Tom’s new solo exhibition, I Am Not Tom Pope, You Are All Tom Pope, taking place at The Old Town Police Station, 11 Royal Square, St Helier, Jersey. There will be a private view 6 pm Thursday 17th September.
A participatory performance will take place in the exhibition space at 6 pm Thursday 24th September: Terminating Martin Parr’s Liberation Photographs: a collaborative project between Tom Pope, Martin Parr and Archisle.
The performance offers you the chance to destroy a Martin Parr photograph and potentially save one! If you’re interested in destroying a Parr photograph, for more details please visit:
Task: Write a review of Tom’s exhibition where you describe your own feelings and opinions.
Try and choose 1 or 2 specific works that you either like or dislike and provide reasons for critique.
Your analysis must be both an emotional and intellectual response to his work in the exhibition.
Include information and context from Tom’s talk about his work at the exhibition space. Research and theory is central to Tom’s practice. Make links to some of the artists that Tom mentioned such as John Baldessari, Marcel Duchamp and Yves Klein
For further context you must also read the exhibition text written by Gareth Syvret, Curator and Programme Leader at Archisle.
Include direct quotes from this text in your own analysis and provide further commentary.
Street Photography relates to study of people in public places, usually, but not always in an urban environment. The person is usually photographed without any awareness, or only half-awareness of such. Street photography is a form of social documentary which aims to capture interesting moments of people, in ordinary settings. Because street photography is spontaneous and candid, it is very difficult to properly frame a photograph. Therefore street photography takes a great deal of patience and practice, because the photographer must develop an intuitive sense of knowing exactly when to take a photograph.
Street Photography began in the 1950s and 1960s. During this period of history there were great social and political changes around the world as a result of the end of WWII, triggering Cold War and accelerating the collapse of Empire around the world, leading to many people changing and questioning the outdated conservative views of societies all around the world. During this period technology was also greatly advancing, and people’s perspective of the world was rapidly changing as a result. The lives of everyday people was altering rapidly and photographers needed a way to reflect this. Photographers such as Henri Cartier-Bresson and Robert Frank took to the streets during this time, exploring how ordinary people went about their everyday life, undisrupted. Street Photography was a protest against the belief that photographing people had to have a particular focus or genre (War Photography had dominated Documentary Photography during the time). Instead, street photographers would literally photograph anything that interested them on the street, and so would work very spontaneously.
Street photography can be seen as quite controversial due to the fact that the people being photographed usually do not consent to the image being taken, regardless of whether the subject is happy with it or not. In the UK photographers have a legal right to photograph members of the general public, permission is however needed to publish photographs. Nevertheless many people view this as an invasion of personal privacy. I find it interesting how over time this idea has become more extreme, as the possibilities technology and social media has grown to an extent that people are often fearful of being photographed by complete strangers.
Finding the right moment to take a photograph is a common ambition and theme that many street photographers strive to achieve. Street photography is very much about the element of luck and chance, being in the right place at the right time. I addition to this, street photographers are also required to know exactly how to frame the photograph right, as an effective street photograph is the balance of effective mood ad composition.Henri Cartier Bresson termed this as the ‘decisive moment’
This YouTube video is a tutorial by Magnum Photographer Bruce Gilden, himself a famous and suucesful street photographer. It is a very honest and blunt insight into Gilden’s opinions of what makes a good street photograph
“The media’s the most powerful entity on earth. They have the power to make the innocent guilty and to make the guilty innocent, and that’s power. Because they control the minds of the masses.” – Malcom X
The rise of technology has greatly advanced the way news is spread. 50 years ago, people had far less options than today concerning where to receive news information. In 1960 for example, the majority of people simply had a choice of a few newspapers, a radio station, and if lucky, a television set. The role of being a journalist and a member of the public could be separated easily. Nowadays however, people have greater options, exposure and access to the media. The power of social media means that literally anyone with smartphone, tablet, or laptop can report on what they choose, and so defining journalist is almost impossible.
