Final Project 2

When I started this journey into photojournalism, I originally described it as "a unique and powerful form of storytelling through visual images."  My research showed me how "its original use was for print magazines and newspapers, but eventually transformed multimedia with the power to reach audiences never before imagined with instantaneous impact."  I concluded my opening paragraph by stating how "photojournalism will continue to write our visual history and create interpreted stories within our memories forever."

I almost have to laugh to myself when I think of how shallow my initial statements were.  Yes I did a lot of research to get myself up to speed, but little did I know what I was missing from my first assignment.  Photojournalism is a world full of truth tellers and liars.  They are normal people with normal emotions, and great motivations.  You want to believe all the photographs you see are real, but when you dig deep enough you might find out some of them have been staged; or even worse altered.  I've had a lot of "Ah-ha" moments along my road of understanding photojournalism, and not all of them were good ones.  Professor Nordell showed us an example of a photographer who produced a photo of a soldier yelling at a man holding his child.  It was later revealed that the photographer merged two separate shots together to make a greater impact.  The flaws were caught when someone noticed the duplication of the same people in the background.  It leaves a bad taste in your mouth when you want to believe in something, and it ultimately ends up being falsified information.

Another "Ah-ha" moment I had was when I was reading an article written about an old war photograph.  The photo had a dead soldier with his rifle in the background.  Critics identified the photo as being a staged photo because during those times dead soldiers would have been looted of everything they had; boots, knives, and especially rifles that were hard to come by.  There would be no way a dead man would be lying there with all of his gear surrounding him.  This opened my eyes to the reality of everything you see in a great war photo may not be true.  I feel like now I will view all photographs through a discerning lens, vice just taking them for what they are.



Photographer - Alexander Gardner
Source - http://bcwrt.nalweb.net/previous2005.html

As I revisit all that I have learned over the course of this journey; so many things have redefined my definition of photojournalism.  One thing would be the biased opinions of  a photojournalist, and the effect it can have a nation.  For example, another "ah-ha" moment was when I was researching the bias opinions of photojournalist.  I found a group that ran an extensive study on bias photographers in the Middle East, and they found unprecedented evidence to conclude there was a severe bias against Israel.  To the point there were staged photos, and many cropped photos taken out of context.  I have always believed Israel has many enemies in that region of the world; but I didn't consider that it was photojournalist fueling the fire.  That was a significant new idea that got me thinking.

My initial reaction to the question "Do photographs change the world" was a resounding yes.  After everything I've learned it cemented that philosophy into my mind.  In the beginning I used the photo of the lochness monster as an example.  It created a multi-thousand dollar travel industry to that region of the world, just for the opportunity to see "Old Nessy".  I love irrefutable evidence, and after I've read through hundreds of articles concerning photographs that have impacted society; I feel like I have hundreds of examples to support my original statement.  Recently I completed a Photojournalist Profile on Michael Bleasdale.  During my research I saw many of his great photos; reading through the full story behind them.


Photographer - Marcus Bleasdale
Source - http://www.nyphotoreview.com/NYPR_REVS/NYPR_REV2205.html

This image had a lasting impact on me.  The innocence of the child has been stripped away by the tragedy within the Congos.  A writer by the name of Mohammad Chowdhury wrote an article titled "Questions without Answers" and he stated how "Most of these children are forcefully recruited and made to follow orders under death threat. The boy’s smile as he holds his rifle suggests the loss of childhood innocence in a world where violence is an accepted fact of life. By putting the main subject at the forefront and using shallow depth of field, all we see is a boy who has become desensitized to the horror and consequence of taking a life."  As hard as it was to see images like these it was great to learn how the pictures taken by Mr. Bleasdale helped defund the warlords.

Creative Experimental Exercise -
The Calm Before the Storm - East Longmeadow Carnival
Photojournalist - Bill Garvey
All Photographs Produced By - Bill Garvey

 

 As I set off onto my journey to capture my first photographs as a newly trained photojournalist, I thought to myself "Where should I begin?"  Well what better place to start than something near and dear to my families heart.  After all, my eldest son Cayden (age 7) starts asking about the East Longmeadow Carnival in January; even though the carnival doesn't begin until late June.  After everything I have learned in this course I believe it's important to engage in photography that inspires you.  Especially when your starting something new.  Inspiration is a direct link to motivation, which can get stuff done!

I chose the carnival to shoot my pictures because I knew it was on the brink of opening up, and the fairgrounds would be empty.  I wanted to give my viewers the opportunity to see the carnival from a new perspective.  One that would include empty rides, no lines, no parents frantically looking for their wondering children, etc...  Therefore labeling my piece "The Calm Before the Storm." 

Tomorrow will come and thousands of people will fill this 10 acre property.  Thousands of dollars will be spent, and little kids will laugh and beg their parents to go on "one more ride."  But today my friends there is peace and silence among the rides.  Not a child to be seen, nor a popcorn kernel on the grass, only emptiness amongst the assembled rides.  Enjoy your peacefulness you rides, because this night will end quickly, and when tomorrow June 28th comes, it's your time to shine!

Classmates Reflection- What a ride its been!

I've enjoyed all of your creativity and style.  After reviewing all of your Photojournalist Profiles, I would love to close this class by commenting on what I've taken away from all of your hard work.  Melissa G I loved the motivational quote you used from Bill Biggarts' wife saying "He was a person who loved his work and was working at what he loved right up to the end."  It's unfortunate that many people don't appreciate the risks that photojournalist take to provide the work they do; but you know his wife is feeling the loss.  Nicole D, you used a photo from 9/11 that I have never seen before.  The photo from Mr. Nachtwey really captures many of the principles of photography that we have covered; I love this shot!  Also, I enjoyed your new method of bringing your voice into the presentation.  It was great to see that change of pace this late in the game.

