Chapter Eleven: Final Project 2 - Concluding Chapter

For the Creative Experiential Exercise I decided to document the AIC Women's Soccer Team and their Spring Tournament appearance at Springfield College last Saturday (May 27th). Although I did utilize my iphone to capture the following images (below), I did fully experience what it felt like to be a photojournalist. Today, with the digital revolution many photojournalists rely solely on their iphones to document every event they cover and as a result I did not feel that I was at a disadvantage. I decided to document a sporting event as we have not come across many photojournalists who focus primarily on this genre. In addition to this, I also possess a tremendous passion for soccer personally. It really is a motivating force in my life and has been since the age of six when I first started playing. However, being hindered by injury allowed me to see and appreciate it from a different angle. My inspiration for this assignment came from one photographer in particular, Donald Miralle. He is internationally renowned and covers sporting events  and even managed to work at the 2012 London Olympics. Unfortunately, Miralle was my first choice for the final profile, however, there just wasn't enough information to fit the assignment criteria and guidelines. Overall, although my images may not be of professional quality, I really enjoyed getting out into the field and engaging in this process. It was fun and exciting and made a huge change from gathering information to write a story for the Yellow Jacket. After examining hundreds of photographs from various points in history, it was definitely a highlight to actually gain some hands on experience of my own.

 

Please  take a look at the images I took at Springfield College: (All images created by Bryony Parker)

 

 

One of the turf fields at Springfield College.

 

Angeliki Rassias, a senior midfielder from Melbourne, Australia.

Chazani Douglas' cleats.

Roxanne Lee-Stewart of Southampton, England, prepares to enter the game for the Yellow Jackets.

Alie Fitzsimmons, a junior, of West Springfield, ties her cleats before the first game.

The game field at Springfield College.

 A Gatorade water bottle on the sideline.

The tournament score board on display.

An official signaling a substitution for the referee during the final game.

 

Over the course of the semester I definitely feel that I have experienced personal growth and holistic development through the many analytical and comparative exercises we have worked through together. In my opening chapter I was adamant that the term photojournalism was the overlapping of photography and journalism. However, I have slightly taken a step back from my initial definition and rigid mind set. I have learned on numerous occasions that photographs can speak volumes without the presence of a single word. Some of the more powerful images myself and my peers have viewed tell the complete story by themselves. Prior to enrolling in this class I always clung to words and used them as my crutch as opposed to using images to tell a story. Although you are much more limited with photography, if you get “the” shot it has the potential to be tremendously powerful and even change the world. At the conclusion of the semester, I now strongly believe that an iconic picture really is worth more than a thousand words. Despite having the opportunity to view hundreds of different photographs throughout the course of the semester, I still maintain that Kevin Carter’s image of the starving Sudanese orphan is the most striking for me personally. Additionally, I also mentioned in my opening post that an effective photojournalist must excel primarily as a photographer but also be competent as a journalist too. I still stand by this belief. Moreover, the material we have studied in relation to bias confirmed and reinforced my thinking about the importance of media ethics, especially, accuracy, objectivity, and fairness.

 

With regards to studying and knowing the History of Photojournalism, it really is a necessity and as I mentioned from the outset, “it is what we make of it,” we can embrace the successes and failures or we can be completely ignorant to its limitless boundaries.  In this course, I believe we have embraced it and we have covered a lot of ground and spanned many eras in a relatively short space of time. Together we have traveled through the pre-digital age and into the digital revolution. We had the opportunity to witness the origins of photography and appreciate the colossal developments and technological advancements that we often take for granted today. This historical journey really made me appreciate what items I have and utilize in today’s digital age. I would be lost without many of them, for instance, my iPhone. It truly is mind boggling to see these instrumental changes that have occurred in my lifetime alone and I can honestly say it is frightening thinking about what technological changes are yet to come.