Technology has given people more power than ever before, but are we using this to empower ourselves?
My personal opinion is that a proper journalist must be a trustworthy individual, someone who puts their own interests aside to report fairly, with well justified facts and information. All information is to some degree partial, and everything does to some extent display bias. As long as an clear attempt at reporting fairly and honestly is made, then I would argue a news article is credible.
The Sun’s headline in the aftermath of the Hillsborough disaster of 1989 made extreme accusations about Liverpool supporters. These reports were proven to be falsifications and lies. The Sun settled for a sensationalist headline instead of reporting on the truth.
One of the most powerful means of swaying public opinion in the last 100 years is the use of propaganda. Such a means is an act of public deception, designed to champion a particular cause or demonize another, ranging from the campaigns of Joseph Goebbels in the 1930s and 1940s to gain mass support for Adolf Hitler’s Nazi Government, to daily influxes of political propaganda videos designed to scare individuals into joining and supporting small often nationalist organisations.
Nazi Propaganda campaigns were designed to gain support for Adolf Hitler and his Government
Far-right extremist group, Britain First, edited and put out a propaganda recruitment film, claiming with no substantiating evidence that Islam ‘will take over the Europe by 2050’, as a result of ‘Islamic Immigration’ into Europe at a rate of 90% (untrue), along with high birth-rates of 8.1 (also untrue). The video is clearly designed to scare ill-informed people to join a violent, racist organisation that does nothing but build further ignorance and intolerance against Islamic people, the overwhelming majority of whom are moderate individuals, putting them in the same category as extremists, who make up less than 1% of the worldwide Muslim population. The leader, Paul Golding, is an ex-member of the notorious British National Party (BNP), who has been convicted of harassment, and arrested numerous times for inciting violence and hate. Golding is a hypocrite, denouncing extremism whilst at the same time a member of an extremist organisation in its own right. The video takes the issue of Islamic Extremist completely out of context using falsification to create fear and incite hate.
Examples like this severely taint the credibility of modern journalism, and are dangerous as they scare ordinary people who don’t know any better.
It is not just small scale extremists who abuse this right of information. Mainstream popular organisations can in some cases be equally as guilty of spreading propaganda and falsification.
For example, the Daily Mail, a politicallyaligned organisation, were seen to vilify the actions of newly elected Labour Leader Jeremy Cobryn for refusing to sing the national anthem at a recent memorial service for British Armed Force Vetrans. An article full of statements such as ‘Veterans today turned on Jeremy Corbyn and called him ‘bigoted and small minded’ after his refusal to sing the national anthem’ and uncomplimentary statements such as ‘Mr Corbyn, who was dressed in non-matching jacket and trousers and had failed to properly button his shirt’, implied that he is a disgraceful, cold-hearted individual who does not respect the service veterans gave to his country. In actual fact, Corbyn’s refusal to sing was based on his anti-monarchist views, and he in fact stated his support for the armed forces, “The heroism of the Royal Air Force in the Battle of Britain is something to which we all owe an enormous debt of gratitude”.
http://www.dailymail.co.uk/
Is this man being demonised for his actions, or for his political views?
Regardless of whether you view Corbyn and right or wrong for what he did, it cannot however be denied that the Daily Mail used this event, and took it out of context to shame a rival of the Conversation Party, as unpatriotic. Is this journalism? or an untrustworthy and biased view of events? I would argue to the extent that this is an abuse of influence and power.
Journalists, and therefore Photojournalists have an moral duty not to deceive or exaggerate. An opinion is acceptable as long as the actual reporting does not reflect this. It is important that people don’t just settle with what they read, watch or view, instead people must interrogate every piece of information given to them to make up their own minds.
In class, we began to watch an episode from the various that were created. The name of the programmer was “The Genius of Photography” and it aired on BBC. From that film I have made the following notes, linked to family. I’ve also incorporated some relevant photographers and their views on ‘family’ photography and the tips they gave.
