Concluding Chapter: Creative Experimental Experience

After studying just what photojournalism is and what photojournalists do, my initial definition has changed.  After profiling major photojournalists in their career and personal motivations, the history of photojournalism is something to be remembered in a single tag line, “Every picture tells a story!”

I’ve learned about photography, browsing a multitude of photographs and bringing to mind new stories and ideas that are relevant to today.  Not only studying the facts of our history through photographs and individual dedication, having the ability to share my studies in a universal blog was a rewarding experience. 

In many times we read about news story’s in the press and see what is happening on the 5pm news report; but what we don’t understand are the opinions and facts behind the picture.  Sometimes I would always consider truth to be photographs, but what I came to realize, is viewing an event through the lens of a camera may not necessarily be what we expect it to be.  Truth, bias and discrimination among photojournalism were some specks of information that came as a shock to me.

It’s important to understand the history of photojournalism to be able to study and reflect how our society has grown both technically and comprehensively.  According to the International Center of Photography, “The documentation of photography and photojournalism focuses on the investigative skills and technical knowledge necessary to advance in the complex and constantly changing world of visual journalism.”  As a communications major, being able to experience and engage in a new journalistic style has been incredibly beneficial.  Analyzing and evaluating a variety of photo-journalistic publications has provided students with the opportunity to discuss a new outlook in media, business, methods, and most importantly political, ethical and social concerns.   Being able to see our history through the eyes and lens of different people and different cameras has provided me with a significant new way of thinking intellectually and experiencing the spontaneous “Ah-ha” moment involved in the thought process.   

With my experience in this course, I still stand by my idea that photographs have the power to change the world.  Most specifically along my flow of research I came across Brent Stirton’s collection of photographs that documented the economic issues in South Africa (“Rhino Wars”).  His photographs express such emotion and truth; it was not hard to empathize with the animals in regards to the cruelty is inflicted upon them.  Being able to see the damage provides a sense of perception.  With any photograph in photojournalism, having the ability to think, perceive and comprehend a given message provokes people to make a difference.  The power of a photographs story encompasses the influence in many cases to change the way the world perceives certain issues.  

Photo By Brent Shirton

Being able to see the damage provides the viewers with a sense of perception.  With any photograph in photojournalism, having the ability to think, perceive and comprehend a given message provokes people to make a difference.  The power of a photographs story encompasses the influence in many cases to change the way the world perceives certain issues. 

Heather Brouillard pointed out that Dorthea Lange was able to give voices to the voiceless in her photographs.

 

Jenna Costa mentioned in her blog post about Robert Capa, he never took photos that were staged or that did not represent the war for how it was. He always kept his photos real and made sure to take them for the right reasons. He took photos of war for the public, not to just take famous photos. 

  

According to Devontee Dillion, Dith Pran was a photojournalist during one of the history’s worst genocide. As far as the state of photojournalism at this time it was very popular. 

In my creative experimental exercise I used social media to market my recent photographs I took over the weekend.  This weekend happened to be the first time in 15 years that the American International College Baseball team has won a spot in the North East 10 Playoff Championship series.  Saturday was the biggest game they needed to win, and they clinched the victory, putting them in the number two spot and on the road to the championship playoff game.  I took pictures the entire day and posted them to Facebook. Within hours, I had players contacting me to send them their pictures; I even had family members of some of the guys contacting me for copies.  My boyfriend is a member of the team, and he enjoyed being able to have these photographs, documenting a major achievement that AIC hasn’t seen in nearly fifteen years.  The team has a shot in making baseball history next week, and there is no better way than being at the games taking pictures and showing my support.

Alfred Eisenstaedt: "The Man Behind The Camera"

One of the first photojournalist to share his iconic photographs with LIFE Magazine, Alfred Eisenstaedt has been named one of the most renowned photojournalists of our time.  According to Gallery M, his 86 covers and over 2500 assignments for LIFE have portrayed the earth-shaking events and influential people of the twentieth century, from the dignity of royalty to the elegance of movie stars, from the passion of scholars to the determination of diplomats. 

