Final Project

Hello everyone,

I chose to make a poster for my final project. I cut it in the shape of a camera and decorated it with information about Dorothea Lange. There are a ton of pictures to fully cover all my information. If you would like to see my poster in person, you can stop by Professor Nordell's office. Enjoy!

Photojournalists and Motivation

Here is a map of my motivations:

The first photojournalist I learned about was Felix Masi from Kenya. A lot of his motivations as a photojournalist stemmed directly from his background. In his interview, it was said that Masi lost his mom when he was 8 years old. Therefore, much of his young life was spent suffering. Masi was not originally a photojournalist but when he did become one he remembered seeing kids struggle and related it directly to himself. That sad little kid was him and now he has come so far to cope with his sadness. I thought it was interesting when Felix Masi said he “just wanted to look nice and survive – be able to buy food for myself.” He had always been lured into the field by the nice wardrobe and equipment. But when he found this as an opportunity to tell people’s stories about their suffering, he wanted photojournalism to be his career.

Image By: Key Digital Media

Image Source: http://www.keydigitalmedia.com/profile-felix-masi/

Image By: Feliz Masi

Image Source: https://felixmasi.wordpress.com/

Jay Maisel was originally a painter but then got into photojournalism in New York City. While studying at Yale, he was not a photography major so they would not let him in the darkroom. However, still curious, Maisel convinced a night worker to let him in and get some experience. This sense of determination is what drove Maisel for his many decades worth of photographic work. He also explained that photography must be done only after listening to the inner voice so that his bias does not turn out to be that of the subject photographed. Maisel wanted to be able to reveal himself to himself through his own work. Maisel, although sharing the same goal, did this differently than Lynn Johnson who tried to make herself as invisible as possible.

Image By: Jay Maisel

Image Source: http://studio.jaymaisel.com/collections/portfolio

Image By: Geoff Green

Image Source: http://bermangraphics.com/press/jaymaisel.htm

Similar to Maisel’s self-interest as motivation, Richard Avedon is another photojournalist that was inspired by photography to learn about life for himself. The main motivation behind Avedon was the ability to learn. “We need to learn and grow as human beings. The creative process helps us learn those lessons.” He also realized that interacting with others would help him learn these lessons. Photojournalism is creative, involves people, and gives the photographer learning experience. This field is everything Avedon desired in one career. As Ed Kashi explained, it was never too late to take on the photojournalism hat. He did not become involved until he was 50 years old. As Kashi wanted to learn about human beings as a whole, Avedon wanted to learn about himself as a specific human being.

Photo By: The Associated Press

Image Source: https://pleasurephotoroom.wordpress.com/category/richard-avedon/page/6/

Photo By: Richard Avedon

Image Source: https://www.pinterest.com/pin/56717276531200277/

After mapping out my own motivations, I discovered they are quite similar to those of the three photojournalists I mentioned. Just as Avedon wanted to learn, I want to learn about other cultures and the world. Maisel and I both share a sense of determination; if we want something bad enough we will find a way to get it. A similarity in relation to Masi, he just wanted to look successful and wear the nice clothes photographers did. I also care a lot about my reputation and want to be successful, in some sense, to prove others wrong. In the other sense, through my journey in life, I can learn about myself which it seems like Maisel and Avedon both stressed. However, there were a few differences between my motivations and those of the researched photojournalists. For example, I have not gone through traumatic suffering that has directly inspired me to be who I am like Masi did when he lost his mother. In contrast to Avedon, although I do want to learn about myself, I also want to discover other people and teach them. I have a similar goal to Xyza Cruz Bacani who said, “That's what I want my photography to do, to be able to help people.’” I do not want to intentionally use the people I meet just to reflect on my life. That happens naturally.

Photojournalism Bias

 

Photo By: Ed Clark

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

This image represents a Navy ship man following the burial service of President Franklin D. Roosevelt. The first thing I see is the emotion of the woman with her head in her hand. After looking closer, I saw the tears in the ship man's eyes. The emotion of this picture is what makes it real to me. To me, this is a depiction of patriotism and nationalism. For someone to mourn a leader so intently and respectfully speaks volumes. As Tom Zachmeier said, in order to be objective, photojournalists need to be an "invisible camera" from a distance. However, Clark did a good job here of balancing his distance and connection. It is apparent that Clark was in the distance, maybe a passerby or even a participant because he is not fully divulged into these peoples' lives. At the same time, he connected with these people enough regarding the situation that the people felt free enough to let these emotions flow.

Principle 1: The subject's expression is very natural. In fact there are a few main subjects the grasp my attention. None of the subjects look posed. If they did, it would look more synchronized.

Principle 2: The rule of thirds is used excellently in this image. The main subject is of to the left. His face and the expression on it is in the upper left while the instrument he is playing, another focus, is the bottom left. In this case, the rule of thirds adds a creative appeal.

Principle 3: The use of lines is used in many places in this image. First of all, the beam in the back right adds structure to the photo and emphasizes the crowd. The black horizontal lines on the instrument stand out because of the color contrast. Also, the vertical lines on the instrument are noticeable because the clash with the balance of the subjects. If these lines weren't present, the crowd would look too average.

Photo By: Corey Arnold

Image Source: http://www.coreyfishes.com/koken/albums/human-animals/

This image represents the truth to me because it shows the innocence of children. Children have a such big hearts until the reality of the world slowly starts to destroy them. My way of knowing in this situation is my sense of perception. Therefore, I can see and perceive them in my own mind. I have seen children decide what is right and what is wrong. Obviously in this case, the seagull was hurt and it was the girls' first instinct to help it. Also, the girl in pink looks like she is recommending what to do with the bird. The ideas of children in a crisis situation are very raw and based almost completely on emotion. Professor Nordell stressed how truth can and does change. What is interesting here, is that the photojournalist's truth had undoubtedly changed since he was a child. Although the implications to both the girls and the bird of holding the bird in this manner were known, Arnold avoided his bias. Perhaps when the girls look back on this photo, their truth will have changed and they will not understand the motivation behind their actions.