After reading the photojournalist profiles I undoubtedly gained further insight into the History of Photojournalism. I particularly enjoyed how I was familiar with some of the photojournalist profiles but were introduced to others for the first times. I liked being able to compare and contrast the individuals profiled in terms of  time period, personality, style, technology, motivation etc etc. Furthermore, it was interesting to absorb my classmates creativity and approaches to this final project. Carmen Tavarez for example profiled Dorothea Lang, a US photojournalism who primarily documented the Depression Era. From previous assignments I was familiar with Lang's work, especially the image of the mother with her two children. Carmen explained that Lang wanted to share her experience with the world and this was her primary motivating force. In addition, Carmen reported that Lang utilized a Garflex camera (4x5 film size). The information included also implied that Lang felt a little held back by her family commitments. From the depression era to present day, Courtney Williams' authentic journal style profile on Guy Martin truly highlights the impact of the digital revolution. I was drawn to Martin due to his British heritage (like myself) and to the injury he sustained while covering conflict in Libya. Martin claims to be motivated by conflict and as a result has had many opportunities to travel worldwide. He never leaves the house without his Nikon D300 digital camera. Please take a second to appreciate the breathtaking camera developments illustrated below the text. In between these two iconic photographers comes Walter Iooss Jr, a sports photographer profiled by David Campbell. I was fascinated to learn more about this individual due to my own passion for sports. I must admit that I am slightly jealous that Iooss Jr. had the opportunity to get up close and personal with many sporting legends, for example Tiger Woods. The creativity and variety of work this final project produced was beyond incredible.

“Ah-ha” moments…there have been several for me during this semester, especially pertaining to the ethics, motivation, and bias chapters. I found it extremely interesting to learn about each notion through  different sets of eyes. Indirectly, both perception and perspective were two crucial underlying themes in this photojournalism class. How I perceive a photo may be entirely different from how my peers perceive it and I really feel as though I became much more open-minded as a result. Just because someone does not agree with my analysis, this doesn't mean it is incorrect. Moreover, I quickly observed how perception is inextricably linked to background, upbringing, morality, attitudes, religion and so on. Although we are all individuals, I enjoyed learning about different cultures and belief systems through many of the assignments. Overall, I have not only acquired a wealth of knowledge in this class but I am truly amazed that this occurred entirely through an online medium. This really reinforces the beauty of technology. Through your guidance Professor Nordell I now have a greater appreciation for studying history and have also became more open-minded and self-critical. This course has definitely taught me what it means to be an independent learner and helped me refine my time management and organization skills. Each of the skills I have acquired are transferable to many aspects of life and I full anticipate utilizing them as I embark on my graduate degree.

 

 

 

Photo by Kevin Carter

Image Source: http://www.fanpop.com/clubs/photography/articles/2845/title/kevin-carter-consequences-photojournalism

From this...

Photo by Dorothea Lang

Image Source: http://cclevyphotojournalism.wordpress.com/2011/02/25/critical-interpretation-of-dorothea-langes-migrant-mother-2/

Image Source: http://www.womensconference.org/we-inspire/

 

To this...

Photo created by Guy Martin

Image Source: http://guy-martin.co.uk/2012/11/the-deadly-dust/

Image Source: http://www.closeoutdigital.com/products.asp?dept_id=&product_id=330

Chapter Ten: Final Project 1 - Photojournalist Profile (Lewis Hine)

Firstly, please watch the video of my mock interview with Lewis Hine and find the script I wrote below:

 

 

An interview with Lewis Hine (Script):

Bry:Good evening everyone, my name is Bryony Parker and today we are hypothetically time traveling back to the early 1900’s. I am fortunate enough to steal ten minutes with Mr. Lewis Hine whose investigative photojournalism has been instrumental in transforming child labour laws. So where did this all begin for you Lewis?

Bonnie:Well…I bought my first camera in 1903 and I found a passion for documentary photography early on, especially photographing society’s vulnerable minority groups. While I was studying sociology in New York I had the opportunity to photograph Ellis Island immigrants. Following this assignment, I wanted to expand my horizons further and this type of photography became my primary focus from that moment onwards.

Bry:At this point, the field of photojournalism had already experienced rapid digital changes throughout the 1800’s, for instance, the first negative image, color image, and halftone photograph had all been discovered. As well as the shift from wet plates to dry plates. The majority of your work was black and white. Why did you not experiment with color images?