Symbolic photographs of the 20th century are to be credited to Eisenstaedt and his dedication to achieving that precise, decisive moment. He was known as the man behind the camera.

Eisenstaedt had a way to communicate with the viewer in a visually appealing manor.  Charles Hagen wrote in his obituary, Mr. Eisenstaedt was almost invariably able to communicate the essence of a story in a single image. The photographer's job, he once wrote, is "to find and catch the storytelling moment."

Cornell Capa, founder of the International Center of Photography in New York City and a longtime photographer for Life, was a great supporter of Eisenstaedt . "He knew exactly what he was looking for in a story, and where to position himself" to get the most telling picture, he said yesterday. 

This video provides a brief over-view of many of Alfred Eisenstaedt's great successes. 

LIFE Magazine has a fantastic collection of his images that has been collected over the decades.

What Motivates Photojournalists?

What Motivates Photojournalists?

Steve Coleman

Australian Landscape Photography

photo source: https://www.facebook.com/Steve.Coleman.Photographer

 Coleman has spent his career capturing the beauty that lies within nature and its hidden marvels.  Beginning his career off in commercial design was exciting, but as Coleman put it, no longer capable of satisfying his creative soul.  "Functional design and feeding a business had left me feeling I was doing 'their' creative work and not my own."

One thing that Coleman stated really stood out to me.  "The picture you are given equals the emotion you feel as you watch the birth of a new day.  How wonderful this world is."

Photo by Steve Coleman
Source:  http://www.lightinframeblog.com/my-story/#sthash.LD9UMF7w.dpbs

For many photojournalists, their motivation lies within the journey itself.  For many it may be the reason in regards to religions, philosophy, ethics, or a reward within itself.  But according to Coleman, "my search has taken me down a path of photographing landscapes, sharing what I learn and writing about the journey."

For Coleman, capturing the landscapes that surround us in nature is rewarding in ways he can discover his own journey and discovering his own individual balance.  "I know that photographing a landscape brings a sense of balance into my life.  It fulfills many needs in me, a need to build and create something."  For some, it may be rewarding to simply benefit from what photography can provide to the man behind the camera. 

"A need to be closely in touch with those things in life which are real and natural; I think it is a counter balance to what can be a very artificial and unnatural world in which we live and work."

Karl Grobi

Source: http://www.karlgrobl.com/Photojournalism/Refugees/index.htm

His photographs have highlighted issues that many people face all over the world.  His photographs provide viewers with the ability to connect with the compelling stories behind the imagery.  "Karl's photographs reveal the heart, and sometimes, heart-wrenching truth."

Grobi's motivation behind his photographs was his aim to keep the references to human dignity relevant and understood.  "My photographs not only educate and motivate but also stir a viewers deep emotion."

Not only relying on the unfolding stories that Grobi likes to be able to provide viewers with a glimpse of human dignity and the lives of regular ordinary people. "My pictures glimpses into the lives of ordinary people all over the world and provide an opportunity for us to reflect upon, and understand their personal struggles and triumphs."

Photo By:  Karl Grobi
Source:http://www.karlgrobl.com/Photojournalism/Refugees/index.htm

As any well experienced photojournalist, they are aware of the fact to express a photograph to make viewers connect, analyze and become aware of third world issues that impact our society.  "My goal is always to create high-impact, evocative images which not only inform, but also spark the desires to become involved," said Grobi.  "Images that cause reflection upon and empathy with another human being's struggle, all the while, respecting the dignity of those who appear in the photos."

Similar to what photojournalist Ed Kashi had to say, "his goal is to tell visual stories that not only inform viewers but also inspire them to find "activist solutions to social problems." 

Stacy Pearsall

source: https://www.tumblr.com/search/stacy%20pearsall

Pearsall, a photojournalist who focused a majority of her career In the United States Air Force sacrificed not only her time and efforts but her life as well.  Pearsall was injured in covering conflict while in combat, spending a majority of her time recovering as motivation to create and publish The Veterans Portrait Project.  "I was a photographer to photograph them (the soldiers), but inherently I became a part of the story too."

