Wednesday, June 26, 2013

My Evolving Knowledge on The History of Photojournalism

My creative experience. Hey! This is what I love to do anyways. What better moment to capture than one of my friends wedding. A beautiful day, memories to share, an assignment to be done, and an iPhone 4s in my pocket. What better timing. I'm no professional, but here are some of the images I'd like to share with you.
 
 
 


 
Photos by: Melissa Gorneault
Photo source: iPhone 4s

In my “book introduction” blog post I wrote, Photojournalism is the use of images to tell a story. When I think of photojournalism I think about the pictures that have been taken after an important time or event that has occurred. These photos capture the story of an event and keep that memory easy to remember in the near and far future.

Over the past 5 ½ weeks I have learned about many photojournalists and photojournalism as a profession. It is amazing how much information one can be faced with in such a short period of time. I must say I had a strong interest in reading over all of the course content information and the blog posts that everyone creatively put together. This class was different from many others in that I enjoyed the content information. It was kind of like trying to put down a good book. As tempting as it was at times too just move on and start the assignments I was so involved in the information I didn’t want to just “move on.” I think many will agree!

While reading the content information for the pre-digital technology and researching the advances in the motor drive technology I immediately thought “what I would have to show without this special advance in technology?”  In my blog I remember saying, “Without the new advances in cameras and the motor drive it would be great trouble trying to capture all these memories and I would look back on many of these as a blur – literally.” The idea for this blog drove me to the park with my kids to take pictures as my kids were “moving” around. Before understanding this concept, I took for granted how lucky I am to be able to take many pictures today. One other thing I would like to mention are the principles that when use when assessing photographs. I love how most digital cameras and cell phones (well at least mine) have those boxes that try and focus in on the "main subject" of the picture. It gets interesting when there are several people in the picture :-)

So the question appears again. Do photographs change the world?  Yes, absolutely they can. Many images have an impact on society. Specifically, photojournalists’ images can have an impact on society through the stories they tell. When looking at an image, I mention in my blog, “It is the keen eye of the person looking at the photo that decides the impact the photo can have on that individual itself or the society as a whole.”  I was touched by the work of Lewis Hines. Lewis said, “the camera became a powerful means of recording social injustice and labor abuses.” He travelled over 12,000 miles in a year’s period taking pictures of children working in factories. Hines used these images to reform child labor. After working for the National Child Labor Committee for eight years, in 1916 Congress eventually agreed to pass legislation to protect children.

As a "historian" and studying the History of Photojournalism, I have come to realize that photojournalism is more than just a picture that has been taken after an important event to tell a story. Photojournalism requires dedication, motivation, a passion, strength, and independence, just to name a few assets. It takes more than just a camera, film, and an event to represent what photojournalism is. Looking back in history, the eye behind the camera is what sets forth presented from each individual photojournalist. I feel that the history of photojournalism is important because many photojournalists are under appreciated for the simple fact that people do not understand what they are and or can be faced with. I have much respect for every photojournalist.


 

Thursday, June 20, 2013

What Motivates Photojournalists?

JAMES NACHTWEY
Photo by: Unknown
James Nachtwey grew up in Massachusetts. He graduated with his Honorary Doctorate of Fine Arts from Dartmouth College in 1970 where he studied Art History and Political Science. The images from the Vietnam War and the American Civil rights movement had a strong impact on his decision to become a photographer.

After working in New Mexico as a newspaper photographer from 1976-1980 James moved to New York to begin his career as a freelance magazine photographer. In 1981 James covered the civil strife in Northern Ireland during the IRA hunger strike. This was his first foreign assignment. Since then, James devoted his career documenting wars, critical social issues, and conflicts. “Why photograph war? Is it possible to put an end to human behavior which has existed throughout history by means of photography? The proportions of that notion seem ridiculously out of balance yet that very idea has motivated me.” (1)
Photo by: James Nachtwey
Photo source:
http://www.time.com/time/covers/0,16641,20060605,00.html
In 1984 James became a contracted photographer for Time magazine. He was previously associated with Black Star from 1980-1985. He was also a member of Magnum from 1986-2001. He became one of the founding members of the photo agency VII in 2001. "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." (2)
“For me the strength of photography lies in its ability to evoke a sense of humanity…used well it can be a powerful antidote to war. In a way, if an individual assumes the risk of placing himself in the middle of a war in order to communicate to the rest of the world what it is happening – he is trying to negotiate for peace.” (3)
 
