/


Susan Meiselas, a photojournalist that has covered a variety of topics ranging from Central Africa’s conflict, human rights issues, and sex trafficking. In the interview held by Sarah Stacke, it is discussed that Meisela’s photography “has broken through glass ceilings, paving the way for other women. She’s also consistently made space for women’s voices to be heard through her work.” It is added that Meisela’s work help “‘show a fascination with women who trespass boundaries of convention and acceptability.’” and "’It is particularly timely now to look at these women—and Meiselas herself, for that matter—and learn from their struggles for autonomy, self-determination, and respect."’ Meiselas discusses that she held many fewer opportunities and education that most emerging photojournalists have now. This disadvantage did not hold her back because she advocated for herself and did as what she believed in. Meiselas states, “The issue at heart about success is finding your own path and surviving, that’s the bottom line, realizing the interior landmarks of success. My work wasn’t collected by a major institution until the last few years.” Similarly to Susan Meiselas, Xyza Cruz Bacani from the Philippines moved to Hong Kong to work as a maid. Upon her day off, she began taking pictures and now years later recently received a fellowship to pursue photojournalism in New York with Magnum. Although her work as a photojournalist has gotten major recognition- she still works 6 days a week and photographs during her one day off.


In comparing and contrasting the motives of the three listed photojournalists and myself there are a few similar and different points in why we chose the profession that we did. I discussed that I chose the profession in nursing because of the need to help people, I am passionate about it, and I possess a caring nature within myself. These three were also discussed above by each of these photojournalists by providing a voice for those that they document and by providing awareness to society in order to provoke societal change.  One major difference I can point out from my motivation map and what they discussed is job security. Many of these photojournalists have to work extremely hard for the photographs and they are not guaranteed their work to be published or utilized. Although it is extremely rewarding when it does, it is not necessarily listed as their motivations because of it. 

Wednesday, November 13, 2019

Photojournalism and Bias


  Photograph By: Ed Clark


Year Created: April 13, 1945

Without looking into the context of which this photograph was taken, it can be seen that this individual has clearly endeavored some overwhelming emotions meanwhile playing the accordion. Whether the emotions allude to a positive or negative experience is difficult to understand without background knowledge. His uniform suggests that he is an officer of some sort that is playing for a white audience who appears annoyed. Without even looking in-depth on what the context of this photo is there is a valuable lesson to be learned as mentioned by Patrick Kiger in his interview with Betty Lane, "these photographs often take hold of our hearts and reach us on a more primal emotional level".In reality, the image depicts Graham Jackson- a Chief Petty Officer (USN), as President Franklin D. Roosevelt's flag-draped funeral train leaves Warm Springs, Ga. in 1945. President Roosevelt’s presidency addressed many civil rights movements that have led us to what our society consists of today. 

Black and White: This image was taken in the mid-1900’s and color film technology was invented but not exactly executed everywhere. However, the black white and grey tones allude to the overall emotion and may have deterred the viewer’s attention from the emotion displayed on the Officer’s face.

Background compliments: In this case, I believe the background does an excellent job to compliment the picture. In capturing the look on the women’s face it helps demonstrate the common beliefs at that time- some agreed and some disagreed. It also offsets the amount of darkness in the photograph from an aesthetic point of view.

Emotion: There is an immense amount of emotion that is displayed in this image. It comes from the gentlemen who is clearly the main subject who displays sadness and respect. It also comes from the audience who some are also saddened and others confused or annoyed.


Image A: Truth
  




Photograph By: Laurent Baheux


Year Created: 2002


Abstraction: The two patterns of the zebras combined in this image has such a positive impaction in the image that it almost seems abstract. It looks as though it would be difficult in nature to see this remade and has occurred unnaturally.

Use of lines: The use of lines within this image is astounding. It is unsure that the subject matter was not manipulated in some sort of way because the curvatures and lines on the zebras are perfectly placed. It looks as though they are unified.

Keeping it simple: The only thing really depicted in this image is the two zebras. It helps focus the attention of the view to the zebras themselves and is rather simple in means of the subject matter. However, it seems as though it would be a difficult photograph to capture. 