Through the use of light and other miscellaneous photographic techniques, Pearsall aims to portray emotion and honesty through all of her photographs.  Emotion is key in all of Pearsall's photographs, and it is evident.  Since her accident, during an ambush fire, the recovery process has been tedious, simply leaving Pearsall with the discouraging words, she will no longer be able to be a photojournalist in the US Air Force.  "When the Military said I couldn't do photography for them anymore, doesn't mean I couldn't do it for myself."

Photo by: Stacy Pearsalls
source:  http://medavia.co.uk/wp-content/uploads/2014/11/MEDAVIA_VETERANS_PORTRAITS_10.jpg

Eventually, hearing the stories from other veterans motivated Pearsalls to begin the Veterans Portrait Project.  "If I can't be a combat photographer, I can at least share their stories, because they are so extraordinary."

Being able to tell everyone's story of individuality, culture and diversity, that is what Pearsall wanted to show; a slice of America that not everyone had the ability to see.

My Motivation

When I had the opportunity to express my own personal motivations, I could tell that on some level I was able to relate to the photojournalists I highlighted.  Like Coleman, I also strive to be able to find a certain sense of journey in all that I do.  Sometimes it's not necessarily about what you experience, but what you get out of it.  I aim to inspire, not only me, but others around me.  Pearsall was inspired by others stories when it came to her creation of the Veteran Project.  Other peoples stories inspire me to write every day, and continue to write.  I can connect to the context Coleman described,  "I know that photographing a landscape brings a sense of balance into my life.  It fulfills many needs in me, a need to build and create something." Balance is important to me in everything I put my mind too.  What motivates me to succeed is having a clear mind, and the ability to triumph the obstacles that stand in my way.  My future is important to me, and I am constantly motivated by those around me, and those who motivate me to be the best person I possibly can be.  My journey is just beginning, as I am graduating from college in just three short weeks.  I don't know what the future has in hold for me, but I do know that I will have the proper motivation to keep me on track.  I hope to remain happy, inspired and determined in everything I apply myself too.  The future is bright, the journey is endless, and my dreams and motivation for the road ahead are only just beginning to blossom.  
Xyza Cruz Bacani had a very motivational explanation about ones future, and what to expect.  "I want people to see that your job, your work, it doesn't define who you are," she added.
"The dreams that I had when I was young, I'm having them now." I hope to one day explore my dreams, and not allow what I do define me, but what I have the ability to do develop who I have the potential to become. 

Photojournalism and Bias

“Going Home”

Image by:  Ed Clark (1945)

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

Subjects Expression:  There is no other way to describe this photograph than remorseful, it is obvious from the subjects expression that he is in pain, feeling a sense of anguish, mourning a great loss.  What I noticed from the background figures, was the Officer is not the only one in a deep emotional state, others are greatly affected by the event that has obviously affected many.  The photograph is set up in a way the audience initially reacts to the Officers facial expression, but after assessing the image, the background subjects become more inclusive to the makeup.

Feelings Created:  Initially I already felt remorseful and sympathetic to the emotions depicted in this image.  I felt as if I was a subject in the background.  Any good photograph can empathize with the audience.  And more than that, the feelings that came from this photograph made me want to figure out just what was happening at this moment to create such a powerful, emotional experience.

Black and White Composition:  I've always connected color with emotion.  When it came to this picture, I believe a black and white composition was appropriate.  Black and white compliments the subjects expression and the background of the image.  Color would have taken away from the emotion and power that was being conveyed here.

~

“What we have, in other words, is a vivid example of the cameras unique capability: not the creation of a myth but its depiction” –Geoff Dyer “The Ongoing Moment”

Many presidential figures to our nation have been remembered as the Founding Fathers who had a profound impact in and around our Country.  John F. Kennedy, Ronald Regan, and of course Lincoln, all have left their effective woes behind as their presidency ended.