Bonnie:Firstly, it was very expensive and I was not making a great deal of money from my photographs. Secondly, my images seemed more authentic in black and white. I aimed to capture subjects looking into the camera in an attempt to depict and communicate intimacy to my viewers.

Bry: There is absolutely no doubt that your photographs communicated intimacy. You are notorious for publishing Charities and Commons. What did you hope to achieve with this series of photographs?

Bonnie: My objective all along has been social reform. I wanted to make people aware of the harsh realities, especially pertaining to children in the work place. Through my images I wanted people to "exert the force to right wrongs".

Bry: Your next career move occurred in 1908 when you became employed by the National Child Labor Committee. How was this experience for you?

Bonnie: I had the opportunity to travel a great deal which I really enjoyed. I think I covered approximately 12,000 miles in one year. I primarily documented portraits of children forced to work in factories and mills and the horrendous conditions and treatment they were subjected to.

Bry:Did you face any obstacles or dilemmas when you entered work places? How did the business owners react?

Bonnie:In some instances, I really put myself at risk entering factories, mills, sweat shops, and coal miles. Photographers were certainly not welcomed at any of these institutions. They did not want the public to know what was actually happening behind closed doors. However, I didn’t even give this risk a second thought. I wanted to help these poor kids and ultimately change child labor laws.

Bry:How did you manage to get inside then?

Bonnie:I often had to disguise myself as a fire inspector or insurance agent and hide my camera in order to even get through the door. I really had to put my life on the line in some instances. I was physically harmed and some owners even threatened to kill me.

Bry:Wow and this did not stop you. That is a reflection of your character and really epitomizes your dedication and commitment to the cause.

Bonnie:It wasn’t an easy task. I had to really be discrete, for example, I learned how to essentially write without looking and record captions in my pocket. I have always had a passion for working with children which stems from my early career as an educator. I loved talking to the children and tried to obtain as much information as I possibly could in such a short space of time. Sometimes if my disguise didn’t work, I waited for the children to finish their shifts and even made a number of home visits.

Bry:You stayed with the National Child Labour Committee for eight years. What was your primary motivating force?

Bonnie:I simply wanted to reform child labor laws and I almost felt as if I had a moral responsibility. The environment that these children were forced to work in was dangerous and insanitary. I had to expose the truth behind the working conditions and physical and emotional abuse the children were exposed to. I wanted to give these vulnerable children a voice and make the public aware. My photographs eventually shocked the public and humiliated the government. They had to do something.

Bry:Were there any other factors that influenced and inspired you?

Bonnie: Actually, as a child I worked in similar establishments, for instance, a furniture factory and endured thirteen hour work days six days a week and the pay was disgraceful. My own childhood definitely inspired me to try and make a change.

Bry:I’m really sorry to hear that you experienced similar treatment. But Lewis, your photography was ground breaking and had a profound impact on American society. We are all tremendously grateful and you should be very proud of your work and the effect it has had on society.

Bonnie:I guess you could say that my work helped a little.

Bry:Oh you are so modest. Your work influenced the Keating-Owen Act in 1916. This placed restrictions on children under the age 14 being employed in factories.

Bonnie:Yes this was definitely one of THE highlights of my career. To ultimately help change legislation was incredible. However, despite the long work days and extensive traveling, I was struggling to survive with the microscopic pay scale.

Bry:Like most photojournalists I’m sure your work faced opposition as it was centered on a somewhat controversial topic and the government definitely did not want their system to be exploited.

Bonnie:Without doubt, my images were criticized for not being “shocking enough.” However, I photographed reality and in my opinion accuracy was more likely to get people on board with my social reform campaign.

Bry: Are you aware of your own biases?

Bonnie:Tough question, I probably did not see it at the time. But clearly I was bias against the government and wanted to show the public exactly what was going on and what horrendous treatment the children were experiencing. I understand that employing children to work unsociable hours was extremely profitable. But it really was unsafe.

Bry:Thank you for your time Lewis. Any concluding thoughts you would like to leave us with?