In the past, photographing the subject of family was described as being a very introspective and subjective topic. However, as it evolved, it began to turn into a more public subject.
Duane Michals, a famous photographer spoke upon some of his ideas in this film. He stated that the person in control should be the photographer. Before, in the olden days, photography used to make people appear perfect and ‘divine’. They were always depicted in a soft and traditionally beautiful manner. However, Michals wanted to rebel against this in his pictures. He aims to create a more interesting and updated way of capturing families. He saw the other past versions as ‘outdated’ and ventured for a more modern outtake. His goal is to encapsulate people in a candid state. Duane wants to see what’s ‘behind the mask’. Also, the picture should reflect the photographers views. Michal’s photograph’s are very different from any of the the older versions, in that, he likes to reflect the people’s inner beauty. He believe’s that it’s more about the beauty of their personality, rather that their physical aesthetics. Duane also states that portraits don’t depict the true side of people. He says he found it easier to photograph celebrities, as they already have a ‘prepackaged’ personality which they transmit to the world. Michals actually photographed Pablo Picasso, which had a great variety of skills, himself. When Picasso arrived to the set, Michals claimed that he started posing in very generic and definite ways. His stances were unnatural and seemed forced. Duane told him to ‘drop his mask’ and after Picasso relaxed, he captured the most amazing portrait. The picture was raw and real. Duane Michal’s work was normally presented in a Tableaux style. Here’s an example:
Duane Michals, Dr. Heisenbergs Magic Mirror of Uncertainty.
Another photographer that appeared in the episode, was Larry Clark. He described himself as an ‘insider’ and not an ‘outsider’. His culture was very different due to the way he grew up, and this impacted the way he viewed things. His work is usually described as a ‘diary’ where he includes a lot of personal and what is called ‘confessional’ work. An example includes:
Larry Clark – self-portrait
Nan Goldin, also works similarly to Clark, with a ‘confessional’ photography style. She mainly focuses on subjects that most people would label as ‘outcast’. Her photographs are on drugs, transvestism and transsexuals, which she refers to as ‘the 3rd gender’. She shows a sense of ‘humanity’ and shows these people as being a part of normality. Goldin says that she always see’s them as their visual gender and doesn’t just see them as ‘a man dressed as a woman’ for example. Nan photographs people over many years and at the end of specific projects she may create a slideshow with music playing in the background. Goldin got her inspiration from film-making, where lots of loops are made. Her pictures, to a professionally trained photographer appear to be amateur. Nevertheless, it’s more about the feelings and emotions, rather than the normal conventions. Her images were Vernacular, which is defined as purely amateur.
Goldin’s body of work is all about relationships between her and or others. She wants to show what it’s like ‘maintaining them’. This project contains a few self-portraits. An especially striking one, is where she’s showing bruises from her abusive boyfriend, In this one, she’s laying in bed next to him. This is what she means when she talked about ‘maintaining relationships’.
Goldin and her boyfriend
Nan said that the fact that she’s ‘present in the moment’ and that photograph’s can ‘hold the moment’, is what motivates her to shoot.