CHARLOTTE BROOKS
Photo by: Unknown
 
Charlotte Brooks (Finkelstein) was born in Brooklyn, New York where she grew up. She graduated from Erasmus Hall, Brooklyn College and later attended the University of Minnesota. Charlotte returned to New York to further follow her childhood interests in photography and dance. She studied with Bernice Abbott at the New School for Social Research and in 1942 got a job. In 1943 she became Gjon Mili’s assistant and became well experienced in his Modernist style. She went out on her own in 1944 and after her images were brought to the attention of Roy Stryker she joined his project at Standard Oil of New Jersey documenting in photographs the story of oil during World War II. In 1946 when Stryker’s FSA team returned from war, the job ended.

After freelancing for the next three years, her friend Arthur Rothstein introduced her to the people at LOOK magazine in 1951 where she worked until it ended in 1971. As a female magazine staff photographer at that time, Brooks changed the workplace for future women photojournalists. When she joined the American Society for Magazine Photographers she was only one of three female members. In 1953 she served as its secretary and vice-president. (4)

Charlotte Brooks was “a sociologist with a camera.” She enjoyed documenting changes in the American life. Some of the things she likes documenting include politics, health and science, education, families, urban and suburban issues, entertainment, racial conflicts, and women's roles. Charlotte has accomplished her goals at a time when her gender, religious background, and sexual preference presented her with extra challenges.   
Photo by: Charlotte Brooks and Dave Zingg test underwater cameras for Look's magazine
Photo source: http://2neat.com/magazines/index.phpmain_page=product_info&cPath=1_19&products_id=156
Look’s Magazine focused on middle class life and that fit Brooks well. Being able to show how people lived first motivated her as a sociologists and then as a photojournalist. Her work as a photojournalist allowed her to witness the American way of life.  

Brooks appreciated that photojournalism allowed her to “become a sociologist with a camera; to be economically independent; and to give back to her community through the Arts Center that she and Julie Arden helped found in White Pond, New York, in 1976.” In the mid-1970s Brooks led a photography workshop for the U.S. State Department in Romania and Soviet Georgia. She also mentored neighborhood teens with Arden. “Brooks' life story is a saga of determination, and her photographs record the changing fabric of life in the 1950s and 1960s.” (5)


 LEWIS HINE


Photo by: Unknown 
 
Lewis Hine was born on September 26, 1874. He studies sociology in Chicago and New York from 1900-1907, before finding work at the Ethical Culture School. While he was teaching he was given a camera “the camera became a powerful means of recording social injustice and labor abuses.”  Hines had a special interest in social welfares and in reform movements. This led him to his first documentary series in 1905; immigrants on Ellis Island. He left teaching in 1908 and became a investigator and photographer for the National Labor Committee. (6, 7)
He became best known for his documentation of exploited child workers and government projects. He used his camera in New York where he witnessed and captured poverty. His goal was to “create intimate and personal human portraits.” (8) He travelled over 12,000 miles in a year’s period taking pictures of children working in factories. Often times he would have to pose as a fire inspector because factory owners often refused Hine’s permission to take pictures. Hines used these images to reform child labor.
l
Photo by: Lewis Hine
 “Hines photos opened people’s eyes and told them that there are many problems in this country that we need to fix.” (8) After working for the National Child Labor Committee for eight years, in 1916 Congress eventually agreed to pass legislation to protect children. “Hines showed determination while documenting child labor by risking his physical health, his work on this project was the driving force behind changing the public opinion and was essential in the fight for stricter child labor laws.” (8)
He then began working for the Red Cross during the first World War. This gave him the opportunity to photograph the living conditions of French and Belgian civilians who suffered from the impact of the war.
Hine struggled making enough money from his photography. He lost his home in January 1940 after failing to keep up repayments to the Home Owners. On November 3, 1940 Lewis Hines died in extreme poverty. (6)


MY MOTIVATION

While researching photojournalists and what keeps them motivated, the 3 photojournalists that I chose have at least one similar piece of motivation that I carry. James Nachtwey - STRENGTH, Charlotte Brooks - INDEPENDENCE, and Lewis Hines - DETERMINATION. I feel that these are all very important and they keep many people motivated in life.
 

