Monday, May 12, 2014

Chapter Eleven- In Conclusion


In Conclusion...

Assuming the role of an historian and studying history through a photojournalistic lens has taught me many things. I have discovered that the definition of photojournalism outlined in the introduction as found in the Merriam- Webster Dictionary Online as, “the job or activity of using photographs to report news stories in magazines or newspapers” is only part of the overall picture of photojournalism. The above definition makes photojournalism seem so “black and white”, and boring. I have come to discover that photojournalism is anything but the “black and white” reporting of events.
Photo by: Mark Peterson
Source: Redux Reps
Photojournalism is alive and electric, as in the photographs of Mark Peterson. Photojournalism is art, like the photographs of Henri Cartier-Bresson.
Photo by: Henri Cartier- Bresson
Source: Eric Kim Street Photography
 Photojournalism is emotion, imagination, hurt, heartbreak and devastation, the reporting of facts, biased perceptions, ever changing, and most importantly, the pulse of our modern human culture. It is important to know the history of photojournalism when examining and deconstructing events. Knowing the history helps us to make sense of present photojournalistic trends and patterns. Furthermore, by knowing where the field of photojournalism has been, we can gain a greater appreciation for where the field is today, both in terms of style and technology.

 There were many times during the examination of images that I made astounding connections to background knowledge that I had forgotten that I had even known. For example, while working on the chapter on Ethics and examining photographs from the Civil War, I was able to recall facts and relate the photographs to prior knowledge.
Photo by: Matthew Brady
Source:Unica Multimedia
One big "ah ha" moment that I had was when we began to examine photographs and photojournalists that had more artistic styles, and weren't simply reporting on conflicts, issues, ans news. I had never realized that the lines of photojournalism were blurred with other forms of photography, such as fashion, art, and nature photography. Although looking back now, it seems fairly obvious to me!

Photo by: NASA
Source: NASA
 It’s still my belief that photographs change the world. They can either change the world on a large scale, and possible cause social change, or they can change the world on a small scale, perhaps the world of an individual. The photograph on the left of the astronaut on the Moon certainly helped to change the spirit of our country. Photographs have the power to educate and to cause us to question our beliefs and motivations. Images have the ability to impact us powerfully on a visceral level based on our own personal experiences, backgrounds and beliefs.

 The creative experiential exercise that we conducted helped to synthesize the course content. Taking on the role of photojournalist and photographing Mother’s Day festivities at a busy local restaurant provided me with a better understanding of photojournalism.
Patrons wait in a long line at Woodman's of Essex on
Mother's Day 2014
Image by: Michelle Travers
Thinking about what moments were important, and what moments were essential to the accurate portrayal of the photo essay I sought to create. There were ethical considerations to take when I almost told the owner of the restaurant that I would not post her picture on the internet, which was really the point of taking the picture in the first place. However, she was a reluctant subject, so in the end I decided not to post her picture to this blog. Having decided to take it easy on the equipment (A.K.A. the “good camera”, or the DSLR) and since I also had my three year old in tow; I decided to use the technology on my iPhone to take photographs. After returning home and reviewing the photographs however, I wished that I did have my Nikon. While some of the photographs I took came out well, there were some that could have been nice if I had had a camera with a faster shutter speed so they wouldn't be blurry. There was one in particular which would have been a great photograph, however because of the bright sunny conditions I could not see that the sun had created a glare effect. I decided to post this picture to Instagram and use some of the funky filters to see what kind of interesting effects I could create.
Instagram Experiment
Image by: Michelle Travers
I saw first hand how technology impacts photojournalism. Some of the photographs I took would not have been possible to take with the earliest photographic technologies such as the Wet Plate Collodion process. While reviewing the photographs from the event I began to better understand how bias played into the photographs I chose to take and to put in the “keep pile”, so to speak. I have been attending this event for countless years and have many fond memories as well as preconceived notions of what makes this event as charming as it is. I had the great fortune of having the owner of this family restaurant invite me into the family home, which is not open to the public for a quick tour and oral history. She let me take photographs inside this beautiful old home and explained the importance of some of the artifacts that could be found there.
Inside the Woodman's home
Photo by: Michelle Travers


I was grateful and excited by what I had seen and learned, however in looking at all the photographs from the day, the ones from inside the house just didn’t fit, and I would make the creative decision not to include them in the final photo essay if I were to create one. Really, they are worthy of their own project. The photographs I took during the creative experiential exercise will not change the world on a large scale, but they changed mine, if only for a moment.