Photographer - James Nachtwey 
Image Source - http://www.time.com/time/photogallery/0,29307,1660644_1442573,00.html

Vita you had me from the moment I saw "Top Secret" on the top of your work.  Being a military guy dealing with classified information, you had me before I saw Pete Souza!  Your choice of images were great too.  The one of Obama sitting alone against the chair looking at his clipboard; you had to wonder what was going through his head.  The one of Obama pounding it out with the other guy was a classic.  I feel like I've seen so many great images from all of you, I just want to thank you all for your time and effort that you put in.  Many of the photos will remain in my memory forever.  The photo several of you used of the little girl starving to death, with the vulture in the background was heart wrenching.  Reading that the photographer took 20 minutes to capture the shot was even more horrifying.  These images have turned into conversation starters with my friends and family.  I guess that helps support my philosophy that "photographs definitely change the world."  After completing my Creative Experimental Exercise I can safely say that I feel like everyone has grown throughout this class.  Not only in the educational background of what photojournalism is and isn't, but as individuals and personal photographers.  I never knew about the "use of lines in photos", or using contrast to make certain things stand out.  But I do now, and I'm excited to get out there and make use of my new abilities.  Take care all!

Photojournalist Profile - Final Project 1

William Garvey - Writer for
TIMES Magazine
Interview with Marcus Bleasdale



Photographer - KB Nosterud
Source - http://www.fotoevidence.com/marcus-bleasdale

I recently had the opportunity to sit down with Marcus Bleasdale after our photojournalist of the year banquet dinner.  The conversation started off with how his wife was doing, but it quickly led to some very interesting topics.  Marcus has risked his life for years while capturing some of the most riveting photos.  He has written several books, and his accolades show how well accomplished he is.  Once the conversation began to get good, I couldn't resist asking him if I take this opportunity to write a piece to reflect his journey.  He smiled and said he would love to tell his story.  Marcus Bleasdale has changed the world through his magnificent work; here's his opportunity to tell you how!

Bill Garvey - So Marcus, tell us how you got started into the world of photojournalism, and who did you work for?

Marcus Bleasdale - (Laughing) "Well an old girlfriend wanted a camera for her birthday, so I bought her a camera and she was very happy, obviously, and then maybe six or seven months later we split up. We had been living together and the box with the camera stayed in the wardrobe." I picked it up one day and started playing around with it.

BG - Wait so your first experience with a camera was because of an ex-girlfriend, priceless! Go on...

MB - Yeah, I was a wealthy banker making an absorbent amount of money, living very comfortably.  But I was really interested in that camera.  "I took photographs of cobwebs in nice light.  I’d get up at six o’clock at the weekend and wander through nice sunlight taking pretty pictures of nature."  Some people told me I was horrible but I bloody loved it.

BG - Go ahead and tell those people who thought you were awful who you've worked for recently.

MB - Well "I regularly work with the Human Rights Watch, Medecins Sans Frontieres, and other NGOs to highlight health and human rights issues.  I love to cover issues that are under-reported by the media.  A lot of my work has found its way into the US Senate, US House of Representatives, and the United Nations."  Lately though, most of my work comes through the company VII.

BG - So that's how your photos got disseminated out there so well.  Pretty good for a guy that got started because his ex walked off and left the camera behind.

MB - Thanks, I'm extremely happy that my work has made an impact in the world.

BG - What era do you consider yourself to work in?  Do you think the world recognizes it as a profession?

MB - Well in about 2008 I knew I didn’t want to be a banker any more.  So I began my journey into the world of photography around that time.  I was fortunate enough to win the UNICEF Photographer of the year in 2004, so to answer your question I would say yes; they recognize my new job as a profession.  My father on the other hand, he would tell you I was having a mid-life crisis in my 20's.

BG - If your father was giving you such a hard time, you must of had some serious motivation to walk away from that high paying job.

MB - "To find the motivation to resign and do something else was difficult, so I was always putting it off, but I just looked at this guy, and something inside my head clicked. I walked into my boss’s office and resigned. I didn’t want to be part of something that could take a massacre and turn it into dollars. It repulsed me.  But once I started into this new found world, waking up, jumping in a car to go and take pictures in a refugee camp – I loved the freedom, the energy, the rawness of it. It showed me a part of life that I’d been exposed to quite a lot when I was living with my mum, and trying to make life work, living on the edge and not having enough money for anything." 

BG - Wow, that's really inspiring.  So what type of equipment have you used to capture all of these glorious pictures?

MB - I love the Canon EOS 5D system.  Thank God for its durability and allowing me to keep shooting even after my camera fell into a lake.

BG - Yikes, if you didn't have that type of technology you would have lost some great shots.

MB - Yeah technology has come a long way for sure.  I couldn't take an old Kodak Brownie Box and drop in a lake and expect great results.  So thank you Canon for giving me the opportunity to be a clutz and still get the job done!

BG - Nice.  What do you consider to be the greatest ethical dilemma that you've ever encountered as a photojournalist?

