Iraqi Children Play School

Weekly Image Review #9

Iraqi Children Pretend to go to School

This touching image speaks to the reality and the consequences of war.  Here we see Iraqi children hidden behind a wall and seated on bricks in a makeshift classroom. They are about the same age, fairly well dressed, attentive--and yet the enthusiasm of youth has not been diminished. The boy in front  is dutifully working on a math problem.

One might ask, “What happened to their school?  Was it bombed?“  In spite of the devastation and fear that they must live with regularly, this bit of structure helps retain a few shreds of normalcy.

Presidential Visits to China

Weekly Image Review #8

Obama in China

Our BBC image shows President Obama at a news conference during his recent visit to China. We see young reporters leaning toward Obama animated and full of smiles. This is not the impression that the average American has of the ‘oppressed Chinese.’ Obama is clearly engaged and as enthusiastic as the press that is swarming toward him.

President and Barbara Bush in China (extra credit)

Here are two additional photos that were part of the BBC China visit collection. We have 2 separate images of the Bushes during their visits to China-- both show Chairman Mao visibly behind them. I especially like the first of the Bushes and their bicycles with the military clearly distinguishable, off to the left. It was clearly a sign of the times. In a later color image the Bushes look happy and older; behind them the crowd doesn’t look so happy, more suspicious, subdued, and distant.

Photographer Review

I selected national food photographer, Renee Comet, for my class presentation because of her strong, clean graphic images. Comet uses minimal props and prefers to allow the food to dominate her images, but she also mixes it up with sensual lighting and surprising backgrounds.

Renee Comet image                        

Comet has caught the attention of a wide range of clients including the US Postal Service, Wine Spectator, Smithsonian, and the Washington Post, where she is a regular contributor. She has over 30 cookbooks to her credit.

Tribute to Renee Comet

As part of our class presentation we also provided our own image in the style ofthe photographer. My interepretation is slightly softer than a typical Comet image, but I have endeavored to maintain her simple and uncomplicated look.

Narrative Photos and Critique

Photo Assignment 4:  Narrative

Our assignment was to present two images that tell a story.  The images should include details that help  make the story believable and provide realism.  I selected the 'creative process' as the subject of my narrative assignment. Since I am considering a similar topic for my final class project this seemed like a fine opportunity for a little pre-investigation work.  

A Satchel on my Mind is a quick study of the creative process used in designing and sewing my one-of-a-kind purse. Without making the scene messy, I wanted to illustrate the necessity of plenty of choices in materials and finishing touches, since some would work, and some would not.

Immersion

The first image, Immersion, is a scene of materials and tools useful in the satchel design and sewing process. There were plenty of props: assorted fabrics and notions, design book, scissors, tape measure, sewing basket and machine, plus an antique sewing table with its original 4’ measuring image painted on the top.  I used the tape measure to draw the eye to the pattern book for free-styling handmade bags.  I also wanted to convey the passage of time—this was not a problem since the set-up took far longer than I anticipated.

Inspiration

The second image came together much quicker. After toying with potential props, I elected to keep it simple and remain with the original setting. The completed satchel is presented amidst incorporated fabrics and tools. The lighting and color matching was trickier than I had anticipated and I continued to tinker with it until the last minute.

The class feedback was helpful, even though some of the guys did not relate to a sewing project. I didn’t relate to a football narrative either, but I appreciated the effort. Others felt the composition was good, that I managed to show time passing, and that the details provided were helpful to the narrative.

Nations Around the World Honor War Dead

Weekly Image Review #7

Queen Elizabeth II and Prince Philip
(unable to download image)

We learn via text and from other images in this series that the honoring of war’s fallen was played out across the world on Veteran’s Day. As simply a human interest story, I found this particular image quite captivating.

We see the two elderly British monarchs performing their royal duties during Armistice Day ceremonies at Westminster Abbey in London. This image provides us with great close-ups of the spritely Queen and her aging Duke of Edinburgh.

The British love their hats, and the Queen’s hat is always a subject of considerable discussion. She is sporting a bright purple full-brimmed selection that is far more complimentary than many others she has worn! We can barely make out the red poppy tucked into the lapel of her matching coat; there is also one evident on Prince Philip’s uniform. The Queen, in spite of her years, looks astute and fully engaged… the Prince, not so much.