The following are selected images from the Creative Experiential Exercise.
Photo by: Michelle Travers


Photo by: Michelle Travers
Photo by: Michelle Travers

Photo by: Michelle Travers

What's more American than Fried Clams?
Photo by: Michelle Travers

Photo by: Michelle Travers

Photo by: Michelle Travers

Photo by: Michelle Travers

Photo by: Michelle Travers

Friday, April 18, 2014

Chapter Nine- Motivation

This chapter will explore motivation. Below are brief profiles of three photojournalists and what motivates them.


Camille Lepage
Photo by: Camille Lepage
Image Source:petapixel

Camille Lepage is a French photographer living in South Sudan. She began her career as a journalist, but soon realized that she spent more time taking pictures for her stories than writing them. Her motivation lies in taking photographs of issues that aren’t covered in by mainstream media. She stated, “I also realized what the media agenda was, and how so many serious stories were missing from the headlines simply because they don’t fit within that agenda, or the advertising company’s interests. I can’t accept that people’s tragedies are silenced simply because no one can make money out of them. I decided to do it myself, and bring some light to them no matter what (1).” Her photographs appear in books and at exhibitions, and she is hopeful that someday she can help to create an interest in issues that aren’t already part of the mainstream media. “What’s truly frustrating is that the media is indeed not interested! I was secretly hoping to make things change, but quickly realized it’s going to take longer than I thought. I sincerely hope that once the stories are complete, it would be easier to get them out, if not through media, through books, or perhaps exhibitions (1).”
Photo by: Camille Lepage
Image Source: http://petapixel.com/2013/10/22/hidden-world-south-sudan-interview-photojournalist-camille-lepage/

____________________________________________________________________________________________

Joel Sartore
Photo by: Joel Sartore
Image Source:http://www.joelsartore.com/about-joel/

Joel Sartore is a photojournalist that has contributed to National Geographic for twenty years. He photographs endangered species and landscapes. His motivation lies in his love of nature and his passion for environmental conservation.  He works and takes beautiful photographs in order to help people see that we have a world worth saving. He states, ““It is folly to think that we can destroy one species and ecosystem after another and not affect humanity.  When we save species, we’re actually saving ourselves (2).”


Photo by: Joel Sartore
Image Source: http://photography.nationalgeographic.com/photography/photographers/photographer-joel-sartore/
___________________________________________________________________________________________
Chris Rainer
Photo by: Unknown
Image Source: http://www.the-eg.com/presenters/chris-rainier

Chris Rainer is another photojournalist who has contributed images to National Geographic. His motivation and “life mission is to put on film both the remaining natural wilderness and indigenous cultures around the globe and to use images to create social change (3).” He is also involved in researching and preserving the world’s endangered languages. He sees himself as “a story teller that uses a camera”, and uses his visual stories to create a record of the present in order to save it for the enjoyment of future generations (3).


Photo by: Chris Rainer
Image Source: http://mission-blue.org/2013/04/photographer-chris-rainier-at-explorers-club-april-8/

________________________________________________________________________________

So, what motivates me?


The images above represent what motivates me, both in life in general, and in my photographic endeavors. First and foremost, my family, then faith, love of nature and country, leisure time, fitness and humor (beware the Christmas werewolf!). My motivations are similar to the photographers above because they are things that are important to me and I want to share them with the people in my little world. This is in contrast to the photographers above because they are seeking to create changes on a large scale by using the photojournalism platform to share their motivations and passions.


