Photojournalism since the 1850's up to 1900's

There are a great many famous photojournalists from around the world that have given us exceptional accounts of real events throughout history. I believe that the most graphic and shocking are of reportage style documentary detailing the major tragedy's that have happened, giving a real truth behind 'War' and its damaging effects it has had to civilizations.

One of the earliest to photograph a war was Roger Fenton, one of the founders of the photographic society (This is now the Royal Photographic Society http://www.rps.org/history) who documented the Crimean War (1853 - 1946) which was mainly between Russia and the Turks, however had involved the English and the French. There was controversy and criticism about the English Governments handling of the War after a report was written by a journalist from 'The Times' therefore Fenton was commissioned by a Manchester print dealer in 1855 to photograph the conflict and of the moral of the British soldiers. http://www.rleggat.com/photohistory/history/fenton.htm

Fenton's images of war do not show the gruelling truth behind combat due to there being no action shots (this being due to the limitations of equipment and materials to capture this at this time) or show horrific shots of the dead. It has been suggested that his images are a very bias representation of the Crimean War compared to that of Mathew Brady's photographs of the American Cival War (1861-1865). http://www.rleggat.com/photohistory/history/brady.htm

John Reekie-1865-Burial

"Mathew Brady had a significant effect on the art of photography, demonstrating that war photographs need not necessarily be purely posed ones. His work represents the first instance of what one may call documentary photography." © Robert Leggat, 1999.

There was a great public demand to see images of events and the news of the world, it was at this time that the most popular newspaper, dedicated to showing images of the Civil War, was the 'Harper's Weekly' ("Journey of Civilization") http://www.sonofthesouth.net/leefoundation/the-civil-war.htm

Page 28 of the Harper's Weekly on January 11th 1862

LANDING OF OHIO TROOPS AT LOUISVILLE, KENTUCKY.—[SKETCHED BY MR. H. MOSLER.]

The illustrations of events were produced from the interpretations of wood engravings and other lithographs.

The Harper's Weekly was first published between 1857 to 1967, it was later revived as a broadsheet newspaper in the 1970's however was more successfully relaunched in 2000 as a digital newsletter. The main delivery of photojournalism is the major difference from the 1850's to the present day, due to technological advancements - two of the main being television and most recently due to living through a digital revolution.

http://www.harpers.org/subjects/WeeklyReview

During the 1860's, a definite change was seen within people / portrait photography. It was due to Scotish born William Carrick photographing the working class peasants within Russia due to the sheer curiosity from the public. It was not known within paintings to document servants or workers, obviously due to the fact that only the rich could afford to pay for these artists. Carrick's photographs display and exhibit a passing of time, his works are considered to be a vivid historical documentary photography archive of his time.

http://www.nlr.ru/eng/exib/Volga/6.html

Chimney Sweep and Fishmonger

An Abacus Seller, St Petersburgh

Another shocking realisation to the world was Wallace Hooper's photographs of the Madras Famine in India (1876-1878). Photographs were very powerful at this time to convince a visual truth, to allow the suffering of others into the lives of the distant spectators, and as the military officers archive expanded, famine photography ascended in journalistic importance and emerged within the illustrated periodical press.

http://www.mpiwg-berlin.mpg.de/en/research/projects/DeptII_Nag_Famine

Another renowned Scottish photographer of the 19th Century was John Thompson (1837-1921) who travelled to Eastern lands to document the foreign social conditions. He also photographed a British series documenting the street crawlers of Victorian London. It is within his photographs that Thompson dedicated his life to portraying someone else's experiences, thus providing a true and real sense into what life was like during his time.

http://www.culture24.org.uk/art/photography+%26+film/early+photography/art73267

Below are some photographs and written guidance from Thompson's collection of China in the mid-19th Century sourced from http://www.wellcomecollection.org/explore/time--place/topics/john-thomsons-china/john-thomsons-china.aspx

Chinese Labourers

In the mid-19th century, each year a large number of labourers from Shantou and nearby regions left their homes to work on plantations in Cochin China (Vietnam), Siam (Thailand) and the Straits of Malacca. Chinese labourers were much in demand in South-east Asia because of their willingness to undertake the hardest work. For these economic migrants, the main attraction of working abroad was the pay. At two or three dollars a month, their earnings were much higher than what they could receive back home. After having saved enough money, many would return home and buy a plot of land.