MB - (Sigh) That's a loaded question.  "About 1,250 people die each day because of the conflict in Congo.  These include children, dismembered UN soldiers, and rape victims. On one occasion I saw 16 child­ren under two shot dead.  It’s not easy to come back from Congo and fit back into normal life." I think after seeing the things I've encountered it leaves a lasting impression on you.  You want the world to know what's going on, and my work has created some amazing changes.  "I just wish I could be in more places than one at the same time."  I wish I didn't have to be away from my wife and family so much.  "The life a photojournalist can be lonely at times."

BG - Yeah I can imagine.  What do you feel like one of the greatest changes your work has accomplished?

MB - Well, "in 2004 HRW released a report called the curse of gold with images from the conflict and also images from the gold mines which were fueling the conflict.  Together with the great work of Human Rights Watch influenced change.  This report forced a Swiss company Metalor technologies to stop buying Congolese gold in Uganda and therefore nearly $100 million dollars of funding for the warlords dried up overnight. The war stopped in a matter of months."  That is probably one of the greatest things I've felt like I contributed too.

BG - With where you've come from and everything you've seen, do you feel like there are any biases you might have?

MB - (Laughing) Coming from the luxurious lifestyle I've once had.  I could easily say that I feel like many people are concentrated on their own lives, and could quite frankly give a damn about what's going on in other areas of the world.  I feel like my biases might be part of my driveness.  Honestly, I feel like the media wants to cover what it wants to most the time.  So I get out there "to record injustice, to try to highlight human rights abuses and to encourage policy change."  Am I bias?  Hell yeah, but at least I let it fuel me to create positive change in the world.

BG -Speaking of your photographs, lets talk about a few of them shall we?

MB - Sure which ones do you want to cover?

BG - The one of the child soldier riding his bike back to the base in northeastern Congo. What where you going for here?



Photographer - Marcus Bleasdale
Source - http://www.fotoevidence.com/marcus-bleasdale

MB - Well I wanted to capture the subject's expression.  The youth of the boy trudging through the dirt path.  He appears tired but he must ride on with his weapon to his destination.  I also wanted to keep it simple.  There was plenty of features in the background, but not enough to take away from the boys determination.  I could have chosen a couple different ways to obscure the background but I chose to leave it as is, like I usually do to let viewers see the whole content.

BG - I can totally see where you were coming from.  The one with the child gold miner in Watsa, northeastern Congo. Do you consider that to be one of your memorable photos?



Photographer - Marcus Bleasdale
Source - http://www.fotoevidence.com/marcus-bleasdale

MB - Memorable yes, one of my favorites no.  This to me highlighted what was going wrong in the Congos.  I left the image sharp and in focus to accent the young child digging.  While capturing the texture of the dry and unforgiving dirt piles all around him. If you look at the contrast in the shot you'll notice how the brighter areas have the workers on them in the background.  It was hard to see what these children were put through, but I'm fortunate the world actually cared enough to step in.

BG - Yeah I see what you mean about the workers in the lighted areas.  I didn't notice at first until you mentioned the contrast.  Great shot.  Speaking of great shots, the one of the homeless children, with the young boy smiling in the water.  How do you describe your style on that one?



Photographer - Marcus Bleasdale
Source - http://www.fotoevidence.com/marcus-bleasdale

MB - I love how the use of lines worked out perfectly in this shot.  The dark straight lines on the back wall was the perfect height to run even with many of the children's heads.  Also I love the boy smiling off to the side, leaning against the pillar.  The quality of light was where I needed it to be in this setting.  It allowed me to engage viewers with the dramatic expression on the boy's face.  The depth of the field allows viewers to concentrate on the main subject being the young boy in the water.  However, the objects in the back were left visual enough to let viewers wander through the photo catching new details along the way.

BG - Last one, and this one is one of my favorites.  Not because of what it is, simply because it captures the innocence and ignorance of a small child holding a gun.  You know which one I'm talking about?


Photographer - Marcus Bleasdale
Source - http://www.nyphotoreview.com/NYPR_REVS/NYPR_REV2205.html

MB - Oh yeah, I know exactly which one your talking about.  This one has many different viewpoints from people around the world.  Overall I feel sorrow for the children caught up in the mix with these wars.  "Most of these children are forcefully recruited and made to follow orders under death threat. The boy’s smile as he holds his rifle suggests the loss of childhood innocence in a world where violence is an accepted fact of life. By putting the main subject at the forefront and using shallow depth of field, all we see is a boy who has become desensitized to the horror and consequence of taking a life."  This shot really stirs your feelings as to what is going on this country.  I've probably received more emails on this one than any other.

BG - Since you brought up emails, what type of affect do you believe your photographs have made on society?

MB - " I use the camera to record injustice, to try to highlight human rights abuses and to encourage policy change.  I always I feel it is more important to focus on how war affects the populations touched by the conflict. The consequences of war are always so much more important than war itself.  I think my photographs tell the stories of the victims caught in the midst of these wars."  Society has taken these photos and used them to support action in the US Senate, United Nations, so I have to believe they have brought an awareness and positive change to the world.

BG - I have to agree, I've searched the web for people who have negative things to say about you, and I found some people who have some very conflicting feelings toward your work.  Are you ready for this one?

MB - Yeah,this out to be interesting.

BG - At http://duckrabbit.info/blog/2009/12/we-never-knew/ - They wrote "There’s undeniable beauty and depth in the work of photographers like Marcus Bleasdale but all too often photo editors, in their insatiable blood lust for the edge, pick out the most despairing shots. Even Bleasdale takes ‘darkness’ as the title of his book.  Ultimately, out of context, these singularly negative images have become a cliched, two dimensional and self defeating form of journalism, because all they ask of us is to pity these wretched people and admire the artistry of the photographer."  How do you respond to that viewpoint?