Veteran’s Day at London’s Westminster Abbey (extra credit)
(unable to download image)

The stateliness of this image really grabbed me. The Tomb of the Unknown Soldier (in the US we have now dropped the designation “Soldier”) is captured here in Westminster Abbey with the British Flag being lowered over it.

It is a beautiful setting, with the cathedral's breathtaking arched ceilings adding to the overall royal splendor. The stunning bright red poppies that are displayed on the tomb are a tradition in England. The eye is drawn into the height and breadth of the space, which further amplies the magnificence of the structure.

The singular British flag being lowered over the solitary tomb is beautifully symbolic of the importance of remembering the individual, instead of the incredible numbers who have died for war.

Why Photojournalism Matters

Article # 7 Review
Kenneth Irby’s editorial regarding the value of photojournalism began much like a good photo: he gives the reader a primary focus--which in this article is the shared opinions of a cab driver whom he spent time with while in Minneapolis.

 

The cabbie, Amir, expresses his own appreciation for photojournalists--and the service they perform in visually presenting and interpreting the news. Along with this, Irby shares the opposite side of the appreciation spectrum, and points out frustrations held by many photographers—that they are not valued in the workplace.

 

Irby sums up his comments regarding newsroom politics by listing five priorities of equal importance to both photojournalists and their co-workers in the newsroom:

 

1. Acknowledge that photojournalists are an integral part of the team.

2. Content is key in photojournalism, and it should have primary importance over aesthetic issues.

3. Ethics remains the quantifier in establishing the essential benchmarks of an image.

4. Underscore the importance of staying on the leading edge of photojournalism technology.

5. Understand the importance of diversity in photojournalism and the avoidance of stereotyping.

 

Global Narratives

Weekly Image Review #6

Panama City Parade

The expression on this little soldier’s face is enigmatic. Is he parroting role models, perhaps a father? We know that he is participating in a parade in Panama City. Beyond that, we can only hope that he is not a child soldier.

Shoe Cleaner in Kabul

 
 
 
 
 
 
 
 
 
 

 

The image is reminiscent of a life-size picture box with this little fellow and his business all scrunched in about him. In spite of the diminutive space, he appears comfortable and content with his lot. He is surrounded by the tools of his trade and he is still able to exhibit pride in his profession as a shoe cleaner. He seems to have all his needs met: a warm blanket, a good book, perhaps a bit of food and drink next to him, and the companionship of customers and friends.

Mood Photos and Critique

Photo Assignment 3: Mood and Photo Manipulation

Our task for this assignment was to shoot 2 images, each with a companion altered image. I shot a lot of potential images and finally settled on two that seemed to offer a contrast in moods.

American Siesta

My first original image, a cozy inviting study of my bed, is amassed with pillows and a colorful throw blanket. In the foreground is a book for reading with my glasses cast off to the side. It is a shot with warm lighting and tones. The altered image of this set, captioned American Siesta, includes the superimposed nude subject from the cover of the book on the bed, Insatiable by Gael Greene.

Innocence in the Garden of Good and Evil                                                                                   

The second original image is shot one bright and clear afternoon in the garden of a local art gallery. There are statues and brass pieces about the garden, and I selected a brass statue of a young girl with a large gazebo in the background. In the altered photo, the caption, Innocence in the Garden of Good and Evil depicts the young girl possessed with the garden’s bad omen. I wasn’t able to manipulate the image the way I would have liked, it was less than stellar.

In class it was agreed that the first set, American Siesta, is my best. The original image in the second set, Innocence in the Garden of Good and Evil has issues with focus and clarity; the manipulated image is actually clearer than the original.

What Spain Sees in Capa’s Civil War Photo

Extra Credit Review
In his article, Geoff Pingree of Time Magazine examines the circumstances surrounding Spain’s reaction to noted photographer Robert Capa’s work that was on exhibition in Barcelona’s Museu d’Art de Catalunya.

There has been considerable debate regarding the reality of Capa's most noted 1936 Spanish Civil War image, The Fallen Soldier. Questions were flying as to whether the image had been staged; or whether it had been shot at the location that many regarded as the actual site of the conflict.

As Pingee further investigates the controversy, he suggests that perhaps none of these arguments are truly what the Spanish are protesting. Instead, he believes the Spanish resent the 22-year old American’s portrayal of such a revered point in Spain's history at all. Instead, perhaps the Spanish want to interpret, or even re-construct their own history.

