Friday, December 9, 2016

Chapter 11: The Concluding Chapter

I found my Creative Experiential Exercise enjoyable yet challenging. Like I mentioned before, photojournalists take photos of verbs. I learned this when I used my dog as my subject. He was constantly moving around, sniffing around which turned my animal subject into a moving subject. I would see him in a position I wanted to photograph and right as I would aim my camera towards him he would move slightly, resulting in me having to change my position or he would move completely resulting in no photo at all. I was able to see how the job of a photojournalist is very challenging. You have to wait around and be ready when that perfect shot is available. It really boils down to a matter of seconds in which you can either capture the perfect shot or miss it completely. It takes a great deal of both patience and skill to be successful in capturing these images.

    Above 3 Images by Courtney Patridge

What is photojournalism? I was asked this question in the beginning of the semester and I am being asked the same question again. Back in August, I explained photojournalism as being, "pretty simple, journalism through photos.". Here I am, in December, and I still believe my original definition is true except for when I described photojournalism as "pretty simple". I have learned that photojournalism is far from simple. There is so much more that goes into capturing an image that cannot be seen by the viewer. I used to think that photojournalists took pictures of subjects and that was it. I know realize that they capture events and happenings. Photojournalists capture verbs as I learned in one module. There are so many different aspects that go into an image being captured that viewers do not realize. There is a preferred mode of technology that is used, preferred lighting, preferred angles and preferred stories. Many images captured by photojournalists tell a story that goes far beyond what is seen within the capture frame. I used to view photos in a close-minded way. Now I realize this and when I look at a photo I think to myself what is really going on in this photo?

I feel as though it is important to know the history of photojournalism in order to really appreciate the photos of the past and present. I certainly did not appreciate what went in to the profession of photojournalism before learning about the pre digital technology. It was mind blowing and eye opening to learn about all of the equipment some photojournalists carried around just to capture that one selling image. Understanding the history of photojournalism also helps when it comes to understanding how the photography styles have changed over the years. Prior to color film, it was a slow dangerous process to produce a color photo. As a result, black and white photography was dominant. After color film became readily available, some photojournalists were quick to jump on the band wagon while others wanted to stay true to the routes of photojournalism. Nowadays you rarely see black and white photography and if you do, it was most likely originally taken in color and had a black and white filter applied. I learned in nursing school that they teach us the normal body function first in order to understand the abnormal body function. I believe this applies to photojournalism in a sense as well. Viewers need to understand where it all started in order to fully grasp photojournalism as it is today.

I would say my big "Ah Ha" moment was during the ethics module. I always just took photos for what they were and how they were presented to me. I always thought that photoshop was used to touch images up of their imperfections and that was acceptable. I had even mentioned it on my technological timeline. I quickly learned that in no way is that acceptable through the ethics module.   I never really thought of a photo as being true or not true. I also found the ways of knowing within the bias module very useful and eye opening. I never realized that there were actually ways of knowing put in place. I realized that even before knowing about the ways of knowing, I kind of already thought that way when viewing a photograph whether it was in a magazine or media.

Can photographs change the world? I was asked this question back in September and my response was, "No, but I do believe they can have an impact on the world and the people in it by giving us the power to visualize the written word and word of mouth." Here I am in December and I still feel very similarly to the way I did three months ago. I believe that photos have the ability to change the way people view certain topics but not the world as a whole. I will give you an example of what I mean by this. Lets just say a photographer is covering the War in Iraq. Some people may be supporters of the war while others may not be. Photos that this photojournalist captures and a releases to the media are seen and cause an emotional response within people. That emotional response may change the way this person views the war or it may not. I still believe that photographs have a much bigger impact on viewers than the written word. Everyone visualizes the written word differently. Photos allow people to view the truth right there in front of them. If people are all looking at the same photograph, then there cannot be much variety in what people take away from it. Overall, photos can change people but I do not believe that there will ever be enough change within the population to change the world itself.