MB - Yikes, well they are entitled to their opinion, but I would have to completely disagree.  If you look at most of my work you can tell I don't stage photos.  My images are what they are.  People faced with suppression, starvation, often times orphaned, I could go on.  Obviously I'm not doing this for the money, I'm doing this to raise awareness in an often ignorant world.  I don't say that offensively rather it's just that many people really don't know what's going on across the globe.  "Information and education is key to change and I hope that my work will become an influential part of that education and policy change going forward."  That's my only desire, not that people admire my "artistry".

BG - That's a great closing statement.  Let me ask you one side-note question though?

MB - Oh no!

BG - No more loaded questions I promise.  My degree is in Management and Technology, how do you feel that relates to your career?

MB - That's it, oh thank God.  (Laughing) I would say many things can be related in life.  As for management, there are many times I have to budget out what I'm going to be doing.  I'm sure you've taken accounting and economics and both of them come into play everyday when you think about it.  If you don't have a plan, then your planning to fail they say.  Technology on the other hand, I already told you before the Canon camera saved my shots after goofy me dropped it in the lake.  Technology is imperative in the world of photojournalism.  Keep studying up on technology so my job will get easier. 

BG - That's all I got Marcus, thanks for your time.

MB - No problem Bill, thanks for caring.

Sources -
1. http://www.telegraph.co.uk/news/4015461/Career-change-Banker-turned-photojournalist.html
2. http://www.fotoevidence.com/marcus-bleasdale
3. http://learn.usa.canon.com/galleries/galleries/interviews/canon_interviews_vii.shtml
4. http://www.marcusbleasdale.com/
5. http://www.nyphotoreview.com/NYPR_REVS/NYPR_REV2205.html
6. http://en.wikipedia.org/wiki/Marcus_Bleasdale
7. http://duckrabbit.info/blog/2009/12/we-never-knew/

What Motivates Photojournalists?

Photographer - Steve Coleman
Source - http://www.lightinframeblog.com/why-photography/

While searching for what motivates photojournalists I came across many stories of adventure and people using photography to escape their mundane lives.  One gentleman I read about was Mr. Steve Coleman.  He wrote an article about himself titled "Why Photography".  I found one paragraph to be extremely compelling as he exposes his motivation.  He said "For me, I know that photographing a landscape brings a sense of balance into my life. It for fills many needs in me, a need to build and create something.  A need to be closely in touch with those things in life which are real and natural; I think it is a counter balance to what can be a  very artificial and unnatural world in which we live and work. Photography for fills a need in me to escape and have time-out; time for me. It enables my yearning to wander, explore and discover."  As I read that I thought to myself wow that is a completely different drive than anything that would motivate me.  I found his statement to be intriguing and I love how he uses his work to "counter balance" his perception of the world.  I find nature beautiful and compelling when you reach the top of the mountain; but I don't see it as a way to escape the world I live in - I embrace it as the beauty in my natural world.


Photographer - Tyler Sharp
Source - http://www.pictorymag.com/featured-contributors/tyler-sharp/

Photographer - Unknown

Source - http://blog.livebooks.com/contributors/tyler-sharp/

The next gentleman I found intriguing was Mr. Tyler Sharp.  He was featured in Pictory as a Featured Contributor.  He was asked what his favorite things to photograph were and he responded with "Serendipity.  I am a very spiritual person, and I try to let that guide my photography and storytelling as much as possible."  That struck home with me as I thought that is exactly what would guide and motivate me.  I'm a very spiritual person as well, and I appreciate the beauty of this world whenever I get the chance to do so.  Often times I'm chasing one of my small children, but every now and then I get a chance to just soak in a beautiful sunset on a drive home.  He also mentioned how "when you approach subjects or locations with a respect and a genuine interest in the culture, serendipitous, soulful moments find you."  I feel like that statement alone would be my cornerstone if I were a photojournalist.




Photographer - Marcus Bleasdale
Source - http://www.poyi.org/66/21/



Photographer - Unknown
Source - http://starvedforattention.org/press.php

I saved the best photojournalist for last with Mr. Marcus Bleasdale.  He was a former banker making a large annual income who turned into a world famous photographer; almost by accident.  His story fascinated me and he had many motivations for leaving his high paying job.  In an article titled "Career change: Banker-turned-photojournalist" he says he couldn't be happier and "I like life being raw".  He would go on to say "I knew I didn’t want to be a banker any more, but to find the motivation to resign and do something else was difficult, so I was always putting it off, but I just looked at this guy, and something inside my head clicked. I walked into my boss’s office and resigned. I didn’t want to be part of something that could take a massacre and turn it into dollars. It repulsed me."  His photographs have been widely used in the US Senate, United Nations, every major magazine, and they are extremely powerful.  He uses his work to bring an awareness to the world, of the activities going on outside of their living rooms.  That kind of motivation is inspirational, and I love that he had the courage to leave the comfort of a high paying job to seek the thrill of changing the world.  

Garvey Motivations

Photojournalism and Bias

"Going Home"
http://www.thegreatleapsideways.com/blog/wp-content/uploads/2011/08/EdClark_GoingHome_1280-640x429.jpg

Photographer - Ed Clark

Image Source - http://www.thegreatleapsideways.com/?p=209

Subject's Expression - The main subject's expression is what steals the show in this photo.  The soldier is not overly posed, or acting it up for the camera.  He's simply showing his raw emotions through his tears.  His body language is completely in sync with what his facial expression reveals.