Why This Image? Photojournalism often holds subject matter that can be depressing and deep but sometimes people need to be reminded of the beauty that life holds. There are a ton of animal cruelty cases throughout the world but it is appreciated to see animals succeeding in their natural habitat rather than being locked into horrific conditions.


Image B: Does not illustrate Truth





Photography By: Britta Jaschinski


Year Created: 2015

Britta Jaschinski won the “ Wildlife Photojournalist Award” for this image reported by CBS news. The images may illustrate how the wild cats are cooperating in the performance rehearsal but it does not depict exactly the maltreatment that this wild animal endures. In Professor Nordell’s video titled Photojournalism and Bias - Part 1 he states “one person can look at a picture and think it is bad, and another person can be looking at the same photo and have a completely different opinion on it, and that shows a good example of bias in photography." Which I do believe to be true. Jaschinski states that her reasoning for taking this picture is to illustrate the cruelty however, I don’t think that I receive that from this image. If anything, following around the performers and documenting them may help boost their confidence.

Use of Shadows: The use of shadows is prevalent in this image. By using these shadows the photographer was able to capture the eye of the audience and drag them into the 3 subject matters. It also deems the people running the “entertainment” irrelevant because they are off to the side in the shadows.

Texture: The texture in the image is a lot of cement and fence. To me, I get a sense of a cold and dingy containment center. It is not very warm and inviting.

Focused: This image is completely focused and in tune with the subject matter- the cats. As I mentioned, it seems as those the men in the image are irrelevant. The photo is very clear and allows the audience to focus in on details.


Why This Image?: I feel really strongly about animal rights and support reform in animal captivity. I feel as though it is extremely important to illustrate to the public what the living conditions are and scientifically show the quality of life improvement in these animals in their natural habitats. It is difficult for me to get this out of this image because it seems as if the cats are cooperating and I think that it should emphasize their situations outside of their acts.

Tuesday, November 5, 2019

Ethics of Photojournalism

Ethics Map


Above is an image of what I personally grouped to make up who I strive to be and highlighting key values that I attribute to a well-rounded individual of the society. These features that make up my “ethics map” include six key features: honesty, loyalty, respect, family, generosity, and responsibility. Next to these six major categories that I grouped together, I used a few words that I believe what it means to demonstrate these values. I do not believe that there is anyone quite that can truely operate under these features without violating them in some way or another but I do believe they can be a great example of what they can strive to possess. 

                   
Professor Nordell refers to the dictionary’s definition as, “a theory or system of moral values” or in relevance to photojournalism “the principles of conduct governing an individual or group”. In photojournalism, there has been a set code of ethics of which photojournalists must follow and incorporate in their works. These codes of ethics are put into place to “promote the highest quality in all forms of visual journalism and to strengthen public confidence in the profession. It is also meant to serve as an educational tool both for those who practice and for those who appreciate photojournalism,” set forth by the National Press Photographers Association. For the most part, many are aware of the consequences of ignoring the ethical boundaries and make sure to respect them but there absolutely are some individuals in the past that have violated them. An example of this occurred in the case of Fabienne Cherisma.



Image By: Paul Hansen



Image By: Nathan Weber

Young 15-year-old, Haitian following the catastrophic earthquake in 2010 was shot dead in the head by police officers for being caught stealing two plastic chairs and three framed pictures. In one picture shot by Carlos Garcia Rawlins/Reuters, the young girl had been lying there dead, on top of the loot of pictures she had stolen, not chairs to be found and her pockets had been picked through. When comparing it to a photograph taken by Nathan Weber that took the image to convey a different message of the greed of the photographers there are a few ethics that are violated. Immediately one ethical dilemma that comes to mind is, “treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy.” This unfortunate circumstance that led to the death of the young girl was taken advantage of by multiple photographers. It was said that she was shot not even 15 minutes before she was surrounded. Two other ethics that were violated were, “be accurate and comprehensive in the representation of subjects” and “resist being manipulated by staged photo opportunities.” When looking closely at the three photographs there is evidence that suggests that the young girl’s body had been moved and staged to make a better image. In Carlos Garcia Rawlin’s image, it is apparent that Fabienne’s arm was positioned differently while showing an image of a flower when compared to the shot by Paul Hansen and also her head was positioned to enhance the photo.

