Street Photography
Street photography is an art photography that features the human condition within public places and does not necessitate the presence of a street or even the urban environment. Generally street photograph has a naturalistic nature; it aims to portray or capture 'real-life' situations. Further, street photograph has been used as a medium to illustrate political issue. Such as; economic division, homelessness, protest as well as other examples of political and moral dilemma.
In the image to the right, a poised middle aged model is presented elegantly crossing a main Roman crossing in a 'cat-walk' fashion. Although this is an example of fashion photography it manifest a street photographic nature. Klein's ulteriour intention with this photograph was to emphasize the false importance and fiaxtion of personal appearance. Klein is also creating an ironic statement about the artificiality within the fashion culture; as this photograph was used for 'Vogue' magazine in 1960. This notion is reinforced by the main focus of the picture falling on the two female subject individuals. The women in white is on-looking the women in black with a sense of competition in her eyes, as they are both similarly dressed. Followed by the black dressed women peripherally on-looking and acknowledging the white dressed women's brief fixation with her. This provides the photo with a sense of competitiveness; which also is a reflection of the signification of physical appearance in the media and fashion world cerca 1960. As well as this, the insiginificance of the individuals is represented by the surrounding pedestrians in the photo. Implying that although they have an arguably greater physical appearance, internally they are the same as everyone else.
In the photo to the right a child is captured next to a potentially older and taller individual. The backdrop is the outside of shop, covered in various advertisements. The photo has an ironic nature to it as it presents the child figure surrounded by cigarette adverts with slogans such as "Chesterfield, Best For You" when evidently they are not. This photo demonstrates the corruption within media and the potential influence it has on younger individuals of the community. In addition the use of zoom blur obliges the audience focus on the child to signify this concept. On the other hand the child is positioned so that his back is turned to the shop wall. This creates the idea that he is unaffected by media influence, and that he represents the unimportant effect advertising has on young individuals.
|
Born April 19th, 1928, is considered an iconic photographer known for is seemingly ironic approach to the fields of photojournalism and fashion based photography and his unusual photographic techniques. A notifiable factor of his achievements is his 25th rank on Professional Photographer's most influencial photgraphers, and his photographic book, New York winning the 'Prix Nadar' in 1954. Klein is best recognised for his book New York; solely consisting of black and white photographs of his home city.
To this photo on the left, Klein presents two subject individuals - children - one wielding a toy gun, the other on-looking him. The child wielder has a clearly construed facial expression which reflects the mature, negative attitudes towards the connotations of a child possessing a weapon, even a replication of one. On the contrary, the expression also demonstrates the ignorant manner the boy has towards the subject of violence. This notion is reinforced by the other subject in the photo; he maintains a calm and un-phased expression on his face, which represents the ignorant affiliations the child has towards the toy weapon. However ultimately Klein is demonstrating the parody principal of the photo, stating that this photo manifests "fake violence, it's parody". This shows that Klein's intentions were not to generate a image of a serious. discussion provoking nature, but ultimately create an image with a childish value.
|
Documentary Photography
Documentary photography's or photojournalism's purpose is to document and chronicle significant (or insignificant) events in hope to create awareness of undertakings continuously taking place around us. These events otherwise would potentially go unnoticed and un-documented. It is in a Documentary photographer's intention to present truthful, candid images that fully display the scenario which took place. The purpose of this is to generate factual presentations to avoid any distancing from the truth. On the contrary it is known that war photojournalists have altered or even staged photographs in order to boost morale, or for the purpose of propaganda. An example of this is Raising the Second Flag on Iwo Jima, by Joe Rosenthal. Further, commonly the imagery documents mainly people rather than landscape. However there are numerous photographs which have captured historically significant moments, without consisting subject individuals.
Joe Rosenthal
Joseph John Resenthal born October 1911, died August 20, 2006 was an American photographer who received the Pulitzer Prize for his iconic World War II photograph Raising the Second Flag on Iwo Jima, taken during the Battle of Iwo Jima. This photo became one the best known photographs of the war, as it incapsulates the maintaining of the american spirit and morale at the time.
