What Motivates Photojournalist

What may motive some may not motive others. Motivation is different for many individuals. Some tend to do certain things because of a reward, some may do it for pure joy, or some may do something because it's the last option for them. Felix Masi, a Kenyan photojournalist said what inspired him was "watching tv in a social home because we never had tv and I used to see a lot of war and a lot of news an war and I thought I could do well as a war photographer." Felix Masi's inspiration lead him to have a successful career as a war photojournalist. Felix had grew up with a war surrounding. I think this made his transition in this particular field of photojournalism easier for him because how much he was already aware of. When war comes to be a subject, I believe those involved believe they are fighting on the good side. Felix's images capture the lives of those fighting and I think his purpose for this was to show the truth of war.

The next photojournalist I had researched was Steven Coleman. He explains what draws him to photography by saying " I feel that most people search for answers in life. Some find it in religion or philosophy, some in the act of helping others. Many people find it through their careers and work, or at least try to do so. Others search yet never find and a few get lost along the way in difficult places like in alcohol and drugs.Yet many people, perhaps most people, search for something. For some reason, my search has taken me down a path of photographing landscapes, sharing what I learn and writing about the journey. We are all different."   It seems to be that what motivates Steven Coleman is the search for something. The outside world has many different perspectives. Steven Coleman found himself fortunate enough to photograph landscapes and also explains himself through writing. I think Steven said it perfectly by saying we are all different. The same could be said about motivation. Everyone is uniquely different in the sense of what motivates them. From the module 12 content, Gilles Peress asked his photojournalist students " are you willing to die for photograph." This relates to Steven Coleman because I think since he is searching for his answers, he's will to put himself in any type of situation to get his results.

The third photojournalist I had researched was Eric Kim. What Eric Kim had said was "  As with photography— I don’t think you should take photos for the sake of taking photos. You should only take photos because there is some deeper personal meaning for you. Whenever I see something that is truly important to me, I don’t need to “force” myself to take a photograph. The camera naturally floats towards my hand, and I take the photograph. There is no effort necessary— similar to the Taoist concept of “wu-wei” (action without action). I think this is what the kung-fu masters meant when the body-mind is connected as one, and you “disappear into the act.”   To Eric Kim, motivation and inspiration are intertwined. He believes that the images photographers capture should have a deeper meaning to them. It shouldn't feel as if it was forced to take. He mentions that it's as if there was no effort necessary. This must make photography less stressful for him and if these photos being capture come easy to him, it's as if they were a gift. In the module 12 content, Gordon Parks credits his success to prove people wrong over the racism he had dealt with.  These two photographers had two different styles where one can go wherever and photograph freely where the other was worried in every situation he was placed in. It's unbelievable how much has changed in photography in the matter of 100 years.

In my motivation map, the things that motivate me the most are all ahead of me. In terms of my education,  what motivates me is excelling in school to make the deans list and go to grad school.  Excelling in these areas will allow for me to have a good job and a steady income. This ultimately will lead for a happy life, a lot of traveling hopefully, and a lot of thanksgiving dinners in my belly. My motivation map relates to those of the photojournalist because it's all a bigger picture. All of what motivates us leads us to a bigger and better self in the end of it all. My motivation is similar to these photojournalist because what I want to do with my knowledge can be said to be the same as these photographers and their images.

Felix Masi

Image by : NYAKARIMA

Image Source : http://asummerbunny.com/photojournalism/

Image By : Felix Masi

Image Source : https://felixmasi.wordpress.com/2010/09/02/new-kenya/

Steven Coleman

Image By : Unknown 

Image Source : http://www.digitalcitizen.life/uncovering-artists-through-windows-7-themes-steve-coleman

Image by : Steven Coleman

Image Source : http://www.lightinframeblog.com/#sthash.zTqsYmyi.dpbs

Eric Kim

Image by : Eric Kim

Image Source : http://www.yanidel.net/2011/06/28/meeting-street-photographers-iii-eric-kim/

Image by : Eric Kim

Image Source : http://www.yanidel.net/2011/06/28/meeting-street-photographers-iii-eric-kim/

