Assignment 5: Virtual essay

Henri  Cartier-Bression
"Henri Cartier-Bression  in Chanteloup-en-Brie, Seine-et-Marine, France on August 22, 1908. Henri was the oldest of five children. His father was a wealthy textile manufacturer. His mother's family were cotton merchants and landowners from Normandy, where Henri spent part of his childhood. As a young boy, Henri owned a Box Brownie camera, using it for taking holiday snapshots. He later experimented with a 3x4 inch view camera. His rigorous theoretical training would later help him to confront and resolve problems of artistic form and composition into photography. in  the 1920s schools of photographic realism were popping up throughout Europe, but each had a different view on the direction photography should take. The photography revolution had begun:  "Crush tradition! Photograph things as they are!"  Henri matured artistically in this stormy cultural and political environment. He was aware of the concepts and theories mentioned, but could not find a way of expressing this imaginatively in his paintings. He was very frustrated with his experiments and subsequently destroyed the majority of his early works."   (para.1)

 "He became inspired by a 1930 photograph by Hungarian photojournalist Martin Munkacsi showing three naked young African boys, caught in near-silhouette, running into the surf of Lake Tanganyika. Titled Three Boys at Lake Tanganyika this captured the freedom, grace and spontaneity of their movement and their joy at being alive."  (Para. 5)
"That photograph inspired him to stop painting and to take up photography seriously. He explained, "I suddenly understood that a photograph could fix eternity in an instant." He acquired the Leica camera with 50 mm lens in Marseilles that would accompany him for many years. He described the Leica as an extension of his eye. The anonymity that the small camera gave him in a crowd or during an intimate moment was essential in overcoming the formal and unnatural behavior of those who were aware of being photographed. He enhanced his anonymity by painting all shiny parts of the Leica with black paint. The Leica opened up new possibilities in photography — the ability to capture the world in its actual state of movement and transformation. In 1934 Cartier-Bresson met a young Polish intellectual, a photographer named David Szymin who was called "Chim" because his name was difficult to pronounce. Szymin later changed his name to David Seymour. The two had much in common culturally. Through Chim, Cartier-Bresson met a Hungarian photographer named Endré Friedmann, who later changed his name to Robert Capa. The three shared a studio in the early 1930s and Capa mentored Cartier-Bresson." (Para. 5) 

"Cartier-Bresson's first photojournalist photos to be published came in 1937 when he covered the coronation of King George VI, for the French weekly Regards. He focused on the new monarch's adoring subjects lining the London streets, and took no pictures of the king. His photo credit read "Cartier", as he was hesitant to use his full family name."  (Para.7)
"Cartier-Bresson achieved international recognition for his coverage of Gandhi's funeral in India in 1948 and the last (1949) stage of the Chinese Civil War. He covered the last six months of the Kuomintang administration and the first six months of the Maoist People's Republic. He also photographed the last surviving Imperial eunuchs in Beijing, as the city was falling to the communists. From China, he went on to Dutch East Indies (now Indonesia), where he documented the gaining of independence from the Dutch." (Para. 8)


"Cartier-Bresson exclusively used Leica 35 mm rangefinder cameras equipped with normal 50 mm lenses or occasionally a wide-angle for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white films and sharp lenses, he was able to photograph almost by stealth to capture the events. No longer bound by a huge 4×5 press camera or an awkward medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand [and] the hawk's eye." He never photographed with flash, a practice he saw as "[i]mpolite...like coming to a concert with a pistol in your hand." (Para 9)
"He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. Indeed, he emphasized that his prints were not cropped by insisting they include the first millimetre or so of the unexposed clear negative around the image area resulting, after printing, in a black border around the positive image. Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. He disliked developing or making his own prints. He said: "I've never been interested in the process of photography, never, never. Right from the beginning. For me, photography with a small camera like the Leica is an instant drawing." He started the tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as 'my only superstition' as he considered it a 'baptism' of the lens. Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days in hiding from the Nazis during World War II. Although he took many famous portraits, his own face was little known to the world at large (which presumably had the advantage of allowing him to work on the street in peace). He dismissed others' applications of the term "art" to his photographs, which he thought were merely his gut reactions to moments in time that he had happened upon." (Para 10)

Henri Cartier-Bression Photograph.