This photo had such a huge impact as it was one of the first photographs to be displayed to the public, presenting actual documentation of the war. Due to this, the image gained immediate notification after printing, and has stood to be an iconic photo ever since. This second photo (above) was taken moments after "Raising the Second Flag on Iwo Jima". The photo captures the true joy, which was relatively scarce during the war. Although the image is simple it had a great impact on the opinions and perceptions of the war, boosting America's morale heavily. Furthermore the image has an aery nature as the majority of the subject individuals were killed during the war. Images like this hide the grotesque nature of the war in order to maintain stability in individual nations, this is why they (and Resenthal) are such crucial contributors to maintaining positive spirit and perception when it is needed.
|
To start my exhibition task I brainstormed possible themes and photographers. This was to help me decide on which field of photography to base my exhibtion on, as well as choosing an appropriate three candidates that fall under such photographic category. After this brainstorm exercise I have decided for my exhibition to manifest the photographic genre of Documentary Photography; focusing principally on world issues and disasters. I would like the exhibition to be structure in a path-like manner; as you progress through the pathway it leads in to three separate rooms. Each room will individualy consist of the work of each photographer, therefore throughout the exhibition you are taken on a journey through out different regions, and presented with different political, social and economic topics manifesting controversial world issues of the modern era. In addition I have come to the conclusion that the name for the exhibition will be 'At a Stand Still'. as I find that this reflects on the effect which these events, issues and disasters have on the world and the people occupying it.
Venues
The Oxo GalleryThe Oxo Gallery is based right next to the thames river, therefore the gallery itself is conspicuous and very easy to locate. Coming across as very open to the public, the open nature of the gallery will draw more attention to it and encourage individuals to visit the exhibition. Furthermore due to the galleries intimate nature, it will oblige the audience to focus heavily on the consisting art-work, instead of disregarding, and un-appreciating individual pieces. The gallery is not split in to different rooms, it is in a sense shaped like a zig-zag path. Potentially this may not be an adequate venue for my exhibition, since it will consist of three different artists. It may be more appropriate to book a larger gallery, in order to provide more space for each artists' artwork and a venue with a larger capacity will allow more people to view the exhibition and will give it more of a grandiose nature.
National Portrait Gallery
Natural Portrait Gallery is located in the heart of London, reflecting on the thriving London culture. The gallery's prestigious nature, I feel, is appropriate for the issues presented in my exhibition. Adding to this last May I visited David Bailey's portrait exhibition Bailey's Stardust. As well as allowing me to see Bailey's iconic portraiture work it also allowed me to experience the ideal layout of the Natural Portrait Gallery's exhibition space. As you walk through the exhibit you are led through several different compartments or spaces, providing enough space for large amount of observers to visit the exhibition. However the portraiture orientation of the gallery is not relevant to the style of imagery that will be presented in my exhibition; therefore the gallery may not be entirely appropriate venue for the exhibit.
|
The Natural History Museum
The Natural History Museum is based in south-west London and is thriving we natural historic artifactual content and information. Because of this initially I didn't deem the NHM to be an appropriate venue. However the exhibition space (above) is ideal for presenting a large amount of artwork from my three selected artists. Further, I visited the Sabastiao Salgado exhibition - Genesis - at the museum in the previous June. Therefore I already have a clear idea of the layout of the exhibit, and how I will organize my own exhibition. The large capacity of the room will allow a great number of people to observe the works at once. Furthermore although I wished to have three separate rooms, I feel that the pathway layout of this gallery will in a sense link all the artworks together, representing an overall meaning, yet at the same time differentiating the artists work, through labelling and signs will be easily achievable. On the other hand, I feel that due to the Museums' nature and focus, a different venue would be ideal, only with a similar exhibition space.
|
Leaflet Analyses
1st Leaflet Example
2nd Leaflet Example
|
In this first example the leaflet is folded which generates three different components. I find this to be a convenient approach to organising the information on this leaflet. The front cover consists of an image from advertised exhibition, a clear titles and a brief, persuasive summary of the exhibit. I think to summarise the exhibit on the front cover is a useful technique for providing the audience with necessary information about the exhibit, yet at the same time convince the audience to visit the exhibition.
