Concluding Chapter

Looking back at my thoughts from the beginning of the course, I do have a slightly revised definition of photojournalism. I still believe it is a critical tool for people to connect with real world-issues, events, or society. However, while I believe that pictures should not be taken with an intent to show a meaning that is not accurate, photographing certain subjects without bias is impossible. A picture should be taken with integrity, for sure, but sometimes the whole reason that picture is being taken is because the photographer themselves feels strongly about it. I learned to see this differently because of the interview with Shahidul Alam.

Photo By: Zoriah Miller

Also, Alejandra pointed out, that from a photographer like Zoriah Miller's standpoint, it is important to show people that certain conditions exist. Take the photo above for instance. People hear frequently about world hunger and malnutrition. It is a whole other arena to see it one's own eyes.


I also have new insight on the importance of knowing the history of photojournalism. At this stage, everyone wants to take a picture to communicate or show something. Some want to show history because they know they have the power to do so. Photojournalists want to make a difference. When you consider what photojournalists had to go through in the beginning, you forget that they didn’t have years of successful leaders in the field. They were doing this by themselves and with their own direction of what are the right and wrong ways to show misunderstood parts of the world.

The emphasis on having subjects unaware of the photojournalists might sometimes be impossible. What is more important is accurate representations of truth. This is the responsibility of the photojournalists to ensure. This is something the field is still learning how to deal with. Patrick tells us that Steve McCurry gets over this situation by waiting after he has gotten to know his subjects and not just taking pictures right of the bat. He lets things go to back their natural state, so that the picture has no bias from himself or the subjects.

Photo By: Michelle Wong

A big "Ah-ha" moment during this course was learning that 90% of American media is owned by 6 corporations. How many pictures and stories are untold or misunderstood because the public is purposely kept from this knowledge? To me, this makes freelance work so important. I admire those who do this because they do not necessarily know they will get paid but they have the ability and passion to take pictures of meaningful things without interference. They are a type of hero that keeps regular people aware of the realities of the world.

 My first response to the question, do photographs change the world, was that they can but not directly. I think I have to change my answer to yes, completely but it may not be in the way that people think makes the most impact. However, they still do. A photograph does not automatically change will hunger or stop war, but nothing will on its own. To hold an image up to that standard is not fair. Photographs do change the world because they change people.

When I saw this photo of the soldier walking over children, it broke my heart but hit me that this is the reality of what war is. I think I am a more educated, understanding person because of that and so will many others be.

Photo By: Michael Kamber

I completely agree with Kelsy when she said, “The photo stays with you forever and can psychologically change you emotionally forever.”

Photojournalist Profile

Motivation

One can have a skill for technique and capturing images with an artistic eye to be a good photographer. Something that sets photojournalists a part from most is their motivation be voices for others. What exactly inspires them to display the realities of the world is different for each. Sometimes a photojournalist can be inspired themselves to guide their efforts towards something new. 

Image Source: http://mediastorm.com/contributor/ed-kashi/72

Photographer Ed Kashi did not become a photojournalist until later in life, but he is dedicated to introducing social issues to the world. He hopes that audiences will work to be a part of solutions. He says, “It's about driving the issue forward. And what I learned… is that to really drive issues forward you have to get your work seen by as many people as possible.” He is like Felix Massi from Kenya. At first, Felix was trying to capture news but then when he focused on the lives of regular people who were suffering but still had hope, he felt more purpose. In an interview from VOA Africa, he says,"The way people talk about these images, that just made me feel that I'm actually doing something: that this is my path."

Photo By: Ed Kashi

  

Image Source: https://twitter.com/mrkenjikwok

 The theme of photography as a medium of activism reoccurs is common. Photographer Kenji Kwok does not just want to take good photographs. He wants his work to serve a purpose. In an interview with Leigh Diprose from F Stop Lounge, Kwok asserts, "Rather than being concerned about job opportunities for this industry, I feel that there are so many pressing issues that could be documented to both expose injustices and to move people in authority to do something about it." This relates to Xyza Cruz Bacani's work that started her path in photojournalism. She had previously been a domestic servant in China and began to document the lives of other domestic workers who were not as fortunate as her and endured abuse.
She believed that she was, "there to be the voice of those domestic workers who remain unheard, whose voices have been muted."