Monday, June 17, 2013

Photojournalism and Bias

*Going Home*
Photo by: Ed Clark
 
Subjects expression: It is obvious that Graham Jackson is very emotional and it almost seems that his emotions are screaming through the accordion.
 
Obvious main subject:  The main subject in this picture is Graham and he is playing an accordion.
 
Is the image black and white or color?: This image is black and white and the photographer had the choice to use color if he wanted to. I think the use of color would have been a distraction from the main focus of Graham and his emotions.
 
When looking at this picture my eyes are first pulled by the expression on Grahams face. I began to see the tears rolling down his face. I feel this image represent his honest sincere emotion either of Franklin D. Roosevelt or someone else he may have be thinking about that he has lost. When noticing the people in the background I became a little bit confused. It seems like all of the ladies were looking at his reaction rather than having their own. I began to wonder if they were being bias as to him being a black man playing the accordion at the burial of Franklin D. Roosevelt. I am very weak individual when it comes to seeing other people cry. I cannot believe the looks on most of these peoples face who have no emotion to the ceremony or Grahams emotional reaction.
 
 
Photo by: Briana Marie
 
 
What feeling does this image create?: This image create a happy feeling. What better than to see the most innocent child with a smile on his face representing a happy life with his parents.
 
What in the image helped you to create that feeling?: As odd as it might sound besides the smiles on everyone's face, the bright sun reflecting off of them helps create a happy feeling. (Versus rain which can sometimes symbolize sadness)
 
Use of lines: I feel that the log fence is a great use of line in this picture. It helps the eye of the person looking at the image place the trees in the background far away from the family.
 
 
To me a true image is one that can tell a story without being tampered with. As mentioned in the article about yellow journalism, "the whole point of yellow journalism was to produce exciting, sensational stories, even if the truth had to be stretched or a story had to be made up."  I feel that this image is exactly opposite of that. The little boy in this image is smiling and that is the representation of his happiness. One cannot fake a child's feeling or reaction, especially at such a young age. I chose this image to because it represents a family that is happy. In my ethics chart family was the biggest thing.
 


 
Photo by: Craig Ruttle
 

Depth of field: The lady in the picture is in focus and the background is out of focus. This depth of field keeps my eye on the lady and her expression, which is the main focus of this picture. The depth of field in this image was done on purpose. As mention in the video part two by Professor Nordell, the lens choice and angle are different things that are used by photographers depending on what perspective the photographer is trying to get across.
 
KEEP IT SIMPLE: The photographer chose to take a picture of just one lady. I feel that this does not truly represent the full story of the 9/11 aftermath reactions.
 
Does this image remind you of any work of art or photograph that you have seen?: This image reminds me of the many images of different people grieving after the loss of a loved one or a tragic event. When I saw this image I immediately thought about the image we viewed in Module 10 of Aline Marie who was grieving after the Sandy Hook shooting. I began to wonder what the lady in this image reaction was to her being photographed. As mentioned by Professor Nordell, "I wouldn't want to photograph somebody in a way that I myself would not want to be photographed." Do you think she knew she was being photographed, and if she did how did that photojournalists approach her.  
 
 
This may be farfetched, but to me an image that does not represent a whole story can be misleading. After looking at the picture over and over again I began to think back to many of the other images from the 9/11 attack. I feel that this image does not tell the whole story. I can almost see the many other people kneeled over this line up of names and I feel like they are all left out of this image. Although I can see the truth behind the expression on this lady's face, I do not believe this individual picture represents the full truth of all the people who were grieving over this tragic event. Maybe this picture was taken deliberately by the photojournalists to represent just a single woman grieving. I feel there would have been a much bigger impact if it was an image that represented all of the people grieving in those hard days that followed. People looking back at this image may think that this was not an accurate image to represent all of the people that this tragic event impacted.
 
 


Friday, June 14, 2013

The Ethics of Photojournalism


In the article by Poynter, “Instagram breaks records during Hurricane Sandy,” Sam Biddle argues that “it’s unethical for people to use tragic events as fodder for their Instagram photos.” Time magazine sent five photojournalists to cover the storm and its aftermath by means of Instagram.  More than 800,000 photos were posted in the middle of the storm and its aftermath.
Photo by: Benjamin Lowny
 



Poynter recently wrote an article about Intagram and whether or not photojournalists should be allowed to filter their images. Some people may think that Instagram and other filtered-photography services are controversial. Professor Richard Koci Hernandez states, “Photographic truth doesn’t reside in the camera, or in an app, but in the heart and mind of the image-maker.” I agree with Richard, it is all in the eye in the person behind the lens that captures the photo.