Juggling Journalism and Humanism

Article #6 Review
This was another challenging discussion on ethics in photojournalism. The article begins with the uproar over a 1989 image from the Louisville Courier-Journal showing the bloody massacre-style shooting and suicide of an angry employee.

Based on the 1989 incident, the article outlines the six major philosophies that are typical in an ethical debate of this nature:

1. The Categorical Imperative
At that time there was a great amount of discussion regarding the ownership of automatic weapons and the larger issue of gun control. It contributed to our national debate.

2. Newsworthiness
The editor believed the image highly newsworthy; that it had to be run.

3. The Utilitarian Philosophy
The public is served by the image; both sides can identify with this approach.  Either the editor who uses this image to confront readers with the result of their choices, or the family members who loose loved ones.

4. The Golden Mean Position
This suggests that another less gruesome image may have accomplished the same end; that the image was in bad taste and not necessary.

5. The Veil of Ignorance
Hiding behind public outrage is often a convenient way of not facing the truth.

6. The Hedonistic Argument
There are those that believe the purpose in running such images is simply to sell papers.

As this article emphasizes, the reaction to an image depends on one's ethical orientation. The photojournalist’s responsibility is to tell the truth with objectivity and newsworthiness. It is the public’s responsibility to speak up and ask for accountability from the press.

The article outlines a recommended Code of Ethics for Photojournalists that should be utilized and agreed up by all members:

1. No photojournalist will intentionally add to a victim’s grief for monetary or award-winning gains.

2. No photojournalist will intentionally violate a person’s privacy for monetary or award winning gains.

3. No photojournalist will intentionally stage or manipulate images.

4. No editor will mandate forced contest participation by a photojournalist.

5. No editor will assign a project that conflict with a photojournalist’s own ethics.

I expressly like the position stated that the goal of photojournalism ethics is not to make right and wrong rules. In dealing with humanity this line seems to always be in motion; like aiming at a moving target. Rather, the goal is to set up acceptable ways of evaluating a photographer’s actions. Then, the ethical arguments may begin.

The Merger of Photojournalism and Ethics

Article #5 Review
We begin with a brief historic background of photojournalism and learn that photography has been around for 150 years. Life magazine, highly involved in the rise of photojournalism, recently devoted its cover and 30 pages to an anniversary tribute. We follow the trail of photojournalism and its emergence as a respected profession.

It has been proven that since the early day of photography, manipulation has taken place. Furthermore, it has been revealed that many noted photographers altered images that were considered accurate and truthful depictions of  particular events.

The article delves into the ethics behind the decisions made by a photographer, and notes that intentionally altering images in a news story to distort the message should be grounds for dismissal. Unfortunately, other issues of ethics may not be that obvious, and photographers face daily choices in the process of covering the news.

There are times when the camera is considered invasive, as well as occasions when the decision to shoot a truthful image may be controversial—based on the audience’s perspectives. Clearly, as journalists, our responsibility is to report the news fairly and honestly. When we allow public opinion and bias to affect of choices too greatly our ethical duty to provide accurate information may be compromised, and we may lessen our ability to maintain a free and vibrant press.

On NPR this morning, there was a great interview with Harold Evans, famed British editor of the Sunday Times. He tells the story of the thalidomide controversy that his paper covered in 1967. He elected to show photos of babies with missing limbs and other severe birth defects. The public was abhorred and the paper was involved in lawsuits for years, regarding the paper's right to publish the photos. The case ultimately went to the European Court of Human Rights and the case forced the British government to reform its law that blocked free speech in cases of "manifest injustice."  Evans fought for the truth to the very end. 

In terms of ethics in journalism Evans commented, "I think a certain commitment to the public good has vanished in the race for circulation. I think that is accentuated when you get newspapers taken over, as you have across America, by people who either borrow extensively to buy the paper, or never had any interest in what real journalism is about in the first place.”

Fire in Pakistan and Crocs in China

Weekly Image Review, #5

Pakistan Fire












This heart-wrenching image of destruction in Pakistan depicts an apocalyptic scene of devastation and ruin. The photo shows a distraught young man being consoled by a robed gentleman. Behind them, there is a structure fully engulfed in flames and the ground is littered with debris.