Sources:

Friday, April 11, 2014

Chapter Eight- Photojournalism and Bias


Photo by: Ed Clark
Image Source:http://www.thegreatleapsideways.com/?p=209
When I first saw the image above I was immediately struck by how beautiful and authentic it was. The look of anguish on the man's face made me want to crawl into the picture and give him a hug. I had no background information to help me interpret this image so I went searching. The man in the photograph is Chief Petty Officer Graham Jackson. He is playing a song called "Goin' Home" on the accordion as the funeral procession of President Franklin D. Roosevelt is passing by (1). I wondered if this photograph was somehow meant to by symbolic of  something greater. After more research I discovered that CPO Jackson had played this song for Roosevelt at his home, which was affectionately referred to as "The Little White House". In fact, it has been said that the two men had a relationship that some might call a friendship (2). Given this information, I surmise that this image depicts a man, heartbroken, and mourning the loss of someone he considered a friend. I truth  I found that made this image all the more beautiful.

Photo by: Tim Dirven
Image Source: http://www.panos.co.uk/blog/?p=10286
The photograph above of the girl milking the goat represents the truth. I know this by using the sense perception and the language/ authority Ways of Knowing . I know that the girl is living in a refugee camp because there was a story about it on the image source website. Knowing that she is living in a refugee camp helped me to be able to figure out that the image represents the truth because I can see and perceive certain details from examining the photograph. For example she is putting the goat milk into a container that looks dirty and makeshift, not a clean cup. I can also see that the child that is visible on the right behind her head appears to be dirty and looks to be sitting on a blanket on the dirt, leading me to believe the children may be living a significant portion of their lives outside. Tim Dirven is a Belgian photographer (3), therefore he is taking the perspective of an outsider (Module 11). This leads me to wonder if this truth would be different if photographed by a native photographer. My instinct is to say that the girl in the photograph is depicted doing something that is common to daily life at the camp, and is necessary for survival, therefore the perspective of a so-called insider to the culture may not be terribly different in this situation.

Photo by: Alfred Eisenstaedt
I know that the above photograph depicting a sailor kissing a nurst on V-J Day in Times Square, in august of 1945 does not represent the truth by using the language/ authority Way of Knowing. To me, this is an example of Yellow Journalism because it is a sensationalized issue that is not what it seems. At first glance it might be  thought that this was a passionate embrace by two willing individuals who probably knew each other, but may not be the case (4). There was much debate about this photo, and the identities of the people shown. Perhaps Mr. Eisenstaedt should have stopped and asked for their names, as was discussed in the ethics module.

Photograph Analysis:

Photo 1: CPO Graham Jackson, "Goin' Home"
Principle 1: Rule of Thirds-The subject is off center and mainly placed in the left third of the frame.
Principle 2: Subject's Expression- The subject's expression in this photograph is what makes the whole photograph so powerful. The look of despair on CPO Jackson's face is heartbreaking.
Principle 3: Obvious Main Subject- The subject is obvious and takes up the main parts of the frame.

Photo 2: Refugee Girl Milking a Goat
Principle 1: Use of lines- The eye is drawn in circles from the goat's leg on the left up and over (clockwise) towards the girl's eye. The hand that is milking the goat mimics this circular shape and gives the flow of the photograph even more power.
Principle 2: Contrast- The contrast is pretty high in this image, but I feel that it makes the subject "pop" or stand out. I think the high contrast is very effective in highlighting the importance of the main subject in this image.
Principle 3: Texture- The texture of the fur on the goat as well as the dirt on the girl's hand and in her hair give this photograph a feeling of truth. Where this child lives is dirty, and the evident textures help to illustrate that.

Photo 3: V-J Day Kiss
Principle 1: Image Feeling- The image conjures feelings of jubilation and romance at first glance, but once the true story behind the image is realized, it feels a little gross, since they are strangers...I think they need some mouthwash...germs. Yuck, but beautiful if you don't know what you are looking at.
Principle 2: Depth of Field- The depth of field allows the viewer to see the context of the photograph without taking away from the main subject.
Principle 3: Quality of Light- The light is okay. It could be more interesting, but you have to take what you've got when at an event like that!