A Knife-Grinder

A travelling knife-grinder working at a one-wheeled handcart in the street, outside a brick house. He is dressed in ragged clothes and looking round towards the camera. The photograph reveals that his work-bench was also a cart, which he pushed around little hutongs, looking for customers. The street remained a place of fascination for John Thomson, and the 'street life' of both Asia and London occupied a central place in his work. As the capital of the Qing Empire, Beijing and its streets were described by Thomson as "highly picturesque and interesting". People formed an essential part of this picturesque charm, particularly the traders and artisans who plied their skills and wares along the streets.

A Travelling Chiropodist

In Late Qing China, the streets of major cities were full of 'quack doctors', many of whom practised as barbers and ear-cleaners. Here an itinerant chiropodist is operating on a painful corn and dressing the toe-nails of his patient; a second customer leaning out of a dilapidated window patiently waits his turn, while smoking the pipe of peace

Possibly one of the greatest ever journalist's / photojournalist's of the 19th Century was Denmark born Jacob A Riis who moved to New York in 1870. He was passionate through his investigative journalism to expose those responsible for the social desperate living conditions of the poor immigrants residing in New York. His exceptional written journalism as well as accompanied photographs portrayed a lack of opportunity in a land that was supposed to have been considered as America's 'land of opportunity'! Riis was among the first photographers to use flash powder which enabled him to photograph interiors as well as exteriors of the slums at night.

Photojournalism

What is Photojournalism?

Photojournalism is simply a way to tell a narrative or story with the use of photographs or in a sense to educate or report of an event that has happened or is happening. Photographs can not always be understood merely by looking at the image therefore it is on most occasions, essential that the photographer gives their photographs a title or even a written guidance so that the viewer fully comprehends the photographs' purpose and also appreciates what the photographer is trying to portray.

From recent lectures I believe Photojournalism is open to interpretation being that it is very similar to other sub-genres of photography such as Documentary and can cross over into specialised fields such as editorial, war, celebrity, portraiture and even fine art.

For a more detailed popular view and interpretation into exactly what photojournalism is I found this website to be very informative http://www.wisegeek.com/what-is-a-photojournalist.htm

Historically humans have for centuries used imagery, verbal and written forms of communication to educate and inform the next generation, possibly dating as far back as 30,000BC when the first cave paintings are believed to have been drawn by primitive man. As photojournalism is a very modern way to tell a story via photographs; primative man very similarly may have used his cave drawings to also tell stories, educate and to hold a permanent history of their own exsitence.

The example of cave paintings above, which I have sourced from Google images, suggests that the primitive man was drawing an insight into their everyday life involving hunting for their food for survival.

Photojournalism has been one of the most modern forms of visual representation, documentation and story-telling since the invention of the camera in the mid to late 1800's into how civilizations of the time have lived. Unlike painting, although it is a controversial possibility that camera obscura had been used by famous painters such as 17th Centuary Dutch master Johannes Vemeer as an aid for their paintings in regards to such accuracy to detail of perspective; when the invention of the camera and successful image fixing process were offered to the world as a free gift giving the power to authentically capture images within a split second, the photographer then became the official recorder of our life and times, a role that painting had held for hundreds of years. It was Paul DeLaroche in 1839 who supposedly declared, "From today, painting is dead". http://www.webreference.com/graphics/essay/essay2/

http://www.bbc.co.uk/history/british/empire/_seapower/vermeer_camera_01.shtmlire/_seapower/vermeer_camera_01.shtml

Girl with a Peral Earring(1665) considered a Vemeer masterpiece

and The Astronomer(c1668)

Although photographic images hold a much more realistic version of the world as we know it thus producing an exact copy of what the human eye could see, in times such as now the idea of the 'photographic truth' holds much debate and controversy due to the ease of manipulation via darkroom or digital processes.