The famously crazy, Japanese photographer Nobuyoshi Araki has become known for his very promiscuous work. He became recognised when he published a book of his honeymoon, that contained sexually explicit images of his new wife. The phenomenon book was published in 1971 and he soon got noticed. Araki usually publishes one new book every month, he’s constantly taking pictures. He stated that ‘my photographs help me to remember’. He also gave a tip on how to show the real side of someone, saying ‘you have to be in the mind-set, that you’re going to reveal the person’s emotions’. Araki said that he can capture the past, present and future of a person. A very interesting debate to look at is Japanese VS American photography. In the image below, his wife had fallen asleep in the foetal position:
Nobuyoshi Araki – sentimental journey – his wife sleeping
Richard Billingham used to do art in University and then suddenly changed to the medium of photography. The reason why he did this, is because his work got discovered by an editor. His art, in fact, was rather appalling. But, what gave him the upper-hand of the situations was that he had an artistic eye. During his art degree, Billingham only started to take pictures so that he’d create more ‘detailed’ art drawings. He quoted that: ‘all photography is exploitive’. He does add though, that ‘you should make them (the pictures) so good, that they over-shadow this’. Richard photographed his family, revealing deep and personal moments in their life. He gave the viewers a ‘backstage pass’ to situations that nobody would normally, ever want anyone to see. His poor surroundings and disfigured environment created a very chaotic ambience. Example:
Richard Billingham
There was a photographer called Sally Mann. She spent her whole motherhood photographing her three children. The main reason why her outcomes were so good, was due to Collaborations. Her kids would have to make the effort and work on their expressions. Essentially, working together with their mum, the photographer.
Sally Mann
Finally, Larry Sultan focuses on souvenir work. His photographs are instrumental. He is the complete opposite to Richard Billingham, in that Sultan grew up in a very lavish lifestyle. Sultan always told his customers ‘don’t smile’. It makes the pictures have a ‘different body’ as he described. He also made a point to say that taking pictures of others, may actually reflect you as a person. It’s like a projection of the photographer onto the people, as they’re controlling the situation.
Standards and ethics are a set of codes that photojournalists should strive to follow. Basically, it discusses the difference between two views: if the cameras being used as a mere tool by the photographer, or if the photographer alters the scene in other ways. To apply to the rules, the photographer must not alter the situation in anyway, expect for his camera. Although, it’s a fact that the camera is always going to give the photographer some level of control.
Recently, an Italian photographer called Giovanni Troilo caused a great amount of controversy when he showcased his photojournalism pictures in a French gallery called ‘Visa Pour L’Image’. He was bashed by the country, as their mayor claimed that Troilo had shown very negative connotations in relation to the place. Unluckily, they also found that Giovanni had broken the code of standards and ethics. He didn’t photograph the situation in a real state and he altered the scenes.
‘Maitre Doberman and Klara la Chienne, his wife, receive guests in a building that at glance appears abandoned.’ – Giovanni Troilo
He was questioned on a very particular image, which showed a car in the darkness. A couple seem to be engaging in sexual relations together in the car. Viewers said that they felt mislead by this portrayal, as the man inside the car was Troilo’s freind. It appeared to be brighter because he’d actually utilized a bright remote controlled flash light.
Giovanni Troilo
Here’s a two links to webpages talking about the ‘Visa Pour L’image’ incident with Giovanni Trioli :
This image was captioned: ‘Philippe lives in one of the most dangerous neighbourhoods in the town.’ But Magnette said the man was in fact a well-known local figure who ran a wine bar. – Giovanni Troilo
This massive incident was what caused many questions to be asked. Such as these, that I found on a Visa Pour L’Image website from above:
‘Who sets the boundaries of what defines photojournalism? What are industry standards when some of the techniques accepted in magazines are generally forbidden in news pages, and when such distinctions are increasingly blurred online? When technology makes it so easy to manipulate images, how much manipulation is acceptable? With viewers more sophisticated and skeptical than ever before, how can photojournalists preserve their integrity and maintain trust?’.
Visitors at the Visa Pour l’Image festival in Perpignan, France, where a searching debate about the ethics of photojournalism is unfolding.
All of these assumptions and queries is what sparked people to really ask themselves about the principles of photojournalism. It caused an uproar and what normally was ignored, was now being discussed. Pierre Terdjman, a French photojournalist described the event, quoting ‘It’s like in big families, when you have a secret history inside the family, and nobody wants to speak about it, and finally one night at dinner, everybody talks about it. That’s what happened’. A little after this controversy, a man from the World Press organisation Amsterdam and his team began to write official and updated codes. They did make sure, however to get as much knowledge from other countries whilst writing them.