Bonnie:I would just like to end with a segment from the Child Labor Bulletin of 1914. "For many years I have followed the procession of child workers winding through a thousand industrial communities from the canneries of Maine to the fields of Texas. I have heard their tragic stories, watched their cramped lives and seen their fruitless struggles in the industrial game where the odds are all against them. I wish I could give you a bird's-eye view of my varied experience."

Bry:You have definitely opened the nation’s eyes and hearts. I’m sure child labor would still be exactly the same today if you had not taken it upon yourself to try and make a change. The world needs more people like you. Ladies and gentleman, this is Lewis Hine. Thank you for watching. We will be back tomorrow to profile another renowned photojournalist. Don’t miss it.

Next, please refer to the PowerPoint Presentation (below) for a display of Lewis Hine's work and my assessment of the Photographic, Artistic, and Compositional Principles:

 

Works Cited:

http://www.spartacus.schoolnet.co.uk/IRhine.htm

http://www.nationalchildlabor.org/lha.html

http://andreivenghiac.blogspot.com/2010/12/lewis-hine.html

http://www.masters-of-photography.com/H/hine/hine_articles2.html

http://www.legendsofamerica.com/20th-lewishine.html

Module 12 Content Area

 

Chapter 9 - What Motivates Photojournalists

I couldn’t agree more with Professional photojournalist Mark M. Hancock's words, he referred to “Motivation as an art term. Artists are encouraged to find their creative motivation and meaning of their work before they create,” (source 1). In his blog he also discusses how this notion is unique and personal to each and every individual, very similar to how values are. In other words, my motivations could be similar or very different to yours. It just depends on what is important and why people behave the way they do. While “all photojournalists have the same general purpose - to tell visual stories,” the factors that motivate them are exclusive and are the primary reason they get out of bed each morning. Just from the Module 12 content area alone, I quickly discovered that the featured photojournalists had very divergent yet strong motivational forces governing their work in the field.

Hancock provides a number of categories in which he believes photojournalists fit in to, however, in my opinion these are rather generic and in reality, many more actually exist:

·         “To fulfill the obligation”

·         “To help people”

·         “To answer ‘why?’”

·         “To show the facts”

·         “To inform/educate”

·         “To share the experience”

·         “To achieve”

·         “To prove we existed”

According to Mark Hancock, a freelance photojournalist, helping people is his greatest motivating factor. He finds it tremendously rewarding to document images of those in need so the readers can be exposed to the truth following a natural disaster or crisis. He believes his work helps to achieve a domino effect, if an image of suffering is printed, in turn readers can provide donations to help those in need. The photographs act as a means of connection with the reader and in some instances this can provide aid and assistance and even change laws in extreme cases (source 1). 

Photo created by Mark M. Hancock (2006)

Image Source: http://markhancock.blogspot.com/search/label/award%20winner

Similarly, Lewis Hine was also motivated by reform, particularly helping vulnerable children and ultimately  improving working conditions for children (Module 12 Content Area). Through the use of multiple disguises, Hine secretly exposed the truth behind the dangerous working conditions and physical and emotional abuse the children were subjected to. His objective was to educate the world about child labor and wanted to encourage people to “exert the force to right wrongs.” In other words, Hine wanted stricter laws to be imposed to improve working conditions for children. His work was largely human portraits, he successfully captured subjects looking into the camera in an attempt to depict and communicate intimacy to the viewer. Overall, Hine’s work was groundbreaking and significantly helped the implementation of stricter laws (Module 12 Content Area).

Photo created by Lewis Hine

Image Source: http://reelfoto.blogspot.com/2011/05/lewis-hine-littlest-laborers.html

In contrast, Lynsey Addario is famous for her documentation of issues and sexual discrimination related to women, particularly in Afghanistan. Her goal is to give those women subjected to terrible injustice and gender based violence a voice. “The increasing trend of self-immolation – where young women in desperate personal situations commit suicide with boiling water and oil - motivated her to capture this horrific self-infliction of painful disfigurement and deter other women from taking this extreme step,” (source 2). Moreover, through her photographs Lynsey is trying to raise global awareness and show what harsh treatment young women are subjected to in Afghanistan.

