Photojournalism During Ww2

Photography is meant to capture the moment at hand, a moment in history that cannot be duplicated, and in some aspects, attempt to physically hold a memory. However, not every memory is made for the best. Joe Rosenthal snapped this photo on February 23, 1945 during the Battle of Iwo Jima in World War II. This picture, taken hurriedly in fear of missing the ‘moment’, depicts six soldiers: five Marines and one United States Navy Corpsman from the United States hoisting the American flag. These soldiers were standing on the corpses of many people that fought and died in the battle. Having been awarded the Pulitzer Prize, it became a symbol of the United States’s power; however, the battle - ironically - was so minuscule in the span of World War II that it is not taught in most history classes. Americans have glorified the picture without acknowledging the deeper meaning of its history.

Photojournalism is one of the most popular kinds of photography. It is basically a way of using photographs, usually combined with a descriptive article, in order to reveal a story. In that sense, it is essential for photojournalists to be accurate. Even though there are many things that can make this job more difficult, there are mainly two problems that photojournalists have been facing all over the years. These two problems are the (mainly digital) post processing of the photographs and at which extend a photojournalist can intrude into the private life of other people.

Photojournalism begun with drawings, cartoons and carvings that appeared occasionally in the 18th Century press. When Benjamin Franklin was publishing the Pennsylvania Gazette in the 1750s, he printed a carving of a snake chopped into little pieces and added the caption “Join, or die”. That was barely spot news, but at least it touched one of the main concerns of the time: the importance of unity in the American colonies.

When the public is informed about the shortcomings of war, rarely are they shown lavishly graphic imagery, unless one has personally sought it out. This probable notion of censorship is the issue raised by Torie Rose Deghett in the article “The War Photo No One Would Publish”. Deghett introduces the reader to a potentially unfamiliar and graphic image taken during the Gulf War by photographer Kenneth Jarecke. The mere description of this image is incredibly distressing, and leads to Deghett’s main argument, where she questions if broadcasting images of this nature is necessary in order to keep the public informed. Throughout the piece Daghett appears to be mainly in favor of allowing these images to be present in the media, throughout describing how the Gulf War was dehumanized through the blocking of gruesome photographs such as Jarecke’s. While Daghett brings light to the many pitfalls of

The advent of photojournalism created new opportunities for photographers and the public. These individuals were now able to travel anywhere to document objects and events because of rapid technological advancements. The most significant impact of photojournalism was its ability to attain for social change by illustrating the problems associated with the society. It has opened up a new field that became extremely influential in conveying social issues to the general public. Social issues like the Vietnam war that was brought to the eyes and ears of the public.

The first chapter of Susan Sontag’s Regarding the Pain of Others (2003) is quite the eloquent introduction to her varied opinions on the topic of photography, more specifically, the photography of atrocities of humans against humans, contained in the book. Published the year before her death, the extensive essay serves as her final assertions on the implications and effectiveness of documenting the anguish of others through photography. To what extent could these photos play a role in halting the atrocities they document? The book focuses primarily on war photography.

Through Pennsylvania State University’s College of Arts and Architecture, he learned about influential photographers such as Dorothea Lange, a documentary and photojouranlist who took pictures of farmers during the Great Depression. Lange’s most recognizable photo, Migrant Mother, built empathy and support for people who were struggling during this time. After college, McCurry took pictures for the “Today’s Post” in Pensylvania, but not long after travaled to India as a freelance photographer. While in India, he took several pictures that were able to show the contrast between modern society and people still living in the past. His pictures aren’t all inspiring and show hope as well as Afghan Girl does, as some reveal the harsh reality that many attempt to ignore.

"War Photographer" by Carol Ann Duffy and "The War Drags On" by Donovan are two poems that are quiet similar and Different at the same time. They both have similarities and Differences in the focus of the poem,the speaker and his role,the literary devices,and the main purpose and message of the poet in the poem. Those Similarities and differences can be found in the poem directly and indirectly meaning that we can find obvious similarities or differences between them and at the same time we can need time to analyze things in the poem to find those similarities and differences. Firstly, there are differences and similarities in the main focus of the poem and what's it about generally.

The article discusses the photographs that are used in newspapers and retained photography that is used to demonstrate what happened or what could be a result of a certain action. It starts out discussing an incident that happened in Boston in 1975.A photographer by the name of Stanley Forman was at an apartment fire hoping to take rescue shots of a young woman and her child being pulled to safety 5 stories high. He didn’t have a second thought of something could go wrong the fireman. It was such a casual matter he even stated “the fireman had a nice strong jaw and looked very brave.”

The motto for a photojournalist: “...a picture is worth a thousand words”, meaning there is many semiotics to be drawn, and opinions to be made. Photos have taken the world by storm over the past century. Who can forget the most memorable photos from the 20th century, the horror of the holocaust, the joy of a sailer returning home and the faces of the world. We have been a part of history through the eyes of a camera lens.

War photography is more than just record shots. Sitting in a comfortable homes we can see many faces of war directly, would we have known about the Vietnamese girl running away from her village which had just been bombed with napalm? Figure 2 Helped Associated Press (AP) Nick Ut win the 1973 Spot News Photography Pulitzer Prize (Pulitzer, 1973).

Photography has kept company with death ever since cameras were invented, in 1839. Because an image produced with a camera is, literally, a trace of something brought before the lens, photographs had an advantage over any painting as a memento of the vanished past and the dear departed. To seize death in the making was another matter: the camera’s reach remained limited as long as it had to be lugged about, set down, steadied. But, once the camera was emancipated from the tripod, truly portable, and equipped with a

Unlike photojournalism which is quick coverage of breaking news and events, Documentary photography focuses on a story or event in depth over a period of time. Visual storytelling has the power to capture the public’s attention, highlight pressing issues and expose ignored realities. Early documentary photography was mostly used to bring about social reform. For example, Lewis Hines photographs played a role in passing the child labour law in America. Walker Evans and Dorothea Lange created photographs, which were “the most important example of a state-funded documentary project in the world” (Wells, p97), Wells, L (2009) Photography : A Critical Introduction

“I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated” (Nachtwey). Photojournalism is the art or practice of communicating news by photographs, especially in magazines. Photojournalism has evolved immensely from the beginning to the present. Photojournalism developed during the Crimean War, submitted to its evolution throughout the course of the Golden Age, and eventually settled on its present-day existence today.

Although the relationship between travel and photographing can be traced back in the distant past, the practice of recording experiences in pictures has become especially popular after the Great War. In England from the 1920’s to the 1940’s tourism in the countryside grew dramatically, at the same time cameras were made available to the average household. Individuals lost their dependency from professional artists and photographers, and got the power to photograph a scene according to their perception (Taylor, 1994). With the continuous expansion of urban centres the appeal of rural, undiscovered and unvisited places grew side by side. In a world where changes were too fast to comprehend, people sought refuge in the past and saw the camera as a way to capture the past and take it home with them. Not much has changed since that time. These days people from different social strata still seek for untouched places and authentic experiences, where they can “feel themselves to be in touch both with a ‘real’ world and with their ‘real’ selves” (Handler & Saxton, 1988, p. 243), and photographs are believed to have the capability to capture the spirit of the place and to reproduce what was seen or experienced (Robinson & Picard, 2009).