The photojournalism of works of the Turkish photographer that I talked about in a previous post, helped to reinforce their Standards and Ethics. She merely used her camera as a form of ‘bearing witness’ and recorded the situation in an un-retouched manner.
An exhibition space at the Visa Pour l’Image festival in Perpignan, France.
Here’s a link to the official World Press Photo website: http://www.worldpressphoto.org/
But World Press were worried that as a consequence to these new changes, that photojournalism could turn into a ‘cliché’. Never the less, the rules have increased in strictness and both at WPP and in the VPL festival have been working to make sure that every picture is a true representation.
Considering what happened with the incident at World Press Photo, I’ll be responding by answering three short questions:
Who sets the boundaries of what defines photojournalism?
According to this article, the director of the World Press Photo Foundation called Jean-François Leroy competed in a heated debate. The debate erupted after the controversy from the festival. Against him, was Lars Boering, which was the managing director of the company. Predictably, the director, Leroy was proud of his success and stood by his decisions. Meanwhile, Mr. Boering, was said to do the following, as stated in the article:
“Lars Boering, the managing director of the World Press Photo Foundation, working hard to restore the contest’s credibility, announced that officials were writing a code of ethics and revising their rules to make clear that staged images would not be permitted”.
2. When technology makes it so easy to manipulate images, how much manipulation is acceptable?
A direct quote made from Jean-François Leroy, on the issue of manipulation is: “World. Press. Photo,” he said. “To make a long story short, maybe they should change their name.” Mr. Leroy said he defined photojournalism as “witnessing the world.” The company has made it crystal clear that absolutely no staged images can be exhibited. As Mr. Leroy stated, the camera should be used as a witness to the situation.
However, a member of the jury called Donald Weber views the subject differently, saying that Leroy’s point was ‘outdated’ and ‘risked becoming cliche’. Instead he stated that photojournalism’s “lost the point that it’s not a language, it’s about reflecting on contemporary society,” He also commented: “The more that we shy away from alternative forms, or other norms or other ways of visualizing the story,” he said, “we’re only killing our own profession.”
When it comes down to it, it’s about being honest. You shouldn’t ‘misrepresent’ anything.
Here’s a link to some interviews with Donald Webber. In them he talks about his judging role in the World Press Photo contest: http://www.worldpressphoto.org/people/donald-weber
3. With viewers more sophisticated and skeptical than ever before, how can photojournalists preserve their integrity and maintain trust?
As Alison Morley, the chairwoman of an NYC photography program says, photojournalists should keep this tip in mind: “If you’re afraid to tell your editor you did something to a photograph, something is wrong.” That way, the photographers will portray the whole truth. Adding to that she says: “They want the list of rules of what is O.K. and what is not, and there is none.” Nowadays the standards of photography are very high and it seems more difficult to impress people. Nevertheless, it’s seen as a misdemeanor to taint the viewers thoughts with false representations. Therefore, as long as photojournalists feel like they are being true to themselves and the scene, then this should preserve their integrity and maintain their trust with everyone around them.
Visitors look at photos at an exhibition of World Press Photo 2012.
The NPPA, which stands for National Press Photographer’s Association has a very different Code of Ethics than these one’s. The NPPA has got very high standards and therefore, their standards are also precise. They are all about depicting the whole truth and say that it’s wrong if a picture is edited or manipulated in any altering way.
You can begin to compare the differences in the code of ethics between the festivals above and the one’s in the NPPA.
I copied that code of ethics that was presented on their website (https://nppa.org/code_of_ethics) and pasted them below:
Standards in their daily work:
Be accurate and comprehensive in the representation of subjects.
Resist being manipulated by staged photo opportunities.
Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one’s own biases in the work.
Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.
While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.
Editing should maintain the integrity of the photographic images’ content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
Do not pay sources or subjects or reward them materially for information or participation.
Do not accept gifts, favors, or compensation from those who might seek to influence coverage.
Do not intentionally sabotage the efforts of other journalists.
