Tuesday, March 15, 2011

PROJECT #3: A DAY IN THE LIFE


Ian Fisher: American Soldier (CLICK HERE).

Due for developing/contact sheeting on Wednesday, March 30, 2011 (ten points).

Directions: Choose a person(s) and tell the story of their day in five photos. You will turn in a contact sheet with a minimum of 36 images, but you can (and probably should!) take more than this.

Rule: Your subject cannot be a member of your immediate family (Parent, sibling, friend).

Photographs may be more memorable than moving images, because they are a neat slice of time, not a flow. Each still photograph is a privileged moment turned into a slim object that one can keep and look at again. - Susan Sontag, On Photography by Susan Sontag

A photograph is not an opinion. Or is it? - Susan Sontag, On Photography by Susan Sontag








Friday, March 11, 2011

DISCUSSION QUESTIONS: The Falling Man


Richard Drew, September 11, 2001.

The Falling Man image and documentary wiki page HERE.

For our discussion on Tuesday, read and ponder the following questions:
In your opinion...

1. Do we need to know who he (the falling man) is?
2. Why were people angry, and why did society "recoil" from this image? (Why did "heroic" images prevail?)
3. What exactly is the (specific) controversy regarding this picture?
4. Some have said that this image tells an integral part of the events of 9/11 and that it must be told/seen. Do you agree?
5. Do you see this image as an image of "bravery?"
6. Is this image "too personal" to be shown? (Is it now 'safe' to view this photograph because it is now history?)

7. The woman at the end of the documentary says, "I hope we're not trying to find out who he is, but rather who we are." What does she mean by this?
8. She continues by saying, "The power in the photograph comes from not being able to identify him." What does she mean by this?

9. Richard Drew says, "The camera is a filter for me." What does he mean by this?

10. This photo disappeared when news agencies/publications self-censored their coverage of 9/11. This brings up a larger question: If events are censored, who decides the history that we learn? Is self-censorship an acceptable practice in journalism?

As a comparison, here is the image that has come to define 9/11 in our public consciousness. It's placed next to the well-known photograph of the US soldiers:

Wednesday, March 9, 2011

BASIC CAPTION WRITING




How to write a Caption Correctly the First Time

A caption is a title, short explanation, or description accompanying an illustration or a photograph.
The importance of a caption is to relate to the reader what the picture or illustration is and how it ties into the article.
Writing a caption takes knowing when the picture was taken or what the artist of the illustration was going for as far as what they wanted to relate to their reading audience.

I. Write out the questions every reader/viewer normally asks:
Who (Who did it?)
What (What did they do?)
When (when did they do it?)
Where (Where did they do it?)
Why (Why did they do it?)
How (How did they do it?)
So What (Why should this be considered news? The six classic news values: Proximity, Prominence, Timeliness, Conflict, Impact, Novelty.)

III. Unite the questions and answers into a single paragraph-like form.

IV. Clean up the paragraph making coherent sentences.

SIMPLE SIZZLIN' SUGGESTIONS FOR CAPTION SCRIBING
Photo captions are an integral part of newspaper storytelling, but they are often the most underdeveloped element in the mix of words, graphics, and photographs in a newspaper. A poorly executed caption can destroy the message of a photo or the story package of which it is part. The reader/viewer expects nothing less than accurate, complete, and informative information, including captions. Here are a few suggestions to follow when writing captions.

-Check the facts. Be accurate!

-Avoid stating the obvious. "Dennis Rodman smiles as he kicks a broadcast photographer in the groin."

-Always identify the main people in the photograph.

-Don't let cutlines recapitulate information in the head or deck or summary.

-Avoid making judgments. "An unhappy citizen watches the protest..." Can you be sure that he is unhappy? Or is he hurting. Or just not photogenic. If you must be judgmental, be sure you seek the truth.

-Don't assume. Ask questions in your effort to inform and be specific. Be willing to contact and include the visual reporter.

-Avoid using terms like "is shown, is pictured, and looks on."

-If the photograph is a historic or file photo, include the date that it was taken. Mayor David Dinkins, 1993.

-A photograph captures a moment in time. Whenever possible, use present tense. This will creates a sense of immediacy and impact.

-Don't try to be humorous when the picture is not.

-Descriptions are very helpful for viewer. The person dressed "in black," "holding the water hose," "sulky from chagrin," or "standing to the left of the sofa, center" are helpful identifying factors. (Photographers must ferret out this kind of material.)

-Be willing to allow for longer captions when more information will help the reader/viewer understand the story and situation.

-Use commas to set off directions from the captions to the picture. "Kachira Irby, above,..."or "Kennetra Irby, upper left..."

-Quotes can be an effective device, be willing to use them when they work.

-Conversational language works best. Don't use clichÈs. Write the caption as if you're telling a family member a story.
(from http://www.poynter.org/content/content_view.asp?id=4355)

Readers love captions, so it’s important to get them just right. They are often the ‘entry point’ – the first thing a reader looks at on the page. Captions should simply say exactly what is in the picture and when it was taken.

They should also have a ‘slug’ or ‘kicker’ no more than one or two words long. Don’t underestimate the power of these words – a funny or clever kicker adds professional polish to the finished product. For example: 'Hair we go: Fundraisers shave their heads for charity'.

Tuesday, March 8, 2011

National Women's Day


Aung San Suu Kyi, Burma
After 15 long years under house arrest in Burma, Nobel Peace laureate Aung San Suu Kyi was finally granted freedom in November 2010, even as her country and the cause she's been fighting for sank deeper into political imprisonment under the military junta's repressive rule. Known as "the Lady" to millions of Burmese citizens who consider her more of a goddess than a rebel, Suu Kyi has been the foremost leader in the effort to democratize the Southeast Asian nation as well as a courageous advocate for human rights and peaceful revolution. The daughter of an assassinated independence hero, Suu Kyi seemingly fell into her role as Burma's icon. After spending much of her life overseas in India, the U.S., Japan and England, where she married and had two sons, Suu Kyi returned home in 1988 to care for her ailing mother. While there, protesters gathered to call for the ouster of a regime whose mismanagement had caused a sweeping economic downturn. The army fired on the assembled group of students, monks and workers, and for the first time, the Lady stepped forward to address the people. Suu Kyi founded the National League for Democracy in 1989, and the party secured a decisive victory in the 1990 elections, which would have effectively made Suu Kyi Prime Minister. Instead, the junta refused to hand over power and enacted a constitution that forbade Suu Kyi from ever serving as Burma's leader. Despite this obstacle, the Lady and the Burmese people are not ready to give up. Since her release, Suu Kyi has sought to negotiate with the junta that imprisoned her for all those years, but so far it has ignored her. "I wish I could have tea with them every Saturday, a friendly tea," the Lady told TIME after her release. And if not, "We could always try coffee." —Erin Skarda

16 of History's Most Rebellious Women HERE.

Thursday, March 3, 2011

CHRIS JORDAN





In Katrina's Wake: Portraits of Loss from an Unnatural Disaster
&
Midway: Message from the Gyre

Chris Jordan's site HERE.