Rule of Thirds - The photographer avoided placing the main character in the center of the photo. Despite the main focal point being on the left 1/3 of the screen, he demands the viewers attention first.

Contrast Appropriate - The photographer struck gold when he took this shot.  The main focal point happens to be a black man in front of a white wall, with all white people in the background.  The contrast of his black skin and beautiful emotion compared to their somber white faces creates a great contrast of black and white.

When I look at this picture I see pure, honest emotion.  I initially thought this soldier had lost a friend in war; I later found out it was Franklin D. Roosevelt's burial.  The tears rolling down his face are the most powerful thing in the photograph.  I didn't even notice the people in the background for awhile because his face captured my attention.  It's almost as though he's trying to fight the tears, but his lips look like they might be quivering.  I'm seeing this photo for the first time, and I'm already an instant fan of it.

Betty Lane wrote an article titled "A Feminist Photojournalist's Arresting Images" and she opened it by saying "Words strive to appeal to the logical portion of our minds.  But the images captured by photojournalists... - often take hold of our hearts and reach us on a more primal emotional level."
When viewing photographs there is an inevitable fact their will be bias opinions from the viewers.  A photographs job is to tell a story, but the question remains how many sides to a picture is there?  How many stories can be told through one photo. In an interview with Shahidul Alam's (co-founder of a photojournalistic agency called Majority World) he said "A story has many truths, on many levels..."  So where do all of these different truths come from?  Where do these bias opinions come in?

They come in from the impact of life.  A persons' family, their neighborhoods, their parents view points, their workplaces, etc...  So can anyone look at one single photograph and share the same emotions as a person across the world?  Lets look at these photographs below and compare some truths.

Truth 


Photographer - Christof Koepsel
Source - http://www.thepolisblog.org/2010/07/creating-hope-south-africa-after-world.html

Truth to me means there was no evidence of possible tampering with a photo.  Having 4 children of my own, I know it's extremely difficult to make small children do or say anything they really don't want to do.  When someone captures joy or sadness from a child in a photo, it's probably the real deal.  This photo above is a group of children playing soccer in South Africa.  Using the Sense Perception (WOK) I gather my evidence and conclude they appear happy and content kicking their simple ball around on a dusty dry field.  Their determination and joy on their faces hold an evident truth their happy in this simplicity.

Quality of Light - The light in this photo is engaging and bold.  The colors are bland and simple but the light makes them appear vibrant and alive.  Even the way the light is reflecting off the houses adds a depth to the photo.

Background Compliments - The houses in the background do not compete for your attention, they simply add a quality of light and contrast to the photo.  The background is blurry to keep your focus on the children playing.

Texture - The dry dirt ground, and brownish colored grass help set the tone for the hot atmosphere.

Un-Truth














Photographer - Major Wire Services (Middle East) - actual photographer Unknown
Source - http://israelmatzav.blogspot.com/2010/12/massive-honest-reporting-study-shows.html

For me this photo represents everything that can go wrong in photojournalism.  The photo alone tells a story, but their could be a hundred ways to interpret it.  The real story from the article titled "Massive Honest Reporting study shows bias in the use of photography"  spells out what really happened.  A group ran a study on the 3 major wire services and found a "blatant bias" toward Israel in the photographs being published; including "deliberate staging".  This has helped my Language/Authority (WOK) to confirm how Israel is portrayed as the bad guy in the Middle East.  When you examine the facts you realize on a daily basis they have to protect themselves against terrorism, hateful neighboring countries, and even the media.  So this photograph was just another example of how people can use a potentially fictitious event to stir up anger against Israel.

What feelings does the image create? - This image created a lasting impact inside of me.  I had to know what was going in the photo.  It captured my attention because I wasn't sure if it was a terror attack in another country, or something of that nature.  It sent me into an immediate search and conquer mode to find out the story behind the picture.

Does the image remind you of any work of art or photograph you have seen? - This photograph reminds me of the recent terror attacks in Boston.  I don't get stuck on the army guy yelling into the air, I focus more on the wounded civilian and explosion in the background.  It brought back some of the memories of the marathon victims lying wounded on the ground.

Is the image black & white or color?  The image is in color and it had to be to create the impact it requires.  The red blood, the burning explosion, the army green uniform... They all show different elements within the photo that add to the overall impact.

Ethics of Photojournalism

Photographer - Thomas Hoepker
Source - http://listverse.com/2012/02/10/10-controversial-pictures/

I came across this photograph while researching other projects and it made me wonder if it was real. As I started into my research of ethics in the world of photojournalism I was looking into the most controversial photos and sure enough I found out this was in fact a real photo. The upsetting part is beside the actual individuals who apparently show no remorse for their country that is being terrorized, the photographer Mr. Thomas Hoepker didn't even tell them he was taking their picture. Mr. Hoepker waited 5 years to make the photo public, and when it was released in 2006 by the New York Times it caused quite a stir.

In the article titled "10 Controversial Photos" it says how Mr. Hoepker took thousands of pictures of the 9/11 terrorist attacks; but this would be the one remembered. I realize photographers must scour the earth to land "the great one" but at what cost? Do they need to put their personal ethics and integrity behind to capture the picture that will make headlines? I believe it happens all the time, and as troubling as it is, I have to believe that if I were the photographer I would do things differently.