Rene Burri is a Swiss Photographer. This photograph below was taken by Rene Burri during the Cuban missile crisis in October 1962. Rene worked with Cartier-Bression when they Robert Capa and George Rodger formed Magnum Photos. Burri much like his friend and co-worker Cartier Bression liked composing his photographs in the viewfinder rather than a darkroom. This photograph is full frame, free of cropping or any other darkroom manipulation which is the same technique Cartier-Bression used. The photograph is also black and white rather than color much like Cartier Bression as his photographs are all black and white as well. When Rene Burri worked with Henri Cartier-Bression at Magnum Photos he studied his technique and used it in his work to try to capture the photograph at the right moment to show the viewers the truth about what was going on in Cuba during the revolution since the American people at that time were not pleased about there being a revolution in Cuba. It was Henri Cartier-Bression's technique that was used in taking this photograph but also Burri's skills as well that make a perfectly taken photograph in my opinion.


Rene Burri Photo taken in Cuba in October 1962 during the revolution.


Arthur Fellig did black and white street photography. Henri Cartier Bression helped develop the "street photography" or "reallife reportage" style that has influenced generations of photographers like Arthur Fellig. Arthur took photographs that "features subjects in candid situations within public places such as streets, parks, beaches, malls, political conventions and other settings." (Para .1, Sen.3) Arthur like Bression took photographs of places in public places trying to capture the "right moment" when you can find people showing emotions such as happiness, sadness and anger. The photograph is black and white and while it was done in a darkroom it was not cropped. Almost exactly similar to how Bression develops his photographs.


 Arthur Fellig

Robert Capa was a Hungarian combat photographer and photojournalist. Robert in his 20s mentored Henri Cartier Bression. He taught Bression all about photography and about the techniques he used when he took photographs during the Spanish civil war. Henri would then later learn to make his own techniques and his mentor Capa would use them during World War II. Capa's photography style is not that different from his student Bression. Capa would later start to use candid photography while working together with Bression while founding Magnum Photos. The similarities are they both use candid photography which is taking the photographs close rather than far away. Another similarity is that both Bression and Capa try to capture emotions in their photographs. Bression had an impact on Capa's photographs due to Capa also learning from him about his style of photography when they worked together at Magnum Photos.


Robert Capa

George Rodger was a British photojournalist. He worked with Henri Cartier Bression when they founded Magnum Photos along with Robert Capa. He photographed places like the Nazi concentration camp Bergen-Belsen to show how horrible people were treated by the Nazis durning the Second World War. George Rodger uses candid photography like Cartier-Bression and does not use the darkroom to develop his photographs. He does not crop his photographs either leaving them to be 100% original. These are all things Henri Cartier Bression does when he works on his photography. Since Henri is considered the "father" of candid photography he had a definite impact on the photograph below of Bergen-Belsen in 1945 as Rodger used candid photography to take this photograph to show the people the truth of what the Nazis were doing in the concentration camps during the Second World War.


George Rodger-after the Liberation of Bergen-Belsen 1945.


Murray Garrett worked as a photographer specializing in show business. Murray Garrett was inspired by Henri Cartier Bression and his work. He uses candid photography which is photography that focuses on spontaneity rather than technique, on the immersion of a camera within events rather than focusing on setting up a staged situation or on preparing a lengthy camera setup. Henri Cartier Bression is considered the father of Candid Photography. Murray and Cartier-Bression both capture the "decisive moment" in everyday life over a span of several decades. Garrett made his photographs in black and white like his hero Cartier-Bression. Garrett also does not use the darkroom or crop his photographs much like Cartier Bression does. Henri Cartier Bression made candid photography and used it so successfully that photographers like Murray Garrett could not only use it but take it to new heights than even Bression though possible.