On the back of the leaflet all the necessary useful information is displayed, such as a map showing how to get to the venue, potential mediums of public transport that can be used to get to the venue, and a journey plan and contact details for any added support. After viewing this I recognise how important it is to incorporate such details on my own exhibition leaflet. When the leaflet is opened various descriptions of the photos and contextual information is presented and displayed. This extra supply of information will potentially persuade the audience the audience further and ignite a sense of interest within them. However, I find the actual design of the external and internal parts of the leaflet to come across as unprofessional and unsophisticated. Although much useful information consists in the leaflet I find the presentation of the information, and the graphic design aspects of the leaflet's presentation to be of a low standard. Therefore I feel that when creating my leaflet I will have a more minimalistic approach, assuring that the majority of the audiences focus is aimed towards the factual information rather than a variety of pictures which they can see in the exhibit. This leaflet is folded in half, creating two separate components. The front of the leaflet only consists of text made-up of factual information regarding the exhibit and background knowledge of the artist (Meschac Gaba). I find this minimal, factual approach to the leaflet to be a sophisticated presentation of information. Further, to use a leaflet format like this would be relative to my adult target audience. However, although I admire the minimal approach to the leaflet I feel that an additional amount of images would be a necessary attribute to provide some visual insight for the viewing audience.
The back of the leaflet presents factual diagrams , such as an interior map or floor plan of the exhibit and further information regarding up and coming events and exhibits. I feel that the floor plan diagram is a useful attribute which I will integrate in my leaflet. However I do not value the additional information about up and coming events as I feel that all the information on the leaflet must be relevant to the consisting artists, their artworks and the exhibition as a whole; any other information deems to me to be irrelevant. Overall I find the design of this leaflet to be factual, yet absorbing and I feel that I will organize my leaflet in a similar fashion. On the contrary I also think that additional imagery is required to provide the audience with a visual insight in to the works cooperated in the exhibit. Adding to this On back side of the leaflet as well as providing a floor plan I feel that the leaflet must also have a map and travel information, providing directions to the venue and mediums of transport to get there. |
Final Leaflet
FRONT BACK INSIDE
INSIDE INSIDE INSIDE
At a Standstill
'At a Stand Still' takes you on a journey through three events; which have inspired, empowered and reignited passion (for change) in people across the globe. From the G8 protests in Heilegendamm to the Earthquake & Tsunami Aftermath in Chile.
However, it is through the photography of Tomás Munita, Victor J. Blue and Daniel Rosenthal that provides an enlightening outlook on the events they have captured.
The exhibition will be taking place in London’s historic ‘National Portrait Gallery’ which is located in the heart of the city capital, an adequate city and venue for such a culturally diverse exhibit, to say the least.
In the first room of the exhibit you will come across the works of global issue photographer and photojournalist, Daniel Rosenthal.
Rosenthal’s 2007 ‘Anti-Globalization protest’ series documents the undertakings of the protests and portrays the anti-globalizations activists experiences; coverage which was not shown in the mainstream media. Globalization is the emergence of international interconnectivity. It defines our world's nations dependence, relations and nature of exploitation in regards to each other. The protests took place in Heiligendamm, Germany. The purpose of the demonstration was to blockade the G8 summit event in order to illustrate the amount of support against globalization in Germany. This series of work is an honest attempt at exemplifying the perspectives from both the police force and the demonstrators, providing a neutral outlook on the situation. As a photographer and photojournalist, Rosenthal specializes in reportage photography; covering news, social topics and personal projects worldwide. Daniel's work has been highly credited, winning the Hansel-Meith Award and the LEAD Award in the same year, winning 'picture of the year'.
Chronologically, in the second room you will be introduced to the critically acclaimed work of Tomás Munita, whom has documented the lives and conditions of human beings all around the world. In this photographic series Munita has aimed to evoke the harsh realities of natural disaster. On Saturday the 27th February 2010 a severe earthquake struck Chile. Having a magnitude of 8.8 on the moment magnitude scale, with intense shaking lasting for about three minutes; it ranks as the sixth largest earthquake ever to be recorded by a seismograph. Munita's photographic documentation of the ‘Earthquake and Tsunami aftermath’ in Chile will connect you with the harsh realities of the natural disaster's drastic effect on the Chilean landscape and the people that occupy it. This is an emotionally visual endeavour, and is an honour to have in the 'At a Standstill' exhibition. Munita is a documentary photographer and photojournalist, whose primary photographic focus is social issues of the world. His photographic work has been honoured with several awards, such as:
The Geographic Award, Henri Nannen Preis and 1st Prize Daily Life Stories CHIPP.