Photo By: Kenji Kwok

          

Image Source: http://www.fotogpedia.com/mary-ellen-mark.htm

Mary Ellen Mark is a well-known photojournalist because many of her subjects were people who usually do not receive much attention. She's photographed addicts, people in mental wards, and those inflicted with leprosy to name a few. She loves photography and she is driven to capture people who instill passion in her.   In an interview for Photo Metro, she explains, "I photograph the people I photograph because I care about them and because their lives fascinate me. In a sense you might say that they are my heroes, because I think they have such a sense of passion and feeling in their lives. They have heart and soul and that is what I want to capture in my pictures. They touch me. If I had to stop photographing people I care about, I wouldn't even want to photograph again." Often, finding inspiration and strength in other people leads a photojournalist's passion for spreading the ideologies that they themselves see in their subjects. Ruth Prieto is a photographer from Mexico City, Mexico and did a photo essay focusing on women in her culture that she looks up to. She sees them as "icons of identity and culture."
 

Photo By: Mary Ellen Mark

I think my motivations relate to the motivations of these important people because I want my life to have purpose and that's how they view their work. It is a little different because I am very much influenced by the need to have the lifestyle I want and to support my family so that is going to affect the direction I let my work take me.

Bias

"Going Home" Photo By: Ed Clark

When first looking at this photo and reading the caption, I interpreted it to be a moment of overwhelming joy, relief, and maybe a release of emotions from experience. I saw a man who was in service to the army playing an instrument and with the caption, I assumed that meant that maybe soldiers were returning from a war and "going home". After realizing its context of happening during President Roosevelt's funeral procession, I understood it differently. All the people crying and looking at the man were brought to emotions because of a great loss. I know that music can touch the senses and make any moment more meaningful. 

This new realization opens my mind when it comes to photojournalism. There is no right way for a reader to know authenticity when it comes to an image without context or "peripheral". As World Photo Press juror, Donald Weber explains, "Right off the bat, any individual image is deceptive,because there is no peripheral vision. Peripheries provide the greater context." I know this story is true because of logic and reason. Life goes on.

Principles of "Going Home"

Principle #1- Subject's Expression : The navy man's face tells the intense emotion of the scene. Tears are streaming down his face as he remains determined to fulfill his duty and display respect by playing his music. A man in the background has his head down while another woman holds her face with her hand, showing the somberness of the experience.

Principle #2- Background: The background compliments the composition of the image. Although there are numerous people in the background, they help with the experience of the image and do not clutter it. Also, the large white pillar behind the man helps to accentuate his importance in the scene as the main subject.

Principle #3- Black and White Color: Although this was in an era where there wasn't color photography, the lack of colors actually adds to the image. Viewers are not distracted by different elements that color might have enhanced. It keeps the subject and feeling simple and pure.

Photo By: Laurent Van Der Stockt

This photo represents truth to me because it shows how daily life has to, and does, go on in war-torn areas. Many news stories cover tragedies and then once the fervor has died down, attention goes to a new situation. But what about those people who are left to live after the first story. There lives do not just get better; they are surrounded by devastation that is left to them. There stories still deserved to be documented and understood. As Weber says, "A story cannot live on its own, it needs someone to tell it..." Well known photographer, Shahidul Alam, agrees that this can be done by engaging, as long as a journalist can see a situation critically. Ultimately, he says, "If that role becomes one of facilitating the people to tell their stories, I think we've achieved our goal." To me, this photographer has told this woman's story.

Principle #1- Simple: The composition is simple but powerful. The woman is walking alone in the street with her child. There is smoke rising in the distance behind her. That is the only other evidence other people's activities.

Principle #2- Depth of field: The photo shows maximum depth of field. This was a good idea because it is not just the subject that is important but her surroundings. The street, buildings, and smoke give the image context.

Principle #3- Texture: The texture adds a lot to the feeling of the image. The rubble all around her shows the gritty existence she is enduring. The smoke shows that there are still issues going on, either  immediate as consequence other people or as the aftermath.

Photo By: Chris O'meara

To me, this image does not represent truth. As Professor Nordell emphasizes, "It's of vital importance to look at the possible biases of the photojournalists creating the images, as well as, taking a look at our own biases might be." I recognize that my personal bias affects my interpretation of this photo. It conflicts with my truth because of my concept of the American flag.  The American flag symbolizes a land where people are supposed to have opportunity, freedom, and tolerance. Trump hugging the flag to chants of "Build that Wall" is not a good representation of what I hold to be the truth of the American spirit.  I can relate to Shahidul Alam when he says that if someone does not address an issue that has caused others pain, than they have "contributed to the problem but have done nothing to fix it." He was speaking about class divide but I feel like it relates to ethnic and religious division, as well. The way I know this image is untrue is because of emotion and intuition. It does not sit well with me.