Photo created by Lynsey Addario

Image Source: http://www.freedomtocreate.com/lynsey-addario-02

Overall, the motivations underlying the three photojournalists I selected do not really match up with mine. Unfortunately, nothing on my motivational hierarchy is geared towards changing laws, each factor is specific to where I am currently at in my own life. The closest association I could observe was Mark Hancock’s inspiration to help people. The Graduate Program I am pursing in the fall is Clinical Psychology which is inextricably linked to empathy and helping others.

Below is my personal Motivation Hierarchy (Sorry about it being sideways, it was the correct way on my computer but the blog flipped it around):

Works Cited:

http://markhancock.blogspot.com/2008/05/pj-motivation.html (source 1)

Module 12 Content Area (Lewis Hine)

http://www.freedomtocreate.com/lynsey-addario-02 (source 2)

Chapter 8: Photojournalism and Bias

"Going home"

 

Photo created by Ed Clark (Life Magazine)

 

Image Source: http://www.thegreatleapsideways.com/?p=209 

 

I can almost guarantee that when each of my peers reflect on this picture we will all have a completely different reaction and perception. Personally, when I viewed this image I was immediately drawn to the anguish on the main subject's face. His pain is apparent but we do not know why by just looking at the image alone. The other participants in the background also contribute to the somber mood. The main subject's expression looks genuine and is very heartrending. We can see that that the man depicted in the foreground is in the Navy from the emblem on the cap he wears. As a result, I strongly believe that this may have a more powerful and profound effect on other military personnel and their family members. I have never endured a family member in the military so it is more difficult for me to relate. Individual experiences are inextricably linked to perspective and interpretation. After I researched the context of the photograph I learned that the "navy shipman Graham Jackson is following the funeral train on the occasion of Franklin D. Roosevelt's burial." Therefore, his expression is very fitting for this scenario.

 

Principle 1: Subject’s Expression

The main subject is not overly posed and the anguish and emotion are very clear for everyone to witness. This expression looks natural and genuine and his behavior and body language are professional considering his role as a navy shipman on duty.  

 

Principle 2: What feelings did the image create?

This image was very tough to swallow. Although from the image alone we do not gain insight into the context/situation, the main subject's expression implies extreme tragedy and loss. Also the fact that the man is close to tears adds to the emotional intensity. It is not very often that you see a man close to tears like this.

Principle 3: Contrast Appropriate

The contrast used is very appropriate in the above image. Although it is relatively subtle because the image is in black and white, the main subject is darker than the background participants. This highlights his importance and really draws your attention to his facial expression. In addition to this, the contrast also contributes to the melancholic and somber mood of the photograph.

 



 

Photo created by Jodi Bieber (Time Magazine)

 

Image Source: http://kwikwee.com/2012/07/22/aesha-the-afghan-girls-tough-journey-after-international-fame/

 

I remember the story pertaining to the (above) image very well. We discussed it in-depth in an introduction to journalism class. Here is a little bit of context for those of you who are not familiar with the situation. "Bibi Aisha, an 18-year-old woman from Oruzgan province in Afghanistan, fled back to her family home from her husband's house, complaining of violent treatment. The Taliban arrived one night, demanding Bibi be handed over to face justice. After a Taliban commander pronounced his verdict, Bibi's brother-in-law held her down and her husband sliced off her ears and then cut off her nose. Bibi was abandoned, but later rescued by aid workers and the U.S. military,"  (source 1).

 

Why does this represent truth to me?

 

Many people could argue I have my own personal bias or prejudice towards this image due to the fact that I am female. However, in my opinion, it doesn't get much more real than this, regardless of whether you are a male or female. This poor innocent girl was subjected to unimaginable pain and suffering and her scars are there for the whole world to see. This image coincides with Shahidul Alam's activist approach to photojournalism and supports his "Majority World." Women in Afghanistan are simply inferior (for lack of a better word). 

 

However, I fully appreciate that the world is far from equal and there are numerous ways to view things. As a result, opponents could argue that Bibi Aisha deserved this treatment for her defiant behavior towards her husband. Overall, I believe this is a true, accurate, and objective depiction of the potential dangers associated with living in this part of the world. Bibi Aisha is portrayed with dignity and despite everything she has endured, she can hold her head up high, "Opening Doors, Opening Minds." In addition, this image further reinforces the development and progression of the field of photojournalism, previously it was frowned upon to photograph and print portraits of women.