Photojournalism is a form of photography that is to imply that no such manipulation has been adhered to on the original image therefore showing a 'photographic truth' of realism, however as the world is obsessed with artistic flair this in sense is not always the case!


It has also been suggested within the last decade, sourced from a report on the BBC news website in 2002 http://news.bbc.co.uk/1/hi/uk/1782111.stm that cultural commentators have predicted the death of Photojournalism. Again like the statement that was predicted back in the 19th Century that 'Painting is dead' I find this very hard to to believe this about photojournalism as this may stem further artistic values to this genre of photography. Still documenting the truth although now being accepted to be tweaked a little to aid aesthetical beauty from a possible dark subject matter, or badly composed photograph.


Painting flourished ever so much more expressively and artistically after the invention of the camera so this in sense sparks the idea of photojournalism as now a story in art form?


The main substantial difference that has happened to photojournalism over the past 50 years is the means in which the subject has been delivered. Being recognised at first thought that photojournalism is delivered by means of newspapers and magazines but over the years freelance photojournalists began to deliver their photographs via books and art galleries thus giving a bypass to completely outgrowing the photojournalism origin.


"In retrospect, the point when photojournalists chose to publish their work in their own books coincides with the moment when the form began to outgrow its origins. A creation of the press, the photojournalist was beginning to claim a role beyond it" October 5th, 2010 by David Campbell http://www.david-campbell.org/2010/10/5/dead-or-alive-the-state-of-photojournalism/


Whilst browsing the web I came across a website that was advertising wedding photography with a difference, incorporating both photojournalists and wedding photographers around the world, they use photography to tell a story of a couple's wedding day, therefore not to dictate it for them. http://wpja.com/


Here are some examples of this year's competition entrants from the members of the Wedding Photojournalist Association , beautifully captured moments in time documenting the story of a couple's wedding day.

This section was titled "Getting Ready" and below are the 1st, 2nd and 3rd winners of this competition with judges comments

FIRST PLACE:Photo by Mark Earthy / London / England

JUDGES COMMENTS: "Excellent photojournalism is about making beautiful images of wonderful moments. This image is a wonderful moment that perfectly captures the confusion on everyone's faces as they attempt to add the final detail to their wardrobes. I think a man who has ever been part of a wedding party could relate too. The light is nice and the composition works well."

SECOND PLACE:Photo by Rene Gaviola / Manila / Philippines

JUDGES COMMENTS: " The light and layers in this photo are great. Nice expressions on the peoples faces in the background"

THIRD PLACE:Photo by Mark Davidson / Massachusettes / United States

JUDGES COMMENTS: "Nothing like last minute cleaning. I love the combined seriousness and laughter of the moment as well as the lovely dress and mop. Nicely framed"

Places 'Urban and Rural Location' Brief Evaluation

Unit 6 - Places

Initially at the beginning of the brief I did intend to follow a river, mainly the River Ribble and capture all of the below areas of landscape study, taking photographs at different locations until I came to its source. As things often don’t go as planned I therefore decided on three main locations: Haworth, Blackpool and Baxenden.

Alien or Foreign Environment

I relate to the ‘alien’ or ‘foreign’ environment in a way in which you are to set out on a journey to unknown territory. My reasoning for choosing to go and explore Haworth in Yorkshire was due to a friends’ passing comment that it is a beautiful little old village that’s main attraction for visitors is its still running steam trains.

It was with this in mind that I wanted to capture images which would portray that statement “a beautiful little old village . . . with still running steam trains”

Photograph 1 – Ticket’s Please

Before allowance onto the train platform in Haworth you are required to purchase a ‘platform ticket’ if you are not travelling on the steam train. This area caught my eye due to its ‘old world’ look and I carefully composed my photograph to capture the essence of ‘how things used to be’. There wasn’t much lighting within this area therefore the main source was natural lighting from the sun shining through the gate way which I felt added the necessary drama needed for my shot. I feel that the man in the office adds to the overall photograph giving a reality that this is a true working old school train station, it may have added a even greater impact if he was looking through the glass maybe?