I would capture images of people in public to get there natural responses without altering the photo; but I'm sensitive to others emotions and I would notify them after I took the shot. If any of the people I photographed were extremely upset by the photo I wouldn't release it. I find honesty and courtesy to be essential while dealing with the general public. I do a lot of volunteer work and you have to create trust with people you don't know. You can't take pictures of unsuspecting individuals relaxing while their country was under attack, and then write in an article “The young people in Mr. Hoepker’s photo aren’t necessarily callous (insensitive). They’re just American.” This is a country that likes to move on, and fast." The article I read when on to say "The people in the picture have responded to the media by saying that they were in “a profound state of shock and disbelief.” They have ridiculed Hoepker saying that he took the picture without permission and in a way that misrepresented their feelings."

Whatever the case may be, I believe Mr. Hoepker saw an opportunity that may have crossed his own ethical line; but the chance was too good to let slip away. The photograph will always be in circulation, and the individuals will probably always deny their body language, but once again - A picture speaks a 1,000 words.

Women Photojournalist - Trials & Triumphs

I chose to do my research on female photographer Annie Leibovitz because I feel she represents the full shift in the way woman can compete within her field.  She has taken photographs of just about anyone you would want to photograph; and people across the world appreciate her work.  Many of her pictures are recognized across the globe, and she has mastered her art.  Some people believe her work has made people famous simply by the way she captured them.

Dosomething.Org wrote an article titled "Change-Maker in Women's History: Annie Leibovitz"  They stated how she "has changed the face of photography, balancing commercial and museum-worthy photography throughout her career and in fact, blending the two brilliantly."   Her career started at a young age when she returned home to the United States from Israel, and she "applied for a job with the then start-up rock mag, Rolling Stone. She got the job as staff photographer and two years later, at just 23-years-old, she was promoted to Chief Photographer for the blossoming magazine." 



Photographer - Annie Leibovitz
Source - http://jaskclothing.blogspot.com/2010_01_01_archive.html
Year Created - 2010

Subject's Expression - The woman in the photograph seems very relaxed and happy.  It was actually a self-portrait but she did an exceptional job of making it appear as natural as possible.  The fact that she is aiming a camera at the camera; while she is taking a self-portrait is pretty unique.

Obvious Main Subject - The main subject in this picture is the woman being photographed; she takes up approximately 1/3 of the total viewing area.  Nothing in the image is crowded and there isn't much that could be left out.

In or out of Focus - The main object (woman) in the photograph appears sharp and clear, while the background is purposely left blurry to highlight the main focal point.

I chose this photograph because I found the concept of a photographer, photographing themselves, while holding a camera to be very different.  I also liked her relaxed and joyous composure.

The rest would be history as she would go on to photograph some of the most famous people in the world.  The brilliancy of her work has completely broken any stereotypes of women being inferior photographers.  Rachel Chambers of Art Culture wrote an article titled "Annie Leibovitz an American Icon" stating "Judging by the crowd outside of Benaroya Hall waiting to see Annie Leibovitz speak on November 19^th, it was obvious that Seattle Arts and Lectures was hosting someone big. People stood outside with handmade signs asking for tickets—the scene was more akin to a sporting event or rock concert than what was, essentially, a book reading."

I work for the United States Coast Guard where we boast about how women can compete for any of the same jobs men do.  Although we have not had a female Commandant (Highest Ranking Position within our Military Branch) we know the time is coming soon.  I have worked with and for several females as my direct supervisor.  It's always interesting to me to observe different leadership styles, and although men and women may lead their people differently sometimes.  A woman who knows their job and does it well is sometimes more helpful in passing their knowledge along.  Perhaps it's their motherly instinct, or maybe it's just the particular women I've worked for.  Either way, I find women who have mastered their field to be exceptionally helpful when it comes to helping the next generation.  Maybe this is why so many people waited outside the Seattle Arts waiting to hear what Annie had to say.



Photographer - Annie Leibovitz
Source - http://elmo.academyart.edu/blog/?p=29
Year Created - 2003

Contrast Appropriate - The Contrast in this photo has lots of bright and dark areas. The red and white beach balls and dagger wheel stand out dramatically to the overall neutral background. This creates a dramatic effect to the mood of the image.

What feelings does the Image Create? - This image captures your attention through the stark contrast of colors. But when you look closer at the peoples' faces you notice the serious look on the knife throwers face, and an almost desperate yet emotionless look on the girl on the wheel. This leaves you feeling almost emotionless yourself.

Is the Image black & white or color? - This image is in color and it had to be in color to capture the dramatic flare of the contrast. The photographer had the choice to select black and white or color, and she definitely chose the right fit.

I chose this photograph because the contrast of the colors really stood out to me. The colors caught my attention first, I then went on to view the rest of the photo to see the expressions on the peoples' faces.


Photographer - Annie Leibovitz
Source - http://iulichka.blogspot.com/2013/01/annie-leibovitz.html
Year Created - 1991

Quality of Light - At first glance the light appears flat and bland, but as you see the way her pregnant body glows in the light; you realize how Annie used the light to highlight her focal points.

KEEP IT SIMPLE - Possibly the most beautiful and simple photo you can find. The photographer chose to only have the naked pregnant woman, and that's it!

Use of Shadows - Shadows were used to darken the areas that where not as important as the areas she wanted you to view. The pregnant belly, and the warm glow of the expectant mother are the main focal points; and that's where the light shines the brightest.

I chose this photograph because I remember seeing this picture when I was only 7 years old.  I remember thinking to myself "Wow that's different."  I'm not sure if anyone pregnant posed in this way ever before, but it seems like the thing to do nowadays. 

