With a guest speaker about Forensic Science coming up, I had a lecture based on how much is taken in from the an image or your surroundings. Would you be a good witness if something happened in front of you?
This was decided by a Cognitive Thinking Test created for Psychology purposes that was available in The Guardian Newspaper. To see if people really paid attention to the question asked or saw what really happened. Strangely enough although I first saw it four years ago I was still able to remember the information as soon as I saw the familiar thumbnail of the clip. It is something that doesn’t seem to leave you!
This led on to photographers who work with set moments.
Cartier-Bresson is famous for being a documentary photographer who focuses on the decisive moment. In his eyes a photograph should not be touched, it should only be based on you getting what you see. Making the photograph a true depiction of the event.
Although he sees a scene happen he does capture many shots surrounding it so to be able to capture as many scenes as he can when shooting- giving him back up options.
With McCullins, he was based in wars to document the fighters. Instead from what he sees he decides to document and bring to light the suffering and malnutrition that is happening through Biafra, 1969 during the war. Here he documents a child out of hundreds suffering the same way, who is so malnourished that they are only a skeleton. While stood behind are younger unclothed children in the form of a queue. They are all based in one camp in a country that is stuck in a blockade between fighting countries.
The same is with Carter, here his image shows the decisive moment of which he sees when travelling around a third world country. Here a child is starving and is malnourished so has to resort to eating anything they find or go without. At the same time a vulture, a bird of prey known for scavenging and being associated with death is watching over the child. Truthfully enforcing the child resorting to scavenging while also showing how ill the child is.
This formed the important question in documentary photography…
“What do you do if documenting something you don’t agree with? Observe or Help?”
The two sides of this hold thoughts and it all comes to morals, you con photograph and document what is happening so people else where can see what is happening and help. The terrible times can then be stopped and so many can be saved but in return you can’t the person in front of you who needs the help. Otherwise you can help the people instead of doing what you are there for but if you do you help that one person but many more who could have been helped go without.
W. Eugene Smith believes “integrity in a story is important, anything changed isn’t important. Taken for example this image that was of
A farmer unloads his donkey in front of his home. His wife throws out the dirty dishwater. Extremadura. SPAIN. 1951. The wife of which is asked to throw the water by Smith when he is taking the image so to capture what is happening. This he doesn’t see as being a problem as although he asked for it to be done for photographic reasoning, the water would have usually be thrown but not when the set-up was the way it was at that moment. Making you question is it posed or not.
Where as with this image Tomoko in the Bath, Smith documented a young boy with disabilities from mercury poisoning. This was to make world aware of how people had been affected. A sort of documentation so to help them however in the process the image lost the most important thing about it. People forgot Tomoko and his mother were people sharing something that was personal to them. So as they image became publicized they lost their privacy in return until the image was banned.
A famous image that came to symbolize Civil War of a soldier just before being struck with a bullet in Cerreo Muriano on the Cordoba Front. However, decades later it was found to be that the image was taken 30 miles away near Espejo, a Cordoban town.
This image by Hansen won him the World Press Photo Award in 2012, the image was a documentary piece showing mourning people rushing to bury the two young children and their farther who had been killed by a missile attack that had struck their home. The brothers of the farther were rushing their relatives to the mosque as their beliefs led them to be a time limit from burying the dead quickly after passing away. The image was questioned as to it’s authenticity from the outlook of having an advertised piece from the colour and style. Even though this was formed through five layers of the same image with correct exposure to each piece.
From editing photographs it means that history is being rewritten here in these two images, in the image on the left the image holds the Soviet Leaders in Red Square, Moscow, USSR. However in the edited version four people are removed as they were later seen as enemies to the Soviet State.
This video talks about life an important piece to the family, the farther is ill and his life is in jeopardy however his daughter creates a video based on their time together. An honest depiction of how they are with each other and something special for the photographer/daughter Briony Campbell to look over when she hasn’t got him to turn to later in life.
This imagery is based on the death of people here they are photographed in a morgue in a way that makes the imagery artistic. They are later titled on what the person died from. With each image the identity of the person is mainly hidden away.
Another way of portraying evidence is by looking at the features such as ballistics. Here they are captured in a way that portrays them in an artistic viewing through how they are formed from the air resistance after being shot through the barrels of guns.