As we discussed in class, the young student-aged male subject, could be emblematic of the likely college student target audience.

The back-story, which gives the image international interest, is that the Pakistani government closed many universities the previous week due to student activism again the military. The image generates feelings of agony and complete despair.



Crocodile display at Sam’s Club in China (extra credit)












This image is a great human-interest photo of a Sam’s Club fish department in China featuring crocodiles crawling out of the ice—surrounded by a wide assortment of other fresh fish. The formidable crocs have been attractively presented with colorful grapefruit propped in their open mouths, as if this would make them sell faster.

Of course, the viewer has to wonder who buys these lovely creatures? No doubt there is a demand, but I couldn’t help wonder how much meat might be usable on these skinny little guys, since they appear to be mostly prickly skin and bone.

We eat snake, so why not crocodile? Its larger cousin, the alligator, is highly prized bar food in Florida. So what’s the big deal?

Emotions, Photos and Critique

Photo Assignment 2:  Emotions

I spent a couple of afternoons at the kiddyland in the Gateway Mall photographing kids. I thought it would be a fun and fairly simple project to take images of 2 to 5 year olds at play. Of course, I was mistaken.

Scary Mirror Sisters

To begin with, I was a little intimidated about approaching strangers and asking if could photograph their kids. I was not completely surprised by the negative reactions of some parents and grandparents when I asked if it was ok to take their photos as part of a Photojournalism shooting assignment at Lane. Fortunately, early on, a woman that had taken a similar class at Lane said of course it was alright. This seemed to break the ice on my first outing; as parents and kids arrived, they followed suit.

The play area is bright and cheerful, there is a skylight overhead and there are plenty of inviting objects--a colorful slide, a bridge for climbing, a small boat to sit in, and there are large hanging games scattered about to encourage motor development. My favorite was a wiggly mirror, which distorted their bodies and made them laugh.

Joyful First Slide

Half way through my first afternoon a cute little 2-year old girl arrived with her mom. Her haunting blue eyes seemed to take in everything around her. The mom gave me permission to shoot photos of her daughter, and actually assisted me, as she tottered about and played. After the shoot, I shared my results and the mom asked if I would email her the photos. I agreed, and when I returned home that evening I sent them on to her email address, which also included her husband’s name—and thanked her again.

Early the following morning I received an email from the mom; she regretted her decision, and requested that I destroy all images. I was stunned and shocked, since this was completely opposite her attitude the previous day. I responded assuring her that I would do as she wished. The episode left me feeling creepy, as if I had done something wrong, and I was disheartened by the entire project.

Howling Dog
However, I still needed more shots and returned to kiddyland the following day to complete my assigned shoot. Again, parents were generally receptive and we laughed and enjoyed ourselves as I interacted with their children. I finished my shoot, but still felt unsettled by the entire experience.

I shared my concerns with my instructor and was re-assured that I had done nothing wrong. It was clearly about a domestic issue that I need not concern myself. In class, as part of the critique process, it was agreed that the wiggly mirror image was the best, the other two selections were very generic. I completely agree. It’s hard to take a bad photo of kids; the challenge is getting the exceptional one.

As usual, the assignment was a great learning experience. I learned about using the light to my advantage and selecting appropriate settings that work well with kids. My take away from this challenge was more of a social commentary.  It's very sad that children must live such controlled existences. Playing is no longer about going outside unattended, riding bikes, and exploring the great outdoors. Playing is now relegated to Kiddyland at the Mall—and don’t talk to strangers while you are there.

Faking Images in Photojournalism

Article #4 Review
Paul Martin Lester reviews the history of photo fakery and cites various flagrant acts of manipulation since the early days of photography. In those days, even if the photographer did not reveal alterations, the original was often still available proof.

In the era of computer technology, there may be no original record of alteration, so it is difficult to prove that manipulation has taken place. Lester reminds the reader that justifications to alter an image do not change the fact that the image has been changed. Reality has been altered. The photographer or publisher that runs a manipulated image faces the risk of loosing public credibility.

In Lester's view, there are five key areas that are of greatest concern to most photojournalists regarding ethics in photojournalism:

Victims of Violence
As discussed in class, timing and appropriateness of images should be taken into consideration, but it’s the responsibility of the journalist to explain as Lester says, “underlying social forces that cause such tragic events to occur.” Often economic value wins in the battle of ethics over entertainment.