Photo by: Benjamin Lowny
 
 

I do not think it is unethical when people post images, specifically images of natural disasters on Instagram, Facebook, etc. I feel that these social networks are a great way to upload and view photos instantaneously. In the case of a natural disaster this allows many people to view what is happening. I think it is the same as images later being posted in a Newspaper or magazine. I think that many people would agree with me that these social networks are a great source to show images of many different occasions.




 
Sometimes it can be hard  to determine if something is wrong or right. Reading several article opened my eyes to the many sides of different situations. When I came across this picture on the Internet I thought I had to add it to my blog!





Photo by: Unknown
Photo source: http://lateralustrackeleven.wordpress.com/2013/03/01/ethics-vs-morals-and-their-relationship-with-copyright-procedures/
 
Photo created by: Melissa Gorneault

Monday, June 10, 2013

Women Photojournalists

There is a constant controversy between men and women and what he or she does for their occupation. According to TNS, “Research Surveys, 68 percent of women surveyed believe gender discrimination exists in the workplace.”


Some example of discrimination in the workplace include the appearance of a woman, a woman who is pregnant, and a job that requires physical strength, just to name a few. Employers can face consequences if a charge is filed through Equal Employment Opportunity Commission.

Women photojournalists have been a debatable topic. In the recent years there have been more women behind cameras. Many have questioned if you can tell the difference between a picture taken by a man or woman. This does not necessarily mean that one or the other is better. I believe this is a result of the different view of the eye behind the camera.

 Deborah Copaken Kogan is an award-winning photo-journalist. She is the author of Shutterbabe.  She also appears in “No Job For a Woman”: The Women Who Fought to Report WWII. In here experience she treasures the pictures that she has taken in the refugees because they represent the "real effect of war."

Deborah Copaken Kogan who had an assignment in Afghanistan said, "While I was taking the photos, I didn't think I had a female take on war. I thought I was taking the same pictures as the guy standing next to me." When she was reviewing her pictures she noticed that many of her pictures were of children, women, how the war affects family life, etc. This creates an interesting topic. Deborah Copaken Kogan talked about her advantage to being a women photographer. She proposed an interesting question, “So do female photographers take pictures of women and children because they are inherently drawn to them as subjects? Or is it because they have better access to them to begin with?” This is an advantage that she and many other woman photojournalists have.

“Pulitzer-Prize winning San Francisco Chronicle photojournalist Deanne Fitzmaurice says that, whether you're a man or a woman, you need a certain set of traits—such as compassion, patience, and perseverance—to build a relationship with a subject and craft a long-term story.” 

 
 
Photo by: Unknown
Year created: 1988
 

 
Subjects expression: In this photo Deborah Copaken Kogan seems very happy.
 
Background compliments or detracts from composition: She is posing for the camera with her camera around her neck and what seems to be her clothes/equipment behind her. I feel like these items compliment the picture because it represents what she is doing.
 
Obvious main subject: It is obvious that Deborah is the main subject in this image. If the objects in the back were left out the picture would not represent what she was doing.
 
Why? This image caught my eye because it represented what she was doing. The camera around her neck made it easy for me to see that she was working and she looks especially happy.
 

 Photo by: StockImage/Getty Images
Year created: Unknown
 
Keep it simple: This picture simply represents the eye of a man and a woman.
 
Texture: The texture of this image is easy to see through the skin and eyes.
 
What feeling does the image create?: Even though you cannot see their whole face I feel as though they are being serious.
 
Why? I chose this image because it represents the view from a man and a woman's eye.
 
 
 
Photo by: Deborah Copaken Kogan
Year created: 1990 
 
 
Depth of field: The main subjects of the image are in the depth of the field. Even though the soldiers are closer my eyes were drawn to the depth of this image. 

Use of shadows: You could see the shadows of the tree on the building from the sun.

In or out of focus: The children are more in focus than the soldiers who are closer.