Principle #1- Contrast Appropriate - The contrast is very good for this picture because most of the background is black. Trump and the flag stand out very well.

Principle #2- Subject's Expression- The subject looks slightly overly posed, but he is a very animated man when it comes to speeches. He is doing it for the audience.

Principle #3- Background - The background detracts from the picture. The extra flag on the right should not be in the frame. It is distracting to the eye.

Ethics

There are many issues with unethical behavior in photojournalism. There could be misleading captions, composited photos, altered images, and staging scenes. One issue that sticks out to me and really represents the damage done to the credibility of the field is a photograph from Robert Capa called "Fallen Soldier". This picture was supposedly taken during the Spanish Civil war of a soldier getting shot in the head. Over the last couple decades there has been a controversy because some experts now argue that this photo was staged.

Photo by: Robert Capa

The first aspect that shows the image might not be truthful is that where it took place was 35 miles away from where Capa said it did. The New York Times covered Professor Jose Manuel Susperregui argument in his book, translated in English, "Shadows of Photography".    Another interesting thing to notice, if you look closely, is that the man in the photo's left hand is in a position that looks like he would brace his fall. Finally, a picture that looks like it is the fallen man on the ground is actually of a different man. 

Photo By: Robert Capa

This was probably really disappointing for Capa fans to find out. Some still argue it. I just find it disappointing because if one of the most famous war photographers staged events then how many others did he stage. It seems like the credibility of the field took a big hit, as he was very detailed in his stories to describe what happened.

My ethics map in the beginning of the post would guide me in a different direction if I was in his position. First of all, I wouldn't have staged photos and passed them of as real. Second of all, if I had decided to make that decision, after all the recognition and admiration that Capa received, I would have bit the bullet and exposed my self. Like displayed in my ethics map, truth, virtue, integrity, and accountability are important. Those are principles that should inspire someone to be the best person they can be. Another important principle in the ethics map is respect. That is motivation I would have had to act differently. I would have respected my fans, audience, and the importance of what photojournalism stands for, and admitted that the photo was not what it seemed 

Women in Photojournalism

Margaret Bourke-White was a pioneer for women photojournalists. She was born on June 14th, 1904 and died August 27, 1971. She started to go to college for a biology degree but ended up finding passion in photography. She used this hobby to pay for school, but eventually, after graduating from the 5th school she attended, Cornell, she began freelance work to support herself. Her personal life was tumultuous with several marriages, but her contributions to society with her compelling photographs are her greatest achievements.

Her initial focus was architecture and industrialization but she began to steer towards the photojournalism when she joined a group of photographers covering the migration during the depression. Her most famous picture from that photo essay is the “Migrant Mother”. The change to photojournalism and covering human interest stories was a fortunate as she has captured images to represent historic and valuable subjects, such as World War II, concentration camp survivors and Gandhi.

Bourke-White gave inspiration for many women in the field, as well as those in other professions. Though times are slowly changing, women have always faced discrimination in the workplace. There are many reasons for this. Some men might feel threatened that opportunities will be taken from them. However, most of the issues come from the fact that because of cultural and societal norms, women are viewed as incapable or that assumed emotional or physical differences will affect ability to perform duties as well as men. Other times is an arrogant attitude that women are in anyway impressed or amused when men make sexual references. For example, one quote from a women photographer’s experience was when a stranger said, “You,me and that camera could do some dirty things.”

Despite lack of confidence bestowed in them, many women have proven themselves to be just as able when it comes to fulfilling the duties as a photographer. Yunghi Kim is one such women who won a medal at the 2012 Photography Leadership awards presented by the United Nations. Courage is just as strong in women, as she proved when she returned to a dangerous area in Somalia just days after being released from capture from brutal rebels. “ ‘I didn't want to go back toBoston and say I'd quit,’ she later admitted”. Women can be just as strong as men when they have the desire to get the job done and prove themselves.

Another important woman in photojournalism was Catherine Leroy who won the Robert Capa Gold Medal Award for conflict photography from her work during the Vietnam Era. “Cathrine Leroy was a hero to the paratroopers of the 173d Airborne Brigade” said Ken Rocks in this article about Leroy.

It is important that women are recognized as capable as they have a different understanding of the world and experiences, and so, can incorporate it into any profession and create equally valuable products.