A few of the images that have impacted myself the most this semester is the photograph by Ed Clark presented in the bias module. The image evoked a great deal of curiosity within me and sadness as the same time. Secondly, a photo Jason Wegiel included on one of his blogs by Yunghi Kim. When I think of a young child, I think of the purity and innocence of that child. This image shows the sad truth of what young children are exposed to in different parts of the world. Lastly, a photo Brittany Burnett included on her blog by Eric Miller. The photo is of a group of children in South Africa sitting outside within their environment learning from a small white board. This image made me so grateful for the elementary, high school and college education I was able and currently am receiving.  These children do not have the opportunity to learn inside of a building with heat and air conditioning to protect them for the outdoor elements.

Image by Ed Clark

Image by Yunghi Kim

Image by Eric Miller
Image Source: https://dornsife.usc.edu/news/stories/1432/an-objective-analysis/

After completing my Creative Experiential Exercise I really and truly appreciate the improvements in the photographic technology. Like I had mentioned when I wrote briefly about the history of photojournalism, the amount of equipment these photojournalists had to carry around with them. I went on a walk with my dog and only had to bring my iPhone which fits right into my coat pocket. I cannot imagine having to carry around bags and bags worth of equipment only to get two or three good photos. Also back to whether or not photographs can change the world. I know the images I capture from my experiential exercise cannot and will not change the world so I guess it really ultimately depends on the subject matter of the photo. The photos of my dog may make people smile and happy for a brief moment but they will soon move on and not think about them again. If I had photographed some historical even in history, my photos may stick in the minds of people a little longer that those of my dog.

The photojournalist profile was a great way for myself and the other students within the class to see the various styles of various photojournalists. What I found most interesting while reading my classmate's photojournalist profiles is how all of these photojournalists are within the same profession  yet all of their motivations and motivators are so drastically different. Jason Wegiel showcased James Nachtwey. In one of Jason's slides he wrote that Nachtwey "hoped to inspire future generations, in all fields, as well as future photographers- to approach the world with the same global perspective and concern for human dignity and social justice that I ave sought to convey through my work.". I find it amazing that Nachtwey was working in hopes to inspire other people, not himself. A photo within Jason's slides was taken in Afghanistan and showed someone mourning. It made me realize that within a place of so much violence and evil right now there are still real people with real feelings there. Another profile that stuck out to me was that of Judith Soto. Judith showcased Tim Hetherington and his work. Hetherington's motivation was to bring awareness to the reality of the countries we interact with daily even though we may not know we are interacting with them. Soto included a quote from Hetherington describing himself, "I like to call myself a documentary image maker, still and moving, because the real world on the agenda is really important at a time when we’re increasingly disconnected from parts of the world on whom we depend." I think it is important that photojournalists like Hetherington are able to identify themselves along with their motivation, why they keep doing what they do.  Lastly, the photojournalist profile by Allison Gavin stuck out to me as well. Allison profiled Lynsey Addario. The motivation of Addario, "one of my goals as a photographer, to motivate people to act. " I found to be brave to say the least. It takes a strong person to capture photos that she hopes will result in people taking action.

This photo was seen within the Photojournalist Profile of Jason Wegeil:
Image by James Nachtwey

This photo was seen on the Photojournalist Profile of Judith Soto:
Image by Tim Hetherington

This photo was seen on the Photojournalist Profile of Allison Gavin:
Image by Lynsey Addario