Murray Garrett takes photograph of Babe Ruth and American baseball team.
Henri Cartier Bression has inspired many photographers over the years and is has shown everybody that he was a great photographer by making candid photography and helping to make steet photography. I am also inspired by his photographs and one day want to try to use his techniques to take my own photographs. He is considered one of the best photographers of his era along with others such as Robert Capa. Photography thanks to his input has grown exponentially and will continue to grow as we head into the future. The future of photography looks bright. Bibliography: http://en.wikipedia.org/wiki/File:Henri_Cartier%20Bresson.jpg http://apphotnum.free.fr/images/cartier-bresson05.jpg http://en.wikipedia.org/wiki/Henri_Cartier-Bresson http://static.guim.co.uk/sys-images/Arts/Arts_/Pictures/2010/3/25/1269513352039/Rene-Burris-photograph-of-001.jpg http://murraygarrett.com/ http://en.wikipedia.org/wiki/Arthur_Fellig http://www.annedarlingphotography.com/images/arthur-fellig-car.jpg http://www-tc.pbs.org/wnet/americanmasters/files/2008/08/capa_essay_01.jpg http://en.wikipedia.org/wiki/File:Rodger,_Bergen-Belsen.jpg http://en.wikipedia.org/wiki/George_Rodger http://en.wikipedia.org/wiki/Robert_Capa

DB12 - Presentation Week 12: The impact of digital technology on photography

I agree with Matt, James, Patrick and Peter on all points that were made during this presentation. The point of digital photography being a huge impact on teens is something I agree with wholeheartedly. Look around when you are going somewhere and you can see a teen with a cellphone camera taking pictures on the bus or in the subway. I also agree that before the age of digital photography the role of a photojournalist was to go document reality. I also happen to agree that due to digital photography using a darkroom you can only manipulate photographs to a certain extent and the examples used were good.I agree with now that mostly everybody has a camera and they take pictures of everything and anything than what is next for the future of digital technology and photography.

This presentation was nicely done and the topic seems to be very interesting when I was reading it. All grup members did a good job and I applaud them for their teamwork and organizational skills. Very nice done all of you a good job well done and congratulations on doing an excellent assignment and presentation.

Assignment 3 Group Blog Project Week 13: The new reality or fiction: Contemporary Photography

Alterations are not allowed in press photography, but they are one of the tools used in contemporary art photography? Why?

·         Be accurate

·         Resist manipulations and staging photos

·         Do not pay sources

·         Avoid presenting one’s biases work (NPPA, 2011)

These are the Code of Ethics that press photographers must follow but these rules do not apply to contemporary art photographers. The benefits of being a contemporary art photographer, is the freedom that it brings. Contemporary photographers are able to use a series of tools to create the beauty and diversity of people and nature. They may try to portray intuition and hope in their photos. They may also try to make photographs that “…can take you outside of yourself…” to make you see things in a new perspective.  (In Liquid, 2010) Contemporary art photographers have the freedom of manipulating their photos. They also have the capability to add or remove objects, subjects and backgrounds to their photographs. The objects, subjects and backgrounds can be staged or positioned, so that it can look a certain way in a photograph. Having the ability to do this allows these photographers to give their photos character. They can create fantasy like the works of Robert and Shanna ParkeHarrison or portray nature in a new light like in the works of Robert Adams. Their work can be biased, it can look odd, or pleasant, they may have models who even pose in their photographs; these are some of the flexible conditions that contemporary art photographers work under. The reason why they use a variety of tools is to convey the emotions, feelings, expressions, thoughts, and perceptions that the photographer would like to present to their audience. (Matthew Marks Gallery, 2011)

By Shevanna Bennett

Frederick Sommer,four skinned and discarded coyotes.jpg

 http://www.fredericksommer.org/index.php?category_id=11&gallery_id=126

Mark Klett, Looking Through the Snow Tunnel Above Goat Lake, Sawtooth Range.jpg

 http://collections.mocp.org/info.php?page=0&v=1&s=Klett%2C+Mark&type=browse&t=objects&f=maker&d=

Robert Adams, Signal Hill, overlooking Long Beach, California.jpg

 http://www.matthewmarks.com/artists/robert-adams/selected-works/#/images/8/

"Architect’s Brother" by Robert and Shana ParkeHarrison

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Now on view in Zürich are the latest works by contemporary artist Vik Muniz in an exhibition appropriately titled Pictures of Garbage.

