I looked at "The Women of Evangel" and was immediately struck by the heavy use of portraits in the beginning of the piece. James Kenney used one portrait after another and the effect was rather powerful. By emphasizing on the faces of these women, he showed us that they are people first, women first. We see them as women before we even learn about their disorder and that is important because it sets the tone for the rest of the piece. Instead of viewing the women as helpless victims, we see them as hopeful and strong women who are being proactive about their lives despite their hardships. Kenney does show women sick in hospital beds, but he focuses more on their joy at being at Evangel Hospital and being together. In this piece, hope is more prominent than misery.
Tuesday, September 16, 2008
Alison's Storytelling
Zach Wade
I can only imagine how difficult it must have been to reduce the slideshows to a selection of only 30 or so photos. And ordering them in the most telling sequence is a task reserved for the most diligent and reflective of us.
My favorite presentation of Alison's was "Crabbing with the Hoopers" because I think it captured the lifestyle of the Hooper family without the melodramatic techniques she used in other projects that appeared self-insistent with too much reliance on unnecessary subtlety in an effort to feign sophistication. (e. cropping someone's head and focusing solely on the sports cap..... it didn't tell me anything and I don't like it)
I think sometimes photographers guise their discretion with the popular perception of the 'lens of truth' that is forever honest. But sometimes they emphasize aspects within the photo and manipulate the context. I think Alison's photo essays are fascinating regardless however.
Intended Patience in Observation
If I would ever get a chance to meet Preston Gannaway of Concord Monitor, the photographer of “Remember Me,” I want to ask him how many days he spent in the household of the St. Pierre family in order to get his photographs. In this story presentation of Carolynne St. Pierre and her family and their struggle toward and through her death, the pictures were so good that I thought at times the pictures could have been posed for. However, when I took a second look at the slideshow for the second time, I noticed a set of photos taken from the same angle, only with different people in them. Then, I began to think that this photographer was just awesome in an ability to wait for the right moment. I was able to find emotion in all photos, and I now definitely know that it is a very difficult thing to catch. I was able to think about and appreciate the effort of this photographer and the amount of frames that could have been pondered upon to fit the content of the story.
The story is pretty much a chronicle, which covers about two to three months of Carolynne’s life and how her family – Rich, Melissa, Brian and EJ – cope with her death. Most photos are taken within their home, shifting from the living room to each of their bedrooms, the kitchen, dining room, yard and the sidewalk – everyday places that we can all relate to. I noticed that there were several taken in the bathroom, and I thought it was very brilliant because it will give you a feeling that the photos are very personal and we feel as though we are merging into their family life. As Carolynne was ill, a lot of pictures of her lying in bed or the couch were taken, which also probably gave it that up-close and personal touch.
My favorite photo(s) is that of EJ on their last Christmas together. A series of about five photographs were taken from the same angle, and you can see and follow EJ’s excitement as perhaps his gift from Santa was opened. I thought it was just amazing how Carolynne was sitting next to him and how I was able to see her face lit up as EJ ran out with joy.
The only thing is I thought that sound editing could have been better. They did an excellent job on the interviews, but I thought some music or short audio clips actually taken from the photo shoot (like they had in “A New Dawn?”) would have been even better. However, overall I must admit am just emotionally full today at just taking a look at the award-winning multimedia projects.
The story is pretty much a chronicle, which covers about two to three months of Carolynne’s life and how her family – Rich, Melissa, Brian and EJ – cope with her death. Most photos are taken within their home, shifting from the living room to each of their bedrooms, the kitchen, dining room, yard and the sidewalk – everyday places that we can all relate to. I noticed that there were several taken in the bathroom, and I thought it was very brilliant because it will give you a feeling that the photos are very personal and we feel as though we are merging into their family life. As Carolynne was ill, a lot of pictures of her lying in bed or the couch were taken, which also probably gave it that up-close and personal touch.
My favorite photo(s) is that of EJ on their last Christmas together. A series of about five photographs were taken from the same angle, and you can see and follow EJ’s excitement as perhaps his gift from Santa was opened. I thought it was just amazing how Carolynne was sitting next to him and how I was able to see her face lit up as EJ ran out with joy.
The only thing is I thought that sound editing could have been better. They did an excellent job on the interviews, but I thought some music or short audio clips actually taken from the photo shoot (like they had in “A New Dawn?”) would have been even better. However, overall I must admit am just emotionally full today at just taking a look at the award-winning multimedia projects.
Monday, September 15, 2008
Compassion
Scrolling through the list of Pictures of the Year Award winners, the title "Remember Me" caught my eye. I clicked on it, and the tears started almost as soon as the pictures and the story came out. Carolynne St. Pierre, a wife and mother of three children, was diagnosed with liver cancer and given days or months to live. Preston Gannaway and Kari Collins of the Concord Monitor chronicled her last few months of life. The situation itself would be enough to make me feel for this family, but the pictures, just the way they captured their everyday life and how they were dealing with the grief; it was indescribable. The audio added to the images, impacting the viewer in even bigger ways because it made it all the more real. The picture of Rich picking out his wife's casket.. That was one of the best images in my opinion. It just brought everything home in a way that none of the others did. This family was preparing for their wife and mother to die. Then Melissa, the daughter, said that it's become "normal" to see her mother in the hospital and that she's gotten used to it. I can't imagine having to become used to seeing my mother constantly sick and tired, laying in a hospital bed with no energy to move. A time goes on, you can see Carolynne get progressively thinner, look more tired, and just fall into the "sickly" category. This combination of pictures and narration really brought this story together and did an unbelievable job of bringing the reader into this family's story.