The final room of the exhibition takes you on a graphic journey in to the Afghanistan War. In Victor J. Blue’s photojournalistic project, ‘The COIN War’, 2011, Blue paints a realistic picture of the on-going events that had taken place in Afghanistan. It presents a variety of thought provoking imagery, from the explicit and dark, to photographs of a completely benevolent nature. It is an absolute privilege to be graced with such true images, especially in this day and age of tweaked media coverage and false propaganda. The series is truly a sufficient end to such a motivationally thought provoking exhibition. Victor J. Blue has photographed events in Guatemala, Mexico, El Salvador, Honduras, India and Afghanistan, and has documented news stories and social issues across the United States. His work in Afghanistan was honored in the Pictures of the Year International Competition. As well as this, he was awarded a first place award in the NPPA Best of Photojournalism contest, and Award of Excellence in the SFBAPPA competition.
The photographic works from these artists will enrich you with political, economic and moral issue. We anticipate, that as a result of this exhibition, you will be inspired to investigate similar topics further. You will endeavour to expand your outlook on world issues and think twice about topics manifested in the media.
Well and truly, these documentations and events left the world at a standstill...
However, it is through the photography of Tomás Munita, Victor J. Blue and Daniel Rosenthal that provides an enlightening outlook on the events they have captured.
The exhibition will be taking place in London’s historic ‘National Portrait Gallery’ which is located in the heart of the city capital, an adequate city and venue for such a culturally diverse exhibit, to say the least.
In the first room of the exhibit you will come across the works of global issue photographer and photojournalist, Daniel Rosenthal.
Rosenthal’s 2007 ‘Anti-Globalization protest’ series documents the undertakings of the protests and portrays the anti-globalizations activists experiences; coverage which was not shown in the mainstream media. Globalization is the emergence of international interconnectivity. It defines our world's nations dependence, relations and nature of exploitation in regards to each other. The protests took place in Heiligendamm, Germany. The purpose of the demonstration was to blockade the G8 summit event in order to illustrate the amount of support against globalization in Germany. This series of work is an honest attempt at exemplifying the perspectives from both the police force and the demonstrators, providing a neutral outlook on the situation. As a photographer and photojournalist, Rosenthal specializes in reportage photography; covering news, social topics and personal projects worldwide. Daniel's work has been highly credited, winning the Hansel-Meith Award and the LEAD Award in the same year, winning 'picture of the year'.
Chronologically, in the second room you will be introduced to the critically acclaimed work of Tomás Munita, whom has documented the lives and conditions of human beings all around the world. In this photographic series Munita has aimed to evoke the harsh realities of natural disaster. On Saturday the 27th February 2010 a severe earthquake struck Chile. Having a magnitude of 8.8 on the moment magnitude scale, with intense shaking lasting for about three minutes; it ranks as the sixth largest earthquake ever to be recorded by a seismograph. Munita's photographic documentation of the ‘Earthquake and Tsunami aftermath’ in Chile will connect you with the harsh realities of the natural disaster's drastic effect on the Chilean landscape and the people that occupy it. This is an emotionally visual endeavour, and is an honour to have in the 'At a Standstill' exhibition. Munita is a documentary photographer and photojournalist, whose primary photographic focus is social issues of the world. His photographic work has been honoured with several awards, such as:
The Geographic Award, Henri Nannen Preis and 1st Prize Daily Life Stories CHIPP.
The final room of the exhibition takes you on a graphic journey in to the Afghanistan War. In Victor J. Blue’s photojournalistic project, ‘The COIN War’, 2011, Blue paints a realistic picture of the on-going events that had taken place in Afghanistan. It presents a variety of thought provoking imagery, from the explicit and dark, to photographs of a completely benevolent nature. It is an absolute privilege to be graced with such true images, especially in this day and age of tweaked media coverage and false propaganda. The series is truly a sufficient end to such a motivationally thought provoking exhibition. Victor J. Blue has photographed events in Guatemala, Mexico, El Salvador, Honduras, India and Afghanistan, and has documented news stories and social issues across the United States. His work in Afghanistan was honored in the Pictures of the Year International Competition. As well as this, he was awarded a first place award in the NPPA Best of Photojournalism contest, and Award of Excellence in the SFBAPPA competition.
The photographic works from these artists will enrich you with political, economic and moral issue. We anticipate, that as a result of this exhibition, you will be inspired to investigate similar topics further. You will endeavour to expand your outlook on world issues and think twice about topics manifested in the media.
Well and truly, these documentations and events left the world at a standstill...