Gregory Crewdson 
"There is so much going on in this image, but I think what makes it for me is the drama. All you need to do is see the lady sitting there to know something has happened, but what? It leaves you with a thirst for more, like an exciting end to a chapter; do you keep reading even though it is 1 am or wait for another time to find out why? I like the perfections in the distraction, it’s not neat and tidy but everything is where it should be. Nothing is out of place. I like that everything has been thought through." (Para.1)

Compare photographs of Sommer, Adams and Klett versus  Parkeharrison, Muniz

and Crewdson.

A major similarity between the photographs of Sommer, Adams and Klett and photographs of Parkeharrison, Muniz and Crewdson is that many of their photos are in black and white, and they all use alternations for their photographs. However, Sommer, Adams and Klett play role in press photography and their photographs are more of realistic which are all in black and white compare to Parkeharrison, Muniz and Crewdson who are more of art photographers where their photographs are about fiction and are mostly colored. Sommer’s photographs are generally about nature and real stories and most of his images give details of death and injuries. Sommer is also very talented in drawing, painting, collage, poetry and prose. The photograph above explains four skinned and discarded coyotes which are missing their ears because ears had to be submitted as proof to collect bounty. Adams also focuses on the nature especially the beauty of it. Most of his photographs are beautiful cities, trees, buildings, as well as the four different seasons. He was interested in taking outdoor pictures. Similarly to Adams, Klett focused on the nature and his photographs give details of different landscapes. There is story behind every photograph of each photographer. Those stories make us feel certain way whether sad or happy. All their pictures remind us our different cultures and our nature. All their photographs give details of nature, culture, and history, and they all show the relationship between nature and human being. Robert Parkeharrison has put himself in his photographs and showing his view of reality. The photograph above shows Parkeharrison’s fixation which is control over nature. He liked to create his own reality in his photographs, although not everything in the photograph is fabricated, it still is a photograph which is a picture mimicking reality. Vik Muniz used a variety of mediums to display his view of reality. I found his photographs to be interesting and fascinating. “Muniz creates large scale replications of iconic Western images using refuse, food, dust, and more, and then photographing them from a distance before destroying the production and leaving only the photograph as the artwork. This labor intensive process abstracts the original images and creates a whole new platform for these icons to be considered, like the Mother and Child pictured above.” (Para. 1) Gregory Crewdson used a slightly different approach although his photographs were staged like Muniz’s photographs and were highly styled liked ParkeHarrison’s photographs he went to great lengths to ensure his photographs were real. Even though the story the photograph is trying to show us is obviously different, he tried to make the photographs more real in terms of their lighting, tones, color, etc that the viewer would almost be fooled in believing the photograph they are looking at is the real one and not altered. This is the greatest achievement in photography, pulling the person viewing the photograph into the world of the photograph itself. Look at the photograph above made by Crewdson, it shows me the feelings of the women in the bed and it tells me her story is that she has had a hard life. I can feel like I’m in the photograph itself and that is an amazing thing all by itself. Parkeharrison, Muniz and Crewdson us all their own reality in their photographs. Parkeharrison, Muniz and Crewdson all do art photography as their photographs are mostly fictional and fantasy. 


By: Absan Semeter & Daniel Dos Santos


What happened to the photography? Is this its future?