FDR, happened to be the only president to be elected into the nations highest office of authority.  Although his reign was short, Franklin Delano Roosevelt’s magnitude can be held conclusive to the fact that his passion both exceeded what supporters and cynics originally encouraged.  A man who saw our Country through the shadows casted from World War II, his political capital strived to push for delegated policies to revolutionize our government and society. 

Ed Clark took this photograph, capturing the weeping eyes of Chief Petty Officer Graham W. Jackson, playing “Goin’ Home” on his accordion as FDR’s funeral service passed through the streets in April of 1945.  Initially my first reaction to this photograph seeing it as an emblem to FDR’s service and efforts as president.  He strived to acknowledge the position African Americans faced in society and Roosevelt fought for their rights on behalf of the civil rights movement. A black American, a black Petty Officer was the subject focused on here, the irony remains behind the fact that FDR fought for more than just civil rights, he fought for equality.  And that ideology pinpointed just what Clark aimed to depict with his camera.

Nothing is simple when it comes to analyzing an iconic picture such as this one; especially keeping in mind the technique in origin to the story.  According to an article from Vantage, "The Rules of Photojournalism are Keeping us from the Truth" by Donald Weber,  “A clear focus on intent leads to authorship, honesty, authenticity and a story.” Especially when it comes to assessing the status of symbol or compositional principles behind the motive of the photograph."  The most significant interpretation from Clark's unforgettable portrait was the feeling of anguish, and sorrow. Officer Jackson’s face was not the only one mourning that day.  Clark clearly depicted the idea that we all see, and we feel as a unified nation.

The technique I see here is aesthetically pleasing, in an emotionally beautifully broken way.  The image does not dictate the events that happened that day in 1945, but the figures capitalize the ideas being produced. Weber also added,  “Technique is integral to image making, but it should service the story first and foremost; the type of image being produced should never dictate the story.”

_________________________________________________________________________________

Photo by: Brent Stirton 

Source: http://www.brentstirton.com

 Rule of Thirds:  Instead of putting the subject of both Rhino in the middle of the frame, I find it more natural to see the subject off to the right.  Dividing the image up, having both Rhino in focus, it was obvious that the majority of the photograph was delegated to have a strong focus on the injured animal (centered in the middle).  While the second Rhino is placed in the outer third placement in comparison.

Texture:  The skin of Rhino is unique.  And in this photograph the wrinkles, the lines, and the outer skin is all clearly in focus.  Even the texture of the grass is shown here, making the angle and point of view more interesting.

Feelings Created:  The main idea of this image is to show the cruelty towards this animal.  Initially the first thing the viewer sees is the injured Rhino, but with the comparison of the second Rhino, the lasting impact is quite insightful and thought provoking.  The image has a shock-startling value to it.

Stirton is a Photojournalist who has lived in South Africa, documenting the issues that have plagued the environment for years.  Stirton has dedicated his work to many foundations such as the World Economic Forum, and regular reports for the Human Rights Watch. He spent a majority of his time campaigning against "Rhino Wars" in 2010, focusing on the animal cruelty and the illegal poaching against Rhinos.  Many of his photographs are very graphic, and incredibly alarming.
According to (WOKS) by Oliver Kim, You know certain things, because you can see and perceive them yourself. Being able to visually see the damage provides a sense of perception.
His aim was to show people the disturbing reality of how illegal poaching has began to deplete the species of the Rhino entirely.  His collection holds all his photographs available for viewing.  The truth of these photographs are horrifying. In a video, Shahidul Alam mentioned,  "A story has many truths at many levels. It can be teased out, unearthed, dissected and analyzed.  But there is a more important issue, there are stories that need to be told."

    

Photo by: Brent Stirton 

Source: http://www.brentstirton.com

Keep it Simple:  The composition is simple and straightforward.  There are no other background factors that distract the viewer.  The injured animal is obviously the main focus.

Feelings:  This image captured my attention because of the gruesome depiction of just how brutal the poaching issues have become.  The blood is true, the horror is just disturbing.  This is an image that is unedited, unaltered, real photojournalism.