Ideally, visual journalists should:
Strive to ensure that the public’s business is conducted in public. Defend the rights of access for all journalists.
Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and presentation. Work with a voracious appetite for current events and contemporary visual media.
Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities, seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view.
Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one’s own journalistic independence.
Strive to be unobtrusive and humble in dealing with subjects.
Respect the integrity of the photographic moment.
Strive by example and influence to maintain the spirit and high standards expressed in this code. When confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the highest standards of the profession. Visual journalists should continuously study their craft and the ethics that guide it.
Photojournalism is a sub genre of documentary photography. In fact, it’s very similar to it. However there are some differences, which significantly distinguish it. Here are some of those:
Documentary photography looks at a situation over a certain period of time, essentially capturing the real components of life. Meanwhile, photojournalism normally consists of one image which doesn’t show any sort of journey.
Photojournalism is usually displayed in ‘pop culture’ sources, for example in magazine and also in newspapers. The majority of the time, these pictures are placed in magazines, with absolutely no context to the actual subject. This alters the viewers perception of the truth. Photojournalists normally have a dedicated time limit and in result may not produce images that depict the truth about a subject. Most of the time the audience is left to come to a decision, with little proof of it. Documentary, on the other hand, is normally issued in books. Photographers of this sort have a much larger time restraint. They are free to discover ever-growing situations which occur daily. To sum it up, photojournalism images are meant for ‘quick consumption’, whilst documentary images show more and are harder to understand. Here are some examples both of their presentation styles:
Greenland Avenue Magazine 1970 Ed van der Elsken Photojournalism Photography.American documentary photography in the 1930s.
Although photojournalism is for quick consumption, it can also affect many people. For example, if an article about cricket is posted, where a specific team wins, the fans of that team may be very interested by it. Here are some great examples of this that still have a impact on people today:
Kennedy’s Assassination.
This image was taken at the moment when Kennedy was assassinated. You can see the sheer chaos and drama that’s going on around him. The lady beside him is seen scramming out of the car in shock. In itself, this photograph is very powerful and has changed many people’s thoughts and perceptions on the case.
Kevin Carter – child being stalked by a vulture
Again, this image was extremely controversial. Nobody really knows exactly what the outcome of this picture was, although Clarke does provide an explanation. Some people bashed the photographer, calling him out for his inhumane ethics, suggesting that he should have helped the starving child out. Anyway, this has had and still has a massive impact on our society. It shows the horrible truth on world problems and how children are becoming over-struck by famine. The small child is pictured curling up in a ball, as he struggles to crawl to the nearest food centre. The fact that the vulture is stalking her, has a very serene feeling to it. It almost looks like the bird views the venerable girl as prey. Also, audiences worldwide noted how defenceless the child was. The hunting bird was probably waiting for the child to die, before it could recklessly attack. Kevin Carter took this picture in 1993 and the title of the photojournalism piece was ‘The Vulture and the Little Girl”. Personally, I find this quite disturbing. Unfortunately, Clarke ended up becoming over-come with depression, which led him to suicide. I believe that the grief he got from viewers. relating to this image, is what caused it. What happened that day in Sudan is explained in this quote:
“The parents of the children were busy taking food from the plane, so they had left their children only briefly while they collected the food. This was the situation for the girl in the photo taken by Carter. A vulture landed behind the girl. To get the two in focus, Carter approached the scene very slowly so as not to scare the vulture away and took a photo from approximately 10 meters. He took a few more photos before chasing the bird away.”
Here are some more examples of photojournalism:
A six-month photo essay on Texas Sheriffs along the treacherous US/Mexico border.GAIBANDAH, BANGLADESH-AUGUST 2008: Vulnerable farmers on flood damaged islands work to clear rice fields damaged by annual floods which destroy crops and homes amongst the poor on a yearly basis, Gaibandah, Bangladesh, 2 August 2008.