Not only do these violate these aspects of the National Press Photographers Association’s code of ethics, but there are also many parts of this that do not match my “ethics map”. As I pointed out the 6 key concepts that I believe make up a good citizen, many of which were violated in this situation. Honesty- the photographer that manipulated the body of the young girl. Respect- that again, was violated when they swarmed the young girl immediately and disturbed the “resting peace”. Family- which was violated because that young girl is, in fact, the daughter, sister, granddaughter of individuals that were also impacted and by documenting the gruesomeness of her death they were reminded of the pain that the poor girl endeavored.

Tuesday, October 29, 2019

Women Photojournalists (trials and triumphs)

Photo By: Fred Dufour, AFP


Camille Lepage, born in 1988 in Angers, France- found her passion for photography after receiving a degree in journalism from Southampton Solent University. After discovering the concept of putting these two disciplines together to form photojournalism, she moved to South Sudan in 2012 to cover the population that was set apart from the government where she worked independently. Her work was often appraised and has been published in many well-known works such as: : New York Times, The Guardian, Le Monde, The Washington Post, Der Spiegel, Libération, Le Nouvel Observateur, La Croix, The Sunday Times, Wall Street Journal, Vice Magazine, Al Jazeera, and was frequently used by BBC, etc. The Central African Republic in 2013 warned the public that the country was “spiraling into genocide” and beginning complete chaos. Lepage though felt very passionately about it and stated "I can’t accept that people’s tragedies are silenced simply because no one can make money out of them," "I decided to do it myself, and bring some light to them no matter what." In May of 2014, Lapage’s body was found in an anti-balaka rebels vehicle by French troops that were in the area trying to make peace within the country.





Alice Gabriner states when speaking about the death of Camille Lepage, “I'm always astonished by the bravery of these women. I'm getting calls all the time from people who just want a job, desperately want to go here or there and are willing to take the risks and so I'm happy to be able to get them doing a story they want to do. It's in retrospect, even years afterwards, you think about the risks. Photo editors are in a difficult position. Photography is a tough business and the turnover is so great, and people want to get into places that nobody else gets." She also adds that “for the last decade some of our most powerful stories have been produced by a new generation of photojournalists who are women.” Although really unfortunate that Lepage’s career had come to an end and she had become a victim of premature death due to the dangers, her message to capture the violence via her photography remains. Another photojournalist that held a similar story to Camille Lepage’s and died the same year is Anja Neidringhaus who was killed covering elections in Afghanistan in 2014. The Anja Niedringhaus Courage in Photojournalism Award was the announced as “a 1 million dollar gift from the Howard G. Buffett Foundation, the Award will be given annually to a woman photojournalist whose work reflects the courage and dedication of Anja Niedringhaus. The first award ceremony was held in Berlin on June 25, 2015." The bravery of these two women is made into a mockery in the revealing comments documented on saidtoladyjournos, “We won’t send a girl to Iraq” - said by an executive editor at state paper. Of which is an opinion employed from many on women covering potentially dangerous new coverings.

 
Photo By: Camille Lepage
Image Source: http://mrofoundation.org/camille-lepage/
Year Created: 2014
Principle #1: Subject's Emotion: This image illustrates a lot of emotion upon the boy's face. From this image, it looks as if the boy is in pain or is greatly fearful of the men in uniform.
Principle #2: Color: This image does not have a wide variety of colors that are used. By doing so, it directs the attention of the viewers to the boy's face. Also, it is pointed out that the boy and the gentlemen behind him have different uniforms on.
Principle #3: Simplicity: The image is rather simple in nature. Camille Lepage focused in on the boy's face to elaborate on the emotion felt at the time. If she included the faces of the gentlemen behind him it would take away from the boy.
Why I chose this image?: Camille Lepage's image pictured above shows pure fear upon the boy's face. It is powerful
and necessary as she said in her interviews that the rest of the world is aware of the violence and misfortune
that occurs in other places within the world. She felt so passionate about conveying this message to the rest of the world that she, unfortunately, was killed at 26 years old.