Depth of Field:  The entire body of the animal is in focus here.  The angle from which this photograph was shot at has everything from the injuries to the animals frontal body, to the abrasions to the rest of the body as well.

Stirton proposed a story, a story that the world that was unable to see.  And the power of photojournalism, the power of a true photograph has the ability to connect with the audience, to provoke people to think and make a difference.  According to Patrick Kigger with AARP,  "Words may strive to appeal to the logical portion of our minds.  But the images captured by photojournalists often take hold of our hearts and reach us on a more primal emotional level." 
The photograph above of the injured Rhino is emotionally rattling. According to Kim, We as individuals know certain things because we feel them emotionally.  We know things are ethically not right. 
This photograph has a connection between ethical morals of what is right in this world and what isn't.  This animal is the product of illegal poaching.

Photo by: Brent Stirton 

Source: http://www.brentstirton.com

Use of Shadows:  The picture was very dark giving it a negative look of truth.  The shadows add to the mystery and the illusion of the photo.  The shadow from the angle in which the photo was taken contrasted with the ground giving the photo a natural feel.

Contrast Appropriate:  The contrast from the soldier and the shadows reflecting off the ground was unique.  The contrast really added to the angle in which the photograph was taken.

Quality of Light:  The source of light really added dimension to the photograph.  The source of light is coming from behind the soldier illuminating the texture of the grass and adding depth to the image.  Everything is clear and crisp throughout the image.

This image above is from the Anti-Poaching Foundation led by Damien Mander.  Initially this foundation is a group of anti-poaching soldiers who aim to protect and fight for the Rhino.  When looking at this photograph, the first initial reaction may not be an Anti-Poaching Soldier protecting the species, the truth of this photograph is decrepit in color, angle, position and figurative makeup.  Making this image untruthful in its perception.  Weber also mentioned, "they (photographers) selectively choose what the audience will see, will believe. Right off the bat, any individual image is deceptive, because there is no peripheral vision."

The perception of the story changes, when this image appeared (below). "Peripheries provide the greater context."Concluded Weber.

Photo by: Brent Stirton 

Source: http://www.brentstirton.com

Subjects Expression:  Absolutely loved this photograph, probably one of my favorites from Stirton's collection.  Subjects facial expression is intent and candid.  Not overly posed, the body language, expression, everything, it all corresponds with what the soldiers are aiming to protect and what they are standing for.  The body expression says it all.

Use of Shadows:  From the angle which the photo was taken, it captures everything.  There is so much that adds to the quality of this photograph.  The background of the sky, to the shadows of the Rhino, and the Soldiers around it.  The wide angle really amplified the shadows, adding depth and perception to the image.

Background Compliments Composition:  The background is phenomenal.  Just looking at the color tones of the sky, it's incredible.  I loved how the angle of this picture really tied everything together- from the soldiers to the sky in the background.  Everything is in focus, and all subjects add to the makeup of the story behind the image.

"A technically proficient image that looks like those of past photojournalism will catch the eye. A technically proficient image may trick the viewer into thinking he or she is seeing something of substance, of what is commonly referred to as truthful. A technically proficient image meets the media business’ goal for cost-effective public attention." Added Weber.

The angle has completely changed in the photograph above, we see an army of anti-poaching soldiers, protecting a rhino in an open plain.  The camera appears to be using a wide angle, and the image becomes more truthful by the use of a peripheral approach.  Its aesthetically incredible to see just how many principles can add to the truth of an image.  Just as professor Nordell mentioned previously,  "it really depends on the lens choice, the angle, and what perspective your trying to get across with your photograph." The emotion of the subjects expression is clearly captured, and the subject matter is incredibly, correctly displayed and articulated.  

The bias encompassing this controversial issue is interesting and personally striking, the subject matter itself is something worthy of being deliberated.

Portfolios, Projects and Tearsheets can be found on Stirton's homepage.

 

http://www.brentstirton.com/#s=0&mi=1&pt=0&pi=2&p=-1&a=-1&at=0

The Ethics of Photojournalism

Questions have begun to raise debate in regards to professional photojournalism, of photographs that have been accused of being fabricated, manifested and post-processed. According the New York Times, images submitted to this years Press Photo competition, were disqualified due to a certain degree of alteration and manipulation. 