Technology Timeline

Walk With Me Through Time  
By William Garvey

I chose to do a 3-D Technology Timeline using Canvas & Play-Doh to showcase the progress of technology.  I will describe why I chose the dates I did, as well as why I molded the objects I did.  I have included the resources for each piece of information I used along my timeline.  Hope you all enjoy my work!

1851 - Wet Plate Collodion Process - The mold is of the glass plates & bottles of chemicals used in the wet plate collodion process.

Photographer - John Coffer
Source - http://www.johncoffer.com

1851 - Wet Plate Collodion process was the "primary photographic method from the early 1850's until the late 1880's."  Often times the materials used for the Wet Plate process were carried around by horse and wagons.  Wet Plates changed photography by replacing the paper negatives that were previously used.  Despite its laborious process to create a single photograph; the finished work was beautiful and it's even making a small comeback today.

Sources -

• http://inventors.about.com/od/weirdmuseums/ig/Illustrated-History-Photograph/Glass-Negatives--the-Collodion.htm
• http://www.wetplateday.org

1861- Color Photography - The mold is of the ribbon used in the first color photo which was red, blue, and green in color.

                          
Photographer - James Clerk Maxwell & Thomas Sutton
Source - http://www.popphoto.com/news/2011/05/150-years-ago-first-color-photograph-was-taken

1861- Color Photography was produced for the very first time.  James Clerk Maxwell & Thomas Sutton "took three separate exposures of a tartan ribbon, each through a different color filter - red, green, and blue."  Tim Barribeau stated in his article titled "Color Photography turns 150 Years Old Today" (written on May 17, 2011) how "The first demonstration wasn't particularly successful, as the red and green exposures weren't nearly sensitive enough to capture all the color in the tartan ribbon, but it was the first full-color image, and the basis of color photography as we know it."  This of course would pave the way for billions and billions of color photographs to come in the future.

Source -

• http://www.popphoto.com/news/2011/05/150-years-ago-first-color-photograph-was-taken

1871 - Dry Plate Photography - The mold is of the Dry Plates that the photos were produced onto.

Photographer - Peter Stubbs
Source - http://www.edinphoto.org.uk/0_e/0_early_processes_-_glass_plate_chemist.htm

1871 - Dry Plate Photography came onto the scene as "gelatin was substituted for collodion, and the first dry glass plate was made. It was slower than a wet plate, however. But by 1880, dry plates became as fast as wet plates, and the cumbersome wet plate died out."  Dry Plates superseded Wet Plates because of their cheaper cost and this began a huge change in the industry.  As dry plates took the lead, it wasn't long before the next wave of technology came along through Mr George Eastman using roll film.

Sources

•  http://www.thelightfarm.com/Map/Books/cim/MapTopic.htm
• http://www.ndsu.edu/pubweb/~rcollins/242photojournalism/historyofphotography.html

1888 - First Kodak Camera - The mold is of the actual camera of course.

Photographer - Kodak Company
Source - http://www.oldbike.eu/cyclecamera/?page_id=25

1888 - First Kodak Camera was produced and we all know where Kodak went from here.  "ANYBODY Who can wind a watch can use the KODAK CAMERA" was used in the slogan to get the cameras selling.  The camera was box-like in shape and had the capability to produce 100 2.5 inch circular photos.  The camera sold for approximately $25 but it changed photography by being the first camera that didn't require a Tripod.  Kodak also touted that "No focusing, No adjustment whatsoever... The KODAK will photograph anything, still or moving, in-doors or out..."  Naturally this would catch the attention of photographers across the world.

Sources -

• http://www.kodaksefke.nl/kodak-original-1888.html 
• http://www.oldbike.eu/cyclecamera/?page_id=25

1900 - The Kodak Brownie Box roll film - The mold is for the $2.00 cost that the consumers could buy and have their film produced for under that cost!

                                                       

Photographer - Ad by Kodak Company
Source - http://www.mortaljourney.com/2010/11/all-trends/kodak-brownie-camera

1900 - The Kodak Brownie Box Camera was sold for the consumer-based price of only $1.00.  For only $2.00 they could buy all the required items and have their pictures developed.  About 15,000 were put into circulation for the average citizen to be able to buy.  Kodak took pride in marketing the camera as a cheap but durable camera that even children could operate.  This changed the photography world with the first "snapshot" camera hitting the market.  Kodak used the perfect slogan "You push the button, we do the rest." 

Sources -

• http://www.brownie-camera.com/5.shtml
• http://www.mortaljourney.com/2010/11/all-trends/kodak-brownie-camera

1924 - Leica Camera - The mold is of the Leica camera, naturally.

Photographer - Unknown - Oscar Barnack being photographed
Source - http://jjsanz.es/leica-la-camara-de-fotos-que-escribio-la-historia/noticias/

1924 - The famous "Leica" camera!  Many say that Oskar Barnack "revolutionized photography" with his camera.  It was the first small and compact camera in circulation and I consider it to be the blue-print of modern day smaller cameras.  I found a great quote from the Leica webpage stating "With Oskar Barnack's sensational new small-format camera, photojournalism was brought closer to actual events and began telling stories in a more dynamic and truthful manner. The reaction among photo artists to the possibility of achieving a "new form of vision" was extremely enthusiastic."  If Barnack could have lived to see the impact his camera had on generations upon generations of homes, I think he would have been very pleased.

Source - 

• http://us.leica-camera.com/culture/history/oskar_barnack/

1936 - First Color Multi-Layered Film - Mold is of the Film Roll.