Wednesday, April 9, 2014

Chapter Seven- The Ethics of Photojournalism

Personal Ethics Map
Ethics and Photojournalism
Photo by: Paul Hansen
Source: http://prisonphotography.org/2010/03/16/photographing-fabienne-part-seven-interview-with-paul-hansen/
The photograph above portrays 15 year old Fabienne Cherisma after she has been shot to death by Hatian police for looting after the 2010 earthquake. Paul Hansen won the Newspaper Photographer of the Year award in Sweden for this image. It is considered controversial because it depicts a young girl moments after death. In reading news stories about other photojournalists that were on the scene, there was no question in their minds that this situation should be reported on (http://prisonphotography.org/2010/03/18/part-eight-reporting-fabienne-interview-with-michael-winiarski/). In an interview Paul Hansen has said, "The more attention Haiti gets, the better. Fabienne’s death is to me an unnecessary tragedy  – on top of the larger tragedy. If the security would have been in place, an earthquake survivor like Fabienne and many more would be alive. I photographed several people killed by the mob/police/security personnel. The death of this little girl, killed over some decorative trinkets, saddens me deeply and affects me to this day. I frequently talk about her with readers, colleagues and friends. I will never forget that horrible day (http://prisonphotography.org/2010/03/16/photographing-fabienne-part-seven-interview-with-paul-hansen/)." As the photograph below shows, photojournalists flocked to the scene and were seemingly discussing which angle would best suit their photographs.
Photo by: Nathan Weber
Source: http://erickimphotography.com/blog/2011/04/07/is-this-photo-ethical/
Further controversy over this situation occurred when an image appeared in the Guardian that showed a different perspective. The body seems to have been manipulated to create a more artistic photograph. 

Photo by: Carlos Garcia Rawlins
Source: http://erickimphotography.com/blog/2011/04/07/is-this-photo-ethical/


There have been suggestions that the body was moved by looters, or family, and not photographers, but there does not seem to be much evidence for any of these specific scenarios (http://erickimphotography.com/blog/2011/04/07/is-this-photo-ethical/). 

The situation above is very sad. A fifteen year old girl survived a devastating earthquake to be shot dead by police for looting something as trivial as decorative wall hangings. The photojournalists had a job to report on what happened and to be objective. In this case, the girl was dead, there was nothing that could have been done to help her. It would have been a different story if they stood around and photographed her while she was dying without trying to help her. Had I been in that situation, I would have taken the photograph. I struggle with this decision, as I often feel that photojournalists exploit subjects by photographing them in what might be the worst, or last moments of their lives. To be honest, as long as the photographer is unobtrusive, the taking of the photograph is less bothersome to me than the photograph being sold and published. It's important for the public to see accurate representations of events, and I believe in this situation, the photograph drew world wide attention to the plight of the earthquake victims in Haiti. 

In terms of the possible manipulation of the photograph, I can't say for certain what I believe happened. All of the scenarios I have read about seem equally plausible to me. I do not believe that it would have been necessary for a photographer to alter the position of the body to create a better shot, however that does not mean that it didn't happen, as it has frequently since Civil War times. 


Friday, March 28, 2014

Chapter Six- Women Photojournalists: Trials and Triumphs


In 1791, Alexander Hamilton wrote the Report on Manufacturers, giving suggestions on how to develop the industries of the United States. One of his recommendations was to capitalize on women and children as a source of inexpensive labor.1 Then, in the 1820’s, women were hired to work in the textile mills of New England. These young women were hired from farms, and paid far less than men, because it was presumed that they would only work a few years until they were married.1


Photo by: Anonymous Lowell Mill Worker
Year: 1926
Source: http://thebeachsideresident.com/2010/04/lowell-mill-girls-get-organized/

Like in many other professions throughout the subsequent years, females have faced an uphill battle in the field of photojournalism. Margaret Bourke-White was a photojournalist during World War II. She was unique during this time because there were few women war photographers.  In fact, she was the first woman to fly with a combat crew over enemy soil.  Bourke-White was born in 1904. When she graduated from Cornell University in 1927, she specialized in architectural and industrial photography. Bourke-White worked for Life Magazine for 21 years and even had her own secretary and office, which was unusual for a photographer, let alone a female photographer. The photographs that she took during World War II had to be submitted to censors; however this was the case of all photographs taken then.2
Photo by: Margaret Bourke-White
Year: 1943
Source:http://www.faspe.info/journalism2013/?p=992