Principle 1: The use of light in this image is very clear. The reflection from the snow almost puts a glow around the main subjects. Also, the bright light allows for the colors of the girls' clothing to be very crisp and clear. The light is not too bright because it is balanced by the overcast.

Principle 2: There are various types of textures elicited in this image. First, there are the clumps of snow which looks icy and therefore creates a bitterly sense. Also, the texture of the seagull's feathers look majestic which correlate with the manner in which the girl is holding it. Finally, the texture of the snow pants shows how wet the children are from the snow and it elicits the memories of childhood.

Principle 3: The depth of field is just right in this image. If it was any more out of focus, the seagull would not be identifiable in detail which is the whole purpose. If it was any closer, the actual action would not be understood. Some use of shallow depth of field is apparent because the subjects are crisp while the far background begins to blur.

Photo By: Steve McCurry

Image Source: http://stevemccurry.com/galleries/deep-southhttp://stevemccurry.com/galleries/deep-south

This image does not represent the truth to me because the subject is too different from the setting.  The setting is obviously extremely run down and crippling upon the subject. However, the subject is well-dressed, looks sturdy, and appears healthy. For a man who keeps himself so put together, my mind does not connect the antithesis: his house. Also, the point of photojournalism is to tell the news, through photos. Although this may bring awareness to the issue of poverty, it is not hard news of a current event. This contradicts Hearst's Journal which would "get the news, no matter what it costs." It may have been easy for a photojournalist to travel to a nearby sight like this one, but it only ignites the temporary emotions of a viewer. Similar to Professor Nordell's experience at the rally in Boston, just a different type of camera transformed the truth of the event. Perhaps this photographer found this one home set off the road within a decent neighborhood. Maybe it is not an exception and this is commonplace in this town. The truth is not completely told through this one photo.

Principle 1: The feelings this image creates are pity, sadness, and confusion. The well-dressed man in such an ugly setting confuses me. The pity for the man is furthered by the strong contrast. The falling stairs and roof surrounded by boards makes me sad to see that anyone lives in this environment.

Principle 2: The contrast of this image is excellent. The red and green really go together but are separated by a bland brown so it is not overwhelming. The blue sky gives the image life from rustic colors. The ultimate contrast is the blue sky with the dead grass in the foreground while the two together make the image holistic.

Principle 3: The main subject in this photo is not obvious. Is it the house or is it the man? I think it is the house but this image is not complete without the man. The size of the man is too small to make him the main subject but usually people are the focus in photojournalism.

Ethics of Photojournalism

Like many presidents, Ronald Reagan was photographed and placed on the cover of Time Magazine. His photo was altered. However, it was not done using Photoshop, seeing as the editing took place long before that software came about. Instead, an illustrated and then digitally placed tear was inserted running down Reagan’s face depicting his opinion on the conservative right wing falling apart. The controversy goes even farther because both the photographer and illustrator were labeled on the magazine’s cover. However, is stating an illustrator enough to tell readers the image was altered? Time thinks so “‘Time regularly runs conceptual covers,’ ” said a spokesman.

Editing a photograph and portraying it to be true is never acceptable. It contradicts ethics, especially my own. I made a photo map to illustrate my own personal ethics. I revolved them all around my main value regarding my life. This main value is that we are all humans. No one is superior or inferior to another, regardless of race, intelligence, culture, and so on. That is why one of my values is equality. Another big value on my map is truthfulness. By editing any photo, it completely eliminates truthfulness. Without truth, one cannot live a real life.

Each one of my ethics depicted in my map contradict the edited photograph on the cover of Time Magazine. First of all, respect is violated. By portraying Reagan in a different light, it destroys Reagan’s self-respect along with his personal identity to the citizens that are led by him. Also, showing Reagan of crying even though he is not takes away his dignity because it shows him in a vulnerable, emotional state that is not even true! I also value opinion and knowledge greatly. Everyone is worthy of their own opinion and capacity of knowledge. That should not be belittled. However, even though the knowledge of the situation regarding Reagan’s foreign diplomacy was known, the editors at the magazine made and opinion and placed it on the President as being his own. We are all humans and react differently. Some cry, others do not. But it is not acceptable to force an emotion on someone. Emotions are the realest human data.

The photographer, David Hume Kennerly, originally took Reagan’s photo like any other photographer would. Later, the “illustrator” Tim O’Brien digitally added his illustration. This was a process that the editors planned on doing all along. I would have not planned such a rigid outline before the photo-shoot began. Like I said, people react in different ways and in order to show that, I would wait for Reagan to become fired up or shameful and then capture a photo. I would have had respect for the President’s dignity and self-identity. Therefore, I would not have manipulated him into something he was not. Although a major difference, there were similarities between the cover photo and what I would have done. For example, I would have stuck to American culture. Culture and truthfulness along with respect would all compile into a similar photograph, before it was edited. These are three of my ethics that would have photographed the President as a respectable, powerful, and professional man in his suit and close up face.

Here is my ethics map

Photo By: David Hume Kennerly

Image Source: http://content.time.com/time/covers/0,16641,20070326,00.html

The same editing was done to President Lincoln's portrait

Photo By: American Antiquarian Society

Image Source: http://content.time.com/time/covers/0,16641,20110418,00.htmlhttp://content.time.com/time/covers/0,16641,20110418,00.html