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Essay war photographer
War photographer critical essay
Documentary photography and street picture
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Photography Unites Us All Documentary photography began to gain popularity in the early 20th century (Hernandez, 2016). This means people have been using this type of photography to bring awareness to social issues for over one hundred years. With this awareness, there is also inspiration to create change, and to eradicate these issues from our world. With the development and popularity of social media, it is quite easy for photographers to disperse their work throughout the world. This makes documentary photography a powerful tool in modern society. I believe that documentary photography truly does have the ability to create social change, and this has been proven many times throughout history. War and natural disasters are two examples of …show more content…
Perhaps one of the most documented social issues is the presence and destruction of war. There are few who are willing to risk their lives and record what is going on in these countries plagued by war. Those who are willing to, travel to war-torn countries to capture the events and then widely disperse their photos throughout the world. Without these photos, many people would have little to no knowledge on the conditions of these places. I chose an image by a photographer from the Office of the UN High Commissioner for Refugees known as S. Malkawi. Don McCullin, Joe Rosenthal, and Robert Capa are three other examples of influential war photographers (Singh, 2011). The photo I have chosen depicts Syrian refugees that have been displaced to a refugee camp in Iraq. These people are waiting in line to receive the small amount of supplies available to them. The area appears dry, dirty, and is likely to be quite crowded. The photo is powerful because it shows families in a time of desperation. The inclusion of children in documentary photography often makes it more influential, as people are especially uncomfortable with the idea of …show more content…
Through their documentations of the destruction, the world feels compelled to offer funds, medical assistance, and other forms of relief aid. I chose an image by Gary Lloyd McCullough, but other photographers such as Bruce Omori and Russell Watkins capture disasters as well (Carr, 2012). My chosen image depicts a very devastating reality that comes with a natural disaster; the loss of family homes. I think this photo is very upsetting, but that is what makes it powerful. An image that is devastating would be far more likely to inspire someone to donate money, time, or supplies. The family who lived in this home would have been absolutely devastated, as many of their belongings and the life they had built in that home would be ruined. I think this photo is interesting because the left side water appears very calm, but the right side of the image features absolute destruction. Organizations like the Red Cross use photos like this one to gain support and funding from the public (Red Cross, 2017). The rebuilding of damaged areas after a natural disaster depends on outside help, so by distributing these images, the community is given a chance to repair
Images can manipulate many scenarios but it’s tactic used to show the realities of our world. Despite what we see, picture taken of the war and events occurring in the war doesn’t mean they aren’t real. We all live in a messy world and history is constantly repeating itself. Pictures are taken to spread awareness and empathy. It is a reason DeGhett argued that the Iraq brunt solider photograph taken by Kenneth Jarecke should have been posted in order for the public to get a sense that the war occurring at the moment is nothing like in the movies. Images are powerful and we must learn to always look closely and
In conclusion, while books, photos, movies and other historical documentation can portray information or a message about wartime events, they will never be able to produce the feelings of those that were personally involved in wars have experienced. Yet, it is incorrect to criticize these writers. The information they reveal is still very important historical information. Even if a reader or viewer of this media cannot feel exactly the same emotions as those involved, they still often experience an emotional connection to the events being depicted. This is important, not only for the historical knowledge gained about wars, but also to understand the nature and futility of their occurrence.
The motivations behind why photos were taken will be explored, such as propaganda, as well as reactions to them. Research into events being photographed, their intentions and who requested them will be made, also assessing its effect on the public determining success. B. SUMMARY OF EVIDENCE Battle field photography was not developed for the sole purpose of recording events as would a newspaper or painting. Battlefield photography brought intense images directly from the field to the public, bringing the horrors of war to families so far from their husbands and sons (Niller). The photography institution brought the reality of war to the public in manners newspapers were incapable of (Harvey 73).
5 Light, Ken. Tremain, Kerry. Witness in our Time: Working Lives of Documentary Photographers. Washington and London: Smithsonian Institution Press, 2000.
It was not until the 19th century that a very powerful tool was examine in depth by different viewers, photographic images. In the depression years, war was not seen by others as what war really is, and or what war can do. Some perceived war as an act of heroic action, and were not really aware of the pain that war brought to others remotely. Photographs were and continue to be visual representations of current and history events. In Regarding the Pain of Others, written by Susan Sontang. She analysis many factors in how war is perceived in images/photos by different viewers. Susan Sontang also reacts to a key point word that Woolf ’refers to as “we” when it comes to relating to the pain of others and there experience of this subject.
...el through time and show newer generations of the events of the past and the rich history of a particular country. With the use of all the technology over the years, photography has now become a major part of everyday life and the photographer behind the camera.
The issue of misleading photographs is present in Susan Sontag’s essay “Looking at War”. Sontag looks towards the affect a photograph has on the public. She writes that “the photographs say, this is what [war is] like” (Sontag, 141), guiding the conception of the audience who had not had the first hand experience of being on the battlefield. Photographs are able to convey a message beyond the borders of a frame; by putting words into a physical representation that one feels they can relate to. These images, according to Sontag, are “photography as shock” (Sontag, 140) and are engineered to elicit an emotional response from the audience. These shocking images are able to “show how war evacuates, shatters, breaks apart, levels the ...