To conclude, Photojournalism is a sub-genre of Documentary photography. Although the pictures end up looking very similar they have multiple differences. For instance: the presentations style, the meaning, the interpretations, the audiences and process.
Photojournalism is a particular form of journalism which involves collecting and editing news material for a news publication. Photojournalism uses photographs in order to tell a story, it’s different to other types of photography such as documentary and street photography because of it’s rigid ethics which demands that the photos are honest and impartial and are only telling the story in journalistic terms. The objective of photojournalism is to have images which are a fair representation of events of situations. Illustrating news story’s with photographs began in the mid 19th century in The Times newspaper of Lord Horatio Nelson’s funeral. The first newspaper with weekly illustrations was the Illustrated London News.
Street photography
Street photography is photography that shows human conditions within public places, however it doesn’t necessary have to include a street in it or an urban photography although this is very common. Timing and framing can be important aspects of street photography as some photographer aim to capture of decisive moments. On the other hand some street photographers focus on the human character, recording their history and their emotions. Street photography expanded in the late 19th century with the emerge of portable cameras. Eugene Atget is regarded as the ‘father’ of this genre, not because he was the first of his kind, but due to his popularity as a Parisian street photographer.
Ugne Henriko is a photographer i have chosen to study due to her project called “mother and daughter”. The whole project on her website is linked here – http://ugnehenriko.co.uk/mother-and-daughter
Ugnes project “Mother and daughter” has inspired me due to the shock i had after looking at the photographs and coming to terms with the insane similarities between them. This project explores a relationship between her mother and herself. Through genetic and characteristic similarities she trying to look into the general idea of being a copy of somebody else. To achieve this she has recreated her mother’s old photographs with herself in them, as a reflection of her. Henrikos aim is not only to show how much they look alike: she is trying to observe what is similar and what is different between two generations.
Children play around an impromptu bonfire in The Fountain, a Loyalist housing estate in Londonderry, Northern Ireland on Aug. 11, 1989.
In the last few blog posts I have spoken in some detail about Photojournalism. Photojournalism is a specific type of photography whereby the photographer records real-life events as they happen, usually to be published in a newspaper or magazine article.
The genre of photojournalism is separate from many other forms of photography as it is very restricted in the type of photographs that can be made, due to the fact that the photographer’s objective is to truthfully display their account of the world, without any deception or falsification. Photojournalist are expected to report on the world in a very distant and objective manner, producing work that is impartial and of no emotional attachment. This can be a problem for many photographers, who are often inclined to immerse themselves deeply in their subject matter, valuing creativity and interpretation over absolute realism. As a result, the work that photojournalists produce is under constant scrutiny and pressure by the world of journalism, and their have been many cases recently such as the World Press Photo controversy, in which prize winner Giovanni Tripoli was striped from his prize as it transpired he had staged and falsified some of his photographs. These issues have opened new question of the meaning and purpose of photojournalism.
Photojournalism is a very general meaning and relates to any type of photography which conveys and real-life news story and narrative. Because of this, it is seen as a genre in itself, treated as an umbrella category of various other forms of documentary photography including; War and Street Photography.
Henri Cartier-Bresson is viewed by many to be the master of modern photojournalism. He specialized in Street Photography and helped to popularize the genre of candid photographs.
This photograph was taken during the Vietnam war by Phillip Jones. His goal was to ” take photographs in a digestible way”. The photograph has both a foreground, mid ground a background, almost if the photograph could be split into three different scenes. The viewers eye is immediately drawn to the solider and the woman in the foreground as the point of interest. I think this part of the photograph shows compassion between two people who have completely different ‘roles’ within the war. In the midground we can see two people running away although we can’t tell what they’re running from. In the background what looks like an explosion. I think this makes the photograph more interesting and adds more depth and detail to it. I think that the fact that the photograph is in black and white makes it more ‘raw’ as we often associate black and white photographs to more serious documentary telling. Overall I think that this photograph is powerful as could spark intrigue and concern about what is going on.