A Thousand Words
The "Marlboro Marine" was one of the most powerful shots to result from the Iraq War. To many, the picture stood out from innumerable others in ways that couldn't really be articulated. The emotive nature of the photo is as wide and deep as any of Earth's oceans; here we have a man who is weathered physically and mentally beyond his youthful years, obviously trying to relieve whatever burden he carries with a Marlboro cigarette.
What is missing from this excellent piece of photojournalism is closure. Did this marine make it through hellish Fallouja? Was his despondent look a product of the war-zone or something that goes far deeper? That's just the thing - a picture may be worth a thousand words, but it's all speculation until the subject reveals the truth to the viewer. Multimedia can accomplish this. And certainly did in the second-place, "Marlboro Marine" effort by MediaStorm.org (Mary Cooney, Michael McGehee, Stephanie Ferrell and produced by Brian Storm and Chad A. Stevens).
MediaStorm took the already intriguing Fallouja Marine in the famed picture and provided insight to his personal story through sound, video and namely pictures. They took that nameless emblem of the Iraq War and revealed him, James Blake Miller, as a human being. The presentation is based around Miller's personal experiences following his time in the war and how he handles with post-traumatic stress disorder. How he copes with his nightmares, deals with the troubles of today and hopes for tomorrow.
A single shot may be worth a thousand words but, combined with personal accounts among other techniques, it has potential so much more vast.
Kevin Ornduff
Nothing short of amazing
I was confused at first when I saw the website, because I didn't see any pictures. After scrolling down to find some, I noticed the links for the multimedia projects and decided to click on one just to waste some time and check them out. They were nothing short of amazing.
The first multimedia project I viewed was "A New Dawn?" about a mother of five in Kentucky who was strung out on drugs. I admit I am not always sympathetic to drug abusers because I feel it's a problem they brought on themselves. This was the first time I was moved by a story like this one. I actually felt like I was one of her family members or something by the content of the photos and the quality of her story. After having taken pictures myself, I have so much respect for the photographer. It reminded me of a broadcast story in that the photos matched very well with the dialouge, but there was nothing else distracting in the scenes that took my attention away from this mother.
The second multimedia that really moved me was "The Malboro Marine". What is interesting about this project is that the title suggests it may about a Marine who smokes cigarettes, but it isn't. Cigarettes are tied heavily into the photos and setting of the project, but the photographer and the soldier never directly talk about it. I think that's the essence of good story-telling. Neither the photographer or the soldier who narrarated the piece ever had to directly talk about the cigarettes, but it's evident in the shots and in his voice that it's deeply entrenched in him, but that there's so much more to his problems than cigarettes.
On a personal level, these projects left me very depressed. For hours after watching them I couldn't bring a smile on my face because I kept thinking about the pictures and the problems of this world. After having some more time to reflect on them, it revealed to me even more the power of good story telling. Here I was just killing some time in between classes, and these projects changed my outlook on the world. Each story dealt primarily with one person, but there was something in their story that made a connection with you. I don't think I'll ever forget that Kentucky mother, or even look at single mothers with numerous children the same. And it's not to say that every mother or every soldier or every encaged animal (from "Black Market") has the same story, but the point is that there is a story for every subject. I was nothing short of amazed.
The first multimedia project I viewed was "A New Dawn?" about a mother of five in Kentucky who was strung out on drugs. I admit I am not always sympathetic to drug abusers because I feel it's a problem they brought on themselves. This was the first time I was moved by a story like this one. I actually felt like I was one of her family members or something by the content of the photos and the quality of her story. After having taken pictures myself, I have so much respect for the photographer. It reminded me of a broadcast story in that the photos matched very well with the dialouge, but there was nothing else distracting in the scenes that took my attention away from this mother.
The second multimedia that really moved me was "The Malboro Marine". What is interesting about this project is that the title suggests it may about a Marine who smokes cigarettes, but it isn't. Cigarettes are tied heavily into the photos and setting of the project, but the photographer and the soldier never directly talk about it. I think that's the essence of good story-telling. Neither the photographer or the soldier who narrarated the piece ever had to directly talk about the cigarettes, but it's evident in the shots and in his voice that it's deeply entrenched in him, but that there's so much more to his problems than cigarettes.
On a personal level, these projects left me very depressed. For hours after watching them I couldn't bring a smile on my face because I kept thinking about the pictures and the problems of this world. After having some more time to reflect on them, it revealed to me even more the power of good story telling. Here I was just killing some time in between classes, and these projects changed my outlook on the world. Each story dealt primarily with one person, but there was something in their story that made a connection with you. I don't think I'll ever forget that Kentucky mother, or even look at single mothers with numerous children the same. And it's not to say that every mother or every soldier or every encaged animal (from "Black Market") has the same story, but the point is that there is a story for every subject. I was nothing short of amazed.