Some of the trials she faced seem silly today.  It took 5 days for it to be determined in Washington, D.C. that women would wear what men wore into war, with the addition of a skirt. She also packed an evening gown in case she had the chance to dance with soldiers, which seems a little ridiculous, but those were different times. She was given a derogatory nickname by the soldiers, “Crisco-puss”, because she was known to use face cream while in the trenches.2
Photo by: Margaret Bourke-White
Year: 1942
Source: http://www.cyclelicio.us/2013/world-war-2-bomber-crews-biked-to-work/

Bourke-White faced many of the same challenges that male photojournalists did. For example, both male and female photojournalists had to carry hundreds of pounds of equipment; a feat that was not either for members of either gender.  Transportation to the front lines was also a major obstacle for both genders. The difference was that male photojournalists were repeatedly given seats on planes and trucks before females.2

Image Assessments:

Image 1: Textile Mill Workers

Principle 1: Expression- The expressions on the subjects faces tell a story in this photograph. The mill workers look tired, and in some cases unhappy. Mills were difficult places to work, and women worked long hours. This photograph accurately represents the reality of working in a textile mill.

Principle 2: Main Subject- The main subject is obvious. This is a photograph that documents mill workers. There is nothing in the photograph that distracts from this.

Principle 3: Focus- The focus in this image is slightly soft. There may be too much light. It is also possible that it looks this way because of the more crude photographic technology of the time.

I chose this photograph because I felt that it represented the actual people that worked in the mill. If you look at the faces of the women, and the men in the photograph you get a feeling for the mood of the working environment. I suppose the other explanation for the sullen expressions on their faces was a long exposure time. Either way, I feel that this photograph is a good representation of the life of textile mill workers.

Image 2: Margaret Bourke-White Self Portrait

Principle 1: Background- The background of this photograph does not detract from the subject. The airplane also provides context.

Principle 2: Contrast- The contrast seems appropriate for the image, however it would be interesting to see what the image looks like with the contrast increased a little. There seems to be a lot of grey and no real white.

Principle 3: Rule of Thirds- The main subject is slightly off center and the photograph is divided vertically into thirds. When divided into thirds, Bourke-White takes up part of the first two thirds, and the plane takes up part of the second two thirds. There is a balance.

I chose this image because I like how Bourke-White looks larger than life. The angle at which she takes the self-portrait is interesting and makes her a towering subject. I also like the uniform that she is wearing, and the fact that she is holding a camera. This was self-portrait was obviously well thought out.

Image 3: Bomber and Bikers

Principle 1: Color vs. Black and White- The colors of this photograph give it a dream like quality. Color photography during World War II was not the standard at the time, as newspapers and magazines usually preferred black and white for printing images. The photographs from this time period that are in color have a special quality to them that make them endearing.
Principle 2: Quality of Light- The light in this photograph enhances the image. It seems as though the sun is shining in through the left side of the photograph, highlighting the plane and the puffy, white clouds.
Principle 3: Use of Lines- The angle of the plane draws the eye into the image from the left and along to the cyclists on the right. This gives the photograph a flow and keeps it interesting.

I chose this photograph because of the combination of colors and the overall flow of the image. I love photographs from this era, especially of airplanes. It was interesting to me that both of Bourke-White's photographs that I have used on this page seem to have similar compositions, with two main subjects, each taking up part of the first two thirds, then the other taking up the other two thirds.

Resources:
1) http://www.thelaborsite.com/women1.cfm
2) http://history.scout.com/articles/articletype/articleview/articleid/67/ladies-behind-the-lens



Thursday, March 20, 2014

Chapter Five- Photographic Technology Timeline



Timeline of Photographic Technology


Click on the images below to enlarge.


1840 
The first American patent in photography was issued to Alexander Wolcott for his camera.


Photo by: Khanh Hmoong


 In 1840, Alexander Wolcott, a dentist and machinist, was issues the first American patent in photography for his camera. The camera was called a Daguerreotype mirror camera. This camera did not have a lens and was primarily used for portraiture. This technology reduced the exposure time from 30 minutes to 5 minutes (1). This helped photojournalists to be more efficient. They would need to spend less time letting images expose, therefore freeing up time to take more photographs. With this type of camera the subject would have to be still in order for the image to be clear and not blurry. It is much easier for subjects to sit still for 5 minutes vs. 30 minutes. Also, because of the nature of the camera and the longer exposure time of 5 minutes, photographers could not photograph motion.