Image Source: : http://totallyhistory.com/margaret-bourke-white/



Principle #1 : Rule of Thirds - This is an great example of the effect of this principle because the use of thirds guides the viewers eye to the subject and her actions. Margaret's eye is directly in line with the left third of the picture. Her iris really pops out in comparison with the white of her face. The camera lens is in the upper right corner of the image .making it the next subject the eye focuses on. This guides the viewers eye along her gaze.


Principle #2 : It is simple - The contrasting black and white color makes the viewer concentrate on the subject, especially with the black background. Also, it is not cluttered by extra props, only Margaret and her camera, as if they are the only things that matter. There is no room for distraction from the subject.


Principle #3 : The Feeling the image creates- Because of the simplicity of the composition and the technique used for the positioning of the subject and her camera, I get a feeling of wonder. My eye goes from her gaze to her lens and then I wonder what was past the lens for her. What was this photographer interested in and how did she see the world?
 
Why did I choose the image? I choose the image because it conveys such feeling that it is almost like the viewer is able to understanding her personally. One can see the amazement and enthusiasm in her eyes as she as holding her camera, looking for her next photograph. I think it is the best representation of Margaret Bourke-White and her passion for her life's work,

Photo By :Profimedia.cz

Principle #1: Rule of thirds- The photographer positioned the man in the left third and the woman on the right third of the picture. There is nothing in the middle section of the picture. I think this is very effective for the meaning of the image because in some people's experience, there is a definite separation between men and woman in the workplace.

Principle #2: Subject's expression- An important aspect to the symbolism of this picture are the subject's impression. The man is looking down at the woman's stomach as if it is a problem or something to consider. The woman is also looking down,  but not at anything and slightly smiling. This give the sense that though she has intentions on focusing on her job and is happy about it, she looks down to avoid the eyes of those who disapprove of her.

Principle #3: Contrast - There is strong contrast in this image with the white background and the subjects dressed in dark clothing. It represents a professional atmosphere. With the simple white cabinet that is almost lost in the background, it relates to the fact that where work actually takes place doesn't matter. A lot of women will experience this uncomfortable situation.

Why I choose this picture - I choose this picture because discriminating against women who are pregnant is very upsetting to me. There are a lot of circumstances in life that you can not tell from a person just by looking at them. However, a woman's decision to have a family ends up being exposed because of natural processes and this is on display for the public. This does not give people the right to now judge as if it is an example of the woman's work ethic, goals, or abilities.

Image Source: http://www.rationalrevolution.net/articles/capitalism_culture.htm

Principle #1: Black and white - The coloring and quality of the picture suggests that it was taken a long time ago, before colored photographs. This adds to the context of the picture because it tells the viewer that the fight for equal rights for women has been going on a very long time. It helps with the composition of the image because the area that has the most white after the subject (woman with the flag) is the poster and the viewer's eye is drawn to that next.

Principle #2: Rule of thirds: This is a well used concept when it comes to the American flag that the woman is holding up. It is positioned well because it is an important aspect to the cause of women's rights and needs to be seen. These American women are going to fight for the freedoms that the constitution promises them.

Principle #3: Obvious Main Subject: The composition of the image is good because even though there are a lot of people in the picture, it is not too cluttered that the viewer can not clearly see the subject. The woman with the flag is in front of the people enough that she stands out and her flag in front of the poster draws the eye towards her. Also her dark cloak separates her body from the people behind her who are in lighter clothes.

Why I chose this image: I chose this image because it embodies the passion and fight that women have for their rights to equal rights. They are not in any specific workplace but have come together in the streets to support each other and demand recognition as a unit. I also liked the fact that the American flag was in there. It really is a simple expression for those who are given disadvantage that they have the power to speak for themselves and there is hope that times will change.





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Technology Timeline

Pre-digital Technology

Photojournalism has come a long way because of the advancements in technology. What rocketed a photograph’s ability to be spread and produced to the masses is the innovation of digital techniques. In the beginning, the process to develop photographs caused a great hindrance to the productivity of photojournalists. Originally the process was called the wet plate collodion process. Wet plates prevented photojournalists from accomplishing what they can today. Mainly because one could not take a picture quickly. As Professor Nordell pointed out, if there was not enough exposure, a subject would have to stay very still for minutes for enough light to show up and for it not to be blurry. Photojournalists do not want subjects to pose or be staged, they want to capture things immediately.