Motivation Map

Photojournalism and Bias

Image By : Ed Clark
Image Source : http://www.thegreatleapsideways.com/?p=209

When looking at this photo by Ed Clark, I see a man who is both sad and happy. This man may be feel sad because of his experience away. He may have witness colleagues loosing their lives and he couldn't have helped. I image this man to be happy though because of his time away from his family fills himself with such joy to be reunited that he looks teary eyed. It seems to be that he may be reminiscing of his experience away. But it also looks like he is looking toward his future and all these emotions are finally hitting him. According to Professor Nordell, "Can we as individuals, be free or bias?" This particular individual is starting to free himself as he sets himself on a whole new journey.

Subject's Expression : Looking at this photo, the subject is very teary eyed . It looks as if he can't hold his emotions anymore as he is playing his instrument. The body language fits the the facial expression. It's almost as if he is trying to stand straight and proper to hold himself together from his emotions.

Contrast Appropriate : I would say that the contrast in this photograph is somewhat high. There are a lot of different areas of bright and dark areas. I wouldn't say that the contrast contribute to the mood as much. I believe it is the person in the picture who makes the mood in the picture.

Keep It Simple : The composition of this photo is simple. Even though there are plenty of people in this photo, the whole concept is very simple. You are able to see everyone clearly. There is nothing in the image that causes something else to be disturbed.

Image A Truth :

Image By : Martynas Klimas

Image Source : http://www.demilked.com/neighbor-children-photography-adrian-mcdonald/

When looking at this image, I found truth because of the innocence in the little boy. The first thing that comes to my mind when thinking of truth is innocence because there is this guilt free attitude presented. The little boy seems to be pure and without flaws in this photo. This photo in particular has more truth than bias in it because the definition of bias is "A preference or an inclination, especially one that inhibits impartial judgment."  This image to me doesn't not seem as if it is leaning towards one way or the other. This image is very straight forward. According to Professor Nordell, " I more likely subscribe to the rules that I wouldn't want to photograph somebody that I myself wouldn't want to be photographed." I think this phrase is important when thinking of truth in photography because it shows the honesty and integrity the photography has when taking the photo.

Quality of Light : The light in this photograph is very engaging. I wouldn't say it is overwhelming, but the lighting helps focus on the individual and the bubble. It makes an impact in the photograph because the background is slightly duller, but when looking at the main focus it is bright.

In Or Out Of Focus : The main subject in this photograph is in focus. The image of the subject and the bubble is very sharp where you can see the outline of the body and bubble very clearly. The background is out of focus because the main subject is the boy playing with the bubble. 

Depth of Field : I believe the right amount of area is focused. The whole focus of this image is the boy and the bubble. The surrounding is not so much important. The depth of field directs your attention to the main subject because its almost as if all the attention is on him.

Image B Not Truth : 

Image By : Anella Loubser
Image Source : http://petapixel.com/2014/09/14/flipping-photographs-upside-turns-ordinary-portraits-strange-alien-faces/

This photo portrays no truth because it is misleading. This image is of a face that is actually a head turned upside and the wrinkles on the forehead are a nose and a mouth. Some photos may be to slick to trust where " A technically proficient image may trick the viewer into thinking he or she is seeing something of substance." Typically a photo that has truth in it shows it's true meaning without misleading the viewer. It doesn't need assistance in explaining itself. This image tends to be more bias becuause of its inclination to impartial judgement. According to Professor Nordell, " its vital importance to look at the possible biases of the photojournalist creating the images, as well as taking a look at what our own biases may be."  When looking at this photograph, it may be easier to not find the truth in this one opposed to the one of the little boy. My biases may differ than the photographer who took this image. But whose to say whose right when taking these photos. There are different opinions on everything. If everyone had the same opinion it would be very boring.

Texture: When looking at this photograph, you can see the wrinkles on the forehead. You are able to see the pupil and the eyeball very clearly. This individual seems to have plenty of birthmarks by his real nose area oppose to his wrinkled nose. In the wrinkles, you can also see the little wholes the skin makes.