 

Principle 1: Keep it Simple

Bibi Aisha's head shot is the only object in this composition. This is very effective as she receives our undivided attention and there are absolutely zero distractions. Due to the absence of her nose, you are immediately drawn to this part of her face as it is atypical and unnatural.
 

Principle 2: Texture

The place where Bibi Aisha's nose was removed creates intese texture. Although it makes me grimace a little, her now healed scars are evident and always will be. However, the open hole is a harsh reminder of her ordeal. Moreover, the head scarf she wears also contributes texture to the image.

Principle 3: Does the image remind you of any work or photograph you have seen before?

 

This image of Bibi Aisha reminds me of the image (below). Both subjects are young minority girls adhering to specific cultural norms. In each photograph, there is a powerful element that really stands out and draws/lures you in.

 

Photo created by Steve McCurry

Image Source: http://myhigherdrive.com/be-prolific/

 

Photo created by Paulo Whitaker

 

Image Source: http://www.reuters.com/article/2008/05/25/us-brazil-gays-idUSN2530690220080525

 

This image was taken in May 2008 and illustrates "more than a million gays and transsexuals parading in Brazil's capital Sao Paulo on Sunday in what was billed as the world's largest gay march to urge an end to violence and discrimination," (source 2).

 

Why does this NOT represent truth to me?

 

Although this image is "supposed" to document Brazilian advocates of gay rights and equality, in my opinion this is not a good visual representation and sends out completely the wrong message. The stereotypical rainbow flag is masking the identities of these supporters. The camera angle used her is crucial and further contributes to the inferior stigma. Bettye Lane definitely would not have been satisfied with the portrayal of this minority group and their struggle.

 

 Principle 1: Rule of Thirds

 

This image does not adhere to the rule of thirds primarily because it does not include a main subject. As a result, it is dull and uninteresting and consists only of the colored flag. Disregarding the context and meaning behind the image, it is far from aesthetically pleasing.

Principle 2: Use of Lines

As the viewer, I was imemdiately aware of the distinct vertical lines on the flag. The only purpose they serve is to segregate the colors of the rainbow. The creases within the flag itself add realism and texture to the photgraph. Yet again, the flag is the main focus as there is nothing much else to look at.

Principle 3: Abstraction

The above image is representational of the iconic rainbow symbol assoicated with LGBT. However, we see legs and feet as opposed to the faces of these advocates. This in my opinion is far from appropriate and extremely bias.

Works cited:

 

http://www.buzzfeed.com/mjs538/every-world-press-photo-winner-from-1955-2011 (source 1)

 

http://www.reuters.com/article/2008/05/25/us-brazil-gays-idUSN2530690220080525 (source 2)

 

 



 

Chapter 7: The Ethics of Photojournalism

Many people believe that photo manipulation, exploitation, and tampering are relatively new phenomena which are inextricably linked to the digital revolution and the rise of programs such as Photoshop. However, in reality, this unethical practice has existed from the beginning, especially for propaganda purposes during times of conflict and war zones. However, in today’s society, it is much easier to engage in digital manipulation. It is becoming increasingly difficult to distinguish between truth and reality in many images posted in the media. As a photojournalist, it is your goal to sell images and some individuals are willing to do absolutely anything  to get “that” shot. As a result of this, news organizations are losing credibility and respect from readers. This kind of practice is not taken lightly and ultimately could end a career. Exploitation is another serious offence in photojournalism, benefiting from the pain and suffering of others cannot be justified and this notion too causes a lot of debate within the field of photojournalism.