Picture Manipulation
Even though a publication may offer disclosure for an altered photo, the question always comes back to: where do we draw the line, or when is it ok to lie? When is it art and, when is it news? It seems that intent of the photographer is a key factor. Ultimately, the photographer may loose control over where the image appears. His intent may be completely lost and a new interpretation may become the new reality.

Stereotyping
As journalists it is our responsibility to be aware of cultural biases. An image may have a sub-conscious effect on a viewer – based on inaccurate conditioned assumptions that we carry of a particular gro.

Advertising/Editorial Blurring
An infomercial may appear informative and educational, but it is still a form of advertising with journalistic qualities-- another area of blurring the editorial line. We run the risk, again, of loosing the credibility of our viewers when we send out inconsistent messages.

Right to Privacy
Sensationalism and greed tend to invade the lives of “public personalities.” The act of providing an image at any cost can completely overshadow the importance of fairness and accuracy.

The 1946 Hutchins Commission provided a definition of news that still makes sense: “A truthful, comprehensive, and intelligent account of the day’s events in a context which gives them meaning.

Global Tragedies

Weekly Image Review, #4

Pakistan shooting of army brigadier

This fascinating image offers many scenarios at the same time. To begin with, we see a car and its windshield that has taken a direct hit on the passenger side. We learn by the caption, that an army brigadier has been shot in the gun fire. We also know that this happened in Pakistan and that clearly the military is now involved in the escalated action taking place there.

Through the passenger window we see an active man wearing bright emergency gear as if this image was taken early in the event. In another view, the driver’s side window reflection, we see a man robed in white, a person of authority, has gotten out of his car and is deeply engaged with other men.

As we discussed in class, this is a multi-faceted photo with much going on. Along with the other action, even in the upper right corner, we see colorful indicators that this is perhaps a busy street and that it likely happen in the midst of much activity. 


Girl with vulture (extra credit)

 
 
 
 
 



Another horrific tragedy on the world stage. This is an older photo which speaks to the starvation in Ethiopia. In this barren and dry setting, we see a child alone, too weak and unable to sit upright. Behind the emaciated little girl is a vulture, waiting and watching as she silently suffers—its wings and slight arched, as if ready to pounce on her at any moment.

As we discussed in class, the background of this story is just as provoking as the setting the subject matter here represents. Sadly, this particular image of the conditions in Ethiopia received so much criticism that the photographer never recovered from the experience and ultimately committed suicide.

The good news is that the child was rescued from the plight of the vulture and taken to a hospital for treatment. I wonder what happened to this one little girl—one of millions who have died from starvation, while the world stands by and debates whether to have fries with their next Big Mac.

Environment Photos and Critique

Photo Assignment 1:  Environment

My images are a result of time spent at The GrassRoots Community Garden in Eugene. Although it was loaded with crops and abundant produce, I more was captivated by the storybook quality of the garden. Its magical quality was brought alive by the vivid assortment of small structures and architectural elements scattered about the grounds.

Guy Wired

I was able to take a number of nice shots of ripe vegetables and flowers, and of people milling about the garden, but I was really attracted to the enchanted aura that the garden offered. For my three Best Shots, I selected ones that I hoped would capture this special quality.

In class, the consensus was that Guy Wired was the best photo of the selection; it offered a unique perspective and captured a sense of place. It also felt that we were following Guy with his load of tomato cages.

Sunflowers

The other two were less successful. The garden shot of the fairytale-like sign and sunflowers was a likely second; but missed the mark mostly due the center sunflower's lack of clarity. The third image, a red shed framed with dahlias, was colorful, but decidedly uninspired and uninteresting.

                                           

I’ve learned a lot from this first challenge. Before I begin, I should have a clear mission of what I am trying to convey. It must be distinct and provide an engaging perspective that draws the viewer in. The images should also create a package, a unified message.

Red Shed with Dahlias

On my first shoot, I was very caught up in all the trappings: my camera and settings, my glasses, and all the other accoutrements. I was distracted and lacked the clarity to completely capture the moment.                             