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Monday, December 5, 2016

Chapter 10: Photojournalist Profile

Photojournalist Profile
Dorothea Lange

Career Path: Dorothea Lange ran her own portrait studio in San Fransisco during her first marriage in the year of 1918. She then began working for the Farm Security Administration (FSA) with her second husband, Paul Taylor, during the time of the Great Depression. Lange and Taylor traveled together often and worked together as a team to document The Great Depression. Lange would photograph the people and situations they encountered while her husband wrote about them. After The Great Depression, Lange was hired to work for the War Relocation Authority where she photographed the Japanese-Americans during World War 2. Lastly after the war, Lange began taking on assignments for Life Magazine. Lange's photographs were seen in various newspapers during the time of The Great Depression and World War 2. Her most popular photograph, "The Migrant Mother", can even be seen hanging in the Liberty of Congress. Her photos could also be seen in Life Magazine. 
Era: Dorothea Lange worked as a portrait photographer and owned her own studio in the year of 1918. Her business was very successful until The Great Depression took its toll.  She worked for numerous decades as a photojournalist. Throughout her career, the type of photography she captured changed. She was a documentary photographer for a good part of her career. She documented events in history such as the dust bowl, the great depression and the various hardships faced by mothers, fathers, their children and workers.The profession as a photojournalist was still up and coming during the time of Lange's career. There were still many advancements to be made in the world of photography. During the Great Depression, the FSA, which Lange worked for was able to collect 80,000 photographs. They hired various photographers and administration to make this possible. 
Motivation: Early on in Lange's life, she contracted polio . Later on in life, Lange noted that she was appreciative of the disease when she said, "[It] was the most important thing that happened to me, and formed me, guided me, instructed me, helped me and humiliated me,” Lange used her talent and partnership with Taylor to bring awareness to struggles and hardships people were facing throughout difficult times. It was said that Lange marshaled her considerable energy and personal commitment from late 1935 to mid 1943 to give voice and color to society’s “cast asides.” She documented the lives and needs of the people whose lives were impacted, both positively and negatively. Lange was so passionate about her career as a photojournalist, she often had to leave her children with friends while she was away on assignments. Once they were a little older, she enrolled them in a boarding school. 
Technology: Dorothea Lange used a Gralflex Series D during her time photographing The Great Depression. This camera was great for both high speed photography along with portraits. This camera had a focal plane shutter as well as a front shutter. This camera only allowed for black and white photos which put a limitation on Lange's work. Lange was asked about the equipment she uses in an interview with Suzanne Riess, "I find that my mind runs to about three different types of instrument and if I can go equipped to work—if it’s practical–! would take three basic cameras. I’m not a one-camera person. And those three would be a view camera, a 4×5; if I could manage it, I would make it an 8×10.". Even though her photography was limited, the impact of her photographs were not limited one bit.
Ethics: Dorothea Lange was not known for colorful, happy photography. Lange was known for her photographs of The Great Depression and World War 2. Her photographs were meant to document and make known the struggles faced by people during these times. Although the lack of color was a limitation of her technology, it added a feeling of darkness to her photos. Ethical dilemmas come whenever a photographer captures sensitive times. For example when the subject of Lange's photograph "The Migrant Mother",was indentified she was interviewed and asked about the photo. The woman, Florence Thompson said this, "I wish she hadn’t taken my picture,’ she (said). ‘I can’t get a penny out of it. (Lange) didn’t ask my name. She said she wouldn’t sell the pictures. She said she’d send me a copy. She never did." People may wonder why Lange just photographed these people rather than helping them. The Great Depression and World War 2 made people vulnerable. These events could have also made people desperate and made them do things they would have never thought they would do in order to provide for their family. In these situations, photographers and photojournalists can be thought of as onlookers. Onlookers in the sense they are present, offering no help, just looking for their next shot. Lange could have suffered from an internal ethical dilemma while photographing World War 2. Lange did not agree with the treatment of the people yet she photographed them under those conditions.  
Bias: Dorothea Lange thought that photographing human subjects would have more of an impact on the viewers rather than damaged scenery or damaged nature. Therefore, the majority of Lange's photography included human subjects. Lange had the ability and talent to photograph people that had been hit so hard by the recession and war, yet make them look so lovely. Linda Gordon once spoke about that ability of Lange and said, "That she could make pictures of very poor people — people very, very hard hit — and still make them extremely attractive individuals." The always tried to show her subjects as being worthier than their current condition at the time. 
Photographic Style:  

Photo by Dorothea Lange
Image Source: https://antioquiainteriorismo.wordpress.com/2010/09/03/dorothea-lange/
Dorothea Lange had an obvious subject in mind when capturing this photograph. She placed the main subject, the mother, right in the middle of the photo while two of her children on either side of her. Although the mother is the main subject, the children I would say are considered subjects as well. Lange had them take up the majority of this frame. There is nothing else to focus on in this photo besides the mother and her children. Both the mother and her children are in focus while the brief area pf background is out of focus. The expression upon the mothers face says it all. Her children have their heads looking downward which can bring a sense of sadness but the mother's face lets the viewer know there is much more going on in this photo that cannot be seen. The mother's appears to be looking into the distance almost wondering when things will get better for them or when the recession will finally come to an end. The expression on her face allows the viewer to understand the mood that was being felt during this time. 