Grief: Context Gives More Meaning - Tomeka Weatherspoon
I would like to make some comments on Scout Tufankjian's Grief, a Pictures of the Year International Award of Excellence winner.
Its most absorbing qualities are emotion, authenticity and foreign appeal. Emotion is unquestionably the most powerful element. It is a slice of humanity. Any person should be capable of feeling a connection to these people and feel sorrow for their pain.
The caption state the photo was taken in 2006. Even if the view has no background knowledge of the photo, from an American standpoint, it would still be particularly interesting because of the wars in the Middle East. The scene also appears to have had little to absolutely no manipulation or influence on the part of the photographer.
I believe the photo's weaknesses are in composition and lighting. Lighting is only a small issue because everyone's features can clearly be seen. However, not much else can be seen. There is no idea of where the setting is because the background is so dark. Composition is the most distracting issue. It seems that the photo was meant to be a close up, showing personal features in grief. However, there are possibly too many subjects in the photo. I do not know where I should look. It is also distracting how much clothing is in the picture. Some of their faces are even blocked (not purposely) by it. If you really look at the photo, half the frame is wasted with clothing.
I was struck by how none of these "issues" no longer distracted me once I read some background information on the photo. It was taken at a funeral for the subject's relatives, who were killed after an Israel tank's shell hit their home in the Gaza Strip. It's a deeply moving image, but context gives it that much more meaning.
Sunday, September 14, 2008
Mountain Workshops: Effective Storytelling
So much can be made of multimedia storytelling. Marriage of sound, pictures, video, and music can enhance any story and attract audience attention quickly and hold it for longer than before. It’s no surprise that multimedia has experienced success despite it’s relative newness. We are a visual culture, obsessed with seeing and experiencing the story. Multimedia presentations represent the way of the future, and the POY multimedia competition highlights the best of current media packages.
When scanning through the various projects, I came upon the presentation about Danville, Kentucky, and was pretty impressed.
I particularly liked the combination of words and sound to accompany the photos. I feel the creators of the package strived to completely represent the town and what it stands for. The clips about Hal and Gladys were touching and serious, while the dog trainers clip and the skateboarding teen clip provided a slightly lighter feel. Danville is a diverse and special place, and the authors of the package accomplished their goal. I noticed several little things, like the subtle changes in the music. For lighter clips, the music was more aloof, while the serious clips featured softer piano cues. Attention to the little details set this package apart and made it award winning.
When scanning through the various projects, I came upon the presentation about Danville, Kentucky, and was pretty impressed.
I particularly liked the combination of words and sound to accompany the photos. I feel the creators of the package strived to completely represent the town and what it stands for. The clips about Hal and Gladys were touching and serious, while the dog trainers clip and the skateboarding teen clip provided a slightly lighter feel. Danville is a diverse and special place, and the authors of the package accomplished their goal. I noticed several little things, like the subtle changes in the music. For lighter clips, the music was more aloof, while the serious clips featured softer piano cues. Attention to the little details set this package apart and made it award winning.
Thursday, September 11, 2008
Multimedia Presentations - Pictures of the Year (Kate Chizek)
As I looked at the list of awards for the POYi competition, the multimedia presentations stood out most to me. While I understand that pictures should usually speak for themselves and tell a story, what stood out to me about these stories were the amount of pictures and the use of sound. The story that stood out specifically to me was "The Coulter Family" by Jim Gehrz of Star Tribune.
To be honest, I thought the story was about Ann Coulter's family. I just clicked on it, interested in the political commentator's home life. What surprised me was that the story was about the I35W bridge collapse. The pictures of the family after the incident were devastating. What stood out to me most was the picture of the spectators, taking pictures on their cameras, with the look of shock on their faces (notably the priests at the Archdiocese) . To me, it seemed like September 11 - you don't really know how bad it was until you were there.
Gehrz did a fantastic job of covering the family through their recovery process. The mother, Paula, was most effected by the incident - to be honest, because of the pictures after the collapse, I thought she had died. I literally cried when I saw that she had lived. This recovery process is probably still continuing for the Coulter family, and to get a glimpse of their everyday life - their dogs excited to see their owners again, the daughters trying to get back with high school friends on sports teams, and the family testifying in court about the incident - really touched me. I am glad I took the time to watch!
To be honest, I thought the story was about Ann Coulter's family. I just clicked on it, interested in the political commentator's home life. What surprised me was that the story was about the I35W bridge collapse. The pictures of the family after the incident were devastating. What stood out to me most was the picture of the spectators, taking pictures on their cameras, with the look of shock on their faces (notably the priests at the Archdiocese) . To me, it seemed like September 11 - you don't really know how bad it was until you were there.
Gehrz did a fantastic job of covering the family through their recovery process. The mother, Paula, was most effected by the incident - to be honest, because of the pictures after the collapse, I thought she had died. I literally cried when I saw that she had lived. This recovery process is probably still continuing for the Coulter family, and to get a glimpse of their everyday life - their dogs excited to see their owners again, the daughters trying to get back with high school friends on sports teams, and the family testifying in court about the incident - really touched me. I am glad I took the time to watch!
Wednesday, September 10, 2008
POYi multimedia: A new Dawn?