Contests, especially in a professional environment have the pressure on those involved to be the best of the best.  “We are pressured to do more and push the envelope-not so much for our vision but for our business model.”

World Press had a set of ethics that were very controlled and straight forward for all contestants to review and understand.  Technology has opened new doors for those to edit and assess their digital files.  But in other cases, many have used programs such as Photoshop to alter their photos, blurring their images of reality, skewing the actual meaning or originality. 

“Taking something out of the soda can while leaving the background clean is not cool.  But neither is cropping.  That is- for all intentions- the same thing, ethically.  And on that level- why is it O.K. to use flash and basically bring portable sun?  That is not “real” light.” 

An example of an image disqualified from the competition. Image Source: http://photobusinessforum.blogspot.com/2010/03/world-press-photo-disqualification-of.html

A photographer has the ability to adjust photographs with filters and other visual aesthetic techniques.  As a photojournalist, it is in the job description to highlight reality and life events to have the ability to tell stories individually.  “I believe that many of us adopted certain techniques, not to change the truth of what we are attempting to articulate,but to make our images stand out from the crowd.”

Is photography true? Is the work of a photojournalist, and some in particular, risk their lives to achieve, a fabrication?  Having the ability to create a different version of an image doesn’t necessarily make it a false interpretation, but yet just a new analytical interpretation of the world we all live in. Honesty and understanding are important ethical qualities that I can relate too with photojournalists.

Lars Boering, managing director of World Press Photo explained, “there is no indication that the rules are unclear to the participating photographers.”

An experienced photojournalist, who wished to remain anonymous, was disqualified from the competition last year due to a tampering of contrast in his photographs.   The images shadowing was too deep and the shadows were darkened, giving the quality a false representation. 

Landscape Photographer of the Year 2012 winner David Byrne, comparing EXIF data and gif animations of Byrne’s and determines the images have been heavily manipulated (with lighting tools). Image Source: http://www.digitalcameraworld.com/2012/11/02/landscape-photographer-of-the-year-2012-winner-disqualified/

“To be honest, I don’t think I broke the rules.  In the end it’s all in the hands of the judges and their sensitive’s and proclivities.”

My Own Personal Set of Ethics

by Megen Navone

 

   

M9 - Women Photojournalists - Trials and Triumphs

Louise Rosskman was a women photojournalist that was renowned for her photos of the great depression era.  She originally began working for the Farm Security Administration (FSA) and Standard Oil Company during the mid 20th century.  Louis worked closely with her husband, Edwin, as they both documented life during the Great Depression.  Between 1935 and 1944 Rosskman was president of the FSA, which happened to be the tie period known to be the "Golden Age of Documentary Photography."

As professor Nordell Introduced this chapter.. "Some may argue that there be no need to classify photojournalists by race or gender, but I believe that women photojournalists along with women and many different professions have encountered barriers unlike any of their male counterparts have endured."  Is this something that is true when it comes to seeing women in the photojournalist world?

Photo Source:
http://www.georgetowner.com/articles/2011/nov/21/re-vewing-documentary-photographic-life-louise-rosskam/ 
Year: UNKNOWN
Principle 1:  Use of Shadows:  The shadowing affect of both Louise and her Husband really added to the feel of the photograph, also adding to the contrasting makeup.
Principle 2:  Subjects expression:  They obviously seem professional, yet poised and the expression of her husband left me with the question, what was he so focused on?
Principle 3:  Use of Lines:  It was interesting to see how the lines all came together in this photograph.  How both are  sitting on the edge of the wall, and the lines from the brick are acting almost as a center of attention surrounding the subject.  I thought it was unique how each brick outline had a different line makeup to them, in addition to different coloring.
I chose this picture because Louise is seen here with her husband, whom she spent most of her career with, as well as the picture itself.  I love old pictures and this photograph really had the entire style you would expect from the 1930-1940 time era.