Military Censorship of Photographs

Article # 3 Review
Patterson and Wilkins discuss the military’s heavy handedness of press censorship during the Gulf War. The tight control of the press required that photos and stories be approved by the US and allied military prior to print. Reporters were kept away from the front line and allowed only limited press coverage elsewhere. The conflict between the press and military became so contentious that nine US publications filed suit against the Defense Department’s pool procedures.

The argument for freedom of press during military conflicts is a tough one. The public has a right to know, and should be informed about the conditions of war--as unpleasant as it is. If we live in a protected bubble and believe that war is not about killing and death, then we are delusional--or we have been misled.

I have reservations concerning the press’s right to complete access to war coverage. A photographer may be an unnecessary risk or added distraction during dangerous conflicts. There are also times when the military should have authority concerning press placement and level of press coverage; most certainly if there is a security threat to troops involved, or if there is a risk of providing unnecessary information to the enemy.

Photos of death are an emotional concern. It is important that we remain sensitive to the feelings of families and loved ones; they have a right to know first when there has been an injury or death. Timing or placement of a similar news story or photo should meet the same standards. I believe that photographers should also receive advance permission before releasing photos of grieving soldiers and/or private individuals. What purpose does it serve? This falls into the realm of sensationalism, and I don’t support it.

Buddhist Monks in Contemplation

Weekly Image Review, #3


Buddhist Monks honoring 1973 Thai student protest




This is a chilling image.
If it were not for the brilliant orange robes worn by the monks, this could be a stark black and white photo. The penetrating orange juxtaposed on the images of war is a sensational attention grabber.

Here, monks are uniformly lined up in padded chairs, appearing downcast and grim; this regimented and controlled assemblage is far removed from our perception of their lifestyle: one of peaceful simplicity.

The back story certainly gives us added dimension and understanding.  This is a ceremony in which the monks are honoring the 1973 bloody Thai uprising where many students were beaten and killed. At that time, their country was closed down and the monks were forced with huge dilemma.  They had to decide whether they should stand by passively while innocents were being slaughtered--or to actively participate.  Their brave acts included smuggling images out of the country which informed the world of the extent of the Thai protest.

This is clearly not a celebration; the faces reflect sadness and pain. However, in a broader sense, this photo reminds the world of the price we pay for freedom and peace.  In class, we agreed the take-away message  is "embrace hope and peace."

France May Put Warning Labels on Airbrushed Photos

Extra Credit Article

French parliamentarian Valerie Boyer is leading the way on pending legislation that would require a warning be posted on digitally enhanced advertisements in France.  I hope I’m not boxing myself in a corner on this one--because I  love the idea of beauty--but I tend to support Boyer’s conservative’s position.

I am taking this stand because currently in my Global Health class we are concentrating on the aspects of power and privilege. As a society, we  perpetuate the mythical and unattainable standards of perfection as the only acceptable and achievable way to live. We are sending  messages to our children that anything short of perfection is unacceptable; but sadly, we will never achieve it. The further we fall from our societal standards, the more feelings of angst, personal inferiority, and failure we experience.

We like the notion of living in a perfect world, because then we would have no problems. This is a myth that is unrealistic and unattainable, and until we accept it as such, we are destined for unhappiness. The article quotes Boyer so aptly, “It’s creating parallel worlds: one in which everything in ads and photos is gorgeous, slim, chic and what we aspire to, and our daily reality of imperfection, normality and frustration that we can’t be like those other people who—literally—don’t exist.”

Along with this article, we also received photos of historic images that had been previously altered.  The danger in this practice is evident.  We can conveniently alter history to our advantage by adding or deleting facts or individuals that compete with our message of reality.

The Difference Between Aesthetics, Etiquette, and Ethics

Article # 2 Review
Elliott and Lester write their inaugural column for News Photographer magazine on the issues surrounding aesthetics, etiquette, and ethics. Their discussion focuses on ethics and the question of “human cost.”

Aesthetics
In this article the argument concerning aesthetics in photojournalism centers on the issue of relevant social conditions versus the goal of delivering a pleasing image. They pose the question:  is manipulation acceptable in achieving the message that the photographer wishes to convey? When is cropping, filters, color correction and other image enhancement acceptable? Their perspective is if the end result is to mislead or harm others, then perhaps an ethics question exists.

Etiquette
In their discussion of etiquette in photojournalism, they revisit harm vs. value. Elliott and Lester weigh in on the side of common courtesies and ponder the boundaries of good taste.