A more recent controversy relating to ethics and photojournalism is an image used on the cover of the New York Post (December 2012), this raised universal “questions about the editorial and ethical decisions faced by editors and photo journalists” today (source 1). The front page image illustrated a man seconds away from being hit and killed by an approaching subway train. The image was accompanied by a chilling headline, “Pushed on the subway track, this man is about to die, and in larger all-capital letter below, “DOOMED” (source 1). The photographer behind the camera was R. Umar Abbasi and instead of offering his hand to the victim, Ki Suk Han, he opted to take this picture. Although professional opinions are clearly divided on whether this image should have been taken in the first place, never mind later published in the Post, Abbasi maintains it was in his best interest to photograph the victim (source 1). According to John Kaplan, a photojournalism professor and Pulitzer Prize recipient, “The blame in this controversy lies directly with the New York Post for publishing such a callous, crude and truly tasteless headline while at the same time wrongly splashing the tragedy on the front page.” On the other hand, Kenny Irby believes that this story should have been covered but using different language and an alternative image (source 1).

Personally, I was horrified when I saw this image for the first time. I cannot fathom how any human being (no matter how cold and heartless you are) could stand and watch an innocent civilian be brutally murdered right in front of them. I’m sorry but I do not think the photographer R. Umar Abbasi has any ounce of conscience - no inner sense of right or wrong or gut wrenching feeling. Or maybe he did but chose to ignore it and put his career before his morality? I guess only Abbasi himself will truly know his motives behind not helping Ki Suk Han escape his death. Referring back to my personal ethics map, loyalty and respect, happiness and equality and opportunities are all applicable values here. Firstly, Abbasi’s decision demonstrates absolutely no allegiance or respect to the human race. Secondly, who is happy in this scenario? It certainly isn’t the victim and I would hope that the photographer would not be and instead feel a sense of intense guilt and remorse? Overall, maybe the editor is the only person who is content with this image, however, I would hope they too feel disgust and regret at such a poor and unethical decision. Additionally, there is zero equality in this situation, an innocent man loses his life. In contrast, proponents may argue that Abbasi used his initiative and viewed this incident as an opportunity to take an award winning photograph. In all honesty, I cannot comprehend the latter whatsoever. I understand that I wasn’t actually there  in the moment but taking a photo at a time like that would not have crossed my mind, not even for a spilt second.

Although this is not the first controversial image to make the front page of a major newspaper, I strongly believe that stricter sanctions must be imposed to prevent the reoccurrence of such cruel and heartless behaviors. This  poor man Ki Suk Han lost his life ultimately because a photographer was more concerned with documenting the event rather than reaching out a hand and saving him. At the end of the day, I would much rather be hailed a hero than a Pulitzer Prize winner, at least I could live my life guilt free.

The image (below) ran on the cover of the New York Post and has been a huge talking point in the media ever since:

 

 

Photo by: R. Umar Abbasi

Image Source: http://bostinno.com/2012/12/04/controversial-new-york-post-cover-photo-shows-man-moments-before-his-death/
 

Year created: 2012

 

Below please find my own personal Ethics Map (sorry the quality of the image isn't the best, I took the picture of my computer screen):
 

 

 

Works Cited:

Source 1: http://hereandnow.wbur.org/2012/12/06/shoutout-controversial-photos



Chapter Six: Women Photojournalists - Trials and Triumphs

Mary Ellen Mark (1940 - )

Mary Ellen Mark was my female photojournalist of choice due to the fact that she is internationally renowned in the industry and has won an array of prestigious awards throughout her career. It made sense to choose Mark due to the fact that she was born in 1940 and is still alive today. As a result, her career has spanned decades of harsh inequality and male dominance with regards to photojournalistic opportunities and exposure. The talent of many female photojournalists was overlooked and discarded and sexism was prevalent. However, on the plus side, Mark also experienced the digital revolution and a shift to more equal opportunities for photojournalists and a whole new world regarding technological advancements. In today’s society, women frequently cover conflict and war zones in countries such as Libya and Afghanistan, and they are not phased by the potential danger and male photojournalists are subjected to these same risks. This colossal development truly epitomizes the photojournalism revolution over the past seventy five (plus) years).