Post for Tuesday, Sept. 16, 2008
POSITIVES:
David Stephenson's first-place winning "A New Dawn?," a multimedia project for the Lexington (Ky.) Herald-Leader, boasts fantastic black-and-white photos put together over several chapters. It tells the story of a single mom who has undergone significant abuse and is now working her way through drug court.
As I moved through the project, I was touched by the photographer's compassion, especially those photos involving the mom and her children, because they showed her for who she really was, despite her shortcomings. The best picture, I felt, was one in the final chapter in which she is holding her youngest child. In the background is a two-way mirror, indicating she still hasn't broken free of the court system and of being monitored. The ending was sad and real, because I wasn't sure whether she would succeed in her efforts to regain her children.
The photographer is clearly skilled in getting access to this woman in all aspects of her life. I've had to arrange for court photos before, so I can appreciate a little of how complicated the process is.
CRITIQUES:
On the other hand, I wasn't completely impressed with the soundtrack, and I wasn't convinced that aspect was even necessary. As I understand it, the use of music is controversial, because while it is great (when chosen right) at evoking emotion, it can also be seen as a crutch or a gimmick, much like tilting a camera at an angle for a diagonal-looking shot. I didn't think the music was entirely appropriate. I automatically draw the connection between the music and the mom, and since the music sounded, at times, like a hip-hop beat, I automatically assume this is the kind of music the mom is around most days. That would be fine if it were accurate, but for all I know, she's a hard-core country fan or way into John Coltrane's "Giant Steps" album. I would have liked to know more about how the music was chosen.
I would have also liked more identification of the people in the photos, whether by captions or by people introducing themselves by voice ("My name is Bob Smith, and I'm Dawn's parole officer," or something like that).
POSITIVES:
David Stephenson's first-place winning "A New Dawn?," a multimedia project for the Lexington (Ky.) Herald-Leader, boasts fantastic black-and-white photos put together over several chapters. It tells the story of a single mom who has undergone significant abuse and is now working her way through drug court.
As I moved through the project, I was touched by the photographer's compassion, especially those photos involving the mom and her children, because they showed her for who she really was, despite her shortcomings. The best picture, I felt, was one in the final chapter in which she is holding her youngest child. In the background is a two-way mirror, indicating she still hasn't broken free of the court system and of being monitored. The ending was sad and real, because I wasn't sure whether she would succeed in her efforts to regain her children.
The photographer is clearly skilled in getting access to this woman in all aspects of her life. I've had to arrange for court photos before, so I can appreciate a little of how complicated the process is.
CRITIQUES:
On the other hand, I wasn't completely impressed with the soundtrack, and I wasn't convinced that aspect was even necessary. As I understand it, the use of music is controversial, because while it is great (when chosen right) at evoking emotion, it can also be seen as a crutch or a gimmick, much like tilting a camera at an angle for a diagonal-looking shot. I didn't think the music was entirely appropriate. I automatically draw the connection between the music and the mom, and since the music sounded, at times, like a hip-hop beat, I automatically assume this is the kind of music the mom is around most days. That would be fine if it were accurate, but for all I know, she's a hard-core country fan or way into John Coltrane's "Giant Steps" album. I would have liked to know more about how the music was chosen.
I would have also liked more identification of the people in the photos, whether by captions or by people introducing themselves by voice ("My name is Bob Smith, and I'm Dawn's parole officer," or something like that).
Monday, September 8, 2008
the challenge of photojournalisms
The central lesson I picked up on while reviewing the readings was that excellent photography is, essentially, about being an excellent observer. I feel like that's a key skill to tone in order to be any kind of journalist, and when it comes to photojournalism— where you only have one opportunity, really, to get a given shot— knowing what's going on around you at all times and "hunting" for the best people, environments and action shots is incredibly important. Although I like taking pictures with my small point and shoot camera, I've never worked with professional equipment before or taken pictures for a journalistic purpose, so this is definitely new to me, and to be honest I'm a little bit nervous. While the article was interesting and fascinating— I like the romanticized view of feature photography— it reminded me of how many little things there are to remember in order to produce a good feature photo, and I'm a little worried about how my assignment will turn out. But I'm much more excited than nervous— this is something totally new for me, and something I'm really ready to try out.
Thursday, September 4, 2008
Good Advice
"The Great Picture Hunt" made me think about things related to photojournalism I've never considered before, packing toilet paper not being the least of them. I mean, who would think they need to make sure there's gas in their car before they head out on a shoot that isn't that far away? But David LaBelle has been there and experienced the need for these things, and pointed out to me their usefulness. So when I go to do my own shoot I'll be better prepared, and be ready to expect the unexpected.. Perhaps I won't find much surprising in Columbia, Missouri, but I'll never know what the future holds. I might as well be ready for it.
The pictures by David Snider were probably my favorite part of this homework. I love how he can take an ordinary experience or moment, and make it into something worth looking twice at. Having always been a people watcher, I've seen little things that most people assume go unnoticed, and I can't wait to get out with a camera and try to capture them on film. He brings forward the everyday that doesn't usually get looked twice at, and the everyday simple things have always been some of my favorite parts of life. David made me excited to see what I can do, and gave me confidence in my own potential.