Ethics
In their opinion, discretion is important, but the human cost should be regarded as an overriding consideration. As they express it, our goal is to motivate people and/or assist them in navigating their lives more safely.
Is it possible to simply tell the story without diminishing those involved? It’s not the photographer’s job to editorialize at the expense of compromising others. The standard for determining the compelling value of an image is the photographer’s ability to defend it on ethical grounds. When this is evident, no further explanation should be necessary.

Silvio's Bad Day

Weekly Image Review, #2


Silvio's Bad Day
In class we were all very surprised to learn the back story on this photo: here the angle of the photo, the news set background, and the microphone in lapel set the stage as the beleaguered Prime Minister of Italy learns from an interviewer on set that his wife has filed for divorce.  His reaction says it all: he looks down with closed eyes, his left hand, sans wedding ring, goes to his forehead, almost shielding his eyes; he is stunned and speechless. Mama mia! It doesn’t get anymore Italian than this.

Silvia meets Michelle (extra credit)

I love this image: the two Obamas appear very ill-at-ease while both tower over the diminutive Berlusconi.  We rarely see a photo where President Obama looks so completely irked. We observe the first lady offering a stiff extended arm and hand, as opposed to the full-on embrace that Berlusconi seems to be encouraging. One person in class referred to this as his “come-to-papa” pose! President Obama is literally flexing his jaw in dismay.   Just another photo depicting the Prime Minister in one of his many apparent gaffs.

Sumatra Earthquake Rescue

Weekly Image Review, #1


Rescue Sumatra

In class this was considered the lead image of the Sumatra Earthquake story as it suggests danger and urgency. Light is at a premium, it is dark and eerie looking. The perspective of looking down with one hand appearing from the left suggests a larger audience. Does the hand in the photo also suggest a plea for helping hands? We see the militia and other workers carrying someone of influence out on a stretcher. The heads are cast downward as if in concern and the action in the shot suggests they are rushed. It’s difficult to determine where this might have been taken, perhaps the bowels of the earth. The attendants are all dressed well and appear clean, but the setting is in stark contrast and suggests grit and rawness.


Girl on Bike (extra credit)

The perspective of this photo is slightly removed from the disaster. We see a rural panoramic shot focused on one building. The sole cyclist is passing through our field of vision with eyes cast straight ahead. What was once pristine is now scattered with rubble. It appears to be a rural setting which implies the damage was widespread. It suggests the person is so numbed by the disaster that she isn’t even looking at it; is it just another destroyed building to her, or is she in shock and just trying to survive? In our class discussion, this was regarded as a supportive image. I actually prefer this one, because it reveals an otherwise beautiful setting, and a person getting on with life; just another day in paradise. It’s a place I might want to visit. I wonder if the ocean is just beyond those trees.

Photographic Perception: The Myth of the Thousand Words

Article #1 Review
Christopher Harris provides a sweeping analysis of a wide spectrum of articles where he delves into the “textual” meaning of photography. To simplify his discussion, he divides his findings into three categories:

1. Studies concerned with the impact of photography on the viewer
   Harris points out that photographs are universal and go beyond language barriers. He also suggests that photographers have the ability to present positive or negative messages and can control their content to result in a predetermined advantage.
2. Studies focused on the viewer’s response to photographs
   Harris refers to “gut feelings” and examines the process of interpreting and expressing a response to a photograph when he quotes A.D. Coleman, “the image provokes me to feel and think and understand” (12). He is saying that our response to images can be an emotional connection.
3. Studies relative to content and the photographer’s intentions
   Harris builds on the idea that photographs are thought to be true. In support, he sums up Sekula’s position and states: “The argument therefore comes back to the basic premise that people will believe what is contained in a photograph because they believe it documents a real occurrence and they can relate its truthful contents to known real-world experiences” (14).

In his final summary, Harris emphasizes the point that believability is the backbone of news imagery and cautions that new technologies must value “this view of a very powerful journalistic craft.” During our class discussion there were mixed opinions regarding the article; some thought it was boring, another felt it expressed viewpoints in a new way. As a wrap-up, it was re-enforced that the photographer has the ability to define reality, holds the responsibility, editorial decision, and the control, to accurately depict the moment.