Photographer - Steve McCurry - Famous Picture of "The Afghan Girl" used on the Cover of Time Magazine
Source - http://ngm.nationalgeographic.com/2002/04/afghan-girl/original-story-text

1936 - The first color multi-layered film has arrived, and it was very successful in cinematography and still photography.  Known as "Kodakchrome" it was a long process that many inventors contributed to along the way before it was finally a completed project.  But once it began to spread it became very popular for professional photography, and pictures used in print media.  Kodakchrome had a pretty good run before the digital world came along a few decades later; thus resulting in the inevitable fall from the top.

Sources -

• http://photo.net/history/timeline
• http://www.time.com/time/arts/article/0,8599,1906503,00.html

1991 & 1992 - Digital Technology - The mold is of a Digital Memory Card and Photo-CD

Photographer - Mark Zanzig
Source - http://www.zanzig.com/blog/?p=1333

1991 & 1992 - Say hello to the wonderful world of digital technology.  Kodak would be the company to introduce the first digital camera and Photo-CD's to the market.  This would change the world of photography forever, practically riding the world of film in the not to distant future.  The mold is of the memory cards we all use today, and the first photo-cd introduced in 1992.  It's amazing that Kodak was the company to lead the way in technology break-throughs for so many years, yet it had to file for bankruptcy recently.

Source -

• http://www.kodak.com/ek/US/en/Our_Company/History_of_Kodak/Milestones_-_chronology/1990-1999.htm

2000 - Camera Phones - The mold is of the first style of camera phones to hit the market at an average cost of $500.

Photographer - Phillipe Kahn
Source - http://click.si.edu/Story.aspx?story=159

2000 - Camera phones came out and who could've imagined the impact they would have in only 13 years.  Phillipe Kahn was an engineer and avid technology user that recognized a way to solve a common problem.  Phillipe stated "My eureka moment hit as the responses poured in from recipients eager to know how I had shared Sophie’s photos so quickly and efficiently."  The first camera phone had a whopping 110,000 pixels, but that wouldn't slow down it's tremendous popularity.  Little did Phillipe know his invention would forever change the face of planet with the implementation of his idea going into almost every cell-phone world-wide.  I'm guessing his house has gotten larger over the years.

Sources -

• http://www.hoista.net/post/18437919296/evolution-of-the-cameraphone-from-sharp-j-sh04-to
• http://click.si.edu/Story.aspx?story=159

Working in the Digital Age

Photographer - Hugh Cecil, 1926
Source - http://www.etsy.com/listing/91399265/miss-edna-best-art-deco-monochrome

Once upon a time there was no such thing as camera phones and the internet. Photojournalists had to demonstrate a great deal of patience and perseverance to produce one quality image. During 1850’s & 60’s, photogravure and wet plate collodion photography was the newest technology (if you can even call that technology). It was a laborious task just to haul your gear around, let alone the multi-step process that had to be followed, but photojournalist did it because they loved it and it had to be done. The image above was taken in the 1920’s when photogravure made a resurgence due to “the soft, artistic quality of the images.” Little did anyone know what the impact of 70 years of technology had in store?

Can you imagine the look on the faces of the photojournalists from the 1920’s if they lived to see how much their field has changed in 90 years? Now I know, even if they were 20 years old in 1920, they would have to be 113 years old today. But play along with me on this one. I just read an article titled “How Digital Technology has Changed Photojournalism” and it was about a photojournalist who was reminiscing about how much photojournalism has changed in the past 20 years! He mentioned how “Over the years, the Assignments that a photojournalist shoots remain pretty constant, but the technology has changed from 1990 to 2010 and a photo that once took five hours to send to the wire service now takes seconds. The quality level between those 1990 images and now has gotten remarkably better too.” If this photojournalist was blown away by 20 years of technology, can you fathom the look on our 113 year old friend?

Photographer – Ed Kashi
Source - http://lightbox.time.com/2012/10/30/in-the-eye-of-the-storm-capturing-sandys-wrath/#50

Fast forward to Tuesday, October 30, 2012 and look at how photojournalism is done today! This photo was taken by a photojournalist who was asked by Time Magazine “to document the hurricane and its aftermath via Instagram.” The article was titled “In the Eye of the Storm: Capturing Sandy’s Wrath” and it explained how Time placed 5 of its photojournalist across the Atlantic seaboard to capture ordinary people getting ready for the superstorm. When Sandy made landfall they braved the elements to photograph the storm’s impact on several communities using only their Iphones.




Photographer - Michael Christopher Brown
Source - http://lightbox.time.com/2012/10/30/in-the-eye-of-the-storm-capturing-sandys-wrath/?iid=lb-gal-viewagn#1

We can laugh about this photograph taken by another one of Time Magazine’s 5 man crew, but it shows the dependency of today’s society and our technology. Cell phones have not only changed the way photojournalists do their jobs, but they have changed the way people live their lives. Not to mention having a newer cell phone camera enables every person to become a citizen journalist via Facebook, Twitter, Instagram, etc…

Looking at this evolution we can clearly see how much has changed from the days of photogravure to modern day Iphones. Photojournalist would have needed days and weeks to produce quality photos (often times of people that couldn’t move) to the press, and they went through agony to make that happen. Today Time Magazine can send out 5 of its journalist using only cell phones, and create a masterpiece of an article in a fraction of the time. It almost not fair to compare the two, but technology is what it is; a means to make things easier.  I'm pretty sure Robert Capa would have been thrilled to have an Iphone handy, and not have some overzealous photographer ruin most of his shots.  Anybody want to travel back in time and give him one?