The pictures by David Snider were probably my favorite part of this homework. I love how he can take an ordinary experience or moment, and make it into something worth looking twice at. Having always been a people watcher, I've seen little things that most people assume go unnoticed, and I can't wait to get out with a camera and try to capture them on film. He brings forward the everyday that doesn't usually get looked twice at, and the everyday simple things have always been some of my favorite parts of life. David made me excited to see what I can do, and gave me confidence in my own potential.
Always pack toilet paper
I had to laugh at first, at the underlying them of "The Great Picture Hunt". The author suggests shooting great feature photos is like going out hunting in the woods. It sounds a little romantic to me, but then again -- I've always been a words guy.
One thing I think was a little misleading by this analogy is the idea that photographers "sit in wait." It seems to me that you have to be aggressive, you have to get on your feet and move around, and make your presence known. Obviously you want to be as little of a distraction as possible, but I have a problem with the notion that a photojournalist sits, almost in hiding, and waits for something to happen. People are going to know you are there -- because of the click-click of the shutter if nothing else. So I think we're fooling ourselves if we pretend we are able to totally blend in.
Another thing I found really interesting was the list of items to pack. Toilet paper? I mean really... everyone is not a photographer for National Geographic. We aren't out in the jungle in search of an elusive subject for weeks at a time, never stopping to go back to the office or shower. We have deadlines to meet.
On the other hand, I really liked a lot of the advice. In particular, having enough gas in your car. It sounds like a no-brainer, but I've been caught on the wrong end of that stick. One of the first stories I ever wrote was to cover a drowning outside the small town where I was staying. I was relatively new to the area, and had no idea exactly how far away the location was. My editor made it sound like it was just around the bend. Fourty minutes later, with my photographer and I coasting on scene on fumes, I had learned my lesson. It actually got to the point where I turned off my lights and the A/C in some naive plan to save gas mileage. We didn't conk out on the way back to the office, thankfully, but I've always made it a habit to have at LEAST a half-tank of gas in my car.
The Biggest Quality of them All - Audacity
by Klive Oh
I thought “The Great Picture Hunt” by David LaBelle was the exact set of guidelines for me in this point during the course where I am about to take some photos of total strangers. Most helpful were photographs set right next to each rule and explanation. They were so deliberately put together with a purpose to illustrate exactly what the rules meant; most photo examples spoke for themselves.
The best photographer I personally know is my brother. Whenever you have him on a trip together with a camera, you can be pretty sure that your Facebook will be loaded with some nice pictures. However, he probably won’t make a good photojournalist just yet, mainly because of his bashfulness. He is the kind of guy who is gentle, a little too much at times, and detests talking to strangers. That means even if he has a great idea, technique, angle or whatever to shoot the perfect picture, he might miss the chance to even start because he can’t reach the subject matter. If he were to be a photojournalist, he ought to get beyond himself and talk, mingle and react with them. I think this quality – audacity – is one of the most important, if not THE most important, characteristics of a photographer.
Coming from Korea, a country interspersed with IT, I am a blogger myself. I like to pick a photo out of my camera and write a couple of sentences – sometimes about the photo, or sometimes thoughts arising from that photo. I have considered myself a photojournalist in my own little world. Through my amateur experience, I guess I have had a chance to learn some of the major points made in the reading. However, I think the article was significant in that it give an idea of how to make all of that actually happen in your viewfinder. Everyone knows that emotion in a photo is important, but in order to reach out and grasp that emotion, that angle and that humor – you will have to be audacious. Yes, LaBelle speaks of hunting and puts the photographer in the position of a hunter for feature photos; a hunter requires being audacious most of the time, too!
The latter parts of the reading about his tips regarding hunting methods are written down in my notebook. Although some of these points may be obvious, I think abiding by the rules as a novice will be of great help in completing my future assignments.
About David Snider’s street photos, I just loved how everything was black-and-white. My favorite picture was one with little kids on a playground bridge. It seems that the kid on the left is trying to wiggle the structure and the kid on the right is scared (I won’t assume the gender of neither). I just love it because of the humor and emotion in the picture. It was also a good example of what were said in the reading.
I thought “The Great Picture Hunt” by David LaBelle was the exact set of guidelines for me in this point during the course where I am about to take some photos of total strangers. Most helpful were photographs set right next to each rule and explanation. They were so deliberately put together with a purpose to illustrate exactly what the rules meant; most photo examples spoke for themselves.
The best photographer I personally know is my brother. Whenever you have him on a trip together with a camera, you can be pretty sure that your Facebook will be loaded with some nice pictures. However, he probably won’t make a good photojournalist just yet, mainly because of his bashfulness. He is the kind of guy who is gentle, a little too much at times, and detests talking to strangers. That means even if he has a great idea, technique, angle or whatever to shoot the perfect picture, he might miss the chance to even start because he can’t reach the subject matter. If he were to be a photojournalist, he ought to get beyond himself and talk, mingle and react with them. I think this quality – audacity – is one of the most important, if not THE most important, characteristics of a photographer.