Portable Dark room

Photo By: William Micklethwaite

Image Source:

https://upload.wikimedia.org/wikipedia/commons/e/e4/Micklethwaite_Portable_studio.jpg

As described in the video by Quinn Jacobson, the wet plate process had about 6 steps but each was important and critical for the quality of the final product. First, you have to cut the glass to the right size. Clear glass is used for negatives and black glass is used for positives. Then, the glass need to be deburred, or basically roughed up on the edges so that fingers do not get cut as well as, to create a ridge to hold the film. Then, the glass needs to be cleaned well or later, the emulsion will peel. Next, the chemical solution, collodion, needs to be poured on the plate evenly. This will affect how many defections will appear in the photo. When the collodion has set, it is sensitized by being dropped into liquid silver nitrate for a few minutes.

After the plate is prepared, it is ready to be exposed to take the picture. How long depends on how much light there is, and this is something that a photographer really needs to have experience in to have it come out the way they intend. After exposure, the plate needs to be develop, which once again, takes experience because it could be under or over developed and after all that time and work, a picture can be ruined. Even after that, the plate needs to be fixed with potassium cyanide to turn it from a bluish negative to an amber positive.

This complicated process prevented photojournalists from really having the freedom and ease to concentrate solely on the message of their photos because they had to worry about the techniques. Not only did the steps have to be performed correctly, but in a time limit. The wet plate could not dry or else the picture would not turn out. This gave the photographer about ten minutes and was also limiting because they could not necessarily always travel with a portable dark room for which the process required.

One famous example of the difficulty of wet plates was Robert Capa’s pictures during the D-Day invasion. A darkroom technician dried the film too quickly and most of them were ruined, leaving less than a dozen out of 106 to document that legendary day, despite the danger Capa put himself in to take many good pictures.

The other day, I took a picture just because it came to mind.

 My sister was acting as younger sisters do, being weird outside my door. I thought it was funny because she looked so creepy to me, and I quickly took a picture. I didn’t have to think about how the technology worked, or make any other effort than deciding to take a picture, pulling up an app on my smartphone, and pressing a button. We take for granted how much we have been able to learn from the world because photojournalists can quickly capture images that are important for us to know about, many being in the heat of the moment.

Can Photographs Change the World?

To answer the question, “Can photographs change the world”, yes, they can. However, not directly or literally. A photograph will not cure world hunger. A photograph will not stop a war. A photograph will not stop pollution. But a photograph might affect someone’s attitude on an issue; it could inspire concern for a situation; or it can reveal a part of the world that was once unknown to someone. Anyone once of these instances could end with that, or they could lead to a domino effect that could indeed change the world. A revelation takes a life of its own when it is shared with others and acted on.

Many people argue that words have more power. Would they actually, if they were not seen or heard? Would Darwin’s Theory of Evolution changed people’s understanding of the world if it was never published so that it could be shared? Of course not. Neither pictures nor words directly have an effect on anything. What causes change is the ideas that these tools spark in the minds of men. I agree with Jonathan Klein, of Getty Images, when he said, “It’s not the photographer who makes the photo, it’s you. We bring to each image, our own values, our own belief systems, and as a result of that, the image resonates with us.” What we think about an image is what drives us to make the decision that something needs to be addressed.

One picture that I think reflects this idea is the photo of Anne Frank. Viewing the picture without any context would not mean anything. However, knowing that this was an intelligent girl who might have had a lot of potential in life, and that her life was unjustly caused to end because of the Holocaust, the viewer has a different reaction. There is now a face attached to the story, making it more personal. As quoted in the introduction to Life’s 100 Photographs That Changed the World, a fan, Jacob Meade argues, “The poignancy of her gaze haunts the world to this day, pointing up the horror of Hitler’s genocide and making us wonder how many brilliant young women such as herself were lost.” So the photo itself has not changed anything, but it will make someone think about how horrible peoples can act toward each other, the consequences of our actions, and the limits that man creates for himself by ending the lives of those who could have made great contributions to our world. This will, hopefully, prevent us from making the same mistakes, and cause us to consider different solutions to problems.

Image Source: https://www.tes.com/lessons/xXCY8zOZxgn4LA/introduction-to-anne-frank 

An important thing to consider when realizing that a photograph itself does not change the world, is the fact that, many photographs are censored and kept away from the public eye, and so, will never have an effect. For example, when photos of war were shown on the news during the Vietnam War, there were many protests and public reaction forced the government to pay attention to the people and alter its course of action. Unfortunately, there are less protesters and many pay less attention to the wars America is currently engaged in. There is much less personal connection. Americans are not exposed to the suffering of those in other countries like they were during the Vietnam War. Photos from current wars are viewed by the government before being shown to American citizens. As Ted Rall puts it in his article, “Censorship of war casualties in the US”, “images from these ‘real’ wars have been studiously sanitised to the point that a well-informed news consumer could be excused for thinking that their country's latest wars are virtually bloodless.” There is much less personal connection. There is less evidence provided that would normally cause outrage, and in effect, change.