The inevitably of conflicts occurring between us is something we’ve come to the realization, is going to be a forever struggle. There are so many people on this planet that to maintain peace, isn’t always going to work. Unfortunately for many that means being involved in conflicts rising as great as wars. The photo Burst of Joy taken by photographer Slava “Sal” Veder captures the joy an American soldier experiences after returning home from the war in Vietnam. The war in Vietnam was fought between the north Vietnam and the south, (as well as its principal ally, the United States) between 1954-1975. This meant that many Americans had to uproot and head out to a country they’d never been to, leaving their families behind. The photograph taken
...ople they capture continue to exist through the images. Photos provide visual evidence of past events. The development of photography and the wide distribution of photographs during the Civil War opened the public’s eyes to the savage nature of warfare, but also the tremendous sacrifices made by their soldiers, for the first time. As the demand for photographs increased, a great industry was born that dramatically increased the presence and effectiveness of the media for every war or conflict that followed. Today’s American public has been able to collect and study Civil War photographs, learning an important lesson in what the photographs say about the nature of warfare and also how the media sometimes conceals parts of the truth. Civil War photography forever changed the public’s perception of war, and showed that war-related media must be approached with caution.
This work follows in that of the purveyors of documentary photography. Like Richards, Jacob Riss went into the city slums a century earlier armed with a camera. In New York, Riss saw a glut of people, mostly immigrants, jammed packed together and feebly existing in filth. Riss, who was primarily a writer, found that his words were not communicating the ailments of society to the public as he wished. Then, the primitive flash was invented. Riss saw this as way to communicate the troubles he saw in the dark areas where the grossly impoverished lived. The outcome of Riss’ efforts was a startlingly powerful book of his images and text appropriately titled How the Other Half Lives. Though the photographic equipment has change through this time span, the aim of the photographers is the same: to educate the rest of the world of those that are forgotten or ignored, and in that way, bring about change.
War has always been inevitable throughout the history of the world. The outcomes can differ greatly; it’s usually either a win or a loss. Wins or losses are just definite statements, but photos can represent these statements. Alfred Eisenstaedt’s “V-J Day in Times Square” shows an American sailor kissing a young woman right in the middle of Times Square, despite their surroundings. This iconic photo was taken after the U.S. declared victory over Japan in World War II, and was published in Life magazine a week later. John Gap’s (III) photo shows a young girl being consoled at a soldier’s funeral in a local high school gymnasium, later to be buried at Arlington National Cemetery. This humble photo was taken during the war still raging in Afghanistan, showing that these types of losses happen quite often, as there are no iconic photos for Afghanistan compared to the photo shot after the win over World War II. Unlike its counterpart, this photo was published only at a local level on a website. Both these photos show a soldier being dismissed to go home from war. Although the two photos share that common factor, the scenario in which the soldier comes home differs greatly. Through these photos, Albert Eisenstaedt and John Gaps III help evoke pathos and give the observer a sense of the pride and the devastation felt of a home coming from war using photographic elements such as framing, focus, and angles.
Susan Sontag’s book Regarding the Pain of Others analyzes the ins and outs of the nature and ethics of violent war images. While one would not even have to bend the spine of this book to capture its essence, with its blunt title and frank cover illustration, some readers might turn the last page feeling puzzled by a few interpretations. While Sontag clearly establishes her belief that it is imperative that the general public view violent images and be informed about events their privilege would otherwise shelter them from, she hardly begins to consider the opinions of those who matter most-veterans. From mentions of their participation in staged photographs to talk of patriotic organizations denouncing anti-war propaganda, she is brief and
Because of blatant injustices and at times an unwillingness or know how to bring about change by the adults in the community. The denial of medical treatment, lazy elected officials to retrieve legal documents, unwanted children in schools because they were or thought to be products of prostitution, and thought to carried diseases were just a few of the obsticals. Giving the children the opportunity to learn how to use a camera gave the community a first hand look at their surroundings, the life that was being modeled before them, those outside of the community a glimpse at the injustices, lack of empathy,and isolation these people were forced to endure on a daily basis. though their community was not the cleanest, the education was not the best, and housing was crowded.The people managed to provide housing, food, clothing, and dependability to these children in the face of what seemed to be insurmountable odds. The pictures also helped to create resources otherwise denied to these people. Private schools began to take in some of the
Lois R. Robley remarks that “the horrors of war cannot be imagined by those of us who have not witnessed it”. It is perhaps up to the poets, the writers, the movie directors, and the photojournalists to distill and recapture the images that remind us of the traumatic influence of war. Perhaps only then can we extinguish the need to be reminded and ready for war-related PTSD.”
Photojournalism plays a critical role in the way we capture and understand the reality of a particular moment in time. As a way of documenting history, the ability to create meaning through images contributes to a transparent media through exacting the truth of a moment. By capturing the surreal world and presenting it in a narrative that is relatable to its audience, allows the image to create a fair and accurate representation of reality.