Room 1
The At a Standstill exhibition brings you the dynamic work of Tomás Munita. The exhibition features his documentary series of the 'Earthquake and Tsunami Aftermath' in Chile, 2010. The series approaches the natural disaster with a detailed and up-close perspective; provoking an expansive outlook on the devastation, and on geographical hazards as a whole.
Throughout this photographic series Munita has demonstrated the intensity of the impact, which was stamped upon the country of Chile. He has created a distinction between human morale and the Chilean environment, and how both had been tarnished. The remaining scars are a mass heirloom; although time progresses, buildings are re-built, environments are re-established and people move on, the impact that nature had enforced upon the nation will never be forgotten. These forms of documentation preserve this notion and will do for years to come.
Throughout this photographic series Munita has demonstrated the intensity of the impact, which was stamped upon the country of Chile. He has created a distinction between human morale and the Chilean environment, and how both had been tarnished. The remaining scars are a mass heirloom; although time progresses, buildings are re-built, environments are re-established and people move on, the impact that nature had enforced upon the nation will never be forgotten. These forms of documentation preserve this notion and will do for years to come.
Tomás Munita
Room 2
Daniel Rosenthal
In the second room of the exhibition, you are presented with the acclaimed work of Daniel Rosenthal.
Rosenthal is a German photographer and photojournalist, born in 1973. After receiving a diploma in photo-design from Lette-School-Berlin, Rosenthal worked as news photographer for several papers and later went on to study photojournalism at the 'London College of Communication'. Since then he specialized in reportage photography for a range of national and international clients; covering news, social topics and personal projects world wide. His work has been published in magazines such as GEO, Sunday Times Magazine, Green Peace Magazine as well as in many other mainstream forms of media. Furthermore Daniels work has been credited from winning the Hansel-Meith Award in 2008 and the LEAD Award in the same year, winning 'picture of the year'. Daniel Rosenthal is now based in Berlin, and has been since 2008. In this room, you will be introduced to Rosenthal's documentation of the Anti-Globalization protests at the G8 Summit in Heilegendamm, Germany. This series gives you a close-up look into scenes of demonstrative protest. The photos capture both the perspectives of the police and the demonstrators, that provide and enlightening outlook of the event as whole. Rosenthal intends to promote a neutral outlook to the situation; demonstrating both violent, disorderly and constructed aspects of the G8 protests.
Rosenthal is a German photographer and photojournalist, born in 1973. After receiving a diploma in photo-design from Lette-School-Berlin, Rosenthal worked as news photographer for several papers and later went on to study photojournalism at the 'London College of Communication'. Since then he specialized in reportage photography for a range of national and international clients; covering news, social topics and personal projects world wide. His work has been published in magazines such as GEO, Sunday Times Magazine, Green Peace Magazine as well as in many other mainstream forms of media. Furthermore Daniels work has been credited from winning the Hansel-Meith Award in 2008 and the LEAD Award in the same year, winning 'picture of the year'. Daniel Rosenthal is now based in Berlin, and has been since 2008. In this room, you will be introduced to Rosenthal's documentation of the Anti-Globalization protests at the G8 Summit in Heilegendamm, Germany. This series gives you a close-up look into scenes of demonstrative protest. The photos capture both the perspectives of the police and the demonstrators, that provide and enlightening outlook of the event as whole. Rosenthal intends to promote a neutral outlook to the situation; demonstrating both violent, disorderly and constructed aspects of the G8 protests.
- Born in Wiesbaden, Germany - 1973
- Received a diploma in photo design from Lette-School-Berlin - 1996
- Began working as a news photographer for several papers - 1998
- Studied photojournalism at the London College of Communication - 2000
- Received the LEAD AWARD and the Hansel-Meith award - 2008
- Rosenthal is currently based in Berlin; representing the LAIF agency
Anti-Globalization Protest at the G8 Summit, Heilegendamm - 2007
Here Rosenthal has presented a mass amount of demonstrators at the G8 protests. A contrast of lighting is achieved through the mist created from the police hoses. Rosenthal created this visual contrast to emphasize the presence of the protesters. It is also evident, however, that it is these hoses which the protesters are running from. Rosenthal cleverly incorporates this irony to show the superiority of force the police have over the demonstrators, as well as reinforcing their presence. The image validates the lack of control of the situation. This concept is also testified through the foreground of the photo, displaying a protester blindly throwing a missile in to the distance. Here, Rosenthal makes a distinction between disorganised demonstration and other peaceful orientated photographs in the series.