Coming from Korea, a country interspersed with IT, I am a blogger myself. I like to pick a photo out of my camera and write a couple of sentences – sometimes about the photo, or sometimes thoughts arising from that photo. I have considered myself a photojournalist in my own little world. Through my amateur experience, I guess I have had a chance to learn some of the major points made in the reading. However, I think the article was significant in that it give an idea of how to make all of that actually happen in your viewfinder. Everyone knows that emotion in a photo is important, but in order to reach out and grasp that emotion, that angle and that humor – you will have to be audacious. Yes, LaBelle speaks of hunting and puts the photographer in the position of a hunter for feature photos; a hunter requires being audacious most of the time, too!
The latter parts of the reading about his tips regarding hunting methods are written down in my notebook. Although some of these points may be obvious, I think abiding by the rules as a novice will be of great help in completing my future assignments.
About David Snider’s street photos, I just loved how everything was black-and-white. My favorite picture was one with little kids on a playground bridge. It seems that the kid on the left is trying to wiggle the structure and the kid on the right is scared (I won’t assume the gender of neither). I just love it because of the humor and emotion in the picture. It was also a good example of what were said in the reading.
photo j really is an art!
I am one of those people that absolutely loves photographs. I believe it's truly an art to be able to capture a particular moment in a single photo, and that it's not a gift everyone has. The first point about curiosity being a great characteristic for great photos really stood out to me. I think curiosity is one of the main qualities that makes a great journalist, so why not a photojournalist as well? This is something I hope to enhance as I continue my journalism career. While I am a hard-worker and I pay great attention to details, I think that natural curiosity for things beyond your own world is something I will have to cultivate within.
An aspect of finding a good feature was preparedness, which I am proud to say is a great quality of mine. Backing up your work (whether by saving or double checking those facts), starting projects on time, and staying organized are skills I love having. Although this applies in a different way to photographers, I think being prepared is a skill benefits all careers, but especially journalists.
From the second chapter, I really like the parts about catching the emotions of people. It's a difficult thing to do, but when accomplished really speaks to people. The areas of composition and humor were a little harder to grasp, but I think it's because I'm a beginner.
My favorite part of this week's readings by far were the photographs by David Snider. My favorite photo was the one of the children on some sort of bridge on a swing set in the park. This was partially due to it being children, but also because it really caught their emotion. One child is crying, another is staring blankly away, and so on. Children are not reserved in their emotions and I think this photo did a great job of showing that. I can't wait to take my own pictures next week!
An aspect of finding a good feature was preparedness, which I am proud to say is a great quality of mine. Backing up your work (whether by saving or double checking those facts), starting projects on time, and staying organized are skills I love having. Although this applies in a different way to photographers, I think being prepared is a skill benefits all careers, but especially journalists.
From the second chapter, I really like the parts about catching the emotions of people. It's a difficult thing to do, but when accomplished really speaks to people. The areas of composition and humor were a little harder to grasp, but I think it's because I'm a beginner.
My favorite part of this week's readings by far were the photographs by David Snider. My favorite photo was the one of the children on some sort of bridge on a swing set in the park. This was partially due to it being children, but also because it really caught their emotion. One child is crying, another is staring blankly away, and so on. Children are not reserved in their emotions and I think this photo did a great job of showing that. I can't wait to take my own pictures next week!
Reading The Great Picture Hunt and looking and David Snider’s pictures was extremely motivating. I have always loved pictures, but have little experience with the camera, except little snapshots of my family and friends, which hardly counts. David Snider’s pictures perfectly captured so many little moments that LaBelle described—those fragments of life that make statements about the human condition. I especially like his line, “A moment is that magic time when all the elements, like bars on a slot machine, come together to pay pictorial dividends.” The last picture of the two blind people was especially touching, especially because the caption says “My Parents.” I’m assuming that means LaBelle’s parents are blind which is an interesting twist for a person with such a heightened sense of perception to have blind parents. But then again, that is probably why he has developed such a keen eye in the first place.
I’m going to really work on patience throughout my journey in learning how to photograph well. Not just patience, in waiting for a quality moment, but patience in developing the techniques, methods, and characteristics that LaBelle describes. I am eager to instantly possess all these things, but I know it will only come after numerous trial and errors. I really like the concept of his idea treee too. I am a habitual note taker on pretty much everything, but I’m going to start incorporating more visual notes. Also, I never thought about searching the classified ads, the personals, or the yellow pages for ideas. There were some very humorous examples of the odd things people have going on in their lives that few people know about…such as the man looking for a room to let his snakes exercise.
An Unwritten Language
Everyone has heard the saying “a picture is worth 1000 words.” After scrolling through David Snider’s photography album, I can say I could probably write at least 1000 words about each photograph, but I’ll spare everyone that travesty. David Snider has successfully captured, with the help of his trusty camera, poignant street scenes unlike others I have seen. To me, Snider has written a language compiled of images, faces, actions, and emotions. The photos in the album are no mere Facebook pictures. No amateur, like myself, could attempt photos like these. Snider has the unique ability to, with his art, reveal the true story behind each person in his photos.