Why? I chose this image because it represent the interest that she has in children. "Children mimicking soldiers, Bucharest, Romania"

Sources:
http://smallbusiness.chron.com/effects-gender-discrimination-workplace-2860.html
http://ilab.usc.edu/publications/doc/Mitchell09pp.pdf
http://www.nojobforawoman.com/reporters/timeline/1988-deborah-copaken-kogan/
http://everydaylife.globalpost.com/female-discrimination-workplace-2736.html


 

Wednesday, June 5, 2013

Planning Your Technology Timeline


1837
Daguerreotype Camera

 
 

Louis Daguerre accidentally discovered the first permanent photography. In 1935 Louis put an “exposed plate in a chemical cupboard, only to later find it (had) developed a latent image.” He then “developed the process for transferring photographs onto silver-coated plates.” In 1839 the process showed at the French Academy of Sciences in Paris.





Photo by: Jean-Baptiste Sabatier-Blot 1844

 


Photo by: Unknown
Photo source: http://alicjaskrzypiec.weebly.com/foundation.html

 

 "It became the first successful (way) of getting permanent images from a camera.” This process reduced exposure time from 8 hours to just 30 minutes.
 
 
 
 
 
 

 
1851
Wet plate
 
 



The wet plate negative was invented in 1851 by an English sculptor, named Frederick Scoff Archer. He used a solution of collodion to coat glass with light-sensitive silver salts.











Photo by: Unknown
Photo source: http://britishphotohistory.ning.com/profiles/blogs/wet-plate-collodion



Wet plates had to be developed quickly before the emulsion dried. This meant the photographers had to carry a portable darkroom. This created a more stable and detailed negative. This also allowed the photographer to produce several prints from the same negative.


Photo by: Unknown


 
1878
Dry Plate


 
 
 
In 1878 Richard Leach Maddox, an English physician created dry plates covered with gelatin containing silver salts. This steered from his proposal in 1871 to suspend silver bromide in a gelatin emulsion.








Photo by: Unknown



This method allowed for dry plate to be prepared long before exposure. This was great because it eliminated the need for a portable darkroom.









Photo by: Unknown


1888
The First Camera with Film
 


George Eastman became the founder of the Eastman Kodak company after inventing photographic film. These films were dry, transparent, and flexible. He also invented the Kodak cameras that were made for the film












Photo by: Unknown
 
 

 "You press the button, we do the rest." This advance in photography allowed nearly anyone to be able to take photos.







 

Photo by: Unknown


 
1913
Leica Camera
 

 
In 1913, Oskar Barnack invented the first Leica camera. Barnack enjoyed outdoor photography and wanted to decrease the size and weight of cameras. The first leica camera was not introduced to the pubic until 1925.






 
Photo by: Unknown
 
This was the first 35mm camera that used standard cinema 35mm film. This camera allowed the film to be transported horizontally, which extended the frame size from 18 x 24 mm, to 24 x 36 mm. The first leica camera was introduced to the pubic in 1925.

Photo by: Unknown


 
 1948
The First Polaroid Camera
 
 
The first Polaroid camera was invented by Edwin Land and was first sold to the public in 1948. This development allowed a photograph to develop in 60 seconds.




 




Photo by: Unknown



It produced a 3 1/4-by-4 1/4 print within the camera. How nice was this! At the time only having to wait 60 second and you could have a photo in your hand.

 
 
 
 
 
 
 
 


Photo by: Unknown
 

 
1975
Digital Compacts

The first digital compact was created by Steve Sasson and Kodak. The camera weighed 8 pounds and had 0.01 mega pixel. Black and white photos were taken and held on a cassette tape. The first digital compact was not released to the public until 1990.

 
 
These images could be read from the cassette tape and displayed on a television set. The first photograph took 23 seconds to create.
 
                                                         
Photo by: Eastman Kodak                             



 
Present 2013
Smart phones
 
"Over two hundred different patents were part of the design of the new iPhone" Today we carry in our pocket a smart phone that has 8 mega pixels and has replaced many of our cameras.  Some say the development of this phone takes away from the job of a photojournalists. This phone is used by many to take quick photos that can be easily sent to the news. We also can link our images to many different media sights.
 
Photo by: Unknown
Photo source: http://www.forbes.com/fdc/welcome_mjx.shtml