Photograph 2 – A Beautiful start to a Journey

Whilst walking across the bridge above the train tracks I couldn’t help but notice how beautiful and tranquil the view was. A mysterious surreal feel is present within the photograph due to the delicate areas of colours from the trees, train carts and their covers. The train track leads the viewers’ eye to follow it under the bridge taking you to a journey of the unknown. I feel that this photograph depicts expressively the very essence and heart of what Haworth has to offer any visitor. I used a wide angle to portray the foreground as what we can see and focussed to the end of the train carts allowing beyond that part of the photograph to be a little out of focus to add the air of mystery of what lies past the bridge.

The City or Urban Sprawl

Within this area of landscape photography it was my intention to capture a sense of how our population has grown and how the urban environment is becoming bigger due to the need of housing for all of us to live in. I did initially take some photographs on our trip to Manchester and Salford Keys however I did not feel that they were strong enough to be added as part of my final two images for this area. Also I felt that they wouldn’t have complimented the rest of my overall set of images for the complete brief as I decided to have consistency throughout my portfolio where all my photographs can be linked to one another.

Photograph 3 – Overlooking the Still Station

I decided to add this photograph to convey a message of the built up urban areas around the central position and main feature of Haworth, the train station. Thinking about history if it wasn’t for the invention of transportation which main source was originally the steam train, places such as towns and cities could not have expanded or grown. Originally the image was an average landscape size however I decided to crop the upper part of the photograph to give a panoramic view and to also cut out unnecessary sky which would have taken the audiences eye away from the main area of subject, that being of the urban sprawl out from the central station up above on the hills and beyond. It also added better compositional value to the photograph, giving triangular formats with symmetrical lines and textures from the buildings.

Photograph 4 – Birds Eye Blackpool

I felt an excellent representation of the urban sprawl would be to photograph a place from an aerial viewpoint and I captured an aerial view of Blackpool from high above whilst on the Big Wheel. Not really having much time to think about camera settings and composition I just took one meter reading from my DSLR and clicked away whilst going around on the ride. I feel that my photograph displays the idea of the urban sprawl very well, interlinking the fact that elements of the coast and surrounding countryside are evident in the image, but obviously not being the main feature just a small attribute to show development from the coast, to the urban jungle to the outskirts of the countryside. I feel that the photograph could have been improved if it covered the complete sea front of Blackpool and surrounding urban area however limited to the big wheel I am happy with the outcome.

The Wilderness / Countryside or Coast

On my journey to Haworth I took the advantage of taking some countryside photographs however at the same time as I was visiting Blackpool purely for the main reasoning behind my familiar place, I also took some great costal photographs too. Both of which would have been sufficient to be added to the final 8 and belong as a set of images however after looking over my final prints I felt that the costal photographs complemented each other as the better pair.

Within my costal photographs I wanted to convey a message of what is most familiar about the meeting of the sea to the sand and also incorporate key features that would also give clues as to which coast the pictures had been taken from. Being in Blackpool I knew that its main trademark, Blackpool tower, would have to be evident in at least one of my chosen photographs.

Photograph 5 – South, Central or North Pier?

A main feature to any coast touched by man is a pier and as many of us is aware who have been to Blackpool; at this particular coast there are three. I captured the pier whilst the sun was hiding behind the clouds so it would stand out with a silhouette effect and also bearing in mind that the water below would capture a delicate reflection. I also ensured that the sea and sand are evident as the coast in the photograph and to also determine exactly what the main structure of the photograph was.

Photograph 6 – What the coast shall bring?

Not my original choice however I still feel that my photograph depicts the coastal element of Blackpool tremendously. I decided to capture the meeting of the sea with the sand and also ensure that the main feature of Blackpool was evident in the background by using a large depth of field. I focussed mainly on the foreground area to show detail into the rocks and shells that have been washed up from the shore.