Through this image, Rosenthal has created a strong sense of irony. It shows four armed policeman, apprehending one woman dressed as a clown, armed only with a water pistol. Documenting this moment weakens the "peace enforcers" operation. For the armed police officers to exercise moderate violence in order to suppress a female, only armed with a toy, creates a distinct sense of ironic mild brutality. Furthermore, an officer on the left is shown callously holding the toy weapon. Rosenthal's use of this imagery epitomizes the irrationality of this endeavour. Here Rosenthal has aimed to manifest negative interpretations of protest and to show the sinister but real sides of it.
This photograph portrays the disorder of the protest in full. In the foreground a riot police officer in staring directly into the camera, while a small group of protesters are exercising hand signs, requesting him to back away. In the background the soul of the protest is taking place. Rosenthal displaying the unnecessary preoccupation of the foregrounded officer, shows his intention to personify the disorganised nature of the protest. Secondly, the officers gaze is fixed on the lens. This reinforces his unnecessary preoccupation. In addition, the photo's chaotic nature demonstrates Rosenthal's intention to display the reality of protest, to his audience.
|
This photo shows an elderly man verbally confronting several armoured police, where in the backdrop, is the heart of the protest. Immediately you receive the impression that the elderly man is 'in too deep', due to the contrast of power between the police and himself. On the contrary the backdrop reinforces the magnitude of numbers to the audience. As well as this, only a single policeman is facing the elderly individual; thus showing the police's preoccupation with the rest of the protest. The distinction made between the police and the elderly male emphasizes the message and passion behind the demonstration. Further, Rosenthal went about portraying the significance of every individual. Capturing at least one policeman's attention, the elderly man's contribution and ideological value is elucidated. A sense of transcendental power is evoked through this image; although the elderly man is physically weak and frail, his message is still powerfully relevant.
Irony is strong in Rosenthal's photographic series, this image particularly exemplifies it. It displays a large group of protesters being pelted with abundant amounts of water, shot from police fire hoses. The refraction of the water has created a 'rainbow' in the image, generating an oxymoronic sensation of desperation and false happiness. Rosenthal has attempted to contrast the seriousness and emotional connotations of political protest with visual symbolism of happiness. On the contrary, the rainbow also reflects the maintenance of morale and spirit in the demonstrators. This notion is reinforced by the nature of unity exemplified by the them, as they are all holding hands, locking arms and staying together; with the intention to resist the force of the high pressured water.
|
Room 3
Victor J. Blue
Victor J. Blue is a New York based photojournalist. He has photographed stories and completed assignments in Guatemala, Mexico, El Salvador, Honduras, India and Afghanistan; and has documented news stories and social issues across the United States. "Through documentary photography he works to put a face on the defining issues of our day, and communicate something universal from the particulars of individual lives." His photographs have appeared in Time, Newsweek, The New York Times, US News and World Report, The Wall Street Journal, Le Monde, Mother Jones, The San Francisco Chronicle, The Discovery Channel and The History Channel. In both 2010 and 2011 his work in Afghanistan was honoured in the Pictures of the Year International Competition, and in 2010 was the 2nd Place Photographer of the Year in the San Francisco Bay Area Press Photographers Association. In this final room of the exhibition, you are gratified with Blue's acclaimed work the COIN War. This series gives you an enlightening look in to the ongoing war in Afghanistan, as well as the perceptions from both the indigenous people, and the American soldiers. The Afghanistan war is now the longest running war in United States history. Counterinsurgency strategy - COIN - is the doctrine that military leaders have embraced in order to win the war. "The results have been uneven at best; US and Afghan casualties rise but there is no clear solution to the conflict in sight." - Victor J. Blue. In the 'COIN War' series Blue attempts to show the Afghanistan wars lack of progression and bleak future. Albeit, he is elucidating the lack of governmental and political guidance and support the US soldiers receive, thus "soldiers spend their days in the fields and villages of the broken country, trying to improvise their role at the leading edge of US foreign policy in Afghanistan". It is evident, on this note, that the representations of the Afghan war which are manifested in modern media are falsified impressions of the true undertakings of the conflict. Based on this inference we can fully appreciate the explicit and detailed nature of Victor J. Blue's series; as it provides of with a honest outlook in to the Afghanistan war.
- Born - West Germany, May 31, 1973
- Attended University of North Carolina at Greensboro, entered 1991.
- Bachelors degree in History 1994.