I think what we, as amateur photojournalists, should strive for is what Snider exemplifies so well. We need to tell the story of the photo subject. One photo in his catalogue comes to mind immediately. The photo captures two people using canes to feel their way along the sidewalk. I am assuming these people are at least partially blind. They’ve come to a crosswalk, but halt at the street, waiting until they have some sign to cross. What is so unique in the photo is that hanging right above them is a crosswalk sign that is flashing the clear to cross signal. To me, it shows the plight of visually disabled people in America. We live in a very visual world, but not everyone has the ability to enjoy this world.
Another point we can take away from Snider is his ability to talk across differences (sorry for the Cross Cultural throw-back). We see him capturing people from different races, religion, age, class, etc. He gets on the level of the people. By doing so, he gains the trust and respect of subjects, I would assume. Taking lessons from Snider is important, because he is able to convey a complete message through just one image.
I think what we, as amateur photojournalists, should strive for is what Snider exemplifies so well. We need to tell the story of the photo subject. One photo in his catalogue comes to mind immediately. The photo captures two people using canes to feel their way along the sidewalk. I am assuming these people are at least partially blind. They’ve come to a crosswalk, but halt at the street, waiting until they have some sign to cross. What is so unique in the photo is that hanging right above them is a crosswalk sign that is flashing the clear to cross signal. To me, it shows the plight of visually disabled people in America. We live in a very visual world, but not everyone has the ability to enjoy this world.
Another point we can take away from Snider is his ability to talk across differences (sorry for the Cross Cultural throw-back). We see him capturing people from different races, religion, age, class, etc. He gets on the level of the people. By doing so, he gains the trust and respect of subjects, I would assume. Taking lessons from Snider is important, because he is able to convey a complete message through just one image.
Without much experience with photo journalism, I would normally be slightly intimidated by articles like these, assuming I wouldn't understand the techniques they explain. LaBelle's article was actually really interesting to me. He gave very basic (and smart) tips about being prepared and patient for the shoot. I guess the article gave me a little more confidence when it comes to photo journalism. I like that he compared photography to hunting- it seems like a silly comparison at first, but it actually makes a lot of sense. Photographers do need to hunt for the shot, it won't always just fall in your lap (unless you're really lucky), and i think that's important to remember. Snider's catelogue was also cool to look at. It seemed to include all the aspects of "good" photography, and I liked that many of the pictures were light hearted and fun. Overall I have a better idea of how photojournalists do what they do and a little more confidence about doing it myself.
I just sit in awe. (Kate Chizek)
"It's not the heat, it's the timidity." David Snider's pictures of strangers wow me. Honestly, his detail shot of a rosary in a man's hand display the dedication of an older person to their faith. The different situations he captures leave me envious. I wish I could capture such things in France and on the streets of New York. But what he says about capturing strangers is something I can actually understand as an unexperienced journalists - I am afraid to simply take photos of people without their permission. I want to shoot "timeless and precious photos," but I think I need to grow a backbone. I am too hesitant to simply snap photos of a stranger. I know I need to overcome this.
As I begin to pinpoint my convergence project, these words of David LaBelle in "Picture Hunt" hit me most: "Simple, uncluttered images . . . are easy to read because the reader doesn't have to hunt for the message. These pictures are called 'quick reads.'" This speaks to what my photography friends have always told me about pictures. I have borrowed their cameras and tried to capture emotion and original phots, but they always tell me I need to step back. I don't need multiple subjects in a photo. Rather, like LaBelle says, simple pictures help you to see the moment, rather than give you a whole background story of the situation. I hope to sit back and let my subjects do the talking. Hopefully I can achieve this in 4802.
As I begin to pinpoint my convergence project, these words of David LaBelle in "Picture Hunt" hit me most: "Simple, uncluttered images . . . are easy to read because the reader doesn't have to hunt for the message. These pictures are called 'quick reads.'" This speaks to what my photography friends have always told me about pictures. I have borrowed their cameras and tried to capture emotion and original phots, but they always tell me I need to step back. I don't need multiple subjects in a photo. Rather, like LaBelle says, simple pictures help you to see the moment, rather than give you a whole background story of the situation. I hope to sit back and let my subjects do the talking. Hopefully I can achieve this in 4802.
Picture-Taking 101
By Zach Wade
I can identify with LaBelle's description of the reluctant student photographer who feels sightly aimless (no pun intended). Photography is very different from other areas of journalism because it requires a more passive stance than the classic aggressive reporter. I am personally used to having a lot of control over sources, language and they general way I craft a story. Photographs tell a story, but the photographer must wait for it and demonstrate active patience. I think it will be challenging for me to tell a story with photos because I have very little autonomy in terms of how I can craft it. This is not to say I skew news stories when I write them, but photos are very exacting and objective pieces of work. I feel like I will have to focus on the angle and the lighting and the presentation of the photo rather than the discretion I exercise with traditional story-telling.
There are some very good photos in LaBelle's essay, and I think those examples help more to direct the photographer than even his words. It makes clear that human emotions and faces are very important, and most fill the frame completely. I found this article particularly useful and I feel a little better about taking on the world with a camera and notebook now!
Photography and Me
Photography has never really been my gig. I've never even owned a camera, let alone heard of things like "Shutterspeed" and ISO. So one can imagine how LaBelle and Snider might be speaking a foreign language, in my ears (or in this case, eyes).