Background Compliments : The background compliments this photo because it is all black. This is a black and gray photograph. The reason this background compliments this image so well is because it allows for the viewer to focus on the head instead of the background.

Use of Lines : In this image, there are plenty of lines because of the wrinkles. The wrinkles seem to draw the viewer's attention more vividly than the eyeballs. But being this close to the face, you are able to see plenty of lines that either curve around the eye which fit the face well when makes an upside face.

The Ethics of Photojournalism

There are many controversies with ethics and photojournalist. The article I had researched was 7 with VII : Ethics in Photojournalism. This article had asked 7 photojournalist about how they feel in certain situations and what their stance was on them. The questions that were very deep and meaningful to me had to do with boundaries. They had asked "If someone tells me I'm only allowed up to this point or I can't cross this line, should I listen?"," How do you navigate between creating the most compelling images and being sensitive and empathetic to the wants and needs of your vulnerable subjects?, " How do you negotiate consent and respect for your subjects in a moment of crisis?" and more.

The first question asked about if someone is only allowed up to a certain point or if they can't cross a line, should they listen was answered by Ron Haviv. Ron had said "Alongside all the photographic decisions, you must simultaneously be thinking about the scene, your presence and effect on it, as well as your interaction with your subjects and everyone else that is there. There are going to be times when you judge it’s one step too far to take an image, other times it might be too dangerous to take an image.There will be times when people in authority whether legitimately or not, will try to stop you from working. In all these situations you will need to understand what is the end goal. Is this photograph worth it?"  The second question was about how you navigate between creating the most compelling images and being sensitive and empathetic to the wants and needs of your vulnerable subjects. Stefano De Luigi had said " I do not lose empathy because I’m a human sincerely and intensely interested in what I’m seeing, but I know where my place is, and in this particular context, my place is to be a witness." The last question was how do you negotiate consent and respect for your subject in a moment of crisis? Ashley Gilbertson answered this by saying "I often approach people, wearing a camera, and intentionally make eye contact. In this moment, I receive permission to make a photograph or am told I am not welcome. In many cases, especially those that are more open to interpretation, I will sit and chat with the person for a while, introduce myself and explain what I’m up to. After that, the person feels a lot more empowered, and clearer, to say if they’re comfortable being photographed." The common theme in all these responses are dealt with boundaries.

The photographers makes sure that they don't overstep their boundaries in each scenario. But each question was asked differently. Ron Haviv answered saying that he would make his decision on the spot. He mentioned his read of the moment would be his deciding factor. I believe that is the case for most photographers. Not every situation is the same. Stefano De Luigi mentioned in his answer that he knows his place. Sometimes, photographers may or may not realize when the overstep their boundaries. Stefano realizes that in order to empathize with his subject he needs to look at it from their point of view. The most personal of the three photographers however, was Ashley Gilbertson. Ashley would already have the camera around his neck and chat with the individual seeking approval and if they felt comfortable enough for a photo. I think when we photograph something, sometimes we forgot we are dealing with real people and that could be brought back to our moral checklist.

My ethics map points to four questions that a photojournalist may ask when photographing. The first question is whether or not if they are right to take the photo. The second question is if they do take that photo, will it hurt anyone. The third question is if the photo about to be captured is for a greater good. Lastly, my final question is whether not it was worth it. The photographers above in a way had answered each of these questions in all there responses. I believe these four questions are the most important when you're in the process of photography. It's tough sometimes to check our moral compass. But these questions I believe question the most important problems to any dilemma someone may be in. Each controversy dealt with the boundaries and whether or not it was okay to overstep them. Asking whether or not it was all worth it in the end. When checking back to our moral compass, the biggest question may be, was it worth it? , when you find yourself struggling with that answer, I think you know whether or not you made the right decision.

Ethics Map

Photo By : Ron Haviv

Image Source : http://www.worldpressphoto.org/people/ron-haviv

Photo By : Stefano De Luigi

Image Source : http://www.stefanodeluigi.com/index.php?/projects/cinema-mundi/