Rosskman expanded her career through her experiences with the FSA, the Office of War Information, the Standard Oil Company of New Jersey, the Puerto Rico Office of Information, and the New Jersey Department of Education. Her photographs that she took of the  agencies can now be found in the Library of Congress. Her photographs are simple, yet intriguing when it comes to understanding the life during and around the time of the Great Depression.

Photo by: Louise Rosskman
source: http://www.bbc.co.uk/news/magazine-15866752
Year: 1945
Principle 1:  Subjects Expression: As you can see the subjects emotion was clearly displayed, creating a powerful connection with the viewers.
Principle 2:  Use of Light:  Although this principle may be contradicting, I see the light from the background really amplifying the main focus of the women, it clearly reflects off her face and eyes bringing them to focus.
Principle 3:  In or Out of Focus:  Thinking off of what I originally said above in principle 2, the foreground of the photo with the main focus on the woman's expression was clear and crisp in focus- the other woman with the trees and lights in the background are out of focus; drawing the eye in the main train of attention.
I choose this photograph becuase I'm a strong believer in emotion, and with photographs that have a story behind it.  The powerful image of this woman began to make me think just what the underlying story is, or may be.  Any photograph that has the power to make you think is the photograph that has the power to connect with people.

In 1937, Louise traveled to Puerto Rico to cover the nationalist movement and Harvard-educated leader, Pedro Albizu Campos.  This massacre was gruesome and bloody, police open fired on peaceful protesters which killed 18 innocent people.  "Nothing they saw in the states compared with what they saw in 1937 and 1938 on the island," said Laura Katzman, an associate professor of art history at James Madison University.  "They had seen unemployment and poverty, but not like this.  It was one of the most shocking encounters with poverty and the United States relations to one of the territories.  They were absolutely shocked.  i feel it sealed their commitment to the island, certainly their commitment to photography and documentary photography in the service of social reform."
Like many photojournalists at this time, her career faced discrimination around the means of gender.  Perhaps this may be why history claims Luise paired up with her husband, Edwin, for moments in her career, becoming the 'Rosskman duo.' Although this has never been clarified, through my research and after reading about her experiences while in Puerto Rico, her emotional tug was something that was difficult to handle on her own.

Just as Lynsey Addario explained in her reasoning as to why women reporting in areas of violence can be difficult, "It was an abusive throughout, both psychologically and physically. It was very chaotic and very aggressive."

SHULMANS MARKET
Photo by: Louise Rosskman
source: http://en.wikipedia.org/wiki/Louise_Rosskam
Year:  1941
Principle 1:  Rule of Thirds:  Immediately my eyes were drawn to the middle of the photograph, the main subjects are clearly placed in the center of the photo that makes the appearance much more easier to interpret.
Principle 2:  Background Compliments Composition:  The building in the background really compliments this photograph, the Shulman's market sign, and coloring really brings out the photograph and the entire makeup of the composition.
Principle 3:  Texture:  I thought this principle was unique because there was so much texture going on in this picture.  The texture from the ground, the building, the windows, the architectural design, etc. and I think it really all comes together perfectly.
I choose this photograph because of the coloring initially, the colors of the building along with the clothing that the people are wearing really tied together and was eye catching.  The time period being around 1940-45 tells you a little about the era in history the U.S was in and I think captures, in a subtle way, just what was witnessed during that time. 

Workplace inequality has been faced by millions of women and discrimination in the work force seems to be an issue.  According to a study done almost a fifth of women surveyed say that their careers have suffered because managers fail to promote their positions.  According to Daisy Sands, policy and campaign manager at the Fawcett Society said, "Today’s findings present a stark reminder of the raft of deep inequalities that women continue to face in the labor market, well into the 21st century. Women continue to dominate in low-paid and undervalued work – two-thirds of those in minimum-wage jobs are women.”

As Paul Mercher described in his blog Why is a Photojournalists Gender Relevant in Their Work? He mentioned, "I’ve never been able to identify a photojournalist’s gender from the photos she takes. Have you?  When Margaret Bourke-White photographed the Nazi death camps for Life magazine, no one cared if she was a woman or not. Her images told the story and that was that."