However, after giving these articles and pictures a once-over, I can say with a semblance of confidence that I might possess some aspects that help photographers thrive. Take LaBelle's nostalgic recalling of his childhood in the forest, "hunting" for whatever. That was me. Except take those woods and switch in a little concrete, metal and tar. Maybe some greens in my mother's garden or my father's nicely manicured lawn. Yeah, I was a suburban sightseer. My mother would often realize that it was 4:20 in the afternoon on a school day in 3rd or 4th grade and I was nowhere to be found. She'd scramble out of the house to find the seat of my pants sticking up as I examined whatever insects or foliage had emerged while I was in class. Curiosity is one of my fortes.
Another thing that clicked when I was reading LaBelle's article was his observations on the necessity of the preparedness of the photographer. Being an Eagle Scout, I'm familiar with laundry lists of items organized solely for the purpose of living up to the Scout Motto.
I also found it amusing to see many of the elements of "good" photography play themselves out in Snider's catalogue. Be it a humorous moment, simplicity, interaction, angle, or whatever.
Wednesday, September 3, 2008
'The Great Picture Hunt'
I really enjoyed David LaBelle's "The Great Picture Hunt" because of its practical suggestions and, of course, the photos.
I came to appreciate the importance of captions tonight as I came to the end of the PDF. The final picture shows a moose, presumably the one that, only a page before, was up and running from police, still and on the ground.
I was so afraid that it was dead, but upon reading the previous caption, discovered it had merely been tranquilized and moved elsewhere. Whew.
It was mentioned in class on Tuesday and again in the reading, but talking to sources and networking seems to be key. Great photo ideas can emerge from this, and these conversations lend themselves to rich captions. I'm guessing that conversation also helps put photo subjects at ease with you, the photographer, standing around and waiting, as the reading suggests, for that perfect moment.
I think that when I do my assignment for next week, I'll try to ask my subjects about what it is they're doing, or things they're very comfortable with, that they know like the backs of their hands, which takes the conversation off of them and onto the things they're familiar with, their work. That way, it becomes easier for the subject (and me as the photographer, for that matter) to talk about ourselves without being totally put on the spot.
I'll also plan to keep an eye on my ideas, and perhaps do some brainstorming about photo possibilities in advance. It never hurts to have a game plan.
I came to appreciate the importance of captions tonight as I came to the end of the PDF. The final picture shows a moose, presumably the one that, only a page before, was up and running from police, still and on the ground.
I was so afraid that it was dead, but upon reading the previous caption, discovered it had merely been tranquilized and moved elsewhere. Whew.
It was mentioned in class on Tuesday and again in the reading, but talking to sources and networking seems to be key. Great photo ideas can emerge from this, and these conversations lend themselves to rich captions. I'm guessing that conversation also helps put photo subjects at ease with you, the photographer, standing around and waiting, as the reading suggests, for that perfect moment.
I think that when I do my assignment for next week, I'll try to ask my subjects about what it is they're doing, or things they're very comfortable with, that they know like the backs of their hands, which takes the conversation off of them and onto the things they're familiar with, their work. That way, it becomes easier for the subject (and me as the photographer, for that matter) to talk about ourselves without being totally put on the spot.
I'll also plan to keep an eye on my ideas, and perhaps do some brainstorming about photo possibilities in advance. It never hurts to have a game plan.
Photos and Words - Tomeka Weatherspoon
The photographer thinks in a way that asks, "what would make an interesting photo?" When the photographer is in the news industry (or at least into capturing images with meaning) that initial question becomes attached to, "what would make for an interesting story to tell?" In this way, there are parallels between photojournalist, street photographers and investigative reporters. During the readings, these connections were the most interesting part for me to contemplate.
For example The Great Picture Hunt described methods for finding photos for feature stories. They are the same ones an investigative reporter could use. The search is the same, though the requirements for "what is interesting" may be different. You do not need a fantastic photo to have a great story. You do not need a great story to have a fantastic photo. However, it is nice how photos and words can complement each other.
A difference between the professions is that photojournalism and street photography are primarily investigative work on humanity. They are able to gain appreciation and understanding of the human condition. There is a certain depth in storytelling only an image can show. Correspondingly, there is a certain level of understanding only words can provide. And a captivating image can be inspiration for good writing.
Curiosity and Humor
When David Labelle wrote about the importance of curiosity, it instantly reminded me of my friend who recently completed an assignment for one of his photo classes. His assignment was to take pictures of 10 different strangers. He decided to leave Columbia for this project, but on his way out of town he saw an old man with a cane walking along the side of the road. Curiosity led him to double back and pick up this hitchhiker, and he not only got good and original photos, but he got to hear an incredible story as he volunteered to drive the old man to a town 10 miles away. My friend said that if he didn’t have classes, he would have tried to follow the man for a week to get more of his story. He has the curiosity that will make him a good photo journalist.
Something else that stood out to me in this assignment was David Snider’s picture of a man ice skating in Rockefeller Plaza. It has so many of the elements of good photography that David LaBelle describes. My first reaction was laughter. There is definite humor in this photograph, and that is greatly due to the composition of the photo—the ice skater exactly mirrors the statue. Additionally, LaBelle captures a single moment. Any other moment with the skater’s body positioned in any other way would not have created such a great photo or such great humor.
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