A History of Photojournalism

PHOTOJOURNALISM

  

'The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box.' - Henri Cartier-Bresson

Henri Cartier-Bresson is recognised as the definitive figure in the development of modern-day photojournalism. His application of Lhote's theory in relation to his art meant that he could approach form and composition in a new light; fronting the phrase 'the decisive moment'. This phrase drove a new mentality behind the art of capturing a photograph and the importance of recognising (unlike painting) when life enters the space you are capturing. 

A significant example of Bresson's decisive moment notion is the "Derrière la Gare Saint-Lazare", which illustrates a man hopping over a puddle. This photograph presented an unseen approach towards the way a photographer constructs his image. Bresson proved that remaining alert to your environment and premeditating the perfect moment to take the shot produced outstanding results.

Moreover, the development and integration of Leica cameras drove this moment; allowing photographers to take photo's quicker, whilst giving more portability. I believe that this technique is especially relevant as it expanded the possibilities of photography vastly. Photo's that could be captured instantly indicated an increase in verisimilitude - people began to actually believe the art, as more and more unique examples of fascinating moments captured appeared. 

Tony Vacarro and Robert Capa are two highly reputed photojournalists that put good use to Bresson's techniques during WWII. However, they both have their respective styles. Tony Vacarro was part of the military; he was an active soldier that was given the additional responsibility of photographing the war zone. His roles exposed him to severe risk, but his passion for photography inspired him to risk his life in order to achieve amazing results.












 
Vacarro faced a battle with Army censorship. Therefore a lot of his work was confiscated, as it associated negative connotations to the American army. In my opinion, a dishonour to the efforts of the artists that make sacrifices for their work. I believe that it was his active military role that allowed him to get one step closer to the action, every time, adding to the power, individuality and realistic impact of his work.

Robert Capa is another photojournalist who also contributed a significant amount of work during WWII. However, Capa was hired and paid by LIFE magazine - He did not serve in the military. This worked in and out of his favour although it gave him a greater level of creative control and fewer restrictions. However, he did not have the front-line advantage of Vacarro, and so his style differs greatly. Nevertheless, Capa wasn't given orders as such, and so he could focus on the aspect and angle he wished to approach within his photography - essentially creating the photo he wanted to create.

Conclusively, Vaccaro and Capa's different roles and responsibilities set their work into contrasting styles respectively. I would say that Vacarro's images are more documented - they represent highlights of the war, the positive elements of military dispute, but an element of falseness is present. Inversely, Capa's images infer and represent true art for me; his freedom gives his work the advantage of realism, and offers a clearer interpretation of the nature of the Great War.

Eddie Adams was a photographer who was reputed mostly for his work during the Vietnam war. His Pulitzer winning photograph shows Vietnamese general slaughtering a member of the Viet Cong without a fair trial on the streets of Saigon. It sparked mass controversy and is sometimes recognised as an influential factor to the ending of the war. 

It is important to note the comparison between Eddie Adam's shot and video footage taken of the event. The photograph captivated the brutality of the war and resided in the minds of the American public. The bullet is just entering the victims head and his ruthless executioner seems emotionless towards the dismay of the teenage soldier. This a perfect example of the direct impact photojournalism has on society, despite the video footage, the emotion captured in that single moment was enough to devastate an entire nation.

With the previous point still in mind, it must also be noted that a photograph is not always necessarily a reliable source. Creative control, and more importantly, the freedom of perspective will always fabricate an image biased towards the photographer's vision of the finished result. Consequently, we find throughout history events where photojournalism has caused dispute through misinterpretation. In some cases, deception has deliberately been used to create a false concept, or image of the subject.

In every form of dispute it is important to analyse every angle of the argument. If a photographer happens to concentrate on a biased theme or element within his work, only that angle is focused upon, and a full understanding cannot always be achieved. Therefore it is important to understand that a single photograph cannot be trusted as a valid resource or a piece of evidence. Suitable examples of photo 'manipulation' appear throughout history, and began only shortly after the photograph itself existed.  

 

In 1864 an image depicting a U.S General leading his troops into a crucial battle during the American Civil War. Over time, research was made and it was discovered that the photograph was a combination of 3 separate images. The general was not at the scene. Perhaps the government planned to exaggerate their power through the use of propaganda; very common in most art forms. 

 

In 1968, we find another misconstrued image of key political figures. The final image was doctored to remove the central character, virtually erasing him from history. It is striking to acknowledge Castro's power; a simple disagreement and he destroyed any evidence of relations between the pair.

 

Shortly after this period, the development of modern-age technology and the introduction of the 'computing' era created drastic developments in the potential of photographic 'editing', simultaneously expanding the possibilities of altering the reality.

 

In 2011 a photoshopped image of international terrorist Osama Bin Laden deceased was released on Pakistani television. The phenomenon of Internet sent global communication to a new level. Shortly after, people created a false sense of security, the world was in a facade of relief, highlighting the intense effect photojournalism can cause. Technology is only driving this movement further. Social Networking connects everybody into a single feed of live events. I can personally say that since I joined Facebook I am now up to date on current events much quicker.

 

The digital era means that people can now take pictures on their phones, and have the ability to upload them wherever they are. In connection with the media, new events can now be covered and explained in detail much faster with help from the general public. In opposition, the general public can now report themselves, sometimes before the news team, with the help from sites such as Blogger and Twitter.

 

These devlopments also begin to suggest that photojournalism is no longer a specialist subject, but something than can be confronted by all people. Perhaps, at some point in the future, the public will becompletely responsible for reporting events. Evidence from all sides would be available, perhaps reducing the chances of the government creating false images of society. The possibilities are almost endless. I believe that ultimately, it is important to always take a photograph with a pinch of salt. Before you judge, have a good think about what the photographer was thinking.