Photojournalism that has been predominantly run by men throughout history has been altered over the last few decades. Lynsey Addario states “A lot of the questions I am getting recently are ‘should women cover conflict? should women be in warzones’... two friends were killed in Libia and they were men. We cover war because we think it should be covered.” It is important to understand that the risk is posed to both men and women covering war regardless of gender. But it is apparent that women play an important role when documenting the violence of war and within humanity because they allow for a different perspective. As Lynsey Addario also points out “ gender-based violence and rape of a weapon of war, I have access to those things because I am a woman and women feel comfortable talking about those issues with other women” and some parts of the world religion impedes the male’s ability to come within the home without being blood relative or married into the family- only allowing a female to photograph the lives of these individuals. Making the role of women photojournalist vital to illustrate to the rest of the world the livelihood of foreign countries.


Photojournalism is not the only profession that has lent a similar question of whether or not it is “too violent” for women to work. Another occupation that comes to mind, are police officers. In a recent article, explaining a lawsuit initiated by 18 female law enforcement officers from Philidelphia that have been a victim of discrimination and harassment, Patricia Getty (first female officer of that department) explains that in 1976, “there were no bathrooms, locker rooms, or uniforms for women, and she and other rookies were forced to cut their hair short.” All with the logic that was stated as “‘If you want to be a man, then you’re going to act like a man,’ ” because the workforce has always been majority male. With only 13% (as of 2018) make up the role of a police officer, it has been ridiculed by many that women do not belong as a police officer for multiple reasons. It has been said that it has been to physically rigorous, unable to respond to violent acts of crime, too emotionally involved, and too forgiving. These challenges and judgments that are placed upon females are not qualities that define a woman. It is not a question of sex that defines what it takes to be a police officer but instead the qualities of the individual- male or female. Ellen Kirschman states it well that,” the ideal cop, male or female, is an androgynous combination of psychologist, minister, diplomat, politician, doctor, parent, historian, stunt-car driver, guardian, enforcer, athlete, combat social worker, and sleuth.”

Photo By: Nathan Lopez
Image Source: https://www.kvnf.org/post/grand-junction-photography-project-looks-beyond-badge#stream/0
Year Created: 2015
Principle #1: Rule of thirds: If you were to cut this image into thirds, the officer would be in the last third of the image. This helps guide the viewer's eyes through the image and dramatizes it as well.
Principle #2: Background: The images background works well and compliments the female officer. The brick background brings attention of the viewer to the expression of the officer.
Principle #3: Contrast: The image carries a high contrast between the dark shadowed areas and the brightened areas. The brickwork behind her implements both dark and outlined by lightened areas. The brightest part of the image is the woman's face which helps guide the viewer to her expression.
Why I chose this image?: This image does a great job demonstrating the seriousness that most females take their job as a law enforcement officer. It conveys integrity and virtue upon her face- all of which were contradicted in the criticisms pointed out. 

Wednesday, October 23, 2019

The Opioid Crisis



The Opioid Crisis: Video 



Resources

Images in the video (in order from beginning to end): 


Photo By:

Photo By:

Photo By: Mark Herlihy









Photo By: James Nachtwey 


Photo By: James Nachtwey 

Photo By: James Nachtwey 

Photo By: James Nachtwey 





 Powerpoint Statistics & Resources: 

“Addiction Statistics - Facts on Drug and Alcohol Use - Addiction Center.” AddictionCenter, www.addictioncenter.com/addiction/addiction-statistics/.
American Addiction Centers Editorial Staff. “How to Help a Heroin Addict.” DrugAbuse.com, 12 June 2019, drugabuse.com/heroin/how-to-help-an-addict/.
“Help and Resources | Drug Overdose | CDC Injury Center.” Centers for Disease Control and Prevention, Centers for Disease Control and Prevention, www.cdc.gov/drugoverdose/prevention/help.html.
National Institute on Drug Abuse. “Opioid Overdose Crisis.” NIDA, 22 Jan. 2019, www.drugabuse.gov/drugs-abuse/opioids/opioid-overdose-crisis#five.