In looking at all the different pictures of Sommer, Adams and Klett versus Parkeharrison, Muniz and and Crewdson, I noticed that  Sommer, Adams and Klett seemed to take a lot of photos of different landscapes, their photos were black and white photos and also the photos seem to not  be altered or as crisp and clear. Whereas Parkeharrison, Muniz and, and Crewdson’s photos are mostly all in colour, they are very crisp and clean colours in the photos, it looks to me like there could possibly be some alterations going on with the photos. So I think what is happening to photography is it is evolving like with most things that are affected by technology. With this new era of digital photos and photo altering software I think photography will never be the same. I think it also makes it easier for amateur photographers to be noticed. So do I think this is the future of photography? I would say yes it is, because I don’t think there is any way of stopping technology from affecting photography. I don’t think going back to film will be an option when we have access to digital photography and the option of altering photos to make them look better or how the photographer wants them to look.

By Mike Taurozzi

BIBLIOGRAPHY:
http://www.fredericksommer.org/index.php?category_id=11&gallery_id=126 
http://collections.mocp.org/info.php?page=0&v=1&s=Klett%2C+Mark&type=browse&t=objects&f=maker&d=
http://www.matthewmarks.com/artists/robert-adams/selected-works/#/images/8/
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieZX7lh5STINqyFDSUdGfyHBnE5-dUrNOvqz4na3W4rViSr2UnZcwWDKGF2Cn6vAw6CPrCsN3p9uQv9YKF0n4lO7pHAArwwb8JOihXN1h2P-urWskzfzpwQiTPqAPnVKjxf1FoMfD9SaI/s400/gregorycrewdson.jpg
http://thefunambulistdotnet.files.wordpress.com/2011/01/robert-and-shana-parkeharrison03.jpg
http://www.aperture.org/exposures/wp-content/uploads/2009/04/fba1155490_mother_and_children_suellen_1.jpg
http://www.aperture.org/crewdson/

National Press Photographer Association. (2011). Code of Ethics. Retrieved Nov 21^st, 2011, from http://www.nppa.org

In Liquid. (2010). Photo Mannerism. Retrieved Nov 21^st, 2011, from http://www.inliquid.com

Matthew Marks Gallery. (2011). Robert Adams. Retrieved Nov 21^st, 2011, from http://www.matthewmarks.com

DB 11 - Presentation Week 11: Kertesz and Cartier-Bresson versus Smith and Salgado

The similarities between Kertesz and Bresson are they take the time to think about what they want their photo to be like and than plan what they want their photographs to be like when they are taken. They both took time to alter their photographs to show people the emotions they had when they took the photograph.

Kertesz and Cartier Bresson don't have any presence in their photographs. Their emotions are not shown in their photographs. They would not interfere with their photographs by putting themselves in it as that would screw up what they are trying to show people when they finish their work on the photograph. They were more professional in a sense than Smith and Salgado in my opinion.

In my opinion, I agree with Smith and Salgado's approach. I feel that showing themselves in the pictures is a good idea and shows they are serious about their jobs as photographers and that they are trying to show us how they felt when they alter their photographs. When I was looking through Smith's photographs and read that he took them to get people to think about his photos. I was surprised and amazed at that and I could read some of the feelings he had took these photographs. Kertesz and Bresson's journalistic approach was good in my view as well but I feel like sometimes you need to show your feelings in a photograph to get people to start thinking like smith says. Dalgado's photographs I understand more and can read the emotions better after looking at his photographs.

The journalistic appraoch I think is better is Smith and Salgado because showing emotions in a photograph in my opinion is a strength not a weakness. It allows people to think about things while viewing the photograph. Smith and Salgado are great photographers and I respect their work and applaud them for thinking outside the box on their approach.

Submission: Assignment 1 PART 2 - Web 2.0 Photo Journal Blog

Press photography versus Art photography

Press Photographs

"After an ill-fated insurgency against the Cuban government in 1953, Fidel Castro returned via the Cuban Revolution to become one of the most notable political figures of the 20^th century." (Para. 1, Sen 1)


Photographer: Henri Cartier Bresson
 http://www.magnumphotos.com/C.aspx?VP3=ViewBox_VPage&VBID=2K1HZSE1RZL4&IT=ZoomImage01_VForm&IID=2S5RYD77TT1&ALID=2K1HRG00JJ&PN=11&CT=Album




"Bud Fields and his family" (Evans, W) during the Great Depression. Alabama. 1935 or 1936.

Photographer: Walker Evans
http://www.english.illinois.edu/maps/depression/images/evans1.jpg


Art Photographs:

   This photo "depicts the facades of government buildings and depicts the great power the buildings posses. He also captures the met and homes in a very artistic manner by stitching pieces of the sky together." (Para 1, Sen 1)

Photographer: John Kirchner
http://img.photographycourse.net/wp-content/uploads/2009/07/Voodoo.jpg




 "Historical Queens combining contemporary notions of beauty and fashion with traditional fine art techniques to explore the lives and contrasts of twelve fascinating women. Boudica (The Celtic Queen)" (Para 1, Sen 1)

Photographer: Alexia SinClair
http://www.bestphotocenter.com/outimages/20091017101706583.jpg



1. The main differences and similarities between art and press photography;
The differences between art and press photography are their purpose and editing techniques. Another difference between the two is press photographs should never be manipulated or altered. A press photograph is a supporting piece of evidence associated and relevant to the document(s) it’s supporting. It should provide supporting details and facts about the article giving the viewers the full view of the subject. Press photography cannot be creative leaving the only way for a photographer to be creative would be when they actually take the photograph. As opposed to art photography the photographer has many different ways to either alter or change their photographs. Examples would be Photoshop or other editing software. Art photography is anything the photographer can do with a photograph to make it original, creative and imaginative. Like with the image above by John Kirchner about him the "met and homes in a very artistic manner by stitching the sky together (Para. 1, Sen. 1)." He in this photograph showed five different houses in different countries and the sky in each of them and how they are all different. He is also trying to show the power that the government buildings possess in this photograph.

Press and art photography are similar in many ways. The two could be considered an art form. They both present a message to people when they view. They each focus on capturing a select image with a certain emotion that shows the emotion that represents the story they are trying to tell. Another similarity they have is they use the same equipment such as editing techniques and a camera. They can both have a "moment in time" photograph that can never be duplicated by another photographer.


2. Is it ethical and acceptable to alter art photographs? Why? Why not?
I think it is ethical and acceptable to alter art photographs. Art photography is basically photographs that are creative and original. The photographer uses his/her imagination when altering the photograph to make it more creative thus making it imaginative as well. When a photographer takes a photograph for their own personal use such as a painting and alters it to show what colors and technique he/she would have used when making the painting. An example of this would be the photograph above by Alexia SinClair.  This picture Alexia took of a painting and she altered it to show what color(s) and techniques she would use that the artist didn't if she was the one that made the painting. She really impressed me by the color(s) she used in the painting as well as it being about "historical queens and about using fine art techniques and to explore the lives and contrasts of twelve fascinating women like Boudica (The Celtic Queen) (Para.1, Sen.1)." Art photographs can be altered by the photographer because they are the ones that take the photographs therefore making it their property and if they want to change it than nobody can do anything about it because it was the photographers using their time and skill to make us want to view their photographs as they impress us with their beauty, color, editing techniques, etc.

3. Is it ethical and acceptable to alter press photographs? Why? Why not?
 I don't think it is ethical or acceptable to alter press photography because the purpose of the press is to provide us with unbiased information. The newspapers and the news broadcast companies are supposed to give us a clear view of the situation and if the pictures supporting them are altered than that means the facts presented by the media can be altered as well. Look at the picture above by Henri Cartier Bresson. This photograph is of Fidel Castro during the Cuban revolution giving a speech. Bresson took this photograph to support a story that after the Cuban Revolution that Fidel Castro became "one of the most notable political figures of the 20th century"(Para.1, Sen.1). Kirchner could not alter this photograph because it is of real events to prove the evolution of Fidel Castro from leading the Cuban Revolution to becoming a big notable political leader in the 20th century. Another example of why press photographs shouldn't be altered is the photograph by Walker Evans. This photograph shows how a family lived during the Great Depression in the U.S.A. in 1935-1936. It shows of how Bill Fields and his family were affected during the Great Depression by his son not having any clothes that fit the lower half of his body. Bresson did not alter the view when he took the picture because he wanted to show the viewers of the effects that the Great Depression had on people living in America during the 1930s.This will bring out emotion in the viewer’s when they look at it as it definitely brought a tear to my eye.

READINGS BIBLIOGRAPHY:
http://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxzaG9vdGluZ3RoZXRydXRofGd4OmIxYjJjZTkyZjQzMGVmMQ&pli=1
http://sites.google.com/site/shootingthetruth/Home/modules/week-3/art-photography
http://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxzaG9vdGluZ3RoZXRydXRofGd4OjRmNDAzZGZlNjZmMDhkYmE
https://gbc.blackboard.com/webct/urw/tp0.lc5122011/cobaltMainFrame.dowebct

DB 9 - Presentation Week 9: Shooting the truth: Photojournalism

I did not know much about photojournalism until I read this week's presentation. I was interested in knowing that photojournalism creates a story through the photographs is really amazing in my opinion. I think that photojournalism is really important to the field of photography for the present and the future. I was fascinated about photojournalism having rules about press photographs and about how much they can be altered due to their being no police for changing photographs that go into newspapers and the media.  "Photojournalists must also be sensitive about some ethical situations particularly where grief, death, embarrassment, possible negative stereotyping, and criminality are involved. Ethical standards must be observed. Sabotaging other journalists' efforts, taking gifts or accepting in order to influence coverage, paying sources, editing that reduces the integrity of images and content are forbidden (NPPA Code of Ethics, 2011)."
This rule made sense to me as even though your competing agianst another photojournalist you should not sabotage their efforts just because you want to be the one that takes the better photograph and beat your competition and in my opinion that is not right and any photojournalist that sabotages another photojournalist on purpose does not deserve to be called a photojournalist much less a photographer.
I agree with Amanda a photojournalist will try to take a photograph at the perfect moment and not leave out details to alter or enhance the image as it is unethical to make changes to a photograph in the media. News stories are in my opinion meant to be as accurate as possible with facts supporting it to avoid misrepresent a story. I agree with this statement "if it is a misrepresentation of facts, it is not a credible report." If you have the wrong facts about a story in the media than the story is not credibile.
I slso agree with Huy because if a photojournalist alters a press photograph and puts it into a newspaper and some people read it and will beclieve the story and photograph even if both are not true. That would prove putting a fake story to sell a newspaper is more important than telling the people reading that newspaper the truth. I also agree if an altered press photograph is put on a newspaper and the people find out it raises some unwanted questions that the photojournalist does not want to answer.I agree with Huy agian there is at times exceptions to be made when you alter a press photograph.
Overall, I felt this presentation was a good one and I liked reading about photojournalism, the rules and code of ethics. Very well done Shayan, Amanda and Huy I liked your presentation and the pictures were very good. Nicely done and a very interesting topic.

DB7 - Presentation Week 7: Photography and society

I thought the autobiography about Alexander Rodchenko that Sadia did was excellent due to it having information about his style and how he made his art. It also has a lot of information about his career from its early stages in painting to "making music albums, films and postures for advertisements such as propaganda."

I thought the autobiography about John Heartfield was also good because he was an assistant to a painter for two years before becoming a student at the School of Applied Arts in Munich. He later studied under Ernst Neuman at the arts and crafts school. He was drafted into the infantry during the First World War. After the war he joined the German Communist Party (KPD). He later attacked Adolf Hitler and his Nazi Party using photomontage. He later went to England in 1938 and returned to Germany in 1950. in 1960 John became professor at the German Academy of Arts in Berlin.
All in all a good autobiography about this artist and it has much information about this artist and the photographs are good as well showing the skill of John Heartfield.

I thought the autobiography that Suraya did on Peter Kennard was very well done also. He began his career at thirteen and later became famous for making photographs that are "based icon/revolutionary of photomontage photography." "Peter is known his incendiary composite images such as the one featured in my assigned reading entitled--‘Photo Op’." The "picture shows a smiling/leering former British Prime Minister Tony Blair taking a picture of himself in front of an explosion. Obviously this piece in question isn’t real, the original picture of Blair has been doctored more specifically--it’s been superimposed onto a picture of a fiery explosion for shock-and-awe." I am impressed by Peter Kennard and that picture about former British Prime Minister Tony Blair and how he made it to be a fine work of art some may say.

I agree with Victoria I think that there are many similairities between between Alexander Rodchenko, Peter Kennard, and John Heartfield’s work (Photomontages). I also agree that every photographer or artist has some differences in their work than other photographers or artists.

I agree with Christine that Alexander Rodchenko, Peter Kennard, and John Heartfield's photomontages display a message that they wanted people looking at their photos to know about politics or society. I also agree that they wanted the people viewing their photos to know the meaning of the photograph and how they felt when making it and why people should look at their photographs.

I agree with Rebecca, every photographer has his/her own goals to send their message(s) to society through their photos. I also agree that photographers can achieve change through their photographs. I also look at the photos of these three photographers what other people will understand or learn through the photos when they look at them in the present and in the future.

All in all a great presentation I liked the pictures as they were the perfect photos for this presentation about Alexander Rodchenko, Peter Kennard, and John Heartfield’s photomontages and I liked them especially one one that Insulted Adolf Hitler and his Nazi Party back in the 1930's. I am impressed by the autobiographies and appreciate you guys taking the time to talk more about each photographer in more detail. Good Job all of you a great presentation overall

DB 4 - Presentation Week 4: From Alfred Stieglitz and Minor White to Man Ray and Laszlo Moholy- Nagy

I agree with Warren that the photographer that takes the photograph is the artist. I have always thought of a photographer as an artist just a different kind than we normally see in the world. Photographs are just as beautiful as paintings in my opinion because they are both beautiful and have a meaning in them and you can see it if you look close enough. In my opinion, Stieglitz had a theory called "Naturalism" which Warren referred to is "a type of photographs most closely resembled the way the human eye sees things". I believe that when Stieglitz gave up on the idea of "photographs being the same as paintings" he took a new path in his life and took his own photographs no longer worried about pictures that look like they were painted on.

I always thought that photographs were just pictures of a setting to always preserve the memories of that day. When Mark said that Minor White's deep belief in the idea of "Equivalence" which is a "theory on the idea that any image, regardless of how good you are, should function as an experience, as opposed to a thing." Minor White's devotion to "Equivalence" has really changed my view of photography because now when I look at photographs I will explore my feelings within myself and try to get others to use the theory of "equivalence" when looking at photographs of their own. I agree with Mark that when I look at Minor White's Photography that I see "water, the sky, doorways, etc." Each of these photographs helps the people that view them to explore their inner feelings.

I agree with Jennifer when she says "Man Ray is an intriguing artist" Unlike many other photographers Man Ray did not follow the norm like everybody else did. Man Ray didn't use a camera to make his pictures. He made pictures that he referred to as "Rayogrammes" which were made on a "light sensitive paper". These photos focused on the light and the shadows not the image. Man Ray made pictures that were unique only to him. They were pictures of "fantasy and the unexpected not reality". In the past his art was very creative. In my opinion I admire Man Ray for using his creative style to make unique pictures that revolutionized photography and has set the bar for photographers today in my opinion.

I agree with Jade when I look at Moholy-Nagy's photographs I notice they may symbolize something that can be interpreted by the viewer of the photograph's his/her own way. In my opinion Moholy-Nagy was a very good photographer that took good pictures in the light, and the shadows. His pictures can be a positive or negative aspect in everyone's lives.

In my opinion, I agree with Kienan because even though the person making the painting or photograph uses different procedures the pictures can be referred to as a painting. In my opinion, instead of drawing this painting though you take it with a camera because photography is a form of art and the photographs are art because they have a meaning or a symbol in the photograph.

I just want to congratulate Warren, Mark, Jennifer, Jade and Kienan for doing a great wonderful job on their presentation. The assignment was very well done by every member of this group. Using Pictures as well to further explain their point at times made me learn a few things from just reading this presentation.