This was my original choice however when printed it did not give as dramatic effect I was wanted it to do. The colour of the beach came out a much brighter orange than I anticipated. I plan to have a go at my own printing of this photograph in the near future and hopefully achieve a watercolour effect photograph with similar clarity to the image viewed on the screen

Significant Place

I feel that a significant place should detail someone’s personal approach to their memories which evokes on the idea of special times throughout their life. As such I decided to go to Blackpool to capture how I viewed this as a special place as a child, to illiterate through images a special place of fun.

Photograph 7 – The Magical Merry Go Round

I wanted to approach this with a different viewpoint and capturing my daughter riding on the merry go round looking out at the glorious view of Blackpool coast I feel that I have captured my goal perfectly. My daughter representing youthfulness, the merry go round representing fun and the view beyond the ride capturing the complete significant place, were the memories began from many years ago.

I focussed up close to the inside of the merry go round and carefully waited for the perfect ‘decisive moment’ which gives a sense that the viewer is also on the ride within the photograph.

Another significant place to me in my childhood was playing in the local woods close to where I grew up in Baxenden.

Photograph 8 – The Enchanted Wood

I wanted to capture the feeling that the audience of the photograph would feel a part of the woods therefore I decided to hide within the trees and capture the leaves within the foreground of the photograph. Just like I would have done as a child playing a kids favourite game of hide and seek. I also noticed that the branch of leaves within my frame portrayed a great element to the overall photograph, shaped in way of an arrow pointing towards the central pathway along the wood.

I feel that ‘woods’ symbolize a great many memories to youth, it is where the majority of all of us have been as children, where we have been left to allow our imaginations to run wild. I am hoping that the audience will share this idealistic value and recollection when viewing my photograph as the woods being a many persons’ special significant place.

People 'The Human Condition' Brief Evaluation

Unit 5 Evaluation – People

Photographing people can initially seem at first pretty easy however I’d say it is definitely not the easiest of genres especially if as a photographer you are not a great people person. Luckily for me I like to think that I can make people feel comfortable in front of my camera whether they are known to me or not and during this brief I feel that the images I have obtained shows that this is a true statement.

Fine Art & Corporate Portrait

Sub genres of portraiture at first seem pretty straight forward however after discussing in more depth with my tutor I realised that what I thought may well be a certain type of portrait, mainly fine art portraiture, possibly will not be due to the image not being evident as part of a theme to back up your reasoning for taking the photograph.

My idea for my fine art shoot was to photograph my friend Natalie who works as a fire woman and is also a full time mum, I wanted to convey a message through an artistic portrait that she is two people in one, a full time public service respected fire woman and also a full time caring mother.

This type of theme would have been more enlightening if I had also photographed other working mothers accompanied with their children to represent mothers going back to work after not long having their children. Also with the brief aiming us to approach different people to photograph I had obviously not taken this into consideration at that time therefore realised that I was unable also to use the same person within all of my shots for my final 8 images.

Below are the images I felt I would have considered to use if I had undergone this sub genre in the correct manner from the start.

Likewise, with my corporate photographs they are all again of my friend Natalie which therefore does not show that I have been able to approach any other people, people that are not known to me. If however any of the corporate photographs of Natalie could have been selected if I was to have taken other peoples corporate photographs to use as a theme series then these are the photographs I would have considered to have been selected for my final 8 images.

Candid and Environmental Portraits

Candid photography I can safely say is a definite sub genre of portraiture that I didn’t feel comfortable with. I did experiment with a little street photography, I say street however I was just randomly photographing people whilst walking around a theme park. I didn’t feel that these pictures were adequate enough to even add on my blogger therefore I decided to take a more relaxed approach to experimenting with candid photography at my dad’s work. I felt more comfortable as the workers were aware that I was in the print works, however may not have always been aware that I was taking a picture of them at a certain time.

After researching and experimenting into the four study areas of sub genre portraiture I feel that my attempts at capturing environmental portraits are my most successful group of photographs. My idea was to capture people within their working environment utilising what available light was already there, I believe if I had have used artificial lighting this would not have been a true reflection as to the environment that the workers would usually work in, therefore I did not dramatize the situation which evidently if I did would not have been a correct interpretation of the visual message which I wanted to convey.

Below are my chosen final 8 images selected as a group of working environmental portraits