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Essays on the war photographer
Essays on the war photographer
War photography essay
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“One major factor in the development of photography around the world was the desire to record wars” (Liz Wells, 2015)
The relationship between war and photography is born from the desire to capture it. Although this desire is what connects the two, it is fundamentally the technology that dictates the subject matter of war. There are major differences in subject matter of 19th Century war photographers and today’s photographers. Restricted by the technology of the time, photographers had to capture other aspects of war, away from battle. As photography’s technology advanced, it increased the opportunities for photographers as to they how they captured the chaos of war, many times right in the midst of battle.
The invention of photography intrigued many. Individuals were driven to capture their life. They captured still images of the lives of others, to share, to record, to have as a memento. As photography began to flourish, war and the recording of it, captivated photographers. However, early war photography was disadvantaged by their inability to capture images instantly, as we do today. Photographers of the American Civil War resorted to capturing the
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These advances changed many aspects of photography. The use of photography in war was no longer as difficult as it had been in the past. Photographers were now able to capture moments in war that they were unable to do so before. Photography in the American Civil war was a more passive observation of the battlefield, documenting the result of war. In the 2oth century photographers took a more active role in documenting the chaos, they were able to shoot the conflict as it happened. With a more active role in conflict, photography became something to be utilised in the name of war. Not just documenting war itself, but aiding the war effort through its
Levinthal relies on the modern medium of photographic abstraction to depict the universal/total warfare of tanks and soldiers during Hitler’s Blitzkrieg. The rise of total war in WWI and WWII define the technological advancements that made it possible to create weapons, such as tanks and artillery, that could kill millions of men from the early to the middle 20th century. Fresnaye’s Cubist painting of the French infantry also defines the modernism of geometric forms that shape the emergence of industrialized war in the depiction of artillery. Artillery, much like the tank, became a machine of war that could kill or maim hundreds of thousands of men through bombardment. These technological weapons define the era of total/universal war in which massive soldier causalities would redefine he rules of war in a global context. These artistic representations of modern warfare define the modern psyche in terms of the horrors and death brought about in WWI and WWII. The emergence of universal/total warfare is closely associated with the technological styles of these artistic expressions in the modern psyche. Levinthal and Fresnaye depict differing mediums of Cubist and photographic depictions of universal/total war, but they are effective in defining the modern psyche through a
"A picture is worth a thousand words," we say. From the eyes and mind of the archivist studying the pictures of Robert Ross' experience with war, they are worth a lot more. The photographs in the epilogue of Timothy Findley's "The Wars" play an important role in Findley establishing both a trust with the reader, and a sense of realism to his war story. This satisfies the need for realism in his tale. The result of this image that is brought forth through the medium of the photograph, is that we are forced to see the "before" and "after" of Roberts "experience" and figure out our way through what is deposited in between: the cause and effect.
George Gittoes (b.1949) creates works that that communicate the issue of the graphic horror of war. A social realist painter, photographer and filmmaker, his approach to art is that ‘he layers and accumulates material until, out of apparent chaos, there is a synthesis of idea, passion and image’ (Mendelssohn, 2014). As an eyewitness to the world's war zones, Gittoes clearly uses his work as a means of communication to society.
Shaw, William B., et al. A Photographic History of the Civil War. Six Volumes. New York, New York: The Blue and Grey Press, 1987.
Tolmachev, I. (2010, March 15). A history of Photography Part 1: The Beginning. Retrieved Febraury 2014, from tuts+ Photography: http://photography.tutsplus.com/articles/a-history-of-photography-part-1-the-beginning--photo-1908
Tim O’Brien states in his novel The Things They Carried, “The truths are contradictory. It can be argued, for instance, that war is grotesque. But in truth war is also beauty. For all its horror, you can’t help but gape at the awful majesty of combat” (77). This profound statement captures not only his perspective of war from his experience in Vietnam but a collective truth about war across the ages. It is not called the art of combat without reason: this truth transcends time and can be found in the art produced and poetry written during the years of World War I. George Trakl creates beautiful images of the war in his poem “Grodek” but juxtaposes them with the harsh realities of war. Paul Nash, a World War I artist, invokes similar images in his paintings We are Making a New World and The Ypres Salient at Night. Guilaume Apollinaire’s writes about the beautiful atrocity that is war in his poem “Gala.”
In the chapter, “The Mirror with a Memory”, the authors, James Davidson and Mark Lytle, describe numerous things that evolved after the civil war, including the life of Jacob Riis, the immigration of new peoples in America, and the evolution of photography. The authors’ purpose in this chapter is to connect the numerous impacts photography had on the past as well as its bringing in today’s age.
Portrayal of War in the Pre 1900 Poetry Before 1900, war was always seen as a glorious thing. People truly believed in the words of the ancient writer Horace, "Dulce et decorum est, pro patria mori. " This phrase can be translated, as "It is a lovely and honourable thing; to die for one's country". Pre 1900 war poetry was strongly patriotic and glossed over the grim reality of death, preferring instead to display the heroic aspects of fighting. If death was mentioned, it was only in a noble and glorious context.
5 Light, Ken. Tremain, Kerry. Witness in our Time: Working Lives of Documentary Photographers. Washington and London: Smithsonian Institution Press, 2000.
...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.
Born to Nettie Lee Smith and Bill Smith on December 18, 1918 in Wichita, Kansas was William Eugene Smith, who would later revolutionize photography. His mother Nettie was into photography, taking photos of her family, especially her two sons as they grew up, photographing events of their lives (Hughes 2). Photography had been a part of Smith’s life since he was young. At first it started out always being photographed by his mother, and then turned into taking photographs along with his friend Pete, as he got older. They often practiced developing photos in Nettie’s kitchen, and he later began to create albums with his photographs. His photographs diff...
The Civil War was the first major conflict to be documented by photography. At the time of the Civil War, it was vital to have public support on both the North and the South side of the dispute. It is also said that if war efforts do not have complete support of its’ citizens that it will not result to any benefits. Photography was one way that was almost guaranteeing support of citizens on the homefront. Photographers had power within their photographs, toying with the pathos of the civilians, and causing them to feel whatever the photographers wanted them to. This power was abused at time by manipulating people’s opinions towards the war. There were pictures coming back from the warfront one after the other which made it impossible for people to feel an emotional connection to the soldiers at war. These photographs allowed events happening miles away to feel like they were closer to home causing people to support the war efforts more heavily. Instead of people having their own opinions during the war, photographers used manipulative
encapsulates the futility and horror of war through the use of vivid war images like
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.
World War I, an event which changed the geopolitical makeup as well as the attitudes of the world, consisted of people killing other people. In fact, every war is made up of people. In the day to day lives of civilians today, whether watching the news or reading a history book, the personal aspect of wars, particularly, is lost to many people. The notion that every soldier is a human being with likes, dislikes, talents, families, and favorite foods would certainly be acknowledged on a multiple-choice test, but practically it seems to be forgotten. Books like An American Soldier in World War I¸ however, help ground the massive geopolitical turmoil involved in a war like the Great War in the reality of humanity. The book’s goal is to look at