So maybe this topic may strictly lie in the controversial ideas of those who strive to dictate the sole reasoning behind just what it's like to be a women photojournalist; or maybe it be just a thought that can be freely argued between those it matters most too.  Regardless of the reasoning behind it, there has been sold facts behind the truth of it all.

 A recent controversial argument remains in gender pay, according to EUC Secretary Frances O'Grady, "The battle for equality in the workplace is far from over. The gender pay gap got worse this year for the first time in many years, and spending cuts have hit women hard as many work in the public sector." 

Hopefully in years to come, we no longer see discrimination based on gender or sex, hopefully we are able to see one person striving to achieve the same goals as everyone else.  And hopefully the world will be able to see that woman are just as capable to be just as strong as man are in anything they put their mind too. 

A Technology Timeline: Photojournalism

Photography has developed, transformed and adapted to the technology that is defined by each generation.

Photojournalism, as Professor Nordell first coined it, is the convergence of both journalism and photography.  The world has seen incredible diversity with a multitude of facinating and creative photojournlaists.  Beginning with Mathew Brady, his knowledge of the Wet Plate Collodion process is where our historical timeline begins.

Brady executed a process of capturing photographs with mixing chemicals into solutions that  improved the way the world saw photography.   During the Civil War period of the 1850s, Brady captured battle field action by mixing nitrate collodion to create a solution combined with ether and alcoholic chemicals.  The solution would be put on a sheet of glass to be developed into a negative.

As photojournalists began to realize the process of photography needed to be simplified, a less complicated experiment with gravure printing developed in the early 1900's.  Rotogravure was characterized by halftone reproductions of events.  Gravure printing would be produced from etched metal cylinders that would become to be known as rotogravure.  New York Times was thef irst agencie to publish a rotogravure photograph.

The world first began to see an evolution in technology around 1929 with the Speed Graphic Cameras, first devloped by the Graflex company.  The Speed Graphic Camera became a strict "press" camera that was used in commercial photography, primarily newspapers.  A well known photographer who used the camera was Arthur Fellig (commonly known as Weegee).  Weegee is famous today for his retrospect Marilyn Monroe photographs.

In 1935 the U.S. was entering a war era.  World War I was beginning to invade newspaper headlines all over the country.  At this time the 35 mm single lens reflex camera was introduced.  With a built in rangefinder, the SLR was now known as the "next big thing" to hit photojournalism.  The first camera released for purchase was the Leica Ploot Camera.

Shortly after the release of the SLR, Kodachrome color was now available for camera rolls in the late 30's.  The first multi-layered color film was useful in developing negatives.  This revolution in color photography was produced by renown artists, Margaret Bourke-White, Robert Capa and Eugene Smith.  Capa had been the man behind the camera in the famous D-Day photograph.

Approaching the run of a century, new technology developed with the conclusion of World War I and II.  in 1987, Canon released the first EOS System.  Also known as the Electronic Lens Optical System, a new generation in photography has been established.  In the 80's photojournalists began to experiment with a new invention, an ultrasonic motor.  Most importantly with the EOS, the camera was able to produce auto focus, and exposure sensitivity when capturing photographs.

in 1999, Nikon became a popular name in the photography career.  Nikon announced the development of the first DSLR D1.  The Digital-Single Lens Reflex camera became one of the most notable brands that has ever entered into the market; in turn creating high competition with manufacturers.  The D1 provided compact flash, digital screen viewfinder, interchangeable lens and 2.74 megapixel photographs.

There is no doubt about it that when we look back centuries ago, technology has developed.  Today, photojournalists have the ability to use high tech cameras (such as the Nikon D5300) with 24.2 megapixel clarity, producing clearer and visually pleasing photographs.  The D5300 was the first camera to enable wi-fi.  Making it incredibly easier to send photos from camera to laptops in the matter of minutes.  The ability to shoot 1080/60p video has landed plenty of opportunities for photojournalists.