Another limit to the potential of photographs is media consolidation by big businesses. What this means is that any actions for issues that might conflict with corporate interests will never be started, simply because these corporations will prevent anyone from even being exposed to them. As described by Ashley Lutz, of Business Insider, 90% of American media is owned by 6 companies, meaning “232 media executives control the information diet of 272 million Americans.” This should worry Americans because while they think they could be getting news, what they are really getting is, in reality, propaganda for whatever these companies think is important, or for their affiliates. This is directly influencing what Americans perceive as truth.

All in all, photographs only change the world when they are viewed and reflected on by a person. A photograph that has an effect on me is “Perak Ladies at Thikse Monastery”. It makes me wonder what this culture is like and how these women live. It changes my idea of travel, appreciation of different ways of life, and inspires me to think outside of the box for my goals in the future.

Photo By: Jimmy Nelson

Image Source: http://www.jimmynelson.com/artprints/all/186

History of Photojournalism

 A good picture can connect with an audience in a powerful way to reveal truth and is not influenced by the barriers of language. Photojournalism is an important category of photography that is timely and informative. It is a critical tool for people to connect with real-world issues, events, or society.  Valuable information through photographs can broaden ones understanding of the world and the different cultures in it. Pictures are unbiased and taken with ethical integrity. As Professor Nordell describes, photojournalism captures verbs – things that are happening- more often than just subjects. Photojournalism is photography that tells a news story. It will have aspects of timeliness, objectivity, and narrative.

The history of photojournalism is important to know to give relevance on why it is important today. According to photographer Rachel Towne, photojournalism began in the 19th century with the Crimean War with photographer, Carol Szathmari. It can also be recognized from early use in the American Civil War by Mathew Brady. This was the beginning of the ability to reveal important situations to a broader audience.  Photojournalism really saw its expansion with the invention of the 35mm Leica camera in 1925. Many journalists were able to seize accurate portrayals of people’s lives for others to be aware of as in, for example, the Great Depression. Knowing the history helps one to “appreciate multiple perspectives and interpretations”, as Joanna Hayes illustrates in her video, "Why Study History?".  This is so important for people to develop compassion and try to have develop more successful strategies to handle real-world problems.

What is also important to recognize about the history of photojournalism, is the photojournalists themselves, and recognizing the skill and dedication that it took for people to capture moments that would illustrate news to the public. This relates to what photojournalists are doing today because they have to be able to know current topics and what is newsworthy.  Professor Nordell describes that photojournalists need to really have encompassed the skills of both a photographer and a journalist. They need an artistic eye to be able to get a powerful image and the courage to get up close and personal to get a meaningful one.

Photojournalism captures not only societal issues or norms, but captures cultures from all around the world to bring us all together. For example, here is a picture from Jimmy Nelson from the Hartmann Valley in Namibia.

Photo by : Jimmy Nelson

Image Source: http://www.beforethey.com/artprints/all/44

Nelson is a respected photojournalist who will preserve the essence of rare peoples. He has photographed and made a book about these people that documents their traditions and cultures. This an invaluable asset for the average person to have an appreciation for what is out in the world that he or she would never know about.

Now, with digital images, the ability to capture and spread photo-journalistic images has become even easier. With that, it provides a greater opportunity for these striking photos to have an impact on an audience. Hopefully, they might change the masses to take action for issues or simply provide a more fulfilling understanding of the news that is covered.

With the advancement of technology in photography, there is an essential need for photojournalists to really encompass the spirit of a journalist. Pictures can be retouched and manipulated in ways that completely falsify the context. It is up to the journalist to take pride that his publications remain truthful and unbiased. For example, Paul Hansen’s picture of two Palestinian boys who were being carried to a funeral is extremely powerful. It won the 2013 World Press Photo of the Year. Many claimed that it was a fake. Hansen firmly held that it was only retouched for lighting.  With review, the World Press confirmed it was authentic. The award is well deserved because the picture illustrates the reality of the innocents who suffer in unstable regions.

Photo By: Paul Hansen

Image Source: http://www.news.com.au/technology/photographer-says-his-2013-world-press-photo-of-the-year-is-not-a-fake/story-e6frfro0-1226642304141