1851 
The wet plate collodion process was invented by Frederick Scott Archer.
Photo by: FunGags


Frederrick Scott Archer invented the wet collodion process in 1851. In this process a glass plate is coated with a wet solution of odized collodion before being exposed to the image. This method of capturing images was revolutionary because it produces a negative with fine details and the ability to be reproduced multiple times, all while using less exposure time than previous methods. This would have changed the field of photojournalism because the images that were produced were able to be produced multiple times and be spread to multiple sources. The fine detail that was presented in the pictured could enhance the subject matter and let the photojournalist's talents shine through (2).




1865 
Photographs and photographic negatives are protected under copyright.
Photo by: Pixabay



"In simple terms, copyright for photographers means owning property. With ownership, you get certain exclusive rights to that property. For photographic copyrights, the ownership rights include:
(1) to reproduce the photograph;
(2) to prepare derivative works based upon the photograph;
(3) to distribute copies of the photograph to the public by sale or other transfer of ownership, or by rental, lease, or lending;
(4) to display the photograph publicly"(9)


When photographs and photographic images became protected under copyright laws it gave photojournalists more rights. Newspapers and other publications could no longer take photographs and use them as they pleased. Photographers now had to grant permission, and/or transfer ownership of images. This helped to support photojournalism as a profession and helped photojournalists to be able to make a living. Photojournalists and publication companies had more formal business relationships because of copyright laws.






1871 
Maddox invents the dry plate collodion process.
Photo by: Erin Singleton


The silver gelatin dry plate process is much more efficient than the wet plate collodion process. The emulsion if put onto glass plates and allowed to dry. It is portable and does not need to be developed immediately, unlike wet plate collodion. This made the life of a photojournalist much easier. Photojournalists no longer needed to travel with wagons full of portable darkroom equipment in order to develop the plates immediately (3).



1884 
George Eastman invented paper based film.
Photo by: Jordan Toggle


George Eastman invented a paper based film that was on a roll and could be advanced through a camera manually by photographers rather than using individual plates. Even though the images that this paper film produced were lower quality it was still an invention that advanced photography and photojournalism. Paper based rolls of film were easier to carry and less cumbersome for photojournalists to use, releasing them from the restrictions of glass plates (4).






1913
 The first 35mm still camera was sold.
 
Photo by: Max Bertacchi


This camera, called the Tourist Multiple, was the first commercially produced 35mm camera to be marketed to the masses. It contained a roll of paper film that could create about 750 half frame exposures (5). This invention allowed photojournalists to take along a camera that was small and more compact. It was also readily available to the average citizen.


1963 
Polaroid makes instant color film.
Photo by: Red Fox Press

Polaroid instant color film developed within approximately five minutes after exposure. This is compared to other methods of developing photographs which took a minimum of an hour at the time (6). Professionals liked to use this film because of the instant results. The instant results helped to further the field of photojournalism and could have been used to shorten deadlines or report breaking news.

1978
 Konica introduces the first point and shoot auto-focus camera.

Photo by: The Camera Evolution

Konica introduced the first point and shoot, auto-focus camera in 1978. The auto focus feature on this camera helped photojournalists to be able to capture images without having to worry about manually focusing their images. One has to wonder how accurate this technology was the first time around, and if it helped photojournalists, or if there were missed shots due to a lack of precision in the auto-focus technology.


1984 
Canon makes the first digital, electronic still camera.
Photo by: Canon

This is one of the first attempts at a camera with an on board computer. This system has both auto-focus and manual focus capabilities. This was the beginning of the digital age of cameras. Digital technology has changed photojournalism and made the job of a photojournalist easier in some ways. There is no need to bother with film when images are recorded onto an embedded microcomputer. Images are stored in the camera and do not need to be developed. The turn around time on producing images is greatly reduced (7).