- Began working professionally in 2003. First assignments were for the Associated Press, Guatemala.
- 2004- 2006 - Freelance photographer with World Picture News agency.
- 2006- 2009 - Staff Photographer, The Record, Stockton Ca.
- 2009 - present - Freelance photographer
The COIN War - 2011
In this image Victor J. Blue intends to evoke a sense of seclusion. The primary focus of the image is geared towards the lonely figure in the photo. The contrast with the mountainous backdrop and the man emphasizes his isolation and his insignificance, with relevance to the greater scale of the war in Afghanistan. Using a black&white filter encourages the audience to take in the entirety of the photo; as every aspect of it shares similar tones and colour. As well as this, it reflects the bleak, dark nature of the scene.
Similar to the photograph above, Blue is exemplifying loneliness, seclusion and isolation through the individuals. The vast landscape as the backdrop reinforces a strong sense of insignificance, as well as representing the realm of the unknown. The contrast in uniform and the American soldiers turning of the back to the man in the foreground evokes a detached relationship between the pair. In addition it creates a sense of tension between the two persons. Blue capturing the foreground figure with a gun behind his back, Is Blue representing the lack of trust shared between the Afghan and US soldiers.
It is evident that themes of isolation are carried out through a large number of Blue's photography. Blue has intensely reinforced this notion through this image. The totality of shadow, negative space and dark tones that surround the illuminated figure, signifies his seclusion and presents the amount of responsibility each soldier requires to deal with. The night time setting demonstrates the constant requirement of attention from the soldiers, and how rest and sleep are scarce; no longer is sleep a necessity, but rather a benefaction. |
Here Blue, with the use of his photograph, entails the lack of stimulation soldiers may face. Capturing the image of two soldiers of the same squadron, aiming guns at each other, presents a sense of boredom or desire for preoccupation. Secondly, the abundance of negative space generalizes the soldiers. Blue is mocking the general outlook of war, the photograph takes away a degree of seriousness from war's explicit nature, through the use of the procrastinating soldiers. In addition, this image reflects Blue's statement about the "erosion of political support at home." Since, this photo highlights the soldiers lack of guidance and direction of duty.
A solider and an indigenous Afghani man are shown here, caught up in discussion. A mutual respect between the individuals is displayed which is exemplified through their body language and expressions. Blue states that in this photo "Lt. Stuhler is having a heart to heart with Haji Najibullah." I feel that this enhances the themes of the photograph as it shows a transcendence of respect and understanding between both men. Despite the national conflict between both persons representing countries, they have acknowledge each other as fellows, rather than foes. Blue presenting the image on an elongated scale directs the audiences focus on the two individuals. This also emphasises the significance of their discourse.
|
Conclusion
Through observing and studying the works of these three photographers I have obtained a higher understanding for past and ongoing global political economic issue. As well as this, the photos are a medium to the levels of endurance these photographers have to exercise, in order to sufficiently capture and document these events. Constantly these photographers are faced with death, destruction and all-round despair; one can only imagine the personal effect such experience must have on an individual. For instance, Daniel Rosenthal having to endeavour upon close encounters with "peace enforcing" officers, even if it is prohibited and not his legal obligation to do so. Or Tomás Munita documenting the anguish filled aftermath of Chile; an entirely daunting yet memorable experience. Or in another instance, Victor J. Blue risking his life, being in the midst of the Afghanistan war. in order to provide his audience with accurate documentations of the ongoing conflict. Further, through analysing the effect and visual aspects of the photographs, I have been able to retrieve a refined understanding for the necessary approach to documentary photography. For instance, observing the relevance of both the foreground and background of an image, as well as understanding the necessity of contrast of colour tone. This research has had a prominent effect on my practical work. Now when capturing an image, I asses the entirety of the scene I am photographing; necessitating the lighting, tones and potentially the use of symbolism, to accurately portray my intentions for taking the picture. Each of the photographers I have studied have drastically ventured in to different environments, countries and cultures; in order to appropriately capture and present a sufficient outlook on important events and undertakings around the world. This has inspired me to - rather than passively capture images - endeavour upon gaining first hand experience of the subjects in my practical works. Although the situational scale of the photographs I have studied is superior to my personal works, I feel both mine and the professional photographs photographic topics have a similar political-economic theme. Ultimately, researching these images has sparked a personal appreciation for the effect photography has on personal opinion and motivating change in society.