Photo by Dorothea Lange
Image Source: http://www.historyplace.com/unitedstates/lange/
The background of this photo includes the dry looking terrain along with what I assume is the family of the man in the front. The background of this photo allows viewers to  understand the reality of what is going on. Dorothea Lange typically photographed human subjects because she thought it brought another level or emotion to the table. The background of the photo makes it clear how long this family has already traveled and makes me wonder how much longer they have to go. The composition of this photo is very simple. I think if anything else had been captured within this frame, the reality would have been lost from the image. More within the photo would loose the viewers focus on what Lange really wanted people to see.

Photo by Dorothea Lange
Image Source: http://www.openculture.com/2016/05/478-dorothea-lange-photographs-poignantly-document-the-internment-of-the-japanese-during-wwii.html
The depth of this photo makes me wonder how long this train really was and how many Japanese Americans were on that train. One train car in is focus and the rest seems to be a blur, but it is just right. The brief section that is in focus allows the viewer to understand what is going on in this photo. If the viewer understands what is going on here then they will likely understand what is going on within the rest of the train. The lines that the buttons create on the outside of train make the photo feel very uniform and strict. It gives the photo a level or harshness that I am sure the people in the train felt as well. The train does not look very comfortable from the outside so I am sure it was not very comfortable on the inside.

Photo by Dorothea Lange
Image Source: http://americansremember.com/?attachment_id=1259
The texture of the blocks used to make up the wall of the building are very rough looking and appear as though they are not uniform throughout. It appears as though some blocks are sticking out more than others. I feel as though those blocks resemble the lives of these people standing in line. Nothing was uniform from them. They never knew where their next meal was coming from, whether or not they had job security and where their next paycheck was coming from. We clearly know from history that The Great Depression was a terrible time for the people that lived through it. Lastly, the black and white coloring of this photo adds a level of emotion and darkness. Like mentioned before, The Great Depression was not a happy time for anyone and the black and white of the photo portrays that to the viewer. 

 Impact: Dorothea Lange's career resulted in a multitude of historic photos. Lange's photos impacted many different people. The Great Depression was known about and talked about. Lange's photos put a face to the horror stories people heard about the conditions, poverty and hunger these people faced. Her photos led to emotional reactions from people. It is easy to read an article about something going on within the world but once readers are able to put a face to the subject they are reading about it creates different feelings. The same goes for the photos Lange took of World War 2. People heard about the treatment of the Japanese-Americans but some thought the stories were too gruesome to believe. Lange's photographs allowed people to realize the harsh reality these people faced. 
My Major at AIC: My major at AIC is nursing. Dorothea Lange primarily focused on individuals in need. That is how my major relates to Lange's photography. In nursing, we are constantly helping people recover from an acute illness or cope with a chronic illness. We don't just focus on patients that are ill, we have plenty of patients that are healthy and just need encouragement to stay on the right track. One thing all of our patients do have in common though is that they all somehow in need of something and that is our primary focus. That is similar to Lange way of working. She photographed those that were in needs of jobs, money, food and better living conditions. Although she was not able to help them directly, she helped these people by bringing awareness to their situations. Slowly but surely, eventually The Great Depression and World War 2 ceased to exist. 
Viewpoints: Some people thought highly of Dorothea Lange while others did not think much of her. She was a highly respected photographer in the world of photojournalism. Lange was the first woman to be awarded the Guggenheim Fellowship in 1940. The Guggenheim Fellowship is awarded to men and women who have already demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts. On the other hand there were people that did not agree with Lange's subjects. They did not understand why she photographed those she did without helping them. Even the subject's of her photographs, Florence Thompson specifically, spoke out and said they wished she had never photographed them. 



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