1991 
The Kodak Professional Digital Camera System is launched and marketed to photojournalists.
Photo by: James McGarvey

"The KODAK Professional Digital Camera DCS-100 System is a portable system consists of a camera back and camera winder fitted to an unmodified Nikon F3 camera, and a separate digital storage unit (DSU) that connects to the camera winder via an interconnect cable."(8) This camera system was marketed to professional photographers and photojournalists. The digital storage unit which was like a mini computer with memory for storing images allowed photojournalists to take more photographs and store them in larger quantities in a digital format.



1995 
The Vancouver Sun becomes the first newspaper to convert to all digital photography.
Photo by: Charles Apple

Vancouver Sun made news of it's own by switching to an all digital format for it's photography in 1995. This has an impact on photojournalists and photojournalism by setting a standard that would guide the industry toward the exclusive use of digital photography. Over the coming years photojournalists would have no choice but to switch from a traditional print format to a digital format if they wanted to keep working and have their photographs published.



2000 
Samsung integrates the telephone and the digital camera to create the first camera-phone.
Photo by: Simon Hill

With the rising interest in cellular telephones, Samsung integrated a camera into some of it's phones. Many people began carrying cell phones with them regularly and the camera was a welcome addition to consumers. Professionals and casual photographers could have a camera in their pocket at all times. The quality of these first digital cameras was not nearly as good as taking a photograph with a regular camera, however this invention paved the road for today's more advanced technology such as the iPhone. During certain recent events, such as Hurricane Sandy, photojournalists were instructed by their editors to used only their iPhones to take photographs of the damage left in Sandy's wake.




2006 
Nikon stops making most film cameras.
Photo by: Woodysee
Photo by: Nikon

In 2006 Nikon, one of the largest manufacturers of cameras stopped making most of it's film cameras in order to focus on the production of digital cameras. Digital was now the preferred format of most photojournalists and publications. The advantages of digital are astounding. The quality of the images matches, if not exceeds the quality of traditional prints from film. The ability to quickly upload images and send them to an editor or publication has helped to make publication deadlines much shorter and help to spread up to the minute breaking news stories and eyewitness accounts of events.



Resources:














Friday, February 28, 2014

Chapter Four- Working in the Digital Age

Photo by: Matthew Brady

Pre-digital and digital technologies in photography are similar and different in many ways.  First, let’s state the obvious, the end result of both is an image that is worthy of being published.  Traditionally, photojournalists have traveled with mounds of big and bulky equipment. In the days when Matthew Brady was photographing scenes from the Civil War, photojournalists would travel with a wagon or van full of equipment. The “van” would carry all the necessary equipment to create, develop, and print a photograph. As the article, “Photojournalist or Pack Mule: A look back at the good old days of wire service photography” illustrates, as recently as the 1990’s photojournalists were still schlepping immense amounts of equipment into the field.  The article states, “One of the most important job requirements 16 years ago was a strong back. The ability to lift and travel with case after case of equipment, often weighing around 80 pounds each was a necessity.”1

With the increase in digital and wireless technology, it is no longer necessary for photojournalists to travel with as much equipment. Wireless transmitters and Wi-Fi enabled DSLR’s enable photojournalists to transmit their images directly onto their computers, and often directly to their editors. There is no longer a need to carry the equipment necessary for developing, printing, and transmitting prints via analogue methods such as the Drum Print transmitter. 1 Another benefit of wireless transmitters and Wi-Fi enabled DSLR’s is the shortened time between when the image is taken with the camera and when it is available to be edited and published.  It is much easier to meet deadlines with wireless transmitters and Wi-Fi enabled DSLR’s, and there is no need to use a carrier pigeon (etc…) to deliver images from remote locations.



Photo by: Lt EG Malindine


The Benjamin Lowy image that was taken on an iPhone and “Instagrammed” during  the aftermath of Hurricane Sandy for Time Magazine resembled a photograph by Henri Cartier-Bresson that was taken in 1932 of a man jumping over a puddle. One stark contrast that I see between the two photographs is that the iPhone photo by Lowry is more sharp and in focus, whereas the Cartier-Bresson photograph is blurry overall. I hypothesize that this could be because of the increase in camera technology and the ability of the digital camera to better capture and freeze motion. The use of the Instagram filter in the Lowy image enhanced the color and the mood of the image.



Photo by: Benjamin Lowy

Photo by: HEnri Cartier-Bresson


Resources: