Discussion Board for Week 11

The works of Andre Kertesz and Henri Cartier-Bresson versus the work of Eugene Smith and Sebastio Salgado vary in many ways. Their philosophies and approaches to photography are the biggest differences. Eugene Smith who is famous for the "Spanish Wake" wanted his photographs to reflect reality as he felt and saw it. He did this through using special post production lighting techniques when developing his photographs. His approach to photography involved interfering with his subjects. This resulted in creating a specific atmosphere rather than portraying how it is. He makes no attempt to be "invisible" to his subjects so that they are aware of his presence. He allows his emotions to influence and affect his work. Smith also plans and stages his photographs. He believes that being an insider creates a better picture despite the lack of authenticity to it. It can be said then that Smith "creates" reality rather than capturing it.

A staged photograph by Eugene Smith.

The same can be said about Sebastiao Salgado. He believes that crossing the imaginary line (between photographer and subjects and getting involved with subjects is necessary to understand the subjects being photographed. He manipulates his photos post production but also in a different way. He usually photographs less fortunate people who are in despair. He creates "heroes" in his photographs. These heroes often show people suffering but the way he manipulates some photos gives the impression that the subject can over come their adversity. His photographs not only depict reality, but do so for a specific purpose. He photographs individuals to express his global political stance on the effects of politics and the economy on disadvantaged people. His photos convey a personal message of his to the audience about his discontent with certain political and economic establishments. For this reason he cannot really be considered a photojournalist. He is depicting reality for many impoverished people and nations, but he does so with an ulterior motive. Journalistic standards dictate that this is unethical for that profession. Both Salgado and Smith can be considered as art photographers rather than journalists since their approaches do not reflect journalistic standards.

Photo Credits: Sebastiao Salgado

Conversely, Andre Kertesz and Henri Cartier-Bresson maintain a more traditional approach to photography. They believe that the photographer should be unnoticed when photographic subjects. This preserves a sense of authenticity to the photograph. It can be said that a level of professionalism is maintained through presenting reality as it actually happened. Crossing this "invisible line" as Smith and Salgado are known for negates professionalism. Having considered this, Kertesz and Cartier Bresson's approach is better when discussing journalistic approaches. Smith and Salgado's approach is better suited for art photography.

The role of a photojournalist is to capture reality and present it in the most accurate way. Interfering with subjects (including staging photographs) is not only unethical, but can be dangerous in the wrong hands. Interfering with subjects when you are supposed to portray reality can create and change reality. It can tell a different or complete opposite story than what is true. If photojournalists are allowed to do this, then we stand the risk of being misinformed by those we rely on to capture reality.


Works Cited
Lecture slides from Week 11.
http://www.thepaepae.com/dragonflies/1694/
http://www.masters-of-photography.com/S/salgado/salgado_mali_full.html

Photo Journal Part 2

Art photography can be interpreted and appreciated in many ways. It sometimes tries to convey certain messages or make a statement or impact. It is also created for appreciation. It can be a lie, misrepresentation, completely obscure and ridiculous, but it is art. Since art is subjective and abstract, it is acceptable for photographers to alter and edit their art photographs. Art photography does not have the responsibility of accurate representation.Art photography can be altered to highlight, accentuate and exaggerate certain features in a photograph. There aren't as many ethical rules to art photography as there is with press photography. As mentioned in the lecture slides (week 9), photo journalists have a code of ethics to uphold. Art photography does not have to represent facts or accuracy.

I altered this photo I took by cropping it to bring up the horizon line. I also used a black and white effect to bring out the textures in the scenery. I did this to enhance the photo.

I also altered this photo of mine by also using a black and white effect. The original brought out the colours of the stones but I was more concerned with making the texture of the rocks stand out and the black and white effect helped enhance it. I also increased the highlights which brought up the contrast to bring out a more vivid and intense quality to it.


Once a photograph is altered, it loses a certain authenticity to it. It is no longer accurate. Therefore, press photographers should not alter their photographs because of the responsibility they have to the public to represent the truth accurately. Almost everyone relies on news reports and newspapers as a primary source of information. Press photographs should not be non partisan and free of any influence of thought. In Brian Gilden's photo essay "Detroit Foreclosures", he is able to maintain authenticity by showing unaltered pictures of Detroit's slums and having a Detroit native speaking about their every day living conditions. His photos contextualize a message, not invent one. Altering press photos could result in a misrepresentation of the facts, be misleading, and can change the story behind it completely. Since it is difficult for a photography to contextualize itself, the photograph must remained untouched, unless it is to improve the quality of the photograph itself, for example, lightening and darkening photos from under or overexposure.

Post tsunami/earthquake Japan (Photo credits:Kyodo/Reuters, Toronto Star, http://www.thestar.com/topic/japan#photo)
Since there is no other way for the rest of the world to understand or see the impact of this natural disaster, we rely on photographs such as this and videos to keep ourselves informed. This photograph is remains unaltered to accurately depict the destruction and tragedy in Japan.

African Child with Vulture (Photo Credits: Kevin Carter, http://my.opera.com/yeeliberto/albums/showpic.dml?album=285129&picture=6019622)

This infamous photograph is more than it first appears to be. The photographer (Kevin Carter) intended the photograph to be only of the child to highlight the famine and starvation crisis in Africa. The photographer originally tried scaring the vulture off but it didn't move. He took the photo, and later realized that the vulture knew the child was slowly dying and the vulture was essentially waiting on his prey. (Time Magazine, 1994). As tragic as this photograph is, if Carter had chosen to crop the vulture of the photo, it would have told a completely different and possibly inaccurate story. It would have shown that the child was starving, but not that there was a chance the vulture would attack the child. The unaltered photo shows that many African lives are in danger not only of starvation, but of being hunted by wild animals.

Works Cited
Danilovic, Sandra. Lecture slides from week 9. Photography: Shooting the Truth. George Brown College. 2011.

Gilden, Bruce. Detroit Foreclosures. Magnum in Motion. http://inmotion.magnumphotos.com/essay/foreclosures-detroit. Accessed March 19, 2011.

Macleod, Scott. The Life and Death of Kevin Carter. Time Magazine. 1994. http://www.time.com/time/magazine/article/0,9171,981431,00.html. Accessed March 18 2011.

DB 6- Why the project has significant impact on the society? - What was the role of Migrant Mother photograph in the period or great depression and what is it nowadays?

This project has a significant impact on society because of its historical representation of society and the changes it underwent during that time period. It reflects not only the lifestyle, but the adversity people of all backgrounds, nationalities and social class experienced through the Great Depression. It also highlights the effects of the Dust Bowl and the trend of increasing mechanization. Since most of our knowledge of this era is limited to what is taught in school and books, these photographs contribute to a visual understanding of the "Dirty Thirties."

The Migrant Mother photograph is a raw, realistic representation of how desperate the conditions were during the Great Depression. The Great Depression was a result of the stock market crash in 1929. Coincidentally, much of North America was hit by dry dust storms. These storms caused significant damage to homes, farms and crops. This was devastating to many families and farm owners, as their plants and crops were a main source of food and income for families then. These pictures serve as proof of the absolute poverty Americans and Canadians had to endure.

The story Dorothea Lange shared about her encounter with the woman photographed gave context to her photographs. It gives the audience a deeper understanding of how little food they had to survive off. Lange described this photographic experience as having a "sort of equality to it." This is significant because it demonstrates how Americans and Canadians were equally affected. There were no victors during this time period. Everyone felt the impact of the Depression. One could say it leveled the playing field in terms of socio-economics since it affected the wealthy and the poor. The lady in the photograph helped Lange because she thought it would help them both, in a "I scratch your back, you scratch mine" sort of way. The Great Depression also served as a wake up call for many who may have previously thought they were invincible because of their wealth. It showed the enormous power the stock market has on our economy.

The photographs also display a loss of pride amongst those affected. Most people would not want to be photographed during their most difficult times. The fact that the woman consent to the photographs may indicate that she was aware that her life was also a reality for virtually everyone in the world. Today, these pictures should serve as a reminder of how dangerous relying on the stock market can be. While most of us have experienced the effects of a recession, we have not truly experienced a depression to the same caliber as in the 1930s.