Claire 1


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Claire 1

  1. 1. Photo Journalism ExperiencePhotojournalism is a form of journalism collecting, editing and presenting the materialneeded for the publication that creates the images in order to tell a story. It is now normallyjust aimed at still images now but in some cases the term also refers to videos used inbroadcast journalism.Photojournalism works very close to other types of photography suchas documentary, social documentary, street and also celebrity photography. The workshould comply with a rigid ethic framework which demands that the work is both honestand impartial whilst telling the story in strictly journalistic terms. Photojournalists createphotographs that contribute to the news media. Like a writer a photojournalist is a reporterbut they must make decisions instantly in some cases and to carry photographic equipment.While often exposed to significant obstacles such as physical danger, weather, crowds andmany more.  Timeliness- The images produced should have a meaning in the context of a recently published record of events.  Objectivity-The situation implied by the photographs is fair and accurate representation of the event they depict in both content and tone.  Narrative- The photographs combined with other news elements to make facts relatable to the viewer or reader on a cultural level.People have their career destroyed in photojournalism by even a hint of photo manipulation.This is why many photojournalists prefer to use a traditional method which is film rather thanthe digital camera. Although digital cameras allow photojournalists to review the photostaken immediately in the field, digital images are a lot easier to manipulate than filmnegatives. The image is easier to change and manipulate but the film is made up with lots ofstills and would take longer to manipulate and wouldn’t be given to the people who need thefootage on time. I gain this opinion because I was reading some articles on the Internettalking about how people used manipulation and lost their job.Henri Cartier-Bresson:Henri Cartier-Bresson is known as one of the greatest photographer of his time, he was a shyFrench man who raised “Snap shooting” to a level of a refined and disciplined art. His sharpshooting ability to catch the decisive moment, his precise eye for design, self-taught methodsof work, and his comments about the theory and practice of photography made him alegendary figure among contemporary photojournalists. “During the work, you have to besure that you haven’t left any holes, that you’ve captured everything, because afterwards itwill be too late”. Quote from Henri Cartier-Bresson. I think this image I have chosen is oneof the best images. I like this because Henri has captured the man running but still in mid airand you can see the reflection, this image was not set up because you would be able to tellotherwise the man would be in the centre of the shot.
  2. 2. Henri Cartier-Bresson One of Henri’s photographsRobert Capa:Robert Capa was a Hungarian combat photographer and photojournalist who covered fivedifferent wars: Spanish Civil War, second Sino-Japanese war, World War II across Europeand others. He documented the course of World War II in London, North Africa, Italy theBattle of Normandy on Omaha Beach and the liberation of Paris. His action photographs,such as those taken in the Normandy invasion 1944, portray the violence of war with uniqueimpact. “If your pictures aren’t good enough, you aren’t close enough” Quote from RobertCapa. Robert Capa One of Robert’s PhotographsMany people say the closer you get to the event the better your photographs will be but doingthis will give higher risks. There are many of risks doing photojournalism I think the biggestrisk is losing your life. For an example Robert Capa went on the front line capturing thedifferent emotions and experiences of the soldiers I think that he was a brave man doing thatbecause he was risking his life to show people around the world what effects the war has ondifferent people. I think that photojournalism is not a job for people who are weak. Even ifthey are not on the front line they still put themselves in danger just to capture that onephotograph that will tell a story. Even just covering a simple crime scene you need to getclose enough to show the intensity of the scene. Roberts photograph shows the realism of thewar when the soldiers are dropped off on the beach, which is called a beach landing. Youcannot see anything in front of the soldiers and this is what the men would of seen. This addsfear and other emotions to this photograph that is why I think that this photograph issuccessful.
  3. 3. This is a photograph of the headland memorial from many years ago and the other picture is arecent photograph I have taken. I am going to reshoot this image because the positioning isn’tthe same as the older version and I want them looking the same. The memorial is a placewhere people can pay their respects to men and women have fallen during the war. Onceevery year people meet up for a ceremony to pay their respects which is remembranceSunday. I have been part of this tradition for five years because I parade with the RoyalMarine cadets. I think the only difference is the plants around the statue, I don’t know if thehouses were painted on the first image because it is in black and white.More than a 100 people were killed during the bombardment of the headland and old townareas of Hartlepool on December 16, 1914. Hartlepool became the first mainland Britain tobe bombed by the Germans in the First World War. In total, 118 people died and buildings asmore than 1,000 shells rained down on the town during the surprise 40-minute attack by threeheavy German cruisers. The gun battery, led by the quick-thinking Lieutenant ColonelLancelot Robson, defended the town during the bombardment.National Press Photographers Associations Code of Ethics reads: Photographic and videoimages can reveal great truths, expose wrongdoing and neglect, inspire hope andunderstanding and connect people around the globe through the language of visualunderstanding. Photographs can also cause great harm if they are callously intrusive or aremanipulated. The Code of Ethics goes on to detail what is and is not acceptable inprofessional photojournalism. Though the standards may seem fairly crystalized, every daythere are challenging borderline cases. Considering that photography itself is barely 150years old, one might wonder how these particular ethical guidelines came to be, and how theymay be evolving over timeInformation about definition of photojournalism and Robert Capa from Wikipedia.orgInformation about Henri Cartier-Bresson from bombardment history