Mark was born March 20, 1940 in Philadelphia, and at the tender age of nine years old, she began taken photos using a Box Brownie camera. At high school, she was a skilled artist and also became the head cheerleader. Initially, Mark attended the University of Pennsylvania and received a BFA degree in art history and painting. She later obtained a photojournalism Masters. At the conclusion of graduate school, Mark had the opportunity to travel and photograph in a number of European countries as a result of the Fulbright Scholarship (source 1). Many believe that Mark’s move to New York City really caused her career to blossom (source 2). Here, Mark turned her attention to society’s outcasts, in particular, drug addicts, the homeless, and prostitutes (source 3). Mark explained, "I'm just interested in people on the edges. I feel an affinity for people who haven't had the best breaks in society. What I want to do more than anything is acknowledge their existence,” (source 2). Mark is not only a notorious photojournalist, she has written a number of books and also worked within the film industry (source 2).

Mark received a number of accolades for her work, including: Page One Award for Excellence in Journalism, Robert F. Kennedy Journalism Award, The Phillipe Halsman Award for Photojournalism, a Distinguished Photographer’s Award and many others (source 2). Despite these honors, her career was certainly not obstacle free, primarily due to gender. Mark and many other females were viewed as minorities and completely inferior to men. Although research leads me to believe that Mark’s career was not quite as hindered and troubled as some other prominent females, for instance, Marion Post Wolcott, who was subjected to extreme harassment in the form of urine and spit bombs. Mark and many other women were still at a disadvantage in their early years (M9: introductory video).

However, female photojournalists are not alone, women in other vocations are too plagued with sexual discrimination today. Female CEOs have a much tougher time being promoted to executive positions due to the glass ceiling effect. Similarly, you very rarely see females coaching male collegiate or professional sports teams, yet, men frequently coach women. Is this considered a double standard? In addition, you see many more male police officers and fire fighters than females, is this deliberate or unintentional? Furthermore, trade jobs, such as mechanics, plumbers, and electricians are also primarily dominated by males. In conclusion, while times have changed dramatically, sadly gender discrimination does still exist in many occupations today. In my opinion, this bias will never be completely extinguished from the work environment which is very frustrating, especially being a member of the “inferior” gender myself.

Photo by: Mary Ellen Mark

Image Source: http://dreamsromanceexcess.wordpress.com/2011/12/06/mary-ellen-mark-american-odyssey/

Year Created: 1990

Principle 1: Subject’s Expression

The main subject is overly posed and her appearance and behavior are unnatural and atypical for a child of her age, especially smoking the cigarette. However, her body language does fit her facial expression perfectly. In contrast, the secondary subject appears natural and filled with innocence. Her expression is blank but she stares right into the camera. She appears lost and confused.

Principle 2: What feelings did the image create?

I was absolutely horrified viewing this image for the first time. I was in disbelief that the innocent little girl was wearing makeup and smoking a real cigarette. It broke my heart actually and I immediately wondered where her parents were, what happened to her, and what was her story. This image had a very powerful effect on me personally and I made me realize how lucky I was to have such an innocent and blissful childhood.

Principle 3: Rule of Thirds

The primary subject is placed off center to the right and therefore this photograph adheres to the rule. In my opinion by not placing the chief subject exactly in the middle of the shot it makes the overall image more aesthetically pleasing.

Photo featured in: Silicon Valley Blogger

Image Source: http://www.thedigeratilife.com/blog/index.php/2007/05/29/traditional-jobs-for-men-and-women-the-gender-divide/

Year Created: 2007

Principle 1: Abstraction

The above image is tremendously representational. Typically, this occupation is dominated by males, however, photographing a woman/minority plumber on the job is very powerful, especially to the female audience. It is one tiny attempt to diminish the prevalent gender stereotypes that exist today.

Principle 2: Texture

The water pipes utilized in this image have a shiny texture and the sink has a smooth texture. In addition, the wall in the background also makes a contribution. The different textures working in the photograph reinforce realism and practicality and demonstrate that women can also be plumbers, not just men alone.

Principle 3: Use of Lines

The curves of the pipes work negatively as they draw your attention away from the main subject and toward the equipment at the left hand side of the image.

 

 

Sources:

 

1. http://en.wikipedia.org/wiki/Mary_Ellen_Mark
2. http://photography.about.com/od/famousphotographers/a/maryellenmarkbiography.htm
3. http://www.photography-art